Blender 3D: Final Cinematic Sequence & Post-Production – Dune Part 3/3

1. Intro to the Course: This is it. Welcome to the final part of the Dune Master class series. In P one, we start our journey with the Highlander in space. We then moved into the atmosphere of planet Irakus, and now we'll build our third shot where we have the carrier ship casting its shadow on the Freman. Additionally, at the end of this course, we'll actually tie all three shots together into one single sequence with a matching soundtrack. Just like from the movie. Same as in part one and two. Everything in this course is completely built from scratch with one minor exception. But it's free. We start off first by breaking down our shot and then working on the composition. From there, we'll move into modeling the entrance, lighting up our scene, expanding our knowledge of procedural textures, and probably two of my favorite parts, animating the soldier's movement and creating a crowd system using geometry notes. Once the scene is rendered, we'll jump into after effects, or any other composing tool of your choice. The goal here is to add those camera imperfections to help us bridge the gap between three D and realism, and, of course, adjust our scene colors. So with all that out of the way, let's begin. 2. Scene Breakdown: There. I welcome to part three of the Dune Masterclass series. In the same fashion, as in the previous two courses, I want to start off this video by doing a quick breakdown and analysis of the shot that we'll be creating, while also talking a little bit about the whole story line that we've had so far, as well. With that being said, if this is your first time coming to this Masterclass series, And you're wondering whether you need to watch P one or P two in order to complete P three. Each works as its own standalone, so you don't necessarily need to do that. While that being said, I do also recommend maybe checking out P one and P two before jumping into part three, especially if you want to have the entire sequence that we have shown in here created for yourself as well to be able to showcase it. So with that said, before now, I jump into talking about the shot. I also suggest that you maybe turn on YouTube and just type in on YouTube arrival to Iraqis and four K. So like arrival to Iraqis four K, you'll be able to find this exact sequence that we're now trying to recreate. That was from the movie Dune Part one. So, now with all that out of the way, let's start talking about our final shot that we see in here. O. So previously, we finished off this shot where we had the ship enter the atmosphere from the highlander that we created in part one. We entered the atmosphere. We saw the primary ship right here, and now we see the shadow being cast away by that ship onto the Freman, which are the natives of the planet, Irakus. And right off the bat, like, the big hallmark of the movie Dune, something that I've already mentioned a couple of times in terms of its cinematography is that sense of scale. We see just how big now this ship here actually is compared to all of these people and how big of a shadow it is that it's casting onto them as we see over here. And then additionally, what's very unique about this shot is its composition. And that's something that we're going to be focused on getting right throughout the entire video. And as a matter of fact, it's going to be one of the primary things that we're going to start off, because, as you can see in here, this line right here is being cast away on purpose, right? The amount of people that are being here coming from this entrance of the Freman being held by the Iraqi soldiers that we have right in here, all being static. And then holding that line of Freman goes exactly from almost one corner of the screen two. So that's not an accident. That was on purpose, done. Because otherwise, if we didn't now have the shadow, this area that I'm drawing right now would be completely empty, and the scene would feel off balance. But because Now we have an empty space here, we can utilize this shadow or the shadow is being utilized to c of create a very nice and balanced composition. So this whole scene feels very, very balanced because of it. So that's something that we're going to be recreating. And in terms of, like, the whole shot and the movement of it, unlike in the previous two videos where we had camera movement happening, you'll notice if you look on the YouTube video, that there is actually no camera movement in this shot. The camera here is static completely. That being said, though, there are other moving pieces within the scene. As a matter of fact, I believe there's around four different moving pieces that we're going to have to be keeping in mind. So we first have this soldier right here moving in this direction. And then we have another one right here moving in this direction. So we're going to be having to animate the movement of these soldiers while all of the other ones here are standing perfectly still. Then we have a secondary movement where we're going to have the people from here going in all of these directions coming out and landing all the way here. On this line. And then lastly, the final piece of the movement is the shadow itself being cast this part right here, that's going to be moving slightly towards this direction. So three or four, depending on how you look at these two guys that are moving inversely towards each other, three to four different movement types we're going to have going along the scene, and we can see that also in the second screenshot comparing the positioning of the shadow versus here. And so, those are all the little details that we're going to have to kind of keep in mind when building off the shot. Again, the camera, the position of the camera is also going to be very important. So that's going to be like one of the primary things that we need to figure out how to work, because you can see that the camera is definitely behind the people here. So it's a little because we can see their legs a little bit there, and then the shadow is cast this way. It's a little bit behind, it's also like how far away is it. So in order to kind of get this as close to as possible, unlike in the previous video where we kind of like cheated the idea of distance and scale, here we're going to be trying to use as close to as possible to real life size values to achieve this. L. Then lastly, in terms of our composition, we also have this part right here, which we can't really tell how it looks like. So we're going to have to use some parts of our imagination to visualize what the rest of it is, whereas the key and most important part obviously is going to be this right here of the entrance. Lastly, in terms of texturing, we're going to be creating the primary texture that we're going to be focused on creating is this ground floor, almost like, I'm not even, like, tileable blocks of stone, marble or something because you can see these lines right here going like that, and then over there. But then some of the lines are going to be a little bit dusty, not dustier actually because we are in the desert. Like, they're going to be covered with sand, and we can also see some remnants of sand as well over here covering some area. So all of these little details, we're going to be trying to replicate as close to as possible. And then obviously, the C D L Cm is going to be creating a scattering system that's going to help us animate all of these people coming out and finishing off on this line. So, that pretty much breaks down the entirety of this course and what's to come. And so I'm going to conclude this video here, right at almost slightly before eight minute mark. And I'll see you in the next one where we're going to immediately jump into our composition. 3. Composition pt1: Mentioned earlier in the introductory video, I want to kick this course off by first working on the composition. So that's exactly what we're going to be doing in this first lesson. So there's not going to be any modeling, texturing, or anything of that sort. Primarily, we're just going to be trying to get our positioning of the camera as close to as possible as on the example that we have right here on my bottom right corner. So, as per usual, on the left side here in the left corner, you'll have all my screen cast keys, so all of the buttons that I'm pressing. And I've just opened a completely new fresh blender file. Additionally, I'm using the version 4.1. I think 4.2 came out yesterday or two days ago, something like that. But for this, for this course, in particular, I'm going to be sticking to 4.1. So, to begin, I'm just going to start off by completely removing everything from my scene. And before I even start working on the composition itself, I actually want to add what's going to be used for the trade soldiers. So all of these like soldiers or officers that we have standing here in this line, I actually found a model that is going to be perfect for our use case. While it has no similarity whatsoever with the De universe, it's going to be fitting perfectly because we can obviously barely see what's going on here as they look a little dots. So, if you go to mixamo.com and you press here on characters, can scroll all the way down to number two. And then somewhere here, you'll be able to find a gas mask model. Or if you don't want to go through all of this trouble, you can just use it from the resources folder that's going to be attached, included with this course as well. So once you download it, just save it somewhere. And then once you're in blender, just go under file import FPX here, and then just find a location where you download it. For me, I have it right here. And then I'm going to go and press import FPX, and there we go. Now it's going to take a second, and here we have our FPX model. And I'm just going to press the letter in and then go on the item to see how tall this guy is. So right now he is 2 meters tall. That is fairly tall, I would say, am. But for the purposes of this course, I'm just going to keep it in that height. The thing that I am going to change is going to be its positioning, its armature. We can barely see what's going on here, like, what kind of position it is that they're standing, but if you're looking at the video reference on YouTube, you can kind of, like, make it out. Their legs are obviously a little bit spread in the arms are kind of like holding a weapon or a gun or something in between right here in the middle. So that's exactly what we're going to be doing. So if you press with your mouse here on this joint that's sticking right above the head and then press control and tab, I should open the pose mode. Alternatively, you can just go with your mouse here once you have the joint selected, click on the pose mode, and then press old and Z to go into the x ray mode, and this is going to enable you to pretty much click on these individual joints. Additionally, you can see that we have already some keyframes here presented, so we don't really want that. We want to go here where it says animation under armature. Right click, clear all of the animation data. We don't need that. So now, what I want to do is just take this like R, move it a little bit here, take this one, move it a little bit like that, take the ankle, move it slightly there, take this one, move it slightly here. Not too much, but maybe something like that, maybe move this one a little bit more inside. A little bit more inside like that. And then for the hands, I'm going to move this shoulder all the way down, this one all the way down. So I'm imagining like, if you're holding your weapon, your hands are like relatively around your stomach like this. So what I'm going to do here is move this one slightly here, move this one r, just slightly like that. And that pretty much gives me a good position, I would say, overall. Like I said, we're barely going to be able to see them whatsoever. So if I just go now back into the object mode, this is kind of like the standing position that we have for this soldier. And this is going to be more than good enough as a matter of fact when it comes to that. So, m here now, what we want to do next is just use an array modifier to duplicate these soldiers along a line. So I'm just going to start off by having the soldier here selected, and then going modifier, add modifier, type in array. I can have it here right at the very top. And I already know ahead that I have 21 soldiers that I will be using for this shot. So I already did accounting so that I could save you from having to do that. And then once in here, what I'm going to do next is click on here on the armature and then just rotate R Z by 180 to have all of them rotate it in that direction like this. And then additionally, I'm going to add a factor here for some kind of offset of around 25. So now they're pretty much 25 meters, I believe, in distance from one another. Kind of like what we have over here, we might need to do some tweaking later on, but we'll see. The thing is now that we can start off by adding a plane that these guys are going to be positioned. So I'm going to go shift A and then mesh plane, and I'm going to scale this plane by 200. This is going to give me 400 by 400. I'm actually going to go 500 as a matter of fact, so here I'm going to type in 500 500. And then I'm going to click on the Armature and just go Gx and try to put them roughly here in the center so I can better see, you know, what's going on and such. Additionally, what I might actually do Actually, let's keep it for now and see if we need to. I was going to propose to actually invert the number here to negative 25, so that we have the main one on the left side, whereas right now, the main one being selected here is on the right side, but we can also go this way as well. And in case we need to invert, invert it, we can do that later. So what I want to do now next is if I start scrolling out with my mouse, we can see that we're getting that clipping issue. So if I go here under n and then view, I just need to add an extra zero, and I need to change my clip start to one that way now, we have no more clipping. And the next thing that would make sense now to do is add a camera, go shift a step in here camera. There we go. G Z. We can barely see the camera because we're so far away. And as I mentioned, in the introductory video that we're going to be using close to real life scale sizes. So I'm going to scale this camera because it is going to be very high up. I don't know exactly how much up yet. I didn't want to use exact numbers that I had saved up from my previous attendance, but I wanted to show you the whole process of getting to this type of composition through kind of, like, brainstorming, thinking out loud and such. So what I know I need to do here next is just wrote reset kind of like my camera settings, so I'm just going to go here under rotation, change the rotation purely to zero, so it looks all the way down. And then additionally here, under camera focal length, I'm going to use 85. So that number I actually did memorize, and will, I have no idea if they used 85 millimeters for this shot, in my previous attempts, I used that value, and it turned out pretty good, so I'm just going to go stick with it. They could potentially use 125 and. I encourage you to try a higher focal length if you want to go with that way. In my case, this one had the best results while experimenting. So I'm going to start moving the camera a little bit more up, and now I need to preview what I see within this camera. So I'm going to move this window actually to my external screen right here to the right side, and then I might be dropping it in and out on the need basis, and I'm just going to move this window all the way up and change it from the timeline into A three D viewpoard. So this is going to be for my camera view, the screen right here. So I'm going to go Tilta and then view camera. And then while I have the camera here settings, I'm going to go on review for a display and change a passport all the way to one so that I don't have that camera overlay showing around there. And additionally, if we look at our image, the current aspect ratio that we have here within Blender doesn't match the one that is used in the reference image. So we need to also change the aspect ratio of our output to match the one that's here, and that's going to be 1920 by 816, which is the exact same aspect ratio that we use in part one and part two, which is that cinematic 2.35 ratio. And if you're interested more about kind of how to get to different ratios. I talk a little bit about that in P one of the course, where I also show you a cheat sheet on how to calculate how to find out which aspect ratios go for which resolutions. So if you're interested in that, be sure to check it out in part one. Now, sticking with here, what I want to do next is just take this camera and just go up up all the way until I can start seeing and now you see kind of the issue of working with real life scale like everything is becoming so small, so I'm going to try to scale up here as much as I can to help me figure out where is what? Additionally, what I can also do is go here under viewpoint shading and add a cavity and add a shadow. This is going to help me kind of like figure out where these guys are because now I can see all their little shadows that are being left behind. And so if I scroll a little bit more up now, I just want to make sure that I have all of them in my shot. There we go. And another issue that we also have is we need to go under our data here for the camera and change a clip here as well to one, and then also add an end here to zero, so we don't have any clipping happening on that end, as well. Now, From here, we can barely see these soldiers. So what I want to do is, let's see where my camera is. I want to start zooming in a little bit. Maybe around here, and then moving camera, let's see how many soldiers we have over there. So RDs I think this is roughly all of them. So from one end to another, this is roughly all of them. And I'm very, how would I say? I'm very calm about having to move my camera. I'm not worried about it because, remember, I mentioned at the intracourse, intra video, we won't be doing any camera movement whatsoever. So I don't care if my camera is offset in a different location or even rotation as a matter of fact. That's exactly what I'm going to be now doing. So what I want to do next is right now my camera is around 900 meters. I think that's really tall. So I'm gonna go maybe 750 as a matter of fact. Because right now my camera is looking right directly at these soldiers. And in this image, it's not really looking directly at them. It's looking to the side of them behind them. So I know that my camera needs to be behind the soldiers. So that's exactly what I'm going to be now playing around with first. I'm just going to go click on the camera and then just go G, and then y and just start moving it a little bit more towards the back here like this. And then additionally, I'm going to go press r and then x and then just rotate it towards the soldiers kind of let's see around here. But then from here, I can actually rotate it now on the Z axis, so I can try and start getting the look exactly the same look that we have over here, where we see that the last soldier on the top left corner is right below this 90 degree cut of the angle. And then the soldier in the bottom right corner is right above the 90 degree angle. So this one is above this one is right below. So I know that this one needs to be below, and this one here is right above. And this kind of is already getting me that result that I'm trying to accomplish here. So let's see, and like I said, we don't really need to move these guys. They can all be static in terms of their direction, because, again, if we look at our reference image right here. We see that the grid here is kind of like all of the grid is moving in the same direction looking as the soldiers. They're all looking in the same direction, as well. They're perpendicular perfectly with the entrance that we have at the top right corner. So we don't need to do any changes to the positioning of these things. Everything can be pretty much straight up, perpendicular with one another. And the only rotation that we need to actually mess around with is the camera itself. So from here, I'm just going to move my camera a little bit more back GY. And this is going to be a trial and error process where you're going to have to move the camera and rotate it again. Until you get the results that are working for you. So, for me, let's see. This is actually looking pretty good. The question only I have right now is whether or not I actually need to rotate my camera just a little bit more. Kind of Let's see I'm using this image here as a reference. Let me drop it down a little bit more so we can see a bit better. I'm going to put it. Let's see where it works best for me to put this image. It's kind of tricky. I actually need mostly these things here right now. So I want this guy here to be a little bit more. Let's go like this to top of you. View camera. So I want him to be let's go over here to top you as a matter of fact. He needs to be just a little bit more lower and closer to this corner closer, just lower. So let's go click Armature, and then G Y, moving it slightly lower, and then G X, moving it slightly. Further, just like small increments of how I'm moving it. And I think this is more or less okay. And then let's see what else we are remaining over here. Let's just take a look. The top left corner. Let's see how that one's looking. The question here I have now is whether or not my camera has all of them or not, so I'm just going to zoom out a little bit to see if I'm missing any. No. Those are pretty much accurate. And here is actually very, very close. The only thing I would do probably here, maybe is just do a very, very slight rotation of the camera. Let's see. Maybe something He needs to be a bit more closer to the corner. So around here, and then maybe G X movement over the camera closer to here. And I think that pretty much gets me very close to how we have it in this diagonal right there. All right. So we pretty much added all of these guys. And now we can just add a temporary placeholder that's going to be used for the entrance part over here. So we can kind of have an idea where it needs to be. So I'm just going to go on my top screen add a cube like that and just scale this cube by pressing S and then shift and z. So I only scale it in these two axis of x and y. I'm just going to scale it. Let's see. Roughly, let's see how much it's taking from this screen. It's taking very little, so I'm going to go start moving it now. Let's go move this here. And then let's move this guy this S shifZ a little bit more, so I can start getting that look. I don't need to remember, I don't need to rotate it that much. I can just put it exactly like this. And I think overall, this is going to be kind of how it fits. I can actually rotate it just a little bit because I can notice that it's more present on this left side than it is on the right side. But right about, I would say, G y, Gx x. Right about here, shift as Z, scale it a little bit more, G X. I'd say right about here is how we have it. It is a bit more perpendicular and in line also with these guys. I might actually just reset its rotation to zero, and then just move it There we go. So I think this, we have this shape right here, and then we have these guys, and then in between here is going to be our crowd that's going to be coming out everywhere. So I think for now, we pretty much have our composition set up. One last thing before closing this video that I recommend doing is, let's just add our timeline over here in the bottom window. Go timeline. And what I want to do next is simply a key frames for my current camera position so that I don't lose it in case I do some rapid movement or something with it. So what I'm going to do here is just go here under location and then press letter I to insert, and now I have key frames. So in case, hypothetically speaking, you accidentally go and you move your camera somewhere or, you know, you go like this. You can always press shift and arrow to the left, and it's going to reset the camera to the position key frame that we just added. So that way, we have now our camera saved, in case anything goes haywire for us. There is our initial composition. Perfect. So this pretty much concludes the composition section of the video. It's taken quite a while, but it's a longer process, and that's why I wanted to get it off first. But we've done pretty good progress so far, and I'll see you guys in the next video. Cheers. 4. Composition pt2: As I stopped recording the previous video, I took a second and I was just going to close off my blender file, and I looked at my camera view over here and compared it to the one on my reference image and I realized how far off it was. I apologize because I got startled by the 18 minute mark, not realizing that we still got a little bit more work to do. So in this video, we're just going to be tweaking our composition a little bit. So one key indicator immediately that got me realizing how not correct the composition was was the if I zoomed in here and I see that I'm directly still above my soldier versus zooming in here. Not just behind him, but I'm also towards the right side of it because of the angle where I'm looking at, I'm looking more towards his right side of his shoulder and everything here, as you can see. So I know that I need to move my camera towards the right side, and I know that I need to move my camera back and further back and also below. So what I'm going to do simply on my top view here is I'm going to press G, to move my camera. And also, I need to clear these key frames right here. So I'm going to click on the camera, press G like this, and then I'm going to press shift and the letter x, and this is going to allow me to basically kind of move my camera between these two positions. And I think the camera should go maybe somewhere around here. And then I'm going to press R and x just to rotate it like this. And then I'm also going to move my camera a little bit more towards this side. I'm going to change the Y angle not to be so steep, so something around negative one like this. And now I just need to continue positioning it. Let's see G y, slightly more here. Let's see. And then maybe I take these guys armature, push them G X a little bit more towards your right side. Kind of like how I have it over there. Go take the camera, move it, let's see, a little bit more. I guess around here, and then move a G y further back, like this, and then rXle bit more of this rotation. Rx X. I should have been pressing rx x there we go. Now, if I zoom in to my soldier, I'm starting to get a much closer angle to what I have in here. So I might need to maybe R Z, just a little bit. R Z Z. Let's go R Z, Z. Just a little bit. Think if I compare this one to this one, they match pretty good overall. So I would say this is kind of the angle, almost, but now we need to kind of mess around with the positioning. So we still need to move this up. We need to move this X, a little bit more G a little bit towards here. We can see we have so many soldiers. And remember, we need to have our soldier right up here as we have it in here. So we need to move this G Y further. Up. And then this one needs to be below here, so I might need to rotate it a bit more G Y, Gx until I find perfect composition. And I think this is very close to what I'm looking for. So just maybe moving the camera, slightly more back, slightly more towards the right, to get this kind of angle, and then over here, I just need to rotate it a little bit more. Let's see. Closer to here, G Y R z, and then G Z, maybe just you make it match fit closer. There we go. All right. Let's take a quick comparison look. And let's do a Zooming. So this zooming looks much closer to the one that we have in here. There we go. And the reason I don't know if I've mentioned this already, but the reason why I'm being so nit picky around the angle and positioning of all of this has to also do with the entrance that we're going to be building here because the door needs to be visible, and the only way the door is going to be visible is depending on the angle that we are looking at. So I'm just going to now position this a little bit more to this side. Go back, try to get it closer to. There we go. S, shift, Z, scale it, G Y, move it a little bit. There we go, and then moving this also slightly more like that. And I think overall, this gives me a very close idea of how this shot needs to look like. I think this is really close. So if you want, you can pretty much take my numbers that I have already in here. So these are my location coordinates that you can see over there. And then this is my armature, also location, rotation, and everything else. And I would probably also need to apply their scale. You see that there's some kind of small movement by the application of the scale, just in case I'm going to apply it. I don't think it bothers me that much. That is perfectly fine. Let's see if we zoom in really close. This is how our soldier is looking. Very, very close to what we have over there. Similar direction that they're looking. Yep. Think we pretty much got the right angle now. And while this is now a little bit less visible, if I make this larger and now increase, now as you're starting to see, we can see the soldiers, we can see their legs. It's still small, but it's just noticeable enough. So there we go. We pretty much have our soldiers, and here are also my plane coordinates, by the way, so you can see those, location 36, and then scale, I'm going to apply it. My current size is 500 by 500, mature. There we go. Rotation, location. You can just pause here and copy these position items if you want. There we go. So now we have our composition set and ready, and then I'll see you guys in the next video. Cheers. 5. Modelling the entrance: That we actually have our composition completed. In this video, we're going to be working on the top, right corner entrance construction that we have going on. So we're going to be doing some modeling. Up until now, we pretty much try to as much as possible employ like best practices of modeling, but because this is so far off, so distant, I think we can kind of cheat our way a little bit and do it in a dirty, but relatively fast and efficient manner. So I'm just going to reorganize my layout a little bit. I'm going to push this slightly lower. I'm gonna zoom out a little bit from my camera view. I'm going to move the camera view by pressing shift and middle click with my mouse to the right side, leaving the space here on the left kind of half half so I can take a look at my composition at the same time, but also have an eye on this entrance part that I'm going to need to build. Additionally, as I was kind of like going through my stuff here. One thing I noticed is that these soldiers were a little bit above ground level, you can see. So I'm just going to press here on my armature and press G Z to move them slightly down like this. And then additionally, what I can do is also double check if everything is okay. We're here, I can move this G Z, all the way here, so it's leveled up nicely with the plane. And then lastly, I'm going to need like a dummy for the Freman people here to kind of get an idea of the proportions of this entrance. So what I'm going to do next is going into my top view, shift A at a cube because I'm going to use this cube to help me with the proportions. I'm going to match the cube roughly to the same dimensions of this soldier by pressing S to scale and then shift and z to scale only in the X and Y axis without scaling the z, just so I can get roughly these dimensions going on and then S and y to scale on the y axis. We can get this kind of dimension. And then additionally, G Z moving it guess this is about right. I'm going to go into my top view and just try to scale it in the z axis until I can get roughly something about this, because our soldiers were, if I remember correctly, 1.79. Let's see, our matures are 2 meters, and the soldiers actual dimensions are 1.8 meter in height. So, not too bad. Okay. From here now, what I need to do is just take this dummy and move it closer to our entrance placeholder that we have currently. And we can pretty much from here, start off modeling. But before moving any further, I guess maybe it would make sense or we could apply the scale slightly later. Let's just double check everything else here has the scale. Let's check our soldiers that they have the scale on. They don't. So let's just apply the scale here for our soldiers. O armature, everything here is fine. Okay. Now, what I want to do is kind of like separate this entrance into three individual parts because we have this part on the right corner. We have the entrance part that spreads roughly up until here, where my mouse is right now, and then we have the this part that is similar as the one on the right side. So I'm going to first start off with the height. And looking right now, the current height of this is says here, 2 meters, which is slightly smaller than our guy. I'm going to change this to let's try 8 meters. I think that should work fine for us, so G Z, and then moving it up again. And I think overall the height should be more or less fine. We can change it later on if we need to, but for now, this should be pretty okay. Next, I'm just going to scale this in D x xs, make it smaller to, let's see, roughly about this much for now. I'm going to change it later. So then I'm going to duplicate it, shift D, G X, and move it one here to the right side so that it is nicely right next to this guy, I can go Gx, move it slightly more, a little bit more increments. Doesn't have to be perfect. We go, and then I'm going to go into the edit mode, press the bottom edge right here and just G Y to extend this part, so I can start getting this little design going on. And I think in terms of, like, how much we are going to have it. This more or less matches it. I might do some changes later on. But then I'm going to shift the G GX, sorry, to move it to the right side, and let's just get it closer to our main entrance right around here. And there we go. Just by looking at it, I am going to extend the edges a little bit more, so shift going to the Ed mode while having both selected, so I can select both edges and just extend them slightly more to about this much. But looking at this entrance here, the entrance itself is way too long, so I'm going to also either, well, starting off first, I'm going to move it a little more to the right just by looking how much space here I have for the right side versus how little I have for the right element. So I'm just going to start moving it until I get something similar. So my right side now is much closer. And then I'm additionally, I'm going to going in to the edit mode, going to x ray, so I can get a better view, select this face right here and just start moving it to I would say, let's try this much for now and then move this element all the way here. Let's take a look. Um, still not there. And definitely we have way too much of the other elements shown. So we might need to move everything actually a b mod until we get closer to here. And I would even guess that we need to go even further, roughly maybe this something like this. I would say we're still a little bit to too far. So that makes me think that maybe we need to move this element a little bit more to the right, and then this entrance a little bit more to the left, like this. And so additionally, one thing with this entrance that is important to mention, as we look at the entrance, as I zoom in here on my reference image, is the entrance is a bit more towards the right side, as you can see right here versus the left side has an extra space going on where we have this extra kind of, like, baggage or something not really sure what that is. So what I'm going to do is just add a loop cut, and this look cut is going to be used to kind of help me separate the two parts two pieces of it. So I would say roughly the entrance is going to be up to here. And then the rest of the other side is going to be just where we have all of the storage and, et cetera. Additionally, looking at everything, I'm just going to move slightly more to the left, and this is a little bit now Net Picky. I'm fully aware. What's also going to help me a lot is just knowing the fact that part of the entrance here on the top side here is cut off. And so, later on, that's going to also help me whether I need to get the right proportions or not. So from here now, what I want to do next is kind of I want to be able to inset this part. And this is now where the scaling is going to be important because if I were to go here, press on this face and press I, the scaling of the inset isn't going to work properly. So I need to go and select everything here, press Control A, type in scale. That way, now I have a scale all the way to one and I can do the same for all of them like this. And then from here, I'm going to press I, and now the inside is working, but if I were to press B to have the inside go on the border, it's still not going to work because we technically don't have a border. And in order to do that, we need to actually remove the bottom surface. So selecting these two faces, pressing x, face, and now we have them remove. G G Z, move it backwards to where it was initially, roughly, I'd say here. And now, if I were to press here inset, and then let her B, I get this. And that's exactly what I need to kind of start helping me create this door. So we have, let's see how many levels we have. We have one small level, and then two larger levels of insets and extrusions. So I'm just going to go and start off kind of like this. This is going to be like my first level by pressing also B, so it only moves up the border. Okay, so I'm just going to go here. And then I'm going to press. I. So this is going to be my first level, very slight extrusion. Then it is going to be my second level, slightly bigger extrusion roughly up until I'd say here. And then this is going to be my largest extrusion, probably around this much, and I'm going to need to also double check some stuff. And this is why we have our little guy over here, so I can press now G and shift and Z, so I can move it in these x and y xs. I'm just going to put it right next to as close to possible to the door. So I can double check. Yeah. He passes through the door, and I would say the height is relatively more or less, looking at my image here from a camera angle, more or less is accurate to what I need. So, now that I have everything, I'm going to select this entire set of faces, holding shift and lt and clicking and going like this. And now we're just going to be doing some extrusions. Before even doing that, we can also go in here and just delete this face so that we have a nice little entrance going on for us. And then pressing here, let's select t, shift, and go like this. So, from here, I'm just going to go press E to extrude just a little bit. So just this much. This is going to be for my first level. Actually, I might even push it backwards, so G and Y, just a little bit more, kind of like this. Then I'm going to select these two guys and then do the same thing. So E and y and extrude it slightly more, maybe this much. And then e and Y to move this guy a little bit bigger than the rest. Also going to need to do some extra adjustments. For instance, I can pretty much right off the bat tell that this height of the bigger one is closer to the top corner, so I'm going to select this part, and I'm going to select this part and just press G Y, move it a little bit more up. So it matches this kind of look. Maybe I went a little bit too hard, I'm just going to move it slightly more down. I'd say right about there is kind of where we want to have it. And now I'm going to also organize my collection. I've been kind of delaying on doing that. So from here, I'm just going to start organizing my collection. So, let's do that now. Let's go start with, let's see. Let's go with what we have. Armature here. I'm going to go new collection, and I'm going to call this Atrads soldiers. And I'm going to put it in color green cause green is the color of Atrads. And then I'm also, let's see what we have. We have our ground planes. Let's call this ground. We have our entrance here. Let's call this. Let's go here. Let's call this entrance. Let's call now this entrance right. And let's see what else we have this one called entrance left. Okay, I'm going to select all of three of them, Press, M to move into a new collection. I'm going to call this one entrance. And we have ground. This is our placeholder. We need to also take our soldiers from here, drag them. There we go. Let's call this ure static. Okay. And the ground that's fine, and this is just our placeholder, and then here we have our camera. So we're a little bit more organized now. What I would do next is, since we have this entrance, I would create a backup because now we're going to be doing also some destructive workflow for modeling by adding bevels and such. And so just in case something goes wrong or we need to take a step back and see if, you know, if it wasn't working, we can kind of like, have it. So I'm going to go shift to here to create a backup. And I'm going to call this one entrance backup. And just hide everything. So I have it like that. And then from here, now we need to start doing some extra changes. So first things first, I would say, as I said, looking at the entrance and looking at everything, this part here needs to be kind of cut off, as you can see. So either I need to extend this entrance or I need to move everything a little bit more backwards. Let's just first start by extending this entrance. Roughly, I would say around this much. And then selecting everything, starting to move it a little bit more backwards till we get closer to here and maybe even extending the entrance a little bit more until I get right about there. And that kind of creates this little cut similar to how we have it right over there, ops, zooming on the wrong part. So let's just zoom in here, push this on the right side. And additionally, now because we're going to be adding bevels and such, we can go here under viewport shading. Let's add a shadow, let's add a cavity, so you can better see what's going on on our side here. And I'm going to start by simply adding here right in this part. Or we can go from a top down view as a matter of fact by simply adding some bevels. So first selecting all of the edges here, we don't maybe need to have that one, but let's actually deselect this part. So we only want to have some cuts right in this area, so I'm just going to press control B. And add some very, very small bevel, three levels, super small, might even go just two levels, because it's barely going to be visible. Let's just take a look. Like this. Let's see thee segments. Let's add one extra. I think that's perfectly fine. Now I'm going to select this part. Let's just make sure everything is properly selected. I could probably select all of them at the same time. So this way, they're all the same amount, and then press control B and just add three levels, just like that. Perfect. And then from here, I can pretty much select everything except I don't need this part. Let's just deselect this. Do we have deselect the bottom part. Actually do this another way, which is actually much more appropriate, I would guess, by going on the first part that we want to select, so this one here. And then just pressing control all the way to the part that we want to get up to, which is roughly, let's see this one right here. I would say. So from there, and then having that one selected, going all the way here, pressing control, clicking, and that's going to select this entire edge. Let's just do a test so we can probably undo it, but I just want to see how everything here is going to look like. I think this is Pretty good with the fact that I would probably add even more bevel. But then if we go more, that's just going to ruin everything. So if we go more in there, it is going to ruin everything, so we just want to go maybe around here. Let's just take a look. If we can do customs, that would that could probably potentially help us, but we're not going to be messing with that. So t's just have the other part also selected while we're at it, go in here, pressing on this edge, holding then to move around and then going to the edge that we want, which is, in this case, going to be this one here. There we go. And pressing control B. Let's just take another extra look. So to make this work properly, we probably need one extra edge or to figure this out because right now it's being cut off. So maybe I'm just going to pull it up until here. Let's see. That should give me a better way. Let's just do the same, I guess in here so that they are similar up until there. Yeah. And let's just do a little bevel on everything. Like this. We're going to be so far that this is barely going to be visible. But some of the things are still kind of nice to have. All right. So additionally, on top of all of that, what I want to do here is move two corners slightly more upwards. So I'm going to do a cut that's going to go all the way, let's see from here, and we need to do this part manually now. So I'm going to add another extra cut from here, pressing letter K. Let's go add a cut one more cut over there. Then these two, we want to join them by pressing J, like this. And the reason why I did this is so now from here, I can go press control B. And just spread this roughly. I'm going to say, I would say right about there. It's going to be enough. And that's going to give me these two points. I can actually go and select inside, just to be sure. Let's go select like this. Let's go here and select like that. And with these two points now, I can go and press G Z to move this slightly upwards. I'd say right about there, but I also want to then go and move these guys slightly downwards because I see that I need a little bit more space going on. So I'll just move this now altogether slightly more downwards. So G Z to get something closer to this. And then I'm going to select this part A Z, just make sure that everything here is selected. Then go on this part, make sure that everything here is selected. S X, move it closer to make it a bit thicker. Let's just take a look at the whole entrance. From above, this looks pretty good, I would say, and overall matches the look and field that we have in our reference image. So once we have all of that completed, we can additionally probably go and add some bevels to these two guys, so let's go and create a backup. We can just make one backup since they're pretty much duplicates. So I'm just going to call this one. Let's go shift D entrance, entrance, secondary or entrance support. Let's call a support. Backup. And since I've been capitalizing the first letters, I'm just going to stick to it like that. We have entrance support backup. I'm just going to hide that one, and I'm going to give it a little number zero, so it kind of stands on top. I'm going to this one a number zero, so it stands on top of this. Okay. So that pretty much solves our entrance apart. I would say, and in the next video, we're probably going to be moving to some turing next. 6. Adding sky texture: A pretty quick and straightforward video. In the previous one, we completed building our entrance over here. And now there are two more little details that I forgot to add to it that we can use the extra little time that we have in this video. And additionally, the second thing that I want to do is add a light source for which we're going to be using a sky texture for. So to start off with the two little details that I'm talking about, at the very corners, there are like these little lines here that I want to do actually manually, and additionally, this part here. It's almost like an inside extrusion. That we can see going on here. And so, just to create those lines, what I can do is take this right entrance part element, and then I'm just going to go into my edit mode, press control R, and just go and add a loop cut somewhere roughly just by looking at it. I would say, just so at least it's visible, so right about here is fine. And then additionally, on the other side, I'm going to do the same thing. Control R, add a loop cut, and just drag it something something closer to here. And now I can just select both of them at it one more time. And then while I have both of these edges now selected, I can just press Control B to Bevel. And I'll say two levels, so just one, two levels here of subdivision is good enough. Then I'll just add roughly around. I think this much is going to be okay in terms of the indentation that we're going to build. So once you have this selected and created, don't click anything else, but go here under, let's see, extrude and then click extrude along normals. And I should create this little this line here that we see in general. Let me just double check. Ah. We also have these things at the bottom here selected. So we don't really want those. So what I'm going to do is press three to go into my face select and just deselect that part. Let me see if I need to deselect everything else going on here. I would say, we don't need this part here to be extruded, so I'm just going to deselect that as well. I'm going to do the same over here. And I'm going to deselect this one here while holding shift and just clicking. And so now from here, I can pretty much just use this and, you know, press on it and move it. I'm going to move it inward. I'm going to hold shift to kind of do it in increments. And I can already see how much of it it's been created. And I think this is perfectly. Okay. Additionally, what I can do now is kind of like the opposite of what I just did, where I'm going to go and now select, I would say, these faces over here and just push them slightly upwards. So not like anything extreme, just just a very, very tad little bit to give some extra detail to the entrance. Nothing too fancy or extreme. But this is pretty much already good enough. Overall. And then additionally, if you really want, you can go in here and add some bevels to both of these sides, and you can do the same, I guess over here. So select both of these corners, Alt, shift, left clicking. And then holding shift, Alt, and then clicking on these individually. They should open now having all these four edges selected. In control B, and then just very, very subtly giving it a little bit of a loop. Sorry, not loop of bevel. I'm I'm going to stick with two levels of bevels. I don't think we need more than that. I can go and scroll in here just to see how it looks like currently. And I think this is more than enough, one extra segment. Yeah. It will be okay, but I don't think it's gonna be visible, so it's just unnecessary geometry. But that pretty much solves it. And I would say maybe we could also add one more bevel to this edge and one more to this edge right here. So just selecting these two and then pressing Control B and just sticking it to two levels for Bevel and just changing maybe the width, making it slightly thinner. Right about there is more than enough, ok, maybe a little bit more, but something around here is really more than enough than we need. So that pretty much gets us going with everything over here. And as I said, these are like not the best practices for modeling. It's a very dirty and quick way of building this. But we don't really need to follow best practices for this part because this is going to be a static object, and we're going to be using procedural textures. We're not going to be unwrapping this to the extent of my knowledge. So it should pretty much work everything as is right now. And, you know, just in case, if something does go bad, that's why we still have that entrance backup that we've created a while back, if anything goes, hey wire. So, now with all of that created. Well, let's just use a couple of more extra minutes to go here under color, where we have the world. And we can just go and add a sky texture right now, it's not really visible for me because I have everything in here. Let's see. I'm going to need to move this guy a little bit here just so I can go and add a sky texture. But before moving anywhere else further within this sky texture, because if we were pressing render here or on our camera, we wouldn't be able to see anything considering that we still have our render engine here set EV. So let's just go and change from EV into cycles. I'm going to be using my viewport around. For now, I'm going to stick with 200 samples. You can go even lower than that probably. And here, I'm just going to put it 400 for when I do do some rendering. And I'm going to turn on also some de noising in case there is some extra noise happening even at 200 samples, although I don't think that there should be anything. Since I'm using a NVD GPU, I'm also going to change this to Optic X. Optic X Optics. Ably Optics. Then I'm going to also change to start sample Abdo and normal. Start sample here. I'm going to go to 200. So once it gets up to 200, I'm just going to do some extra de noising to get rid of any noise that maybe remains. All right. So that pretty much gets everything here ready. So what I can do next is just go Z, press rendered over here. And so show me and I can go do the same just over here to see how my top view is going to look like now, everything is super bright, obviously, because everything is white's here, so I'm just going to take this one as a solid and just rely on the one that I have over here. First thing that I could probably work on is just like the rotation of my sun to try to figure out where it needs to be in terms of like casting its shadow. So I'm just going to go and push this maybe I don't know I'm thinking maybe 150 is just going to do the trick for me. And I think 150 kind of does hit it around the spot more or less to what we have in here. And then also the next will be maybe the elevation of the sun, considering how what kind of shadow we have over here. So if I'm to raise the sun up, maybe, let's see 30 since we're already there, that's going to cast a shadow like this. Then the sun size, I could probably have over here. You can probably increase the size to make the shadow slightly softer. This is maybe pushing the shadow softness way too and we still see the shadow, I guess, but the softness is way too much. Let's just reduce the intensity, so it's not going to be so super bright, so let's go with like 0.20 Maybe let's go increase that number to 23, just a tad bit. Let's go lower 0.1. I think that's a bit more of a flatter light, kind of like how we have in here. The light is relatively flat. Altitude. Altitude, we're going to keep the same for the air. I'm probably going to push the air to zero. Let's see over here. And then Uh, the dust, let's see, I could probably have the dust maybe go around two point something maybe 2.9. So it's a bit dusty around it. And let me just see if I did anything else. Now that pretty much solves it. We can also push our ozone to zero. And I'm going to also reduce my strength here just to go maybe 0.28, something or maybe even more. Let's see 0.35 These seem to be values, similar values that I used before. And then obviously, we're going to be maybe changing them, so we don't need to get married to these values right now. But as long as we have some kind of a flat, but also, like dusty light going on here, that's going to help us now when we jump into the texturing of our surface over here. So in case later on, we do decide to maybe change the light a little bit. Maybe, for instance, we can reduce the size of our sun if we want to have a sharper shadow, as you can see, them the sun size, the smaller the source of light in general, they're sharp, they're shadow over there. I'm just going to stick it now to 23. That pretty much concludes this video at the ten minute mark, and I'll see you guys in the next one where we're going to be starting to texture this play 7. Texturing the ground pt1: I first glance, the ground might look quite simple to achieve. You just take a couple of noise textures, put them together and you get the final result. There is some thought that we're going to need to put behind in order to get this look. For instance, obviously, we have these grids that are going on. But if we look further deeper into it, for instance, these lines, we can see that not all of the lines are equally as visible. For instance, look at this horizontal one that I'm hovering with my mouse versus the one that is going like this, sorry, vertical one versus horizontal one. Then additionally, let's see if we have similar examples. Then there's some extra dirt. Look at this corner. There's a little bit of extra dirt going on in here that's slightly different color than anything else everywhere. And then when I look at the shadow here, in this shadowy part, there's an accumulation of sand because we can see everything a little bit more wider here kind of paled out. And then additionally, going more further to the left. There's some extra detail here where we can kind of see these little stretch marks and stuff going horizontally just around here. There's a lot of different applications of the noise textures that we are going to need to do in order to get this kind of look, and it's all about stacking them on top of each other, calibrating them and just doing small altercations as we go further along. The goal of this texturing phase is obviously going to be to set everything together so that we can later on once we go pre render the last steps, be very nit picky. But for this video, we're just going to do a couple of texturing parts. We're going to kind of split this video into multiple takes. So, let's jump into the texturing itself. I'm going to just rearrange some of my stuff in here, so I'm going to push this a little bit more towards the right side. And then additionally, I'm going to move this not slightly up, but just enough so that I can zoom in here. There we go. Just enough zoom in so I can kind of see and then use this real estate, I guess, for my PRF. That should be pretty fine. Right? I'm going to go here Z rendered. And then on turn on my screen cast keys, they're already turned on. But let me just put them if it's possible on the top left corner there we go. That's exactly what I wanted. And then for this part, I'm going to use this area to go under my Shader editor. Now, just make sure that you have your ground selected, and let's press new to add a new texture. We're going to be working primarily off of the base color because everything else is just going to be a derivative off of it. So for the base color, there is one texture within Blender that's going to allow us to get this grid like look. And so that's going to be called a brick. There we go. And immediately, you can see kind of how it looks like. So we're going to start off with a couple of these settings, and then we're going to jump into the color later on. So for starters, we see here that we have the offset, which controls now horizontally the positioning of these lines. And then the frequency shows us how many, you know, these lines we want. So it kind of creates a little bit of randomness. And that's not really what we want. We want to go completely opposite of randomness. So we're going to go here und 0.5, which is its default setting, and we're going to change the frequency here to one. Additionally, for squash, which is kind of like the same thing. Just on a different area. We want to do 0.5, and then change this one to one as well. For the vector itself, we can pretty much just press control and t to add our texture coordinate and our mapping note, and I'm going to push this above so that I can have some space for both my color one and two and mortar. Mortar is basically the color of these lines that you see, and we'll deal with that as well later on. Now for my scale. I want to change the scale of these cubes now, so I'm just going to go push this number a little bit more to something that I used on my initial test, which is around 7.5. And then lastly, what I need also is now control the mortar size and mortar smoothness. So, as I said, mortar is this lines that we see here. So if I go under size, you can see it becomes like barely visible or super large. And I just wanted to be super super thin. So I just need to go some really, really small amount. So I'm going to try, like 0.002. And I think that's roughly around the number that I used initially. And then I need to do the same thing for the smoothness, which kind of controls how sharp these lines are. Just want it to be something barely maybe around 0.7 is going to be perfectly fine. I think I use that I used 0.66, but 0.7 is just okay, as well. Then we have bias, and the easiest way to kind of like to show you what Bias does is you can already notice that some of these colors are black and white and so on. So Bias, if I were to turn this color red and if I were to turn this one green, Bias does exactly that. Kind of like blends the two colors on a random positioning. So you can see if I go negative one, everything is red. If I go One, everything is green, which is color two, and then if it goes zero, it kind of does in between and also combines them in between, which gives us this color. We have a couple of different variants. So in our use case, actually, we're going to primarily use only one color versus all of the other ones. We're going to have some color two as well, but not that much. So as a matter of fact, what we can do with our bias is just push it to like a negative 0.9, which is primarily going to be color one with just a few parts of it, as you can see here, having elements of color two. There we go. Alright. And while we're at it, we can actually just adjust our color two to be something close to this image. What better way to kind of take it, but then to take it from the actual image. So I'm just going to go color two, rest here on the eye dropper tool and just drag it somewhere around here, and it's going to give me this color. And for now, I'm going to go and copy this color as well under color one, even though later, and we're gonna change just so we get like a decel look of what's going on here. Order we're going to deal with later. And then we have also the last part, which is the brick width and brick height. So here, I think we if I keep it as it is, it's going to be pretty much the same result. What I did in my test is I used value of six and three. But I think that should pretty much give me exactly the same result. If I look at these two soldiers, how they're standing here. And if we had five and 0.25, or we had 2.5, sorry. It is actually way bigger, so I'm not really sure what just happened here. We had 0.5 and 0.25. There we go. Oh, it is actually slightly smaller. So what I'm going to do here is push this to a six and a 0.3, which is going to give me slightly bigger increase of these lines, where almost each soldier has its own little grid under which it stands with the exception, I think. With the exception of these two guys, each soldier is in its own grid. So that's pretty good. There's also again, these two guys here somewhere. So we can maybe change play around with the with, let's see, modifier here and change the relative offset to maybe be a little bit different number. Maybe 27. But again, this is something that you could do later on, doesn't need to be done now. So maybe I'll just push it back to its original value of 25. In any case. Now, moving on to the next step, we're going to start working now on Color one. And the first goal that we want to achieve with Color one is going to be getting this kind of like stretch mark combination of this little stretches and some extra grunge going on in here. So I'm going to start off with a simple noise texture. I'm going to take the color one, go here under noise. Just use a noise texture. I'm going to press control and letter T. And additionally, I'm going to go shift a at a color ramp in here. Just push it a little bit more so I can see better what's going to be going on. Let's go drag this a little bit more to the side. Let's now just start changing some of these noise settings. I'm going to change the scale to roughly 3.2, so I can start seeing some noise going on in here. And then detail, I'm going to increase the detail to maybe around 8.2 roughness. I'm going to push all the way knury. I'm going to keep as is. And now the most important part in helping us get this little stretch mark is actually here under scale of the Y. If we start increasing it, it's going to start, like squishing it all together. So I'm going to go to around 77.5 is I think what I use. So that kind of gives me that little stretchy look right there that I want. But then additionally, as I mentioned, we need to do we need to stack a lot of layers of noise on top of each other. And so this is just going to be the beginning. What I want to do next is just take this noise stture. Keep the settings exactly as they are, shifty duplicated, press control t to add another mapping, and this one is going to be fully resettd with 111. Then take another color ramp like this. Take the factor, combine it. Let's just preview it to see what we have going on. I'm going to push this one a little bit more in here and push this one, maybe actually keep it as is, but then just add a little bit more extra. And now I want to combine these two together. So I'm going to mix them. I'm going to press control, shift on my keyboard, right click on my mouse, so I get this two dots with a line in between and just drag it until both of them get highlighted with the green color. So now they're pretty much mixed together once I release it. And for our mixing, what we're going to do is go all the way to one. So now we see only Layer two, but we want layer one to be stacked using multiply so all the dark values get on top. And that's when we get this kind of look, which is exactly what we're going for. So the last thing that we now need to do is kind of like add it some color. And so we can just go under let's actually just take this color rim that we have from here and then drag it into this one that's connected to the color one. And for the colors themselves actually have have them saved over here, so I'm just going to add on this one, the color that I used in my initial test, which is 7b6f 64. And then I'm going to take this one and try it a little bit more here and use this value, and let's now preview how is this supposed to look like. I'm going to drag these a little bit more to start getting there we go. And now it's starting to look much much better. We might need to do some little extra tweaks later on, but as a baseline, this is a pretty good starting point, I would say, for our color, so we kind of we're going to be adding more layers now, by the way, to color one. We're not done with color one yet, as a matter of fact. This is just kind of like the first step. But while we're at it, we can actually also we can pretty much also go here under our mortar color. And let's just add a gradient. Here, let's just preview the prick txture for now, and we want to just add some kind of a color that's going to be used for these lines, but that's going to blend enough so that not all of the lines are equally as visible. So for the colors here, I'm going to use, let me just see, I have them saved in here. So on the left one, and on the right one, let's just split them like this. I'm going to go 88074. Again, all of the colors are very similar, and most of the colors are actually extruded in myself just by you know, clicking here, going here and then clicking on certain elements to get as close to as possible, similar to the use cases. And then the second color is going to be one that's going to go in here. There we go. And then I'm going to connect this to the mortar. And then additionally, what I want to do next is press control T so that I can kind of add an image not an image texture but a noise texture. Sorry. So let's go shift A. Typing noise, noise texture. And I want this noise texture to be four D so that I can also play around with the W value if I don't like it. So once I combine everything here, I just put it under generated. And if I mess around with the W later on, that's going to be giving me We can barely see it here, obviously. But you can see some changes now going on once I zoom in closer and start moving the W value, which just moves the texture a little bit. So if I were to preview it, here's what will be going on. There we go. So for the W, I'll just put it under one. I'll just preview the brick texture one more time. Perfect. And then what I want to do now is just change these values a little bit extra. So for scale, I'm going to decrease the scale to let's go around 0.3. Let's actually take a closer look what's going on with this texture. Once we're in here. Let's change the detail. Increase the detail a little bit. And then like arity, we can push it all the way to ten, maybe. Now as we're starting to get these little dots. And then additionally, I'm going to just change the distortion just slightly to get something like this. Let's try to preview the color, see how it looks like and go into here. And now we can see that some of these lines are being blended while others are kind of a bit more visible. And again, this is where now you can play around with these two. If we push the darker one, it's going to be slightly less visible, as you can see versus if we go with the lighter one, it's going to be a bit more visible. And then if you want to change with the kind of like which areas are, which areas are and you can play around with the W, which is going to just manipulate the noise a little bit extra. And there we go. So this pretty much concludes the first part of texturing. In the next video, we're going to continue adding some extra layers to our ground. I'll see you guys there. Cheers. 8. Texturing the ground pt2: This video, we're going to be adding one more layer of detail onto our ground texture in order to be able to add, but also control this group level of sand that we see, for instance, under this shadow. So not just the detail that we have currently right now that we have but I also want to be able to add a larger sum of sand onto specific areas to cover these lines and such and also be able to control the level of detail on that as well. And so That means that we're going to be adding another noise texture into our here combination that we have going on. So for starters, I'm just going to move every to the left so that I have a little bit more extra room on my screen to play a route with it. So to start off, I'm just going to go here, typing in Lois texture. I'm going to press control T. And also I can add a color ramp. I think I can pretty much use this one from here as a starting point for my factor, and then press control shift left click on it to start playing around. So I want this to kind of be evened out a route here. And the goal of it is to, like, see these little smudges that we have currently right now, to just add a little bit of detail to those smudges and make them look almost like sand accumulations. So to start off first, I'm just going to maybe increase them a little bit more. And then I'm going to crank up the detail to maybe around six. I can keep the roughness roughly where it is, but then I think the real magic is going to come once I add some extra lacinarity. Two, maybe around, let's see, three or I think three is too much, so maybe let's go 2.6. That's pretty good. And so then sometimes when wind blows, like, it can move sand in almost like wavy shapes. And so for that, I'm going to add also a little bit of distortion to give it kind of like that wavy look like here as we have right now. Okay? And then lastly, you can also play around with your scale, kind of maybe stretch stretch it out in one direction and stretch it out in the other direction. And now on top of all of that, you kind of want to be able to, you know, if you don't like this version, to have another one. And so this is where our four D is going to come into place so that we can, you know, play around until we get some kind of variation of these darker shades that we kind of like. And I think this is a pretty good starting position for me personally. What I want to do next is just go here and remap different colors through my color ramp. So I'm going to go into my project file here that I have on my other screen. And just start copy pasting these values from it because I can pretty much rely that these are the good ones. So for the left one, I use C 6b4e2, and then on the right one, I use, let's see. 7c71 66. And as mentioned way way before, you know, the way I came across these, is just by using kind of like the eye dropper tool and testing it out on certain surfaces throughout this area and then just manipulated them a little bit here and there. So now we need to kind of clamp these two guys together to get a bit of a better result. And now I can start seeing some shading going on. Let's move this one a little bit more. Let's move this one a little bit back. There we go. We're starting to see some accumulations right around this area, so that's pretty good. Overall, I would say. And some darkness right here. Perfect. So now I want to also add another layer of detail of sin, but this one is going to be more granular on top of the one. So I'm going to go noise texture right here. And I can immediately just add it for D, press control. T. There we go. And for this, again, I'm I'm going to use the same color round from here. All right, plug it in here. Preview it. I'm going to clap it roughly around here and then boost the scale all the way to like 56 and super large. Add all the detail, add some roughness, like that. Let's see, keep the lacuarity, or increase it or decrease it. Let's see. For the lacarity. I'm just going to go around 1.4 for now, no distortion need on my end. And let's just use the same colors as we did over here. I'm going to click on this one. Add a color in here. Click on this one. I guess I missed the color, so let me just add one on the left side. And there we go. Perfect. So now I'm getting a little bit of this nice little granular detail going on and you can even push this a little bit more to the side. So next thing I'm going to do is combine these two together. So I'm going to press control, shift, and then bright click so I get these two dots with the line, move it downwards so that I can get a mixture, and then from here, I'm going to add them together. And move everything here to the side. I can kind of see some levels of detail being added here granularly. I need to mess around with these values. But additionally, what I want to do also is map these colors out to something slightly different. So I'm going to go search color ramp one more time, and I'm going to use another pack of colors, similar to this one, but slightly off. So for that one, I'm just going to go in here, copy taste them. Here we go. I'm going to move this one all the way here so I can clamp it with the one. And then on click on the other color. Again, these are very very similar to the one that we used previously just slightly darker and lighter. But here we go. This is giving us some extra little detail you can see. Right around here. And so now, You can pretty much control all of this just by playing around how big you want the sand mass being here or how big and greater, and then how big you want it as well through this one there. And additionally, what I want to do finally now is to mix these two textures together. Matter of fact. So I'm going to go control shift and then right click, mix the two together. But I want to use this noise here that I have marked. Has my mask to dictate which one, which area is going to be covered by the top texture, which area is going to be covered by the bottom texture. I'm just going to take this factor, lie it all the way in here, and then use a color ramp. L et's previate what we have going on. Let's actually previate this noise. We want to clamp down this noise a little bit more. So everything that's going to be black is going to be the top texture, and then everything that's going to be white is going to be the bottom texture that we have going on. So let's just try or something like this and see how it's gonna look, right? Let's go mess around with it just a little bit. So if I move everything to the left, you can see that we're kind of losing the top texture, and it's probably going to be the right one, and then if I move everything to the right, we have more top texture. So I would go somewhere around here. But then for instance, if you're thinking that there's too much of this darker area, you can I think pretty much go if I'm not mistaken this part here or we could even move there we go to control how much of the darver area you want to have, but I'm going to stick with the current values. And then later on, once we're dealt with adding all of the detail onto our principal BSDF, we're going to come back for a final round of being very nit picky and controlling all of our settings to something else. But even with this right now, I'm pretty satisfied because I know that these results have worked for me previously. And one more thing that we could also do is going here under the color ramp and noise structure. I'm going to actually add more detail to our lines here. And as well, let me just go and add a little bit more roughness actually. So detail, I'm going to go roughly was it before. It was three, so I'm just going to push it slightly higher in there broughnes. Is go all the way there. And now I'm going to plump these two together so that we kind of start getting more of these smogs, coA like that on those lines. Not too much 'cause then, something like this. I blads really nicely also with the sands right below it. Perfect. So I think that pretty much concludes this video, and as mentioned in the next one, we're jumping onto other channels for our principal BSDF. So I'll see you guys there. Cheers. 9. Texturing the ground pt3: We're pretty much done with the base color. We can jump into the other channels or our principal PSDF. The only two actually being our roughness and the bubble map itself. So for the roughness, there's really not much work that needs to be done. What we can do is just take this p a little bit to the side at a color ramp because we need to convert our pre tture here into a black and white value for our roughness map to work. So now that we have this, we can plug it into the roughness. And so everything that is darker is going to be a bit more shiner, everything that is lighter, is going to be more rougher, and actually, we want the majority of our scene to be actually quite rough, so we're just going to drag this all the way to get pretty much everything almost rough to something. I drag it even more, something like this and then we have a little bit of these, like, slightly darker areas that might be a little bit more shiny, but I would probably even track this up to make them slightly lighter because we don't need nothing to be shiny since we are obviously in the desert and there's no water. All right. So that really pretty much concludes the roughness. So the rest of this video, we're just going to now jump into our normal map. And for that, we're going to combine two of these color ramps that we have over here. So to start off, let's go first and go into our normal, drag it down here and type in bump so that we can add a normal bump node here. And then we can go and take this color ramp the top one right here and drag it into the height. But we also need to convert. And even though we can see some of the things actually already happening over here, we do need to convert this color ramp it's better into a black and white value for a bump. So going into the color ramp, black and white, and now we kind of have this, so we can maybe clamp out the values just a little bit. Going on here. But one thing that you might notice if you scroll further down is that, okay, this is obviously way too much, so we want to change it to maybe, I don't know, 0.3 and here 0.16 or something. But if I were to preview my pop nose, so Control shift left click, you'll notice that everything here goes also over these lines that we have created if by zooming really close. Now obviously, we're going to be really far, so you're not going to be able to see it, but from, you know, practice a standpoint, let's just call it that way. You don't necessarily maybe don't need to, but I do want these lies to have a little bit of an indentation, kind of like how here they have it. And so to do that, I'm going to pretty much copy or duplicate this pretexure above while keeping all of the settings pretty much the same. The only thing I'm going to change is actually the colors one and two here, you're going to use a lighter variant for the color. So let me just go in here. Can take this value and go F ff25, base it over here. There we go. And then let's see, I'm going to basically combine these two together. So control shift right with my mouse, drag it downwards, go into the mix. And now I have my multiply in here. So the reason you can already see, even before, let's just go on. Now we have an indentation. So this is what's going on right now. Everything that's darker is going to be pushed inside. Everything that's brighter, is going to create the illusion like it's sticking outside. And so now if I go under multiply, we are having this color ramp being overlaid on top of this brick texture, and so if I push it all the way, now, it's going to be pure black, and that also means it's going to be nice like this. Obviously, we don't even need to go full pure black, we can mix it up a little bit if you want. I think I'm going to stick with I'm going to stick with you're black actually as a matter of fact. And then I'm going to maybe clamp up this value. Let's just preview the bump map a little bit. I'm going to clamp this up a little bit more. But overall, these numbers seem to be pretty good for me. Now we're going to also add a secondary bump map so that we can, you know, combine these two and also use this bottom color mp that we have created. And so for that, I'm just going to go take this or actually, I'm going to add a fresh bump map right here. T up and bump. This one is going to be one and one like that, and then I'm going to plug this all the way into the height, while also additionally, I do need to add a color ramp that's going to give me this black and white value. And from here now, I can just take this bump map. I'll just preview it by adding it into here. For now, And let's see how this is looking, so right now. It's not really looking like much because we Oh, there is something definitely going on, let's actually zoom in here. There we go. So it is looking quite interesting altogether. So if we were to, you know, move this values a little bit more, we would either decrease or increase all of the stuff going on in here. I'm pretty much going to keep it roughly around here. And now what we want is to combine these two together. So control shift right click, go into add. Like this and then push it like that. But one thing additionally that I want to do here now with all of this kind of creative is I'll just push this slightly lower is also tell blender to have this secondary one only in the areas as we have it split and here. So that means I'm going to use the same color ramp that I used for the factor to split these two textures to do the same pretty much and just drive it into the factor here. Of the add one that we just created. So that way, it's splitting this as well in the same manner. So now I'm moving these two together and previewing this stucture. This is kind of what we're getting so far. And I might even lower this just a tiny bit. In terms of its values, maybe go like roughly somewhere around here. Let's just zoom out. Let's move this to this side so we have a little bit more real estate. And here we go. Now, obviously, as I said, we're going to be having a whole separate video to kind of like tweak tture once we're done. We might even do that in the next one since this is pretty much it for adding anymore. We don't need to do anything else on our material for our ground. And I actually didn't name it, so let me just nate material clothes ground while we're add it. And Yeah, I would say, let's actually call it a day at this part, and then in the next video, we're going to be tweaking all of these values a little bit to our liking to see if there's any changes that we want to do additionally. 10. Texturing the ground pt4: Video, we're going to do two things. One of which I kind of do recommend that you do, whereas the second one is more a matter of a personal preference, so you don't necessarily need to unless you want to. The first one being is going to be very short if we really zoom in close, and again, I don't know if we will be probably we won't be able to see the fact that it says swat on these guys, but just for I don't know, I just kind of want to get rid of it personally. So What are you going to do here? If you go under CH 35 body, I believe that's the one that has the texture, so if I cut off the base color here by control directly with muscle when I get the s knife. It's going to cut off this. So if I go here, let me just go at a color ramp. Plug the color ramp in here, and let's also have a little small noise texture. Let's move this little to the side, plug it in here as well. And have this color B. Let me just get it from here. Slightly brownish. So 231 f1c. And then over here, I'm going to have pretty much a similar color, just got to drive it slightly more up to make it a little bit brighter. So something like that. And then just, you know, Mr. Row will hit this, crack up the detail, maybe crack up the roughness. And pretty much hit him. There you go. Like I said, he can barely got to be able to see this. So I'm already satisfied with how it looks like as long as we don't see the swat. And like I said, when you zoom out really far, I don't know if you're going to be able to see this or not, but, you know, just for the sake of it, I'm going to have it that way. Now, the second part, the one that you don't necessarily need to do is if you're satisfied with how your ground texture is already looking, you can pretty much skip to the next video. The second phase of this video, essentially, I'm just going to go through some of my settings here that I want to kind of a little bit tweak. For instance, you know, my color ramp here, my W values for the noise textures, and also going to, increased sites slightly. I'm going to add here 0.17. This was the value that I used in my initial first take when doing this video. So starting off, I'm just going to go now here. And like I said, you don't necessarily need to do this. This is like I said, a matter of a personal preference. I'm just going to push this slide in more to the left, which is going to decrease the amount of these slides that are visible. Then additionally, I'm going to go all the way in here and just start playing with my W value to see what kind of variation of this kind of sand cover I can get. This is already way too much, so I'm going to, you know, change it, but something something along. Let's see. Let's go. Well, I kind of, like, kind of, like, something. Like this where you have a little bit of sand accumulated over here and some extra sand being accumulated on this side. So I'm going to stick to this kind of version, pretty much like it. And then over here, I also have a W value. I can change. This is a little bit more incremental. Changes a few details going on in here. Additionally, I believe if we were to push these values, you would increase the strength you could see a little bit more extra white sand being accumulated here on these dots that we were just changing the W value. If you were to push it stronger, it's going to be even more visible as you see here, but I think this sand is too strong for MT. I'm going to make it a little bit more subtler. Something maybe closer to what I have right now is actually pretty good, where you can kind of see it being accumulated right around here in small amounts. And so that's going to be pretty good for me. And then the only thing left remaining here for me as well is, I guess, the bump maps that I want to kind of slightly alter. Not too much. I think the strength. I want to see what happens if I push it all the way to one. It does get a little bit stronger here on the side, so I might actually keep it like that. Keep both of them here under one. I just preview itecture, and then zoom in slightly. You see how everything looks like as final results. And now that I think about it from a common sense standpoint, you wouldn't be really able to see all these details here if you were so far up high. And so what I'm going to do actually is lower this down. So that lower this down to, like, somewhere midway, like this. And then also might actually push my strength lower to 0.8 on both ends because like I said, if you're really high up, I really don't think you would be able to see so many details. It would all look very kind of, like, less stdlity in that sense. And so that additionally, for instance, if I go here, if I do a little bit of a spreading, make the sledding grayer, let's just take a look. Okay. That looks a bit flattering now. I'm pretty satisfied with this kind of result. And then obviously in post production, we can add also some extra blur to clean everything up. But I think overall, I am pretty happy with how my ground texture now has come about. And then in the next video, we're going to start working on turing this front entrance. 11. Texturing the entrance pt1: Back with our regular audio, and I apologize for the previous three videos. In case they were unbearable to watch, please let me know in the comments or any way possible so that I can then re record them. I try my very best to kind of save them. So hopefully, it did work. But like I said, in case they are unbearable to watch, let me know, and the first chance I get, I will re record them. Um, but, yeah, for some reason, my microphone, even though it was working, OBS wasn't picking it up. Anyway, let's get jump into this video. So in this one, we're going to be starting to work on the entrance itself. Primarily, on the left side, in this video, we're going to first work on the base color, and then in the next one, we'll jump onto the other things. But these two elements are pretty much gonna be using the same texture, and this one is going to be using maybe a little bit of an extra difference. Just also because of its shape as well. But pretty much everything in terms of how the texturing phase for these three things is going to be very similar to what you've seen done in here, because as you might notice if we zoom in really close onto our shape, it also uses a grid like texture structure going on. So what we're going to do in here, press on new, and I'm just going to call this one entrance secondary. So I have it like that, and I'm going to zoom in very close here to my principles BSDF. I'm going to start off with a brick texture because it's going to be exactly similar to how goes in here. So for color, I'm going to go into the base color as set. And now, in terms of the settings that I'm going to use, I'll first work on pretty much using the same frequency of one, and then everything here being also 0.5, so I get it very similar. Then I'm going to jump into the mortar size here and just change it by adding an extra zero, which is the exact same size that we use for these lines in here. I believe 0.002, as you can see. U, in terms of the scale. So for the scale itself, I kind of want to use a number that let's see 0.3 I think 0.37 0.36. Let's see 0.3 So I want to use a number basically that's going to There it is. It's almost there. Ah, perfect. 3.08. So like a number that's going to push this line right in between the extrusion that we did inside. And then for the brick height, I'm going to lower it to, let's see. So we had 0.25. I'm going to use 0.2, so it's not way to extended. Now, additionally, I can also see this slide right here. What I'm thinking of doing with this one is, let me just see how many, is there a way to tell? We have 12 I guess these guys are a little bit longer than I thought. So maybe 0.25 is actually more appropriate. Which in my case, actually puts it exactly around here, which is also pretty cool, I would say. I'm going to keep it like that. And then additionally, let's see, we have our bias. So for that, I'm going to go around negative negative six, so it's primarily going to be this top color. The color over here, I'm going to keep the same, and then the smooth, I'm going to use, I think six. I want to say six in cortan. Sorry for that. And let me see. This is the one that I think that we use also in here. We use 0.7 here a 0.6. I don't think it's going to matter that much, let's just keep it as is. Row height, everything else seems to be pretty good. And now I'm just going to add the color one example that I used from the example I used initially. So going in here, let me just find a color one. Okay, here it is. Control C. And let me zoom in here so you guys can see once I add it. Let's just put it in here. 6a5e 55. And here is our first element. Now, it's very clean, so immediately, right off the bat, also, let me just go control T to add a mapping coordinate. But what I was going to say, right off the bat, I'm going to add a noise texture to just add a little bit of dirt going into it. So I'm going to go here tapping in a noise texture. I'm going to preview this noise texture Control shift left click. You can see it looks a little bit iffy, and that has to do because of the way that we created this structure overload. And we also didn't obviously U V on wrap it or anything if we were to use the UV. But I'm going to use objects. I'm going to click here under object, drag it down, put it into the vector. And then I'm going to use, let's see, I think 0.1 for the scale is going to be fine. Yeah, 0.1. And then detail. I'm going to push all the way to 15 roughness around here for now. And additionally, I'm going to add a color ramp to kind of help me clamp up these two values together just so I can take a better look of what's On. And then lastly, I'm going to mix these two textures. So control shift right click when I get these two lines, going into the color rimp, having the mix, and I'm going to use multiply in here. So let's just preview what do we have going on? We have a little bit of dirt, you can see being accumulated. I don't know if that's too much. So maybe I want to drop the roughness, and I maybe drop the detail just a little bit and maybe push the lacerity. Let's go three. Let's see what happens now. Around this area, let's just take a look. Okay, we have a little bit of smudgess happening now, but what matters mostly is once I now go into my view camera, and I take a look at this area. Does it match in terms of color similar to the one in here? I would say it's almost there, maybe a little bit more brighter, so I can probably push this slightly more up and then this slightly more Now I would say a little bit more darker somewhere Somewhere around here seems to be the right amount, but something that I don't like now that I'm noticing it is, if I scroll all the way here, you'll notice that one of these lines is at the very very corner right in here, and I don't like that one bit because it's very noticeable. So, but I actually might need to not worry about it. Now that I think of it because now we are going to add this dirt accumulated at the very top part. And now even funny, looking at this, you can see that there is an extra line also there, which is, I guess, kind of funny in that regard. So what we're going to do now is just add another noise texture. So it's going to be a little bit separate from this one here. So I'm going to have the multiply also go all the way to factor one, and this is going to obviously give me now better result. So let's go back into our view camera, just take a look, compare these two, and then see if we need to do anything in this domain to kind of improve it slightly, but I think this looks very close to what we have in here, so I'm going to keep it as is. And then now, I'm going to go and add another noise texture. In here. And this one is going to be again, object. And let's get in close here, and we're going to need to preview this noise teture. Also while I'm at it, looking at here for my bias, I might push this bias slightly more just so to get rid of some of these colors a little bit. So I'm going to go negative negative seven seems to be a little bit better. Right. So what I was going to say is, I'm going to use this noise texture that I just created in here. And I'm going to add a color ramp, and I'm going to now preview it to take a look at what's going on. I'm going to go here. Again, I guess 0.1 seems to be the best amount. And what I want to get here are now, like, similar smudges to what we see here, like shapes that are roughly similar to that. So medial. I'm just going to clamp that up. Obviously, this is way too soft, so we need to add bit more detail. I would go roughly around here. Let's add a bit more roughness. And I think this is already starting to look fairly good. Let's maybe add some lacunarity, not too much. And then just a tiny pinch, I would say, quite literally, just a pinch of distortion. And so now, additionally, I'm going to use the colors from my project. So on the left side, I'm going to go this one here. Let me just zoom in so you guys can see a little bit better. That's nice positioning right there. There we go, 796 f66. And then on the right side, I'm going to use the following color. A 69 d94. There we go. Let's go now preview this texture. Well, we can't really see much. This is pretty much how it looks like. But the way to preview it is going to be by mixing these two together. So let's go start that. So going here on the multiply one, control shift right click until I get these plus, drag it down until it combines with the color rim, and now I have a mix. The problem now is though that if I preview this, now it's, you know, 50% the top texture, 50% the bottom texture, and we don't want that. We need to now give it a mask. That's going to tell it essentially. To only to use this noise texture, but only up to, like, roughly here on the very bottom area of everything. Now, luckily, if you remember in part one, but I also think in part two, we used what was called a gradient texture, and that's exactly what's going to kind of help us with this situation. So if I move this a little bit more up, and then I go in here, type in gradient texture. And then add control T to map this out. And let's just add a color ramp to preview this gradient ture slightly better. So let's just go and press control shift left click on this gradient texture. Right now it's operating from the left side. And so in here under rotation, I believe under Y, if I changed this to 90, now you can see it, it's getting darker from the bottom. But the only issue though is, if I were to preview my principal BS DF, you'll see that on the top, we have the bottom texture, which is B. On the bottom, we have the texture that's on top. So we actually need to replace B into A, and then A needs to go into B over here. And now we're getting this. The only issue though is we need to probably clamp up our values a little bit so that we can get proper smudginess, and now we can kind of already start seeing it. All right. Let's start taking a look at this smudginess. Perfect. And then additionally, I don't want it to be all the way up, so I'm going to start dragging this Roughly up to this area here, I'd say is enough. So then we can kind of play around with this. Let's go and add extra detail. Maybe add some not too much roughness, but just around here, I think is going to be perfectly fine. And let's go now into our camera view to see how everything looks and fits altogether, because I can immediately tell that the color here that's being used is way too different from the one that is here and way too strong. So I might need to go in here and just overall change this color into either darker. Let's see. Or just more yellowish overall or pinkish. Let me just try to use the color picking tool here and try to get something closer to the one, but this one is way too bright. I don't think it's getting the right amount, so let's try to lower it. What we really want though is this color here to match as closely as possible to the one that's on the ground. So that way, you know, the story actually does make sense in terms of sand accumulation. So let's see because this one here, if we push it darker, could probably push this one slightly darker, I guess, and that's going to help us. And now we're starting to get this look, which is overall, I would say, pretty good, how it goes in here. Perfect. Now, one last thing I'm still seeing this line. So what I'm going to do here for my y value, I believe, or maybe even x is, let's see, x is that one. So no. Is it y? Yeah. So for the y, I'm just going to type in 0.01, and I just think that that's going to push the line exactly away. So there's that. And then let's just take a look in here. So Additionally, what could we do to kind of help us with this? I wouldn't use any of these mapping ways. So I would probably keep it out on mix, and then this one maybe drop it lower. This one, drop it higher, let's see. I think what I had previously was already fairly good. Just maybe changing the color here a tad bit. Or I guess the darker one does seem to work a little better. Let's something around here. There we go. Gets the job done. As long as these two are relatively close, we should be pretty good. So maybe just a little bit darker. Which also then means that this one here needs to be slightly darker so that that one stands out a little bit more because that's what we want at the end of the day. So I guess something closer to here. Now, maybe it's a little bit too dark. But again, this is now the Net picky Park. So I would even say, you know, if you're already happy with how your looks like, you can skip to the next one. I'm just going to clean this up a little bit 'til I get some result that I'm more or less satisfied here. I'm going to try to use the eye dropper tool to get this kind of look and then just drop this slightly down. And this seems to be more or less, I'd say, okay for me. Let me just take a final look now in here and then compare these two like this overall. I would say the only thing really that remains is trying to get the right value for that over there. But I would say I'm getting relatively close. Let's keep it around here for now. Additionally, I might want to add a bit more noise. So I'm going to go here, go here under four D, and just see what this noise here has to offer me. Let's try to move it location wise. Okay, and then clamp these two get maybe move this one a little bit more to the left. Let's try There we go. So this is kind of like the final result that I decided to go with after a lot of back and forth experimentation testing, let me just show you some of the stuff. So for instance, if for the color ramp here, I changed the color slightly to be this 1584 e47. And then over here, I used AE eight ea379. And then for the noise, I did some small changes here. You can see all of these final results. And then in terms of the position, this one is at 0.451. This one is at 0.629. Lastly, I also tweaked these numbers just a little bit. So you can see this one is all the way to the left. This one is at 0.607. And did I do any changes in here? I don't think I did anything in these parts. Everything else here pretty much remains the same. So this pretty much concludes the first part of texturing here. And then in the next video, we're going to move on to the roughness and the normal map. So I'll see you guys there. Cheers. 12. Texturing the entrance pt2: This video, we're going to add a bump map to architecture that we've created for the side entrance part. And then additionally, we're also going to be working on the right part of it here as well. So to start off, what we really just need to do is go here under our mix and simply sps shift A to add a color ramp and then take this color ramp. We can plug it into the roughness. Let's just go here, take a quick look how this looks like. Can pretty much just drive this all the way almost up to here, so pressing control shift, clicking on it to preview detecture, so that pretty much everything is light so that there's no shininess happening. And then I'm just going to shift D to duplicate this color ramp, going to click on this bottom arrow, reset the color ramp, and then drag from here one more time into here. And then I'm going to push everything here to the right side of this principle BSDF so that I can add a pump node and then connect the color socket into the height, and then the normal into the normal itself. And from here, really want to do is just drag this to maybe 0.5 in terms of strength and play around with these two values, maybe clamp up here a little bit and then clamp up over here, and I'll preview this bump map to see how it looks like. So maybe I want a little bit more. So I'm just going to push this darker one slightly back. But that's pretty much how I'd like it to work. And then lastly, It'll just take a look from the top and see how everything is. Let me just take this up and zoom in here a little closer. I would say it does work pretty good overall, so I'm going to keep it as is. And then what I can do next is just going in here, tell it to use the entrance secondary. But you might notice a slight issue, where we're going to need to slightly remap this part in here. So what I'm going to do is just click here under, let's see, new material, which is going to make a copy out of this one. And I'll just call this secondary right, which also that means I'm going to call this one secondary left. Organizations sake. And then under right one, I want to do two things. I first want to move this so it matches with this line, and I think I can do that with the x value right here. So let's see if I move it, I just had it. There it is. So 0.13. And then additionally, I want to add some extra dirt coming. As you can see here, right now, there's almost none of it. So I think I'll be able to do it just by taking this gradient texture. Let's take a preview of it, and then moving it further more up. Kind of like this. Let's take a look now what's going on. I guess I don't have enough noise going on in here. So I might need to, let's take a look, move some of this noise. So let's just go maybe here under location so that I can get some extra noise going in here. And additionally, I might even just lower down the detail to make it bigger, drop the roughness slightly. Okay. This should be pretty much a decent amount of noise going on. Let me just play around also with the scale. Oh, I think this is going to be pretty good. I maybe just lowered the distortion slightly because I might have overdone it there. Now let's preview this noise. There it is. Looks pretty good, I would say overall. One thing I could do with it is play around now with the color ramp. Let's see. I want to push these values slightly stronger. Let's go into our bump. Okay? We have a lot of it going on in here. So this should now pretty much work, and there it is. So now let's go and preview this from our sky up. There it is. It looks a bit iffy, I would say, so maybe we need to add a little bit more of that detail that we took off from here. Now it's starting to look a little better. Let's just keep adding that detail. Maybe. Add a little roughness just not too much. I guess, let's see, how much do we have in the previous one? 0.8. Let's just take this value. Copy it here onto this one. 0.83. Let's take a one more look, see what we could do to kind of increase this noise. You could potentially just bump this up a little bit more, bump this down, kind of do it like this. So let's just I'll preview again. And there it is. There's a little bit more extra sand accumulated over there. And while we're at it, we could, you know, just push it a little bit here as well to add some extra little sand or here kind of matches. And I think this looks now very good overall. Pushing that extra little send now that kind of got me hooked. But I would say overall, this is pretty darn good. So maybe you play and figure out which values kind of work for you, but in my case, this is I'm pretty satisfied. The only thing maybe that is a little too strong is this extra. Bump that I pushed in here, so maybe I would lower it to soften it up just ever so slightly, but I think now it does a pretty good job. So that's pretty much it for this video. And additionally, you know, while we're at it, since we are only at the six minute mark, there is one thing that we could potentially add so that we don't keep this full super short, and that is these bags in here. So what I can do for them is simply just start modeling. I'm going to go here under the solid view. And let's see I could actually probably just take this little guy that we have. And from him, I'm just going to duplicate shift D, G, Y, and then I'm going to put it into the entrance. I'm going to call this bag or something like that. Let's see, what do we have going on here with him? We don't have pretty much anything. I'm going to add a bevel modifier. So from here, I'm going to scale it a little bit to be like this. Front, move it slightly lower, and then shift and then S scale shift z to go in like this. Let's take a look if it's at the bottom. Should be pretty good. And let's go apply the scale. Let's apply a few segments for subdivision. I would say somewhere around here should be perfectly fine. Let's go top view, and with that one, let's see. That one's going to go roughly S shift Z one more time. Slightly bigger. There we go. Let's go into our camera view to see how it looks like. That one's going to go roughly. Let's say around there. That looks pretty good to me pushing it slightly more towards here inside. Maybe slightly smaller. Now, it's a little bit too big. So roughly I guess something like this works fine, and then pushing it here. And then I'm just going to duplicate it to add two more, which are going to be right next to each other. So shifty G Y for starters and then Sx to kind of make it a bit more squarish, and I can actually check out the dimensions right around here. Let's see. So I want to have the dimensions here be exactly roughly the same. So that now when I scale it, It's way smaller and push it slightly lower around here. And then I go one right around here, and then put the other one similar to how it is in this image with some extra space coming from this guy, shift as, and just pushing it like here. I think that pretty much does the job overall. And then on top of this one, you can see that we have a couple of more smaller ones. So what I could do is just duplicate this one, shift the GY relick G Z a little bit GX G Z. There we go. Then I'm going to squish this one S Y to get kind of So something around here. Geez pulling shift, just slowly moving it. Let's go into the front view, take a look. That looks okay. What I could do here either is use an array modifier. I feel like I one, two, three, four, five, I guess an error modifier could do the job in here, but I'm just going to do it lazy way where I just copy them all one next to another. Kind of like this, and maybe I squish them a little bit. And then I'm going to shift D it and then G x to put it over here. And then there's one extra that I'm going to just shift D from here. And then S X is going to squish into this kind of look. And I think that pretty much gives us the ones that are over here. So just make sure to apply the scale for everything now. So select all of the guys that you have in here. Ply scale, and then ply scale as well. Now that everything has the scale applied. Over here, we can pretty much change our bevel just ever so slightly. So it's not so much. And I guess then we can pretty much select all of these guys like this. And then using the copy atropres Control C. And let's see. Copy modifier shod do the trick. There we go. So now all of them have exactly the same one, and then this one, I can do the same trick. So copy modifier, the other way around. Sorry. L et's go and control. It doesn't work like this. So I need to take this one, take this one copy modifier, and then take this one, take this one, copy modifier, and there we go. So now we have all of that created. And lastly, there is, I think one more bag that's around here on this side. And so I can just pretty much take this part and just shift, put it roughly around here. Let me see if that's going to be visible. Something. Something like here is going to be fine. It looks a little bit different. There's like a cylinder right next to it. I don't think we need to go into that much detail. We could probably just take one of these guys and then just G, G X here, and then G Y add it somewhere on to here. And then just R Z rotated, but let's just make sure that we're rotating it using the active element. So R Z by 90 degrees by holding control, putting it somewhere here in the middle should be okay, now I'm going to scale it in S Z. Sorry, not z, S Y. There we go. So going to the top view, previewing it. It looks fairly good. I could add a little bit more rotation to it, and that should kind of help me. Sorry, I'm the amount of this. And if I press apply scale, that should give me a little bit more of a rounder shape, so that kind of matches this look, but I think overall, this is going to be perfectly fine for that look. Let's just take a quick review of it inside of rendered. All right. Go in here. What happened here. I think we duplicated the ground accidentally, so I'll just delete this one extra ground, ok. And now we can pretty much add a quick texture to it, which I think is going to be fairly super straightforward. Or since we're now at the 13 minute mark, I'll just use that for the next video. So in the next video, we're going to then continue our texturing of the entrance. And we're also probably going to name these backs because right now they're a little bit disorganized. So I'll see you guys there. 13. Texturing the entrance pt3: Starting to texture the bags, let's just first organize our outliner here on the right side because we have quite a lot of them. So I'm going to do is just select all of these guys over here, so there's, like, one, two, three, four, five, six of them. As we see, I'm just going to press actually click on this one as well while holding shift and just press Control J to join all of them into one. Then we have this large one. And then these two I'm going to join into one as well. And I think if I take these guys on this side, that should pretty much leave me with three or four back, let's see. So we have one, two, let's see. We have 12, three, and four. Alright. That should be pretty okay. It looks a little bit more organized, so that's good. That's what matters. Alright, let's start now texturing this part. So there's two key things to keep in mind, even though it's like barely visible, it's nice little detail on the scene to have. So, what is this kind of made up of? I can see that even the primary one, the big one here is kind of made up of little lines as well. And these ones as well. So immediately, I'm thinking, Okay, I could potentially use a brick texture in here. Additionally, we see that sand has build up on top of it, obviously from the wind blowing and such. So on top of this, we can also kind of like add using noise a little bit of sand. So to start off, I'm just going to go here under new and type in here material C coal bag. I'm going to click the Tilda key so I can frame my principal BSDF. And under base color, I'm going to plug in a brick. Texture. There we go. And for district texture, I'm going to press control T so I have my texture coordinate. I'll be using object because I don't want to use any U V on wrapping here to kind of like make this work. Instead, I'm just going to cheat my way through it. Not sure what just happened now, but I'm going to click on my view selected. There we go. So, as I said, I'm going to cheat my way through this by basically, let's see, I'm gonna keep the frequency as is. But squash. I'm going to put on 0.5. And then I'm going to play around with the scale until I get I guess something similar to this. And then motor size, I'm going to add here an extra zero. And I think this is a little too much detail. I'm going to even scale it a little bit more to round 0.2, there we go. And the motor size is pretty much the same as we used on this ground. What else? We have the brick width, brick high? Everything here is pretty much good. The only thing I would change is the color one, and so I'm going to use this one here. So let me just align this a little better so it doesn't block the view. So 918 c88, re enter. We go. And I'm going to mix it with the one that's currently here, so that's perfectly fine. Now on top of it, obviously, this is looking way too clean. So what I'm going to do next is also add a noise texture to mix this with kind of similar to how we did it with the entrance itself. So for that, let me just arrange myself a little bit, stretch out a little. And then I'm going to go shift A, tap in here, noise texture. There we go. I'm going to use pretty much the same object here and put it onto the vector. And then for this noise texture, I'm also going to add a color ramp that's going to be used to kind of clamp down the values and see better what's going on. Once I plug this, or actually, I'm going to skip one step and just merge these two guys together immediately. So pressing on the brick texture control shift, direct click with my mouse, drag it down, and there we go. We have our mix texture going on. And for the mix, I'm going to use multiply, put this together. Can already see some of the detail going on in here. While I'm at it, I can make some room for principal as yet, because later on we're going to be using also our bump map here. So, to start off, what I want to go here under is, let's see. I'm going to use pretty much the same color that we had from before, and I'm going to add that color into both of these parts. So this one here. And this one here, so 918, c88. And now I'm going to make this one slightly darker. L et's go all the way, maybe up until now. And then I'm going to start changing the scaling here until I get some interesting variation going on, pushing the detail a little bit. Let's see roughness. Let's go preview this so we can see better what's going on. And let's then clamp down these two values together. Add some variety going on. Let's add more detail, even a bit more roughness and then clamp it down really, really hard. So so we had a wide range of color going on. Perfect. Let's preview this now. Okay? And let's change our roughness over here so that we don't have this shine happening. And this is what we have currently going on. Got you. Okay, so we need to kind of match this color a little bit more closer to what we have going on here. So this one is way too dark. I'm going to push it slightly more up. I just want some variety, maybe even make it brighter. Let's see. Mm. Something like this, and then I'm going to drop the details in here, so I'm going to make these let's just drop this down so that we can see. I was going to say I will drop this detail to make it a little bit more mushy kind of kind of like this. Yeah. Let's take a look now. Okay, a little better. I'm gonna push this slightly more. Brighter. Maybe this one slightly darker. There we go. This is looking pretty good. Okay, so on top of this, what I want now is to add an extra layer that's going to be for the sand itself. So I'm going to use another noise texture. From here. I'm going to use also the object and then plug it into the vector. And I can add pretty much another color ramp by just taking this one shift D, and then plug it here into the factor, but I'm going to reset it by clicking on this drop down, going reset color ramp, and then here, I'm going to select. Let's see. For color, I'm going to go with this one that I have, and then for this one, I'm going to choose the one that's over here that kind of matches the color of the sand. Let's just plug in these two, clamp down very close together. Kind of like, somewhere around here. Now let's try to recreate sand that would be on top of it. So I would imagine it would kind of look almost what I had just a second ago. So something like this would maybe a little bit more, I guess maybe less reference right here, but a little bit more detail. So around here around five. And would I add any distortion to it? Maybe just a tiny pinch of distortion around 0.1. Do the job. So now, let's just preview what we have going on here. And let's go here, mix these two together by control shift, right click with our mouse dragging it. So we get this mix node. All right. Let's push this over here. Let's just zoom in over here. And let's previw what's going on here. So if for mixing, the way I'm going to do this as a matter of fact is, let's just preview the texture because right now it looks iffy. Uh, I'm going to use darken, I believe. And so or Lighten. Let me just check. I think lighten. So that would mean that now here, we need to just take this one, make it full dark. And that way, it's only going to take the brighter value, which is this one over here. And on the other side, everything else is going to remain from before. So now we have kind of like our sand accumulation. But I think I'm kind of missing maybe just a little bit tiny pinch of, let's see, either detail, and just a tiny pinch of roughness. There we go. That's much better. Now, in terms of the color, let's just take a look, how does this match, because I think we're going to need to change the colors that are being used. Here, because these ones are a bit too dark for my taste, and let's just go under our view camera, scroll all the way up so we can see the whole thing. I would say, it is definitely on the darker end. So what I would do here is just go in here, start pushing this color, slightly more up. There we go. And then the other one is for the sand. I might even drop the sand or push this one slightly more like this. And then the color of the sand, might drop it slightly more down. Let me just preview now on my big screen, kind of like that. Alright, I think that looks much better and overall closer to what we need. So additionally, what we can do next after I press control space to leave this view is just getting closer here on the action. And pretty much just start applying the same texture all around. So these guys are going to have the back texture. These two are going to also have the back texture, and then clicking on over here. They're also going to have the back texture. There we go. So now, everybody has pretty much the back texture. I do think I would wish to kind of make it maybe slightly brighter so I could take this part, push it slightly more up. Kind of like this. And also don't forget we can add a normal map to it. So from here from the Lighting, I'm going to add a color ramp. And then I'm going to add a bump map. I'm going to plug this into here, plug this into the height, and then normal into normal. Now obviously, this is way too much, so I'm going to lower this to around 0.5. I might even go here as well, point just to add some shadow in terms of detail. And I might even go back on my detail here for the actual noise sture and just drag it. Let's see. Sticking around with five seems to be a good idea, I would say. Let's go now again, preview everything. So Tilda view camera, Zoom out, and you might even, if you want to go see it on your full screen, breast control and space. And let's zoom in as much as we can until nothing gets cut off. And let's just wait a second. I think right now I'm on 20 out of 200. I'm just going to wait a little bit for it to load. And there we go. Rendering is done. Couple of things that are kind of like bugging me a little bit. I think I need a little bit more of spread of sand. So what I would say is going into here, clicking on this and then just spreading this out a little bit more. That is maybe way too much. Maybe spreading this out a little bit more, but then spreading this one out a little bit here. Let's just take a look how everything is now. Okay. So we can see that there's a little bit of sand, because I don't want it to be too strong, is basically what I'm trying to say. So maybe I could just go something closer to this, which is a bit more natural looking, I would say, altogether. And then additionally, just lowering here, the strength to maybe 0.2, and then this one can stay as is. Let's just take an r look and then put it right in here. I think this so pretty much do the trick. Overall, I'd say that does about solve it. One thing, kind of, like, if you wish, you could potentially make those lines that you had a little bit more visible, you know, just by going in here and playing around with the thickness of the mortar size. So you can change this one to maybe one and that should make the mortars a little bit thicker, but you can see they're like covered by that actual sand. So maybe it's going to be a little tougher because they are over here. So maybe if you were, you know, changing the lighting or something that could potentially work. But overall, I think I'm pretty okay with all of it, even though we do lose some of the detail that's over here. Maybe by just clamping this a little bit, we do kind of get to save some of it. Overall, not too much, but still it's okay. We do have a little issue going on here, so that would probably have to be mitigated by playing around with this location. Or you could probably, you know, have to change it, but, you know what, since it's barely going to be visible, I think we can pretty much survive. All right. So the only thing now that remains actually is the grand entrance that we're going to be doing in the next video. Till D, guys, cheer. 14. Texturing the entrance pt4: Was done with the entrance. The only piece remaining being the, well, main entrance, so to speak. So doing it, I think it should be pretty easy as a matter of fact, because we already have the texture here. We just need to modify it a little bit to meet the needs of the main entrance. For instance, here, we can see there are some lines on. But I think we can pretty much avoid not using them because as you see, this part here doesn't really have any of them. So I don't know, we'll see now as we go along. But for starters, what we can really do is just take one of the already existing textures, for instance, entrance secondary left, and then just duplicate it so that we rename it. Let's see new material, entrance main, like this. Perfect. So from here, the first thing that I really want to do is, as you can see, we kind of have the desert, the dust being accumulated over here. We wanted to be on top primarily. So the way I would do this is simply, if we just go, let's go preview our gradient here that we have going on, And even I was going to say we could probably remap these two values, but let's just do it this way instead. And now from here, we just start messing around where everything is going to be perfect. And so pushing this, let's see, like that, should make the black black values be on top, and the other one be at the bottom less double chick. We go. So we have now our noise at the top, and then we have these lines in front. But we don't really want these lines to be in front as a matter of fact. We can actually just go in here and tell it, hey, take these lines, and let's see d d d, motor size. Let's just use zero instead. So now we have no lines, but we do have some noise going on. Around here, and then also we have this accumulation of sand as well. And we can pretty much change, I would say, and I would recommend changing it just a little bit. So let's just take a look here how this is looking. And then in terms of, like, roughness just adding a little bit more for granularity. Let's take another preview, how this is looking now. Uh, maybe just a little less roughness. So some granularity is not that bad as a matter of fact, but then maybe less details. And then I would push pretty much everything here, maybe a little bit more to the side kind of over here. So it's not too much too aggressive is what I'm trying to say. We're probably going to need to change the color of it, though. So we're going to need to play with this value to kind of match it on the one that's in front, but I think that should be pretty straightforward and easy to get something close. Here. So now if I were to preview it, going under my camera view, checking here in the corner. There we have everything. Let me even go rest control space to preview it even in more detail. There we have our little entrance. And we can even add more sand if we want just by going here, moving this one closer. Let's go preview the top right corner like this. So if we want to add more sand to it, we can just move this more to the left, and then just more sand is going to start being added, and then pushing this one even more to the left is just going to, you know, decrease the blend or increase it depending which way you go. But yeah, now we're pretty much adding some sand. Overall And then just looks really nice, especially going like a round. Makes it look very realistic. I was going to say we could also add potentially the lines if we really want. But the way we would go about this is now here under the mix that we currently have. We would want to mix this one with this over here. So we take this shift the bush it here at the bottom. And then go mix like this. And then for the mix, let's just take a look if we go on this side, and then we change this here to be 0.002. Now we have the lines, and then we can push it like halfway, kind of start getting this. And so you could probably, you know, just say, Hey, I want to have some lines be visible a little bit, so you can go around this, or you could go, you know, multiply and push it all the way, but I don't think that's going to work. So maybe Lighten would work. There it is. So Lighten does pretty decent job. Of combining those two together. But you are still going to, you know, do a little bit extra grount work. So I would probably maybe even push it halfway to get a little bit of lines here and there visible. You can kind of see them as a leftover, but then also the sand being accumulated on top. I would still probably go somewhere even lower. Let's see. If we go maybe screen. Screen also does a pretty good job as a matter of fact. But like I said, I would probably go slightly lower on the factor. So it's like just barely visible. Kind of like this. And then I would play with the noise itself, trying to see what would work for this on top. I think the one that I actually originally had was relatively good. Needed some extra changes, mixture both on here on this side, there we go. So we can still see that there's, you know, the base texture, but then also the sand being on top. And I think this pretty much settles it already. 6 minutes in personal record. You could say for this course. And let's just preview everything, how it looks like one more time. And I am pretty much satisfied with our entrance altogether. One thing that does come to mind looking at it maybe is, let's see, all of these colors should be these ones, maybe should be slightly darker. This part should be slightly darker. Let's just go, maybe push the colors here a little bit darker on the end, so just taking this one, dragging it slightly down. Maybe taking the sand as well. Dragging it a little bit darker, so it's not so bright. But that's pretty much it what I just did now. It does set solve it perfectly. Now, obviously, there's much less sand in this image than this one. So, you know, if that's the direction you want to go, just take this, drag it more to the right side so that the darker color is more dominant, and that should kind of help out. And then once you start clamping them, finding the right balance right around here, there you go. There's a little bit less sand, and you pretty much have the exact same result. What we can see here from the kind of like this angle that we're getting, it's relatively similar, but if you want, you can, you know, change the sun rotation just a little bit to kind of have that being pushed to, add a little bit of extra shadow. I might just do that go like 145 for the sun rotation in here. And you could potentially, you can see how sharp it is, so you could potentially use that also to change uh, the sharpness of the shadow, but I wouldn't play with that one yet, because I'm 100% sure if we're going to be able to do that considering how we also need to mess around with this element here that's going to be later for our shadow as well. So we'll see that later on as we go. But for now, I'll keep it as is here. And then in the next video, we're going to start pretty much, I think we're ready to work on our crowd element. So a lot of new things still to 15. Modelling the crowd: Challenge completed, and another one begins. So in this video, we're going to start working on our crowd. For this specific one, we're just going to be modeling a couple of variations so that we can scatter it. Now, if you thought that we're going to be using similarly to how we have here like these cops to also actually use models of people that resemble the Freman No way. Because, I mean, if you have a device that can actually handle such a large crowd simulation, I'm jealous of you. But for simplicity's sake, and also in terms of optimization, like, if I scroll or zoom in really, really closely here, you can like, barely see how they look like they, you know, wear rope over them almost like a burka. And so we don't really need to go into too much detail when it comes to modeling them, but we do need to create some kind of an illusion that resembles all of these guys that we've seen here. So, how are we going to do it? Well, it's going to be a little bit silly, but it worked in my case, so I'm going to share with you. I'm going to actually now move this here to the side because there's really nothing in this reference that I could use as a source. This is more of an idea for my imagination. We can pretty much leave the rendered mode and going to solid and just pull this all the way up. We just need this entire window. And pretty much we can also just leave from here. What I want to do first is simply go and add a cube. It's going to go right here to my origin point. And while we're at it here, I'm going to take this cube out of the Atras soldier's collection and just move it into my scene collection. And I'm going to call this one. Gosh, what I'm gonna call this? I'm gonna say crew, but doesn't make sense to call it crew Crowd. I'm going to call this Crowd Model one. There we go. And then I'm going to also press M to add it to a new collection. This collection is going to be called Crowd. Collection. Just to be a little bit organized. All right, I'm going to go into my front view and then just put this cube, so it's like nicely leveled with my x axis. So GZ, and then a couple of steps increments all the way there. And while I'm at it, I can also pretty much just press R click to set my origin point exactly to the three d cursor. So it's right here at the bottom. And what I want to do next is just go into my top view, take this cube. Put it roughly around here. Let's go press all the z to get into our x ray mode. I can see perfectly aligned roughly with the soldier. And I just want to use kind of like the natural proportion dimensions of the soldier to kind of help me create a dummy for our crowd elements. So from here, I'm just going to go press S to scale, shift and z to scale in both the x and the y xs without having scaling it in the z one, and then just go around here, press S and y now to scale in this direction. Not too much, but something like this, and then additionally, I'm going to press S and Z. And because my origin point is all the way down, I can now kind of like move it until I get roughly, I want to make it a little bit smaller, so almost like this kind of head level. Perfect. So G Y or G X here, just so I can put it right next to it for now. And then while I'm at it, I'm going to go press control and one. To add one level of subdivision. Let's try one more time. Nothing happened there we go and then go to control and two to add two levels of subdivision. I'm going to press right click to shade smooth. And from here, now I'm going to go press Control R, to add, let's see one around here, one here at the bottom, and then two here in the middle cuts, and then press Control R, to add one more cut roughly there. And I might take these faces that I have in here. And just let's see. I might slightly just move them S and y or S and X, like this, but now for some reason, they're only moving from one point, so I need to go change a development, use medium point S and X to get I guess something close to this here. This is going to be my starting position. From here, what I want to do next is actually select this entire bottom part. I'm going to go press t so that I can actually go away from ext long nomers and going into my box select and then select this entire bottom part, everything that I have in here. There we go. And I can pretty much actually, I'm going to take this cut way, so I don't want to have this cut. So I'm going to dissolve this one, dissolve edge. So I have it like this. It's a little bit easier. And then this one here, I'm going to scale in the basically Shift Z, again, x and y axis, I can make it a little bit larger. I'm going to take this one here at the end and just G, y, move it a little bit further. There we go. And now we need to kind of create a head here. That's right. So this part here is not going to be our head. So for this element, I'm going to maybe push it a little bit lower. And then Shift Z, actually, let's go Shift Z, to kind of compress it a little bit, like this. Add another cut roughly around here, and then push this slightly up. And then here add, maybe, let's go. We need to cut here. Let's go move these two G. Let's go S and X and just move them roughly around here so we started getting a little bit of a head shape. But obviously we need to now scale these two guys as well. So S and Y, atle bit starting to get some rough head shape, even though it looks very weird. I'm fully aware. So we can select pretty much everything now, and then just scale it slightly. And then additionally, I do want to kind of I guess we do want to have shoulders over here so we could take this entire ring by lt and left clicking on it, and then Shiv Z to kind of add they're more like this. Let's go see, take a look what's going on here. Let's add another cut here. There we go. And then in between here, I'm going to take this part, move it slightly more up. Take this element, and press to inset, and then press e to extrude. I'm going to press y to extrude into y axis, push it inside. E one more time, push y. And then in here, let me just zoom out. To press kind of control and R, when I have, let's go Z, it's going to be easier. So pressing on this edge here, pressing control and r just moving us slightly forward. This is kind of like our little head right now. Obviously looks a bit wonky, so we can still modify it a little bit. But in terms of its like core, this is really how it's going to be. We can push this led one a little bit more forward. Uh, I don't even know if we need this edge here, so I might even just take it out. So dissolve this edge. This looks a little bit better. And then taking these elements S and X, kind of scaling them a little bit more. It looks kind of like a weird, scary among us. But yeah, this is pretty much how I did it. We can push this one maybe slightly, more like that. It looks like candy from South Park also to a degree. Let's say a top look. Yeah, you could pretty much, you know, imagine this to be a human from a distance looking at it, like that, right? Like, you could kind of imagine this being a human. One thing maybe that I would add here is, let me just see, would I push this all the way down? Maybe, or we could probably have it kind of like this. I don't know. We'll see how it's going to look once we render it. Yeah, this is going to be like my first variant. And then for the second one, let's see. Maybe I'm going to push this all the way down. So what I'm going to do is just this entire edge, Z, go down as much as possible or I can just select this edge and just do that, and I should pretty much put it all the way down. There we go. So we have that. Then on top of this, while we're also add it, before we start adding variants, because we will be adding also variants in terms of like size and stuff. I'm going to add a modifier, and this isn't necessary. So if you want, you can kind of skip this part and just jump into a part where we start kind of like adding variants and changing them. But I'm also going to add a displacement modifier. And obviously, right now, it is too much, so I'm going to change it. And the reason why I'm adding a displacement modifier is all going to make sense in a few minutes. Let me just change the mid level here and change this one to be like 0.2 or something. Let's go here under new. Go here under show texture and tab. And then for image or movie here, I'm going to choose wood. And then for blender original, I'm going to change to, let's see improve Perlin, and then rings. And let's go try. And let's see. Additionally, if I now go into the modifier here, if I change now the direction from let's see, local coordinates to use actually global, if I start moving it, you see, like, it starts to get a little bit animated. So what I'm trying to do, essentially is kind of like animate the movement of the cloth, since obviously, these people are wearing some kind of cloth. Now, additionally, there are some extra settings that I need to change here, but I see that I'm not getting any options. Let's try ring noise. There we go. This one seems to be the one that's being activated. And so now in terms of side of, I'm just going to increase here to turbulence. There we go. So now if this one starts moving, let's increase the size to make it bigger. There we go. And then, depending on you know how we were going to animate it later, it's going to dictate how much and how fast this cloth is going to be moving. I don't want too much turbulence. I just want decent amount and interms of color here. I can also change the brightness and such, but I'm going to keep this as is. I'm going to go back into my modifier here, trying to change the strength, and then maybe mid level to kind of balance it out, but as you can see this is like goes very quickly, very crazy. But, yeah, this is kind of the result. It almost looks like a little ghost. So we do need to be careful with the amount. The question is, like, how much of it is going to be visible? I can't really give you an honest answer. That's why I said it's also going to be variable. You don't necessarily need to do it. But if you like, you definitely can, and I'm going to push these guys a little bit more back. Then maybe just give it a little bit more, maybe shoulders. A. So something like that, and maybe a bit more front. Okay, it's going to be like my first attempt, and additionally, I guess what I could do here. Even though I know that this part is barely, and that's a big if this is going to be visible. But what I was going to say is just adjusting the view here. So making all of these be kind of like nicely aligned S y and then zero and pushing these ones to be a little bit more forward. So they're like that. I guess I need to also, then, that means adjust this area, so maybe make it slightly larger. That's going to fix the issue that I have in here, making this one slightly smaller. There we go. Again, these are like small little details. Like I said, I don't know if this is going to be visible or not, but just having something like that will kind of help us out. So let's now create a couple of more extra variants. So I'm going to go into my top of you, press shift D. For instance, for this one, I don't want it to have this long of a cape or anything. I'm just going to push this. But here, as a matter of fact, I might even completely dissolve these extra rings here, dissolve these edges and just keep it like that, push this one slightly more to the bottom. It almost looks like some kind of racula. Really sure. Maybe add just a little bit of a cape here, much shorter. And then additionally, let's see, in terms of a height, I might make it slightly smaller. And then maybe slightly wider. Looking this is too wide. Something around here. And then let's see, in terms of the head. Maybe I want to make the head slightly smaller as well. So I'll just select let's see, everything around here. And just squish it, make it slightly smaller. So that my head is a little bit of a different shape. Now I'm fully aware how ridiculously funny this looks like. I might even select this ring, just make it slightly bigger, select the couple of ones internally. Me dose also slightly bigger. I guess I need to also. Let's see. Do I need to select anything else? There is something else that I need to select which is this part here. There we go. So, again, like I said, super weird looking, but it should do the trick once we animate it. So we have two variants right now for this one, I might even lower his shoulders just a little bit. That? Let's go now onto a third variant. And really, we also remember that onto these variants, we're going to be adding clothes. So you can also decide whether you want to go from scratch or not. I kind of don't want to go from scratch. I'd rather go from here, so shifty G Y or Gx, just to add it right here. And I think, let me see how many variants did I use initially, one, two, three, four, five. So I use five variants in my test when I did, so we could pretty much try to stick to that number. This one, let me see. I'm going to try to do head a little differently, so I'm just going to delete everything from here, delete all the vertices. So now I'm kind of left with this part. And I'm going to go, let's see, A Z, and I'm pressing or that's not going to work. Let's go E and then S to kind of scale in here. And then E G to move up, z, G, to kind of get this little neck going on, and then E, and then S to scale out E to move up. And then I would say, let's go keep moving up and E inner, move slightly up. Get this and then press F to close it. Now obviously, this is a huge head, so I'm going to press S and then x to push this little lower. Kind of like this, maybe lower more, vers this side. Let's go a little bit more back, G X, G Y. There we go. To get this. So this is kind of like the current result that I'm getting. It's not overall bad. What I might do additionally is just add that hole in here, so pressing I to inset, E to extrude inner, S, maybe to scale a little bit. Now we have Kenny going on. And then for this, I'm going to select everything here to move everything slightly more backwards. And then I can do maybe bevel to kind of split it into two pieces like this and have an extra cut right there at the end. And then selecting pretty much everything that I can in these edges by pressing, you know, ult and left clicking. So let's see. We have this edge here, but it's not really working, so I need to sometimes do this manually. Sure that you have everything selected? Let me change here, keyboard language for some reason, you get switched so Alt left click Alt left click, and there we go. Some of these, like I said, aren't fully working, so we need to adjust them and this one here as well. I think this line is going to be moving once we press now S and X to squish this a little bit more. There we go. Then the top part, we can also squish a little bit more. Do we need to have this big of a head? Rowbly not, we can like I said, again, go, select these two S X to get a bit more like this. You know, for a desert, we are quite winter dressed, I would say. Let's see what we could do else. I think this looks overall pretty good. Maybe just a little broader shoulders, I would say. Let's go with a little broader shoulders. So S and X. There we go. And we want to do anything differently for this one. We could maybe, you know, add a little bit more thickness here. Or just a little wider, I guess, in this case. Then this part here. Keeping it a little f flatter. And again, I don't want to have this much over here, but I still want to have some. Let me just see on the examples I used. Oh, so what I could do instead now is let's go move these guys a little bit here, but then take this one, move it slightly more backwards, so it kind of looks like this. So there's a little bit more of our variance, and what we could do initially, also, additionally, is take these two edges, vertices actually and then press S and Y and kind of just give it a bit of it like that. There we go. Okay, now these shoulders are a bit two square, so I'm going to take these two parts and just S and X kind of make it a little rounded, like this. This looks pretty good. I could probably take these parts and maybe make them differently. But I know you know what, I think this is going to be just fine, especially if I go and look from the distance. I think those look overall, pretty good. You can notice their heads and everything. So that is looking pretty amazing. I think for the next one, I'm going to kind of create a blend where you can barely notice the head. And so I could also pretty much start, let's see. I pretty much start with this one. And then just let's go shift D, and then G, and x. And I think this one needs to be a little bit lower. Maybe with all of his hisings. So I'm just going to take everything here and just put it slightly lower. Like that. All right. And so for this one, I'm going to take out his head. I might even scale it slightly a bit more up. So a little bit more upscaled. I'm gonna take out the head part. So late old the vertices. Now I'm pretty much only left with this part. And what I can do here is just start taking this a little bit more up, and then scaling it. Let's see around the height. This is pretty much the height that I need it to be, right? So in that sense, I'm just going to pretty much press F to close it. Then for this one, I'm going to scale this one also. And try to just make this altogether look like a cover head. There's like one image of the Benet getter where she was wearing something very similar. So I guess I'm kind of going in that direction. Okay. This one looks like super weird. I'm fully aware, but then let's just give it like a entrance over here, p this maybe a little bit lower. Make this one here. A little bit bigger so S shift z. Just go like that. There we go. And so this is kind of like our head. And this one here, we could probably lower this end. Bh. No, let's just go with this part, extend it, extend extend this part. Then this part, let's see, do we want to have this part extended? We just want to have, part of it a little bit extended, there we go. And also, for all of them, I'm going to change a little bit of the displacement setting, so that's another part to kind of keep in mind as well. And we're already, like, 22 minutes in. So let's just go and speed this up a little bit. So for this, I'm going to go now in set the face like this. And then press, let's see, e to extrude inside, scale it. And I'm going to also take this part and just move it slightly more inside and then press control B to kind of have two of them. But it's not really working because I didn't apply my scale yet, so apply the scale, now go, control B. Now it's slightly better, but's still not there. So if I take this part, I want to move it inside, there we go. If I take this part, I want to move it slightly more inside, and there we go. And then potentially, you know, you would want to kind of go and add one in here, but I don't think we want to worry ourselves with too much topology as a matter of fact. So I would pretty much call it a day here. Maybe add, not that one, but resting on this edge right here. L et's go. And then adding one here would kind of allow us to do exactly this thing. But do we really need it? I don't think so. So I'm just going to stick to what we have so far created, pushing this a little bit more back. There we go. And additionally, I would probably take these guys and level all of them on the same line. So S z and then zero and then just push them all a little bit backwards around here. And doing the same with these guys, G, Y. Let's go. Select. This edge, Do we really need this one? I would say, no, so I'm just going to dissolve this edge. And here we have another one where we can kind of see here to stuff. I might even push this face slightly closer because it looks a little weird with that huge, you know. But, yeah, this one looks pretty good. I might want to just move this part slightly or it's actually this part here, slightly down, and then a little bit forward, then slightly down. Like, it's almost in the scale a little bit. It's like almost covering its face a little bit extra. So yeah, this one is looking pretty good altogether. I'd say four is going to be enough. And so now for the last part, I would just say, go into the displacement settings of each of these so that they're not exactly the same. So, for instance, for this one, you know, just change slightly the turbulence. You can also try, you know, mess around with different types of noise if you want. Because we have two of these together, we don't want them to move exactly synchronously. So each one of these needs to have its own texture for noise. So you see here where it says, texture. We just need to go and press this here. This one is going to be called let's see which model we are. This one is going to be called crowd Model two crowd model three crowd Model four. So we have one, two, three, four. And so now for this one is going to be four, this one's going to be three This one needs to be two, and then this one here needs to be one. And so each one of these is not going to be its own individual one, and we need to change it, so do some maybe small changes. And like I said, you can also try different variation if you'd like, just so that they're an old knot, exactly the same. Changing some of these values so that you get a different shape here is going to impact how this is going to be animated once it moves. So for this one, maybe, I might even try. I'm going to stick to wood, but I'm just going to go maybe four on F three, and then just try to get something slightly different. So now when all four of them, let's say, are going to be animated later on when they move, they're going to have slightly different type. Of movement going. But as I said, this is also, you know, whether this is going to be super visible or not, I don't think it might just leave some mark, which is, you know, still good. But yeah, I think this one is also way too noticeable because of how long it is. So I would also suggest just not making it that long, maybe making actually a duplicate where we have one with super long. And actually, we can pretty much do that. So just take this one. And then going here and I'll make this one super longish a little more. Let's call this 15. There we go. And then in here, we can change this to let's see 222. There we go. New one. Let's call it five. And size. The bigger the size, usually the bigger the change. There we go. If we push the turbulence is going to be, as you can see as it moves, but we don't want it that big. We want somewhere around here so that it's a bit more noticeable, so a little bit larger. Let's try simp original peeling. This one looks interesting. There we go. This one looks pretty cool. Perfect. And so in terms of size, I'm also going to make this one maybe a little shorter. But yeah, now we pretty much have our crowd. And so in the next video, what we need to do is start modeling or not, sorry, not modeling, but adding texture to these guys 16. Texturing the crowd: Share crowd elements, we're not going to go too much into detail because all we really need to do is add a little bit of noise and increase that roughness to get because we can't really see much detail. So as long as we have colors that are roughly similar to these ones in here, we're going to be pretty much okay. One thing I do suggest, just looking at my models here is, I think we're just going to make their head slightly smaller. So I'm just going to go all z here, select these parts of their head and just go make it overall. Just tiny bit smaller, and then the same over here, selecting the top part first, just making everything just a pinch smaller. For this one, I might even go a little bit here, make this one smaller, and then maybe just increase a little bit of these shoulders, p them slightly up. There we go. Almost looks like a nun, or one who is hard core into the Bengestert. But yeah, there we go. So this looks a little bit better now overall. And so what we're going to do next is just start texturing. So from left to right, I'm going to go. And each one is going to have going to have pretty much the same variation of the texture that we're going to be creating for this one in here. So I'm going to press new material here for the base color. I will use a noise. And then I'm going to change this into 40 so that I can kind of create iterations for all of them later on. And then I'm going to press control T here for my mapping and texture coordinate. And in between, I'm going to add a color ramp that's going to now be used for obviously color, and I'm going to remap colors that I used earlier. And then we might even experiment a little bit and try different colors as well. So the one on the left. Is going to be 433 f37. Let me just check, and then the one on the right is going to be seven 6a5e. There we go. Alright. So from here, I'm just going to clam down this one a little bit more to the left and make sure that your roughness is pretty much all almost all the way. So just a little bit, I guess, diffusion or a little bit of glossiness, not too much. And so now in terms of the scale, I'm just going to drop the scale lower that I get a bit of a bigger smudge when it comes to, you can see these little things bearing around here. There we go. And what I'm going to do also is I'm going to duplicate the color ramp here. And this one is going to be just kind of like for my color picker so I can take some colors from here and just see what colors I have here on disposal. So I'm going to add a couple of more just in here. And then I'm going to click on this one. Now I'm just going to click on a random member of the audience. Click on this one. L on somebody else in the audience, and then click here. Let's look a somebody darker. There we go. So these are kind of like the colors that are being used over there. And so from here, I'll just let's go. Let's add a little bit of variety of these two elements. So I can see some sand smudges here and there. Detail. I don't need to push it that much roughness, maybe a little bit. That candy can stay as is, and this is, you know, already more than enough, I would say, for the first one. I might need to or want to just drop this color slightly lower. To somewhere around here. All right. And then for the other guy, I'm just going to call this one Crowd one. Now for the other guy, I'm going to go here under crowd one. I'm going to duplicate this material. I'm going to call it Crowd two for him. I'm going to use probably a little different color variation. I'm going to take something from here. Put it here. There we go, so it's a little bit brighter. And then for this element, I might even go change the W. Change the scale a little bit more. So it's slightly bigger. Change the detail. Let's clamp it up a little bit. Detail a little bit more. And let's see if we can if there is any thing actually going on in here. Let's go W one more time until we get some sand showing up. Let's go breath you the color ramp right here. There is now some sand showing up at the very top. That's actually pretty good. So it's a little bit slightly different color variation. Then let's go to this one. Let's this one, let's click on it, and let's have it be Color one. Crowd one that we had, call it Crowd three. And then I'm going to pick another color from here. Let's go with Let's go with the brighter one over here. There we go. And then for the sand, instead, I'm going to pick like color from the floor, so it's a little bit brighter. I might make it just a bench darker. So it's not super super bright standoffish, but something around here, and I think this kind of color actually, if I zoom out, it's going to be way too bright. So I might need to make this one slightly. Around there. And then let's just play with W. This one is still way too bright for the sand. So I might just take a color from here. So it matches more of the color palette, and make it a little softer. So it's not so clamped up. There we go. Okay. And then the next one. I'm going to go back to Color one. And here I'm just going to create an iteration I guess of this guy. So I'm going to just go and let's see do ale bit of W. I see if I do here it, they're both connected right now, so I need to change it to Crowd four. And I'm might add a little bit more extra detail. A little bit drop scale, and then push this a little bit more to guess something like that. A little softer, a little more roughness. There we go. That should add a little bit of extra variety to them. And now we have the last one over here. Let's go and add a crowd. I'm going to use Crowd four as its base, and then I'm going to obviously make its own separate texture, Crowd five. And then for him, I don't want it to be too different from the rest in a way. So in this case, I'm just going to go, like, play around with the W bit. And then maybe push this slightly lower so it blends a little bit more. I think we're going to do the same with this one, so it just blends a little bit more, so it's not so aggressive. And I might do the same with this one here. Lends a little bit more and lower the scale just a little bit, so the smudges are somewhat bigger. There we go. And I think these colors, what we have right now here is going to be perfectly fine. We might need to tweak them, but the only way to kind of, like, see how it's going to look like is to actually scatter them. So that's exactly what we're going to be doing in the next video. See you guys there. Cheers. 17. Scattering the crowd: Watch part one or part two of the master class series, you should be pretty familiar with how to scatter things across an object. But as you'll notice as we go along in this part now, we will have some other unique challenges that we haven't yet had to figure out our way around before. So to start off, let's go with something that we're already familiar, and that is creating our scatter system. So I'm going to go here clicking on my face, make sure that you have your face selected for the ground, and then go under H under Shader, go under geometry note, and simply click New. We go. This is actually the only geometry node system that we're going to need to build, so I'm not going to rename it or anything. And I'm noticing that I have some clipping issue here on this lower window, so I'm just going to change that by going here, tapping in one, adding a zero. And then what I want to do next is simply change this face in two points. So I'm going to go shift A, tap in distribute points on faces. There we go. And you can see that we have way too many points showing out. So what I would suggest is changing this number to something really small like either 0.001 or 0.01 depending on how strong your device is. I'm going to stick to a much smaller value because you'll see later on how this is going to work. For now, once we have that, we have kind of lost our face or ground, and we want to bring it back. So we're going to use a joint geometry that's going to basically combine these attribute points and faces and our previous input altogether. So I'm just going to plug this in here. There we go. And so now we again have our good old ground going on, and we can still see these points that we've created. Alright. Next thing to do is now we need to tell Blender, again, to take this crowd collection that we created. I'm just going to hide this because we don't need to see it, and then basically turn it into these points that we have. So distribute it onto these points that we created. So to do that, I'm going to go add here a node called Instance on points. This one right here. Plug it right here, onto the distribute points on faces. I can actually lower this part even down. So it's a bit more easier to see. And then in here, we have an instance. So I'm just going to take this crowd collection. Put it in here. It's going to give me a collection info node. I'm going to take the collection infra node and plug it into instances. Now, you see it has started scattering all these guys, but we need to tell it to just pick one. And then in here, we say separate children, and let's reset our children. Additionally, let's change the rotation of our guys so that they're actually turning around in proper direction, so 180 should pretty much do the trick. And now we have it. But here we encounter our very first issue. And that is, well, now we need to tell Blender to only have them distribute it around a specific area to be specific, the area that we have in here. This one over there. Let me just actually make this maybe slightly bigger because we are going to be using this now as a reference quite a lot. There we go. So I'm not even sure where to put it, but for now, I'm going to put it on my secondary monitor right here. There we go. So we need to make sure that we get this kind of line and everything else. And the way we're going to do it is by painting what's called a weight map. And that weight map is going to serve kind of like as an indicator or where to distribute. So I'll show you that in a quick second. So first, before we even go into painting, we need to add more subdivision levels or more faces onto our ground because our ground right now only consists of one. So if I go right click and I click here on subdivide, I'm going to do it a couple of times this is going to be enough because the more subdivisions it has, the more detail our way paint is going to be able to have, and that means also more control for us to distribute, but we also don't want to overdo it. So the amount that I've created here, I think is going to be more than enough. I think it's even slightly bigger than what I initially used. So you know, you can even go one step backwards, if you want. For my case, I'm going to keep it as is. Alright. So now that we have it, let me just show you what we need to do next. So I'm going to press Control and tab. And while I'm at it, let me just also turn on my screen cast keys over here so you can see, press Control and tab, and this is going to give me my wave pain here under number seven. Once I enter the way pain, you'll see everything that's turned to blue. Whatever is blue, you can think of it as zero. So that means that nothing is going to be distributed over kind of like has a heat vision or, you know, from the movie predator, or if you're familiar with heat maps, if you're into web design and such. So everything that is blue means basically zero, and nothing's going to be scattered there. Whereas, let's say, if I have this area that's slightly brighter, also if you press right click, you can kind of control the weight. For now, I would suggest stick to a number around here. And then you can also control the size. So this is pretty much, I think the strength. Let me see. Yeah, this is the strength, so shift and F is the strength. And then F is the size. And I think control F is the weight. So control F is weight, scaling the weight. So for instance, if I go here, you'll see it's going to be super red. And then if I go here, control F, and I press, let's say F, make it smaller, it's going to be like super blue. So, in theory, what's going to happen is a large majority is going to be distributed here, nothing is going to be distributed in the blue, and then some people are going to be distributed in here. So let me just show you quickly how this is going to look. And we do want to start off very small because we're not going to be able to control our density the way we can control it right here. Instead, it's going to be now controlled by the color red, and color red means, put the most amount of people there. So let's go here. And you'll notice here we have what's called now a group in our vertex groups created. We're going to rename this one and call it Weight Map. There we go. And you see it's been renamed over here. And so now in here, If we plug this socket into our density and then go right here under our modifiers. You'll see that we have, if we click here on the input attribute toggle, we click on the Toggle, we change it now, and we say use weight map that we just created. And now it has scattered all of these guys here. So this is exactly how we're now going to be doing. So if I start drawing now, you'll see that they kind of slowly start auto populate. Now, that being said, I would first recommend to go into your camera view so that we only paint the areas that are actually going to be visible to us. We don't paint anything else, as you can see, I kind of painted this area of here. And so if you want to delete an area, you just press control, and then ooh, that didn't work. Let me see. Then maybe Alt. Mm. I guess we could do it this way where we just press control and F, reduce this to zero, and then just start painting over it, and that should pretty much delete all of them over there. So I guess that's going to be the easiest way. And as while I'm at it, I'm just going to remove pretty much everything. So while I have everything at zero. And also, I have this little guy over here that I can pretty much no delete. I don't really need this cube anymore. So I'm just going to remove the cube. And now I'm going to go into my camera because I only need to paint the areas that are within my camera. And then in here, I'm going to take a look and use this as my reference. So this is why having this guy here as a reference is going to be important. And I would say, start off not with Control F. Let's just go here. Don't start off with a 100. In terms of strength, start off with roughly around 0.5 in terms of weight. And I'm going to go here, change my radius to make it slightly smaller. Just going to start painting people. And one other thing I would suggest, potentially, once we get into if you're having issues with your lag, I would go here and just turn everything off and just start painting first. And then you can go and preview, see how it looks like. So I think the easiest thing to do first is going to be creating this line right here. We want all of these people to be within this line. So I'm just going to drag this line around here. Let's go preview them. Perfect. And so now from here, I'm going to continue adding them. You see, the more that you add, the messier it's going to start becoming essentially. And the slower your device is going to be. So if your device is running slower, I do recommend I do recommend first going in here, painting and then kind of showcasing them. I'm also going to draw a few of them right around there. Now I want to scatter a few of them here. I'm going to add some of them around this area. And then just click a few times in certain spots just to add a bit more. But the largest accumulation needs to be definitely on the front line. And now, for instance, for me it's getting really laggy, so I'm just going to turn this off. I'm going to make this super super small, and then I'm going to increase my strength just a little bit to and then use this area. Try to paint on this area right here. Let's see if I increase it and maybe a little bit more. So this is going to give me a red line, so I'm just going to go around here because I want the front part to have the most amount of people crowded around it. And then everything else is going to be less. Let me just preview how this is going to look like. There we go. This looks overall pretty good. One thing I would probably go is take out a few people from here. I'm just going to decrease my weight, increase my size, and just slowly start clicking in here. Let's just turn this off one more time. Decrease my weight, start clicking in here and it is going to pretty much decrease the amount of people that are being scattered around this area, and then I'm going to just maybe increase it ever so slightly to add a few people right around here. And then I'm going to decrease this area. Let's just take a look now how it's going to be. There we go. This is looking overall, I would say, pretty good. I'm going to scatter some area around here as well a little bit, just by pressing down here because I have my strength to 0.2. So, as you can see, my weight is at 0.2. So I'm just going to scatter to get a little bit of these holes going on. And just overall, less people. And then this part, this area here, I do need to add a little bit more of them. So I might do that, and I'm just going to scatter some extra area areas here and just continue adding those details. There we go. And then for this part, I'm going to go all the way. I'm going to hide it because that way, it's just going to be a little bit quicker and just add, scatter them right around here. Clicking with my mouse a couple of times. There we go here. Perfect. Let's just preview one more time now. Excellent. All right. Let me go into now my object mode and just see how this is looking. Overall, I'd say this is pretty good. And so now obviously, if this is, you know, way too laggy for you, you can always reduce the amount of people that are being scattered in here. In my case, I'm going to keep it for now as is. Let me just now, take a look, how this is going to be in the render view. And then if I go under my camera, this is our group. And I can see this line is being a little too strong. And so I'm going to need to change it. And also, I'm going to need to take out a little bit of the guys from here. So this is why also going back into the, you know, rendered view is actually kind of useful, so I'm going to go back into the weight paint and start basically just taking some areas out, for instance, I'm going to take the guys out from here. Let's just speed this up by just taking out this area, okay? So just making some holes here so that there's no guys showing up. Let's take a look now. And then we still have some people here. That's pretty good. I do think that I'm going to take these ones out, but then I'm going to add like a very small group just around here. Let's see if that's going to work perfect, and then I'm going to, I guess, take that group partially make it super smaller. Press. Now, this is where the faces are important because more faces you have on your mesh, the more precise your map is going to be versus the one, for instance that I have right now, because it's basically using the faces to paint on this. Let me go now and change the strength. Okay? Let's just start writing out these guys from here. And then in here, I'm going to I don't want everything to be super red. So I'm going to make it slightly just by going kind of like this. So these are my current settings that I'm using. Let me just preview this now. Case, it's a little bit more scattered. Then some smaller areas, I'm just going to go all the way to zero, and then increase the strength of it. Like this part here. I'm going to go all the way to zero, so that should give me like a little hole around there. Let's see if I can create another one somewhere around here. There we go. Just a couple of extra holes to make it feel a little bit more natural. Perfect. That also does go in our favor because we are reducing the amount of crowd that is going to be on our space here. Let's just now take another look. Let's go into rendered view. Let's go object mode. Still see the line over here. So we still need to fix that line that's going, but overall it is starting to look pretty cool and very close to what we have. I would maybe just push the crowd a little bit more forward. I'm not 100% sure, but we could probably do that once we get into the animation mode as well. So I'll keep it as it is for now as a matter of fact. Let's just try to get rid of this line that we have. This is obviously way too much. Okay. And you know what? I'm going to add a little bit more to kind of spice things up. I'm just going to add a little hot spot around here. Connected maybe. Let's see. Let's see how that's going to reflect in the rendered view. There we go. So now we don't really see that line anymore. It's much weaker. And then also once we animate it, it's going to be a little bit better even. So we could add maybe a little bit of cut couple of holes right here to really get super nit picky. You know, but you don't need to do it exactly as I do, also. Keep that in mind, so you can do your own version. Okay. And then over here, I would definitely like to add a little bit more of a crowd. Like that. All right. Let's take a look. Object mode. There we go. Now, if you do want to push these guys a bit for, the best and easiest quickest way to do that would probably then be, just going into the map one more time, hiding the crowd. Let's go wait map, go in here and then just make sure that you move everything a bit more forward. But I think if I go and move everything just a little bit more forward, not 100% sure how that's going to be. Let's just take a look over there. Yeah, they're going to be way too close. So in my case, let's go and take that out. Control F. I the crowd. Pushing this all the way back, make sure that there's no light blue areas around the parts where our police guys are. I think we are going to be able to just move them just by playing with the set position as a matter of fact. So if we go in here and we go into, let's see, O object mode is going to be fine. And then we push this on the side. L just move this ale bit so we can take a look at our geometry note set up. And let's see. We have an instance on point. Let's add a set position right around. Let's hide this for now. Let's go here, set position, and then we put it in here. And if we start messing with the offset, there we go, this offset is basically going to we can just use this offset to kind of push them closer. You can see already the issue that I caused over there, we now need to go and clean up a little bit of my previous setup. Alright? I don't think there should be any people now. We have a few of them pushing past the wall, so I'm going to need to clean them up. There we go. Took those guys out, and let's take this one out here as well. Perfect. Okay. So now, we pretty much have our scene. Let's go into rendered mode one more time and just take a final look at how everything looks once it is rendered. So let's press Z. Every you can see everything is super laggy right now, rendered, and then control in space. Zooming. Let's hide our selection. And here we go. Now we kind of have our crowd being added into the shot, and then next thing is we're going to need to start working on our animation, which is going to be its own very unique challenge. So I'll see you guys there. Cheers. 18. Adding the walking soldiers: We jump into the animation, there's still two more elements that we need to bring into our shot. The first one being obviously this larger shadow that is still missing, and then the second one being these soldiers that are kind of walking towards each other. So if I go here and press play, you kind of see these two soldiers walking slowly towards each other like this. So in this video, we're actually going to be focused on the soldiers first, and then in the next one, we're going to be adding the shadow itself. So, to start off first, all we really need to do to add our soldiers is to go back onto our Mixamo that we had in here. You can already see I already have kind of everything set up. So if you don't want to do this manual, if you don't want to learn this part, you can just go under the resources folder and use the soldier that's being added there titled Walking. If not, you can just go in here. Find a soldier that you added here under characters. And then once you have him here, go under animation. And in here, I just typed in walk. So that immediately kind of filtered all of these moving presets into the ones that are walking. And here you can see there's a bunch of different variations from walking backwards to walking like a zombie, and such. So there's a lot of cool stuff that, you know, you can implement in your own time. But the one that we're looking for is kind of like the one that gives us a walk. This one here. I was kind of thinking of using this one, but his hand movement is a little bit kind of too flamboyant a little bit, almost aggressive. So I wanted to do something that's a little bit more calmer, like a standard walk, this one right here. So I'm going to be using the standard walk. And then once you have everything here selected, just make sure that here you have it being in place. That's like the most important part. And so you can see it is very, very nicely looped as well. So that's something that we want. And additionally, one other thing that we need to do is just once you go press download, make sure that here you have 24 frames per second with skin, keyframe reduction none. So all of these settings kind of like match the ones that you have seen in my screen. And once you're done with all of that, press download, and you're pretty much good to go to import it into blender. So to start importing into blender, I'm just going to pause this one here. I'm going to go and open up my blender window. And then I'm going to close off this real time display so that my scene runs much smoother. Once I have that completa, the next thing I want to do is go here under Import FBX, and then find the folder where I have it downloaded. In my case, it's going to be right here called Standard Walk. So in your case, you might have renamed it a little bit differently, but I'm going to have it selected and import FBX. We're going to wait a couple of seconds for it to import, but then once we have it, I can go, Tilda, selected, and here is my little guy. And then from here, once I have him selected, there's a couple of little things that we need to do. First one being, if I go under my rendered mode, I want to match the color of his jacket to be similar to the one from that guy over there. So all we need to do go here under our, let's see, Shader editor, and then clicking here. Me sure that you have slot two selected. This is the one that's for his body part. So this one called body. And then under here, we can go CH 35 body, and that should rename it. I kind of memorize this a little bit now, but usually best practice is to rename this properly so that you don't get lost in another situation doing something like this. So once we have that completed, we can pretty much leave this window and keep it as our geometry notes for later. And then I'm going to move this little bit top and go into my solid view. So I'm going to drag out my timeline that I have here at the bottom. And when I click on this armature, you'll see that we have key frames all the way here to 29 so far added. So we need to now loop these keyframes somehow so that it looks continuous. Now, dirty way that some people would do it, they would probably select everything and then go shift D, and then kind of have it like this, and I think it's going to work, but I wouldn't recommend doing it that way. The way I would recommend the way you should probably go about it is clicking here under the timeline, going under the graph editor, And in here, you'll see that you also have the tab for the modifiers. And when you click on it, there's a bunch of different modifiers to use. But the one that we really want is called cycles because that's going to now create an endless loop for our movement. And since the movement itself was already kind of like seamless, it was already pre loop. Once you kind of duplicate it, it fits perfectly with one another. Another thing is that if you're not satisfied with the speed that he is moving right now, all you need to do is just press A to make sure that all your keyframes are selected, and then press S and then x and either, you know, compress it like this, and now it's going to move faster or make it like this so it moves slower. In my case, I'm going to just undo this so that I have it moving in its original speed because I think that was pretty much what worked good for me. Alright. Now, once we have it looped, all that's really remaining is to kind of position it to where we want it. Let me just go back here in my timeline, and let's move this down. Lastly, one more thing before positioning. Let's make sure that we are doing this in 240 frames, which is going to be 10 seconds, which is exactly the same duration as this animation that I created earlier. All right. So now that we have all of that, let's just position him in the same place that we had it in the original shot. So this is my example that's based on the original shot, and we can see that he's starting from kind of matched exactly where this one, two, three, four, fifth guy is, so right here. So that's exactly what we're going to do as well. I'm going to go here under my top view, and just fine. So, one, two, three, four, five. So is this one right here. I can press G move him roughly. Somewhere around here, doesn't have to be, you know, exact perfect, but just something like this. And then additionally, I'm going to rotate him to, let's see, let's see if it's 90, 90 degrees. So he is now kind of moving in that direction of, I guess, the G x of the x axis. So he's going to be going like that. Let me see if he's kind of pointing the right direction. I would say, I'm not even sure if I need to maybe go just a tiny pinch 85 seems to be a little bit more accurate for some reason, maybe because of his body rotation or something. But yeah, I'm going to go like, 85 in this case. And then we'll see maybe if it looks weird, we can change that later on. But for now, I'm also going to take him and drag all the way here under a Trady' soldier. And then also we have this CH 35 being left out. We also need to drag that into a Trady soldier, so it's all here. And then I'm going to rename this one from mature. I'm going to call it a Tradis. Animated left, because also we're going to be duplicating it and adding one to the right side, but not yet. The first thing I'm going to do before doing that is I want to add almost like a empty that's going to be parent this is going to be parented to because that way I can kind of animate the empty to move left to right, and that's going to create the illusion of movement, because we still need to make this guy go from left to right. Now it's static. And so to do that, we're going to be using a parented empty. Go to go press Shift A, empty, go here under sphere, go under my top of you. Take this empty right above his head around here. Doesn't have to be perfect. Just something like this. And then move it. Let's see, a little bit more above. Scale it slightly. Just put it around here is good enough. When I have this animated, this joint here selected, select now the empty so that the empty is kind of like the active element, and then press Control P, and then click object keep transform. Now if I move the empty, you can see, the way we do this is kind of like the empty now, and then he is moving like this, obviously in a more linear fashion. Anyway, now that we have that, we can pretty much go here, drag this empty, put it into the A Trades soldier. Let's call this empty Trades Rig left. And then have everything here selected, select hierarchy, and then press Shift D, G x. There we go. And here we have the other one, and I'm going to call this one a Treatis Rig. Let's see a Treaties Rig. Right. X most sense. Now, we don't want these guys to be perfectly, perfectly in sync. So I think what we could potentially do, this is going to be a little bit now improvisation on my end. If not, we're going to do it in the later video once we start animating. But if we go here under let's see graph editor, and we have this here selected, and I move everything here, G x slightly. Can create a bit of an offset. And so now they are not exactly in sync, but they're still moving. And so that is pretty good. But we can see that yeah, everything seems to be working pretty good as a matter of fact now that I look at it, and their hands are not in sync. At all. Perfect. That was kind of improvisation on my hand right now. I wasn't sure if that was going to work 100%. But yeah, anyway, now we can take this guy from here and just move him anywhere. And we can also rename this one to be animated right so that we do stay kind of organized. Okay? And if you want if it's going to be easier, I think under viewport display, we can also add this for each of them. So it's going to be easier to kind of see them later on if we need to, because we are going to be zoomed out really far out. So let's check out where this guy is going to be positioned. For the starting position here on the right side is going to be one, two, three, four, five, six, seven, eight, nine.'s 8-9, roughly a little bit there. Okay. So let's just put him similar to that. I'm going to go into my view camera like this. And then while I have the Rig selected, I'm going to press G to move. And then let's see, I'm going to press shift and Z. L's go to lock him in the direction. So let's see. We have one, two, three, four, five, six, seven, eight, and nine. And then we want him to be roughly around here. Let's go now into the top of you to kind of see How are they relatively similarly aligned? I would say more or less, they do seem to be very close to one another. Like, because we do want this one to be very close to this one. Let's see. I think I moved it a little bit too close. This was well, let's see, one, two, three, four, five, six, seven, eight, nine. So I do need to move this guy little bit more here. Then I'm going to go press R z and then 100 to rotate them over there. So they're looking right at eachother like that. So this looks pretty good. Let's go under our view camera. Perfect. Let's hide everything. All right. So I would probably want to maybe move this one a little bit more just a little bit more here. There we go. So there's a little bit more distance between each of them. I would say even more now looking at my image in here, so I would go let's go G, Y, like that. Let me see if there's an exact number negative 15803. So let's just go here, type it in. And so now they're nicely towards each other like that. I can maybe just do a little bit of an offset so that, you know, it's not an exact math so that we don't want to have them perfectly, but that pretty much works. Now that I have that, I can press on my plane just to preview how everything looks like, go in, and then pretty much just, let's see. We can just preview render. Let's go press z and see how everything's going to look when it's rendered. There we go. Overall, looking pretty good. I think that we still need to clean up a little bit of our crowd over here. But for this video, I'm going to keep it as is and then maybe later on, do some extra cleanup by changing my weight map, just a little bit to add a little bit more variety into the crowd as we see I have it similar here, left right, left right, so it's not a perfectly straight line. In any case, this pretty much concludes the video now, and then in the next one, we're going to be adding our shadow. I'll see you guys there. Cheers. 19. Adding the ship shadow: Since this video is going to be pretty easy to add this shadow, we're going to have also some extra time that we can then use to also adjust what we have going on here with our crowd, you know, maybe changing our wait map, adding a little bit more variance to it and such. And also additionally, what I would what I'm probably thinking of doing is maybe changing a little bit of the colors that I have going on for my crowd, because some of them, I think, are a little bit too bright looking at them here versus the ones that I have, here, we're here are a little bit more darker. So these ones are blending too much with the sand. All of this is going to be now in this video, I think. But starting off first, let's just hide our crowd, and let's start off by creating our shadow. I'm going to drag this window down. I'm going to drag this one down as well. Zoom out a little bit. And then I'm going to use the top one here for the creation of my shadow. It's all really going to start off with a simple plane. And while I'm at it, I'm going to try to use this area right around here to have it as a reference. So that we can kind of keep an eye on on everything. Actually, let me move this here. Move this one, a little bit more like this and then zoom in so that we can pretty much see as close to or as much to as possible going on. There we go. Ah will pretty much solve it. Perfect. So, to start off, we can just add a simple plane. So shift A and then plane. And here, we have it right over here, we can barely see it. We don't need to texture it or anything. We can just go and scale it by let's go S 50 so we have something larger going on on our screen. And then from here, what I'm going to do next is simply try to start modeling this plane to have it match the look of what we have going on in here. So, for instance, the first thing I'm going to do is just tab, and then add a cut right here in the middle. There we go, and then push this part a little more towards the front because you can see that we have this line right here. Then additionally, I'm going to move this slightly here like this. And then on top of it, I'm going to drag this all the way back to get it like that. Now, let me see how much do we need to have this thing cover up our area. Looks like it needs to be much wider, so somewhere around there, pushing this line a little bit more even sharper up. And then adding one more extra cut in here, what I'm going to do is make this part a little thicker, also, not too much, but just a little bit. Right. Now, obviously, we have this large thing now kind of blocking our view. So what we need to do next is simply go in here under object, and then viewport display here. You see, right now we have it here as shadow. But also under visibility, we can just toggle everything here off and just leave shadow. Additionally, in here, just make sure that only your shadow is selected. And that pretty much kind of is going to help us to only have the shadow. One more thing, I would say is if we go in here, I'm my dust to like 2.17, that's going to give me a little bit of extra darkness. And then later on in post production, we can also adjust it. Additionally, you can see that if you move your shadow closer to the ground, the shadow is going to be much stronger in terms of sharper, or if you move it up up from the ground, it's going to be a little softer. So that part is going to purely depend on you. For now, what I need to do is just take, let's see, this part right here. Move it a little bit more up. In comparison to what I have in this example, and also I need to stretch it out a little bit more on the side, looking at this one here. Let's see, where does the right left side start? Around one, two, three. So on the fourth soldier, my left shadow needs to be covering the Ford soldier, so that's going to be roughly I think the fourth soldier is right around here. I'm going to make my shadow slightly softer by moving it a little bit more up. So there we go. So it's kind of like barely covering the fourth soldier. And then within that shadow, we have one, two, three, four, five, six, seven, eight, nine, ten. Ten soldiers. So I have, let's see, one, two, three, four, five, six, seven, eight, nine. I already almost have ten. We can see that this one is very close to the end of this part. So I'm just going to take it, take these three elements, or let's just push this first up so that we get that nice little angle similar to the one in here. And then let's see if we take everything, S X and just scale it a little bit more. Actually, I don't want to have it like that. Mm. I'm just thinking of maybe taking this side and then just pushing it more towards this corner so that now I have Let's see. One, two, three, four, five, six, seven, eight, nine, ten. So it's like right next to the 11th one, one, two, three, four, five, six, seven, eight, nine, ten. It needs to be right a little bit more closer to this guy, still but still not covering this walker that goes into the shadow, and there we go. We now pretty much have it. We can also rotate it a little bit. I would probably suggest kind of doing it, giving it a little bit of an angle. Not too much just a little bit kind of because we can see how it is on this side. So we could probably do that also just by going in here and just ph, let's see pushing this It's not perfect, right? So we can push this kind of like that. Then let's see one, two, and then push it G. Let's see G when we have all G G there we go. And yeah, pushing it something closer to here. R Z, kind of rotating a little bit, G X, pushing it a little bit more closing down that area. Right about there. Looking at it, I think my soldiers are a little bit too spread out in comparison to what we have in here, but now I wouldn't probably want to change that, so I'll just live with it. And then this one, I'm going to move slightly more upwards. To get a little bit of this. And there we go. We can pretty much enunciate a little bit more at this corner right here. I would say, kind of how it is over here. It's a bit sharper, and there is our shadow now add into the scene. If it's also easier, you can always go and hide it like this. But for now, I'm just going to go and drag it into this collection. And I'm going to call this one shadow. Perfect. So now that we have our shadow added, what I'm going to do next for the remainder of this video is two things. First, let's do this. And I recommend you do it as well, which is going here into our crowd. Let's see where do we have our crowd collection. Here they are. Let's go zoom into them. I can now move this away. Let's see the ones that are a bit brighter, these two guys, I want to make them darker. So I'm going to go here under my Shader editor. And just let's see, this one here, too bright. I'm gonna make him darker. To match more the colors that are here. But this one doesn't seem to give me a good result. So I'm going to push this even darker. There we go. Again, you can see that over here, we have these colors here, so maybe like something around here for this guy. Let's go and try to select something from there. Is it going to give me? I think the one that it has given me is a little bit too like this, maybe a little bit more olvish. And just like this part here, go in here. Make this one like that and then push it darker. Take this one, push it slightly darker as well. Or actually, this one should be brighter because this is the sand being left off, and then just clamp this one a little bit more. Let's see, pushing this one a little bit more darker. Just so it's closer to let's try to find a brighter one. So if I click on here, I do think the one that it does give me is a little too bright. Like, obviously, this is way brighter than what we see around here. So if I just try to, like, eyeball it a little bit, I think this is the closest to it. Yeah. So from here, let's just now go and hide our crowd, go into our camera view, and then go into here and make our crowd visible. Rest control space. Let's take a look at them now. Alright, I think these colors now are better matching for our crowd. All right. So for the remainder of this video, I'm just going to spend some time cleaning up my weight map. You don't need to do this if you want you can pret much skip to the next one. And then you can pretty much stand stay here if you want to do it yourself, and also join me in the cleanup of the weight map a little, but just to, for instance, add a little bit more diversity into this line. I don't want it to be perfectly nicely straight line. You can see kind of how in here, we have some people stepping up forward, some people stepping up outward, and such. So if you're already happy, you can stick to it as you want, or you know, join me here in changing that. So for now, Going to go hide this, go here under the solid view, enable my view and then press control shift. Weight paint. Additionally, I'm going to go into the edit mode and just add one more level of subdivision, so I get more detail. Go back into the weight paint, and just start, let's see. Just start adding a little bit more variety around here. Just going to go like this, and then go all the way, make it smaller, then go a little bit more like this. So it's a little bit more thicker, and there we go. Certain areas. It's not like a nice little perfect straight line. Then we're going to change this to like one like this, and then just start adding some people here at the front. Maybe this is all I even need to do. Maybe this is going to fix all my issues. Let's figure it. Let's see. Let's go here and add a few more crowds at the end. Let's review our crowd. Okay, so we are getting nice variety now everywhere, not just a perfectly straight line, which is good. The only issue is there are a few people that are sticking out, so I'm just going to try to click on them and click around this area to take them out. Oh, that sounded wrong. There we go. A few more in here, and then the same over here. Let's just close the map and see if I can get a better look what's causing one of them here. So maybe there's this part that's causing him. So overall, I'd say this looks pretty good. One thing I would change looking here is make the people coming out of the entrance slightly thinner. There we go. That's a little better. I would just add a little bit of people just around here. And make this smaller. Go back to zero, clean up a bit. There we go, something like that. Let's take a look now on our rendered view. So let's just go here under object mode. Rendered hide this. So we have a large group of people scattered around here, and then some over here. So overall, I think this looks good. And then let's also where is our shadow, make our shadow visible. Covering a decent amount of our scene. That looks overall pretty cool. One thing bugging me a little bit now, are these lines around here, so I'm just going to go and tweak them. Let's see if I go in here and just maybe mess around with my W value from here. That should kind of help me hide some of these lines. Let's go here, W value. Okay? And then let's go into the lines themselves. Right around here. I'll just try to drop this one down slightly. Again also take out our crowd, so that's a bit quicker to render. This looks pretty good overall, I would say. We have accumulations of sand. We have the lines, we have the smudges. We have pretty much everything going on in here. You could probably maybe just lower down some of the strengths here, just a tiny bit. But I mean, overall, this looks pretty good, especially now when you add also the crowd on top of it. Yeah, I with how everything 20. Animating the soldier and shadow: Video, we're going to animate both our shadow and our two soldiers as well. I'm going to start off first with the shadow because looking at the reference here that I created way back, shadow really only has, like, subtle movement from left to right. And the amount of that movement, as you can see, where it is currently here, at the end of the shadow, and then where it moves barely anything. So we can pretty much just go here and hide our hide our audience as a matter of fact, so that our scene runs a little bit more smoothly. Let's just preview everything. And then what else can we do here? Actually, we just hit pretty much everything for some reason. Ah. Let me just let's show our entrance. There we go. And let's also show our soldiers that. Kinda got hit and accidentally. So going into my camera view, and then I'm going to go into nerd mode, move everything here so that I rearrange my layout a little bit for the animation. Perfect. I can pretty much merge this two together so I have the extra space. All right. So for my shadow, basically, I just wanted to start roughly around here. I'm going to press n here under the x. I'm going to insert a single key frame. And then I'm going to go shift directly go all the way to the final one, press G x, and then just move it. I feel like roughly around here, and then insert single key frame. So it starts off from almost like one end, here, almost like in between of these two soldiers. And then it moves roughly to the end over here, sledge play it to see how it goes. There we go, we can see the shadow moving. The only thing is, now, if we need to go under frame all, we can see that our movement is currently using easy and interpolation. So we want it to be pure linear. So right clicking in here, and then going under interpolation mode, clicking linear, and that should solve our issue. Go shift left click one more time, bricing space, and just prev our animation. And here is our ship moving. I would either even reduce the amount of movement of the ship, make it slightly less. So I'm just going to take this key frame right here, G and then Z, just move it slightly lower. Like that. So now the movement is even smaller. It's just this. So that's going to be my ship animation, pretty much. Alright, that leaves us now with the soldier itself. And so for the soldier, we are going to go into our solid view. I can hide my shadow because I don't need to see it. And I'm going to click on my soldier right here. View selected. There we go. And for him, I'm also going to be only animating him in the axes. So I'm going to have him go from here all the way to this guy, because, again, based on my first attempt at doing this, you can see where the soldier starts. It's like perpendicular to the one over here. And then where it ends, is it arrived to the second one right over there. So that's exactly what I'm going to do. I'm going to go here, location, insert single key frame, press G X, have him move all the way, roughly around here. And then, let's see. It looks like it didn't add my key frame. It added a keyframe here or it did not. Let's go delete single key frame. Let's go a couple of steps backwards. Just to double check if everything is correct. Okay? So we have our shadow. That's fine. Let's hide our shadow. Click on the soldier. There we go. Insert single key frame. Here. All right, frame all. And then moving to the final stage right here, let's G x, move him all the way roughly around here, and then insert single key frame one more time. Frame all everything. Make sure that it's linear. So interpolation mode linear, Shift left click to start. Let's just preview our movement here. And there is our soldier going at it. That looks pretty believable, I would say, in terms of the speed and everything else. Perfect. Let's do the same thing now to our other soldier here. Go to click on it. Go shift left click for its starting position, rect click, insert single key frame, and then have him go all the way G X, right about here, I would say, and then insert single keyframe one more time, Framew and then interpolation mode linear. Let's preview. That looks also pretty good. Let's go into our camera view, just to see the two soldiers, hide everything from here. Overall, that looks pretty good. Awesome. Let's see our shadow. Also move here. Let's just take it like this. Review the shadow movement. We can hide our two soldiers moving for now. And I guess to kind of speed up everything we can also hide. Treaty static seems to not move from here, maybe a press need press shift. There we go. So shift left click. We can see the speed of the ship also moving here. I think that's also pretty okay on my end. So I'm going to press Shift left click. Make sure that all of these are visible. Hold shift while you click on all of these eyes so that everything that's also underneath it gets shown otherwise. If you only click like this, only the top one is going to be the parent visible. So we want everything. Just make sure that that is done. And let's go into our rendered mode. Perfect. And here is our scene, working, and we can go back and add also our audience as well. That pretty much solves it. This is a very short but quick video. And then in the next one now, we're going to need to start animating our audience, our crowd, as a matter of fact. So I'll see you guys there. Cheers. 21. Animating the crowd: Video, we're finally going to be animating our crowd. And for that, we're going to be using something that's a little bit outside of my own conference zone called simulation notes, but more on that in a little bit later. Now, if you've been a little bit very nitpick and, you would look into your crowd a little bit here and there, you might notice that, especially around this areas where we have let's see, like, these groups, some like little clusters of them put together, you'll find that there is a little bit of clipping going on, such as in here. And so this is one of the issues or limitations of our current geometry node setup that we've created. So what we need to do is we need to create a system that's basically going to give almost like a shield or a radius around each one of them so that when they're really close to one another, they push apart. I Cinema four D, this is called a push apart effector. It comes natively with it. But within blender because, you know, Blender has so much possibilities in terms of its own configuration, we can build that exact same thing quite similarly. So that's exactly what we're going to be doing using simulation nodes. But to mention, the system that we are going to be using isn't actually done by me. You'll see. It's created by somebody else. So we're going to be integrating somebody else's system into our own. In any case, let's first tailor our current setup to be a bit more appropriate and easier to integrate with the one from before. So, to start off first, I'm just going to go here and change this to my, let's see, geometry note editor. Going to push this all the way up. And then within my geometry note editor, I'm going to change my distribute points and phases from random to poison disk. But before you do this, I recommend turning off the real time display modifier so that nothing crashes because once we do this, our density factor is going to be reset. And so that also means that basically, you know, we have this huge number. So if this was connected now in terms of the density and this was shown, it will be like crowded with people and more likely than not my device would crash, and you would potentially crash as well. So just be sure now to plug in the density factor. Change these numbers. So the distance mint kind of dictates how far now from one another are the instances going to be. So for instance, I'm going to put in here 0.95. It just means that 0.95 meters from one another, the objects are going to be distance from one another. And then the radius is going to be like the radius around the object itself, which is going to be added later on. So then we have the density max, and the density max is literally going to be the density itself. I'm going to start off with a smaller value of like 0.6, and then progressively maybe increase it. In your case, I potentially recommend starting with even a lower value yourself, so just go maybe with 0.4 and then turn this real time display on. So two things you'll notice. The first one is that right now our crowd is quite a lot less populated. Let me just double check if my audience is being picked up, a, it is. I got scared there for a second. So our crowd is a little less populated. But on the other side, you'll see that we have no clipping happening between them. They're all being separated by this distance mint from one another. And now if I start just increasing the density, you'll see that I get more people. I'm going to stick to around 0.8 in this video. Additionally, if you're in the same boat as me, you might notice that there's a couple of, you know, these guys that are a bit too close, at least for my personal taste to our trades soldiers. So what you could do is maybe mess around with the seed until you get something that's a little bit better. Let's try maybe I guess this is a little bit better, but we still have some cleanup to do. So I'm just going to jump quickly into my wait map here, and then going to clean these up and I recommend you do the same. So I'll just click here. Try to remove it. And I might speed up this part of the video to save up some time because we still got ways to go. Alright, I think this is pretty good. I did also like some minor adjustments to the density of my crowd. We can do that also later on. But for now, let's just focus on creating our animation system. So I'm going to leave here going to object mode, as long as you don't have any of the strays kind of pushing really, really close to these guys, because we are going to need to animate them going forward, so we do want to have some of that extra space. So now that we have pretty much everything prepared for our simulation nodes, let me actually show them to you. Because if you go on blender.org download demo files, in here, you'll find a file called Index of Nest. And so this is actually, so it's a credit to Sean Christopherson who created this, and you can pretty much download it or in the resources folder, it's going to be as well attached. So what you're going to do here is if you go let's say, here it is. This is the file, once you open it. On this side here, you'll see a simulation node system, which is this area within geometry nodes that is inside this purple frame. So what this means is that this is constantly being calculated in real time once the animation takes place. It takes into account all of the positions, all of these little spheres and kind of, like, doesn't allow them to clip with one another. So if I press play here, you'll see that exactly happening. You can do that on your own as well and play around with it. I highly recommend that. And you'll see that all of these little spheres are Moving around, colliding with the big sphere, they're colliding with one another, but they're never clipping with each other. They're always just pushing apart and colliding and so on. And so this is exactly now the system that we need to integrate into our own. So to do this, make sure that you have this file downloaded, and then Go here into your own blender file, and under file, click a pen. Find where you downloaded the file itself, click on it, here index of nearest, go scroll down to the node tree where it says this, and then take all of these six files and click a pen. Now, nothing's really going to happen, but in here you find one called chosphere. So just delete the psychosphere, we don't really need it. And I here for our geometry notes, let's just rename this two scatter system. We can just call the scatter. As long as we can differentiate. The reason for that is, if I now, go in here. You'll see that we have a geometry nodes.001 created. So before we move into that one, let's select everything here up until joint geometry, so one, two, three, for all of these five elements, except the input and the output. Press Control C. Go into the geometry nodes. And then this is the one that we just saw in that file before that I was showing you and press Control F in here. And so now we just need to replace some of our own elements that we have with the ones that are currently here. For instance, the distributed points of faces. I'm just going to take it here. I'm going to control x this one, control x this one, and then this one, I'm going to click points two points. That's pretty much it. Then, over here, there are two parts that we don't need, which is the collider step and the boundary sep. So control x on both of them. Additionally, somebody on this Court also told me that in here, I should add a vector math. I am not exactly sure why that is. I'm going to stick to it. But I did the test with or without. I wasn't noticing any difference to be honest. But for the sake of being accurate to their advice because they pointed me out to this file, I'll do it that way. So also connect this velocity from the simulation now at the bottom socket of the vector math no node. So this one update velocity goes in here, and the velocity from here goes into here. That goes together into this one. Here, you'll find also that it has instances on points and we don't need the chosphere, and we don't need the set shades. These two, we don't need. We also don't need the set material as a matter of fact. We can press control x here. And then from here, we can take our collection input that we have, shift D, and just plug it into our instance and say pick instance. All right. We're almost there. The last thing now that's remaining is adding a group input. Now before jumping into that, I recommend going here under the density factor and lowering it like a really small value. And then going shift a group input, and then plugging this group input into the mesh like this. And then we also need to plug this socket into the density factor, tell the density factor in here to use the one that we have created called weight Map. And there we go. Perfect. Last thing that's remaining is adding a joint geometry. So in here, shift A, let's go join geometry. And let's plug in this one from here all the way to there from our group input, and now we have our ground as well. And everything is pretty much set and ready with the exception of it having to be rotated by 180 degrees. So let's just go here under rotation and type in 180. Perfect. So I would start off by using maybe a smaller count of these guys. So I'll go with 0.6 for now and just show you now what is going to be the next step. Now, we need to basically just animate them. And the animation needs to take place within this purple area. So from here, if we add a, let's see, shift a combine X Y and Z, this should give us inputs for both X Y and Z elements or Xs. So if you were to move one of these, they're going to move in that direction. So if I were to just move this a little bit, and let's add a timeline right here, and let's go here under timeline. And if I were to plass play, they should all pretty much be moving forward, but for some reason, they aren't moving right now, and this might also have to do because we need to also set up here, Our radius to be, let's go one. So this is the radius around them essentially that is going to be bouncing. So I'm going to be using, let's see, 1.3 was the value that I used. So I'm going to stick to that exact net value. And the moment I press play, you'll see that they're all kind of bouncing from one another, which is technically good, but we see that there's something else disrupting our work. So let's just take a look what that is. So we have the combined X Y Z. This goes in here. That's correct. This one is the updated velocity. Oh, we need to take this one from here, and this needs to go from vector into vector. There we go. And that should pretty much solve our issue. So if I were to press now here, now you can see them they're going backwards. If I press here a negative number, They're all going to be moving synchronously forwards, but we don't want them to move synchronously. We we want them to move with a random value. So I'm going to tap in here a random value like this. And for this random value, I'm just going to use a small number here to, like, 0.01. I'm going to use like a negative. And here I'm going to use 0.001, simply this. Let's just press play to showcase how this is going to look like. So you can see now they're slowly moving forwards and on certain areas, they are kind of colliding with one another, so they're not really hitting each other. And then you have to wait for this cash to kind of like accumulate. And so but we need to tell it that once it gets to a certain point, which is going to be around here, they need to stop moving because right now they're constantly moving because the random values set to a certain number that is being driven inside of it. So to tell them to stop moving need to, this is the part that we're going to need to now animate. So I'm going to start off here with let me just take the values that I initially used. And here I put a value of negative 0.5. Let's see in here. So if we have a value of negative 0.5, I think that's a little bit too fast. So I would probably go even lower to like 0.3. Let's see 0.3 value. And you see this in a much faster rate, we can also go in here and just change the density here to 0.1, which should be a much smaller number. And now we can just preview and see how this is moving. So this is the speed of 0.03. And I think it's still relatively maybe too fast, so maybe negative 0.25. I think this is much closer. So we want them to move at speed of negative 0.025. Roughly, let's see, insert here, and all the way, let's say, we want them to move roughly all the way up to somewhere around here and this is like the part where they're going to start slowing down, maybe, I would say, or maybe around here. So from here, from this value, insert keyframe, they're going to go to here, and then this keyframe is going to be zero. So the idea is that they're going to move at a constant similar speed from the start, but then as they get to the closer value here, they're going to slowly start slowing down. And now we're going to get them to stop. We might need to actually animate them so that they stop even sooner. Let's take a look. I would even have them so go and start slowing down somewhere around here. Let's just preview here. Let's see where can we find this little key frame. If we go into our graph editor additionally, we also want this to be linear. Let's go here under our graph editor frame all. I guess. Mm. It's so I should have just have the object selected and then have the object and the key frame selected and then go frame all, and the should pretty much show us the key frame values in here that we have added. There's this So we start off at 0.25, and let's just go here to our regular timeline so that we can see it better. So it goes from here and this one needs to get to zero, and then insert replace key frame. There we go. So we're on the same value from here. Move. And then all of a sudden, they're going to start slowing down into zero. I would probably push this one even further somewhere around here. Let's just preview, and then they're slowing down to zero. All right. Now, the next step is probably going to be t just adding a little bit more of them into our scene, I would start just by going step by step. So here we had a value of 0.6. I'm going to add a value of 0.6. Go to the start. You can see it's very crowded, going to press play, and then I'm going to wait out till everything here loads to kind of get a preview of how the scene is looking. And here we go. Now, we still have our FPS drops here, so unfortunately, that's not going to help us too much, but this is pretty much our scene. We can see all of them moving, and our shadow is also being animated. So from here, all that's really remaining now next is to jump into our render settings and to set those everything up before we jump into the render itself. 22. Final Tweaks: We jump into the render settings, I want to use this video to work on three things. One is important somewhat. The second one is cool to know en to implement, and the third one is more of a personal preference as it has to do with the strength of the light and sun and et cetera. The first one being, well, you might not notice it, but depending on how many of your points you have here. So for instance, right now, my density is set to one, but if I were to increase it to number two, if I were to press play, you'll notice that there's a very ten frames where they kind of push off from one another. So if you're using maybe a density of three, which is what I'm going to be using my final render, You'll see that if you go in here and press play, they all kind of separate from one another, and I don't want to have that and need or she do in your starting scene. So what you can do simply is, well, we only have, let's see, what do we have animated? We have our soldiers that are animated. So let's just change this to number one first. So we have here our random value and that's being animated. So I'm going to go here under end step in plus ten. So that's ten frames. I'm going to select everything from here. I'm just going to push this all the way like this. Then I'm going to go click on the shadow here and just do the same thing where I select it and move it like this. And then we have the Atrads soldier one, this one here, I'm just going to move it like that. And this one here, going to move it like this. And that should pretty much fix the issue overall, I would say. All right. So all of them now, we have those, like, 10 seconds here in front where nothing is happening, and the soldiers are just going to be pushing from each other. Pretty much done. Now, the second one is cool to know, and I recommend you stay and watch this one. So something that's been bugging me is the way that we the way that I kind of like decided to apply the textures here to the crowd. So if I go here under my render settings, and if I hide the current shadow, and if I enable the crowd collection, you don't need to necessarily do this. You can just like, kind of like watch this for this part. And I go here here and we see our crowd. Right now, the way this works is we have, let's see. We have, I was just checking if my microphone was working, still got the PTSP. You might not notice this, but it's actually been like three weeks since the previous video, the one where we added our stimulation noser, everything. I had to kind of go offline a little bit because of work. But in that time, I was kind of like watching some tutorials, which has led me to this video that we're doing right now, and this trick that I'm going to show you. But I still have the PTSP from PTSD, from the audio, in any case, what I was going to say, Right now, the way we have our textures being applied is that we have texture number one, texture number two, three, four, and five, each individually applied to its own model, and then that model is being scattered, and that texture remains with that single model. But with a little bit of tweaking to our geometry node setup, what we can do is we can increase the texture variety by 25 because we have five textures, we have five models here. So that means what we can do is have each individual instance that's being scattered, use one of these five textures at random. So somewhere it's going to be this model. The left with texture number one. Somewhere to the right is going to be texture number two, somewhere to the left is going to be textur number five. And the same applies for each one of these models. So each instance is going to randomly pick which texture it wants applied to it. So it doesn't require too much work, by the way, which is pretty cool. The only thing that's kind of annoying is now we need to hear under slots apply all of these textures. So right now we have only one. If I go here plus, five, so one, two, three, 45. I just need to go click here and assign Crowd two, go here, assign crowd three. Do the same for di guy, crowd four, and here, crowd five. So now we have one, two, three, four, five textures, and I'm going to do the same for here now as well. So just press here four times, and then I'm going to go here. Crowd one. Crowd three. Crowd, four crowd five. I'm going to now speed up this part so you guys don't have to watch it, but you can just complete it. It's pretty much straightforward. So one, two, three, four, five. There we go. So now, each one of them, so this one is Crowd one, but it has one, two, three, 45. This one is Crowd two, but it has one, three, four and five. This one is Crowd three. But it has 2145, Crowd four, one, two, three, five, and Crowd 55321. Go. So each one of these now has all of the 55 elements, five textures assigned to them. One more thing that you can do, and this kind of like what's bugging me is, I want to change ale bit more of some of these colors that we have, so they're a bit more diverse. So the one here on the left, for instance, I want to make it a bit more like this, like red brownish. So what I'm going to do here, click on it, push it a little bit more to give it like this color, and then just push it to make it slightly darker. So it's more brownish. Push this a bit more here, push this one a little bit more here. Increase the roughness, maybe play around just add a little bit more detail, kind of like this. And I think this already looks pretty good. Additionally, this is something I've learned as well recently. I'm 100% sure, if I remember it correctly, but if you increase the detail, that also potentially increases your render time, so just be aware of it. But because we're going to be using only 400 samples, I think we should be more or less fine. I'm going to have this one at two. And then this one, I'm going to just drag this here to the middle, but then I'm going to push this slightly down so I make it like this like darkish. And then let's see, just add a bit more of the detail, a bit more of the roughness. Play around with the W slightly. Maybe just push back the roughness slightly more. Just to get variation like this. For this one is actually the most important one. I want to give it like this almost a greenish color. So I'm going to go click here, push it slightly into the greenish variant. So I'm kind of like eyeballing this. But I think this is pretty close, and then for this color, I'm going to just give it a bit more darker, something like this. And so it kind of gives this bit of dirt kind of look to it. And just now playing with the details and everything. There we kind of go, lowering the roughness. Lowering the details a little bit more. Maybe like arity, something like this. Seems to be pretty good. This one again, I'm going to maybe just make it slightly darker. And I think this one I'm going to keep as is. This gives just a bit more variety in terms of color. I think it's a bit more accurate towards here. So if I go now into my crowd, and I go into the geometry node, and I click here. I increase my density to, let's say, number three, hide. This looks a little bit better. And what I could also do is just increase some density, just changing the weight map a little bit more just by going in here, going under weight paint, clicking here to see, and just pressing here to add some extra crowd in some of these areas right here. I think this is already looking pretty good overall. Let me change this to 100, something like that. All right. Let's go back under rendered, go back under object mode, hide this. That looks much better. Perfect. Let's now bring back our shadow as well, right here. And we can also, I think, hide our crowd collection that we have in here, and that works pretty good. All right, I can even go here and say 3.2 to give a bit more density, and this looks over real good. Perfect. Now we have everything set up. So now we just need to kind of go into our geometry node setup and see what needs to be. What are those small tweaks that I talked about. So the first thing being, well, Right now, we have all of these guys as instances. In instances themselves, they don't carry a mesh data. So we need to convert them into a mesh. So here where we have instance on points, we're going to add a node called realized instances, which is going to convert them into mesh data. Perfect. Now, what we need to do is basically tell it to store the information from this instance on points. We're going to store the index information. And for that, we're going to use a store named attribute. And we need to tell it, what do we want to store? Well, like I said, index, we're going to take it say index. So it's basically taking the index information from each of these individual instance on points, and it's storing it in this name attribute. Now, the index information, I think is best stored as a integer. This is kind of like from what I watched after some tutorials. And so here we're going to just change this to float to integer. And then also we're going to change this point into an instance because we're saving it kind of like as instance on point. We're also going to give it a name. So this attribute index attribute is going to be called color. And we're already halfway there. Lastly, now, we need to tell it to basically take these instances and apply a material to them. And so to do this, we're going to go here Shift A search. And you're going to find here if I type in material, there's a couple of material nodes, but the one that we need is called set material index, so not set material, but set material index. And here's now the cool part that's going to be happening. Notice this. Let me just go back and uncheck and show my crowd. So look at this. Number zero that we currently have corresponds to Our material number one. So all of them now are the same material. Number one, corresponds to material number two. Number three. Sorry, number two, corresponds to this one, number three to this one, and number four to this one. And then if I go back to number five, it's going to correspond back to this one. And I think from here, that's pretty much it. We can change this to number ten. I think it's going to stay the same. So what we can do is either use numbers 0-4 or one to five. We can just go and say, Hey, use a random value. Okay. Use a random value between the numbers of one and five because we have five materials, or you can say zero and four. And with the ID that we just created, which is this one here, store named attribute. So we just need to give it a named attribute, and we need to tell it which name attribute we want to give it, which is the one we called color. So we stored the information from here, we stored the index information, and now we're going to feed that index information into the random value here that's going to drive the material index. So that information here is going to be color. Here we have it, instance color. And wi, all of a sudden, now they've changed their colors. If I go on view camera, here they are, and it looks much, much better than before. Perfect. So now, the only thing that remains is, let's go here, hide our crowd collection. And let's bring back our shadow. For the shadow, I want to do one more thing. And that is kind of, like, increase the amount that it moves towards the right side. So if I go here, click on the shadow, and I go to the shift right click to the final frame, press letter. I'll see that my shadow goes, let's see. Letter. Perfect. It goes from D to frame, 454-05-2502. I'm going to change this to 55, replace single key frame. There we go. And you might also notice that our ground is looking a little bit different. And so this has to do obviously with the geometry nodes setup that we just implemented here. So what we need to do is actually let's just temporarily disable the real time display. And you can see that once we temporarily disable it, we get back our old texture. So we're going to just press shift the to duplicate our ground, and we're going to call this one on top our crowd crowd scatter. And this one here is going to be called ground. Now, for the ground here, we can actually take out the geometry node setup, and we can also go here under our weight map. We don't need it, we can take that as well. For our crowd scatter, our crowd scatter still is going to be working. So if we go here and show it in real time display, you'll see that it kind of goes on top of our ground. But the reason why our ground is even showing is because we have our joint geometry in here. So it's taking the initial information of the input, which was the plane with the ground, and it's joining it with our geometry note set up in here. So if we just go here and press control and x, then the ground is going to disappear, and we're going to have the ground. And we're going to have the crowd scattered just like that. So that kind of solves our issue already. So we have shifted the amount that our shadow moves, we have increased our population, we have changed the crowd texture, the way it's being applied, so it's increased the crowd diversity of the texturing. And we've also kind of offset our animation a little bit. So only things now that are still remaining are well, slightly optimizing our scenes. So what we can do, is if I go here under solid, and then click here to preview the material tab view camera. And I click here roughly. Let's go all Z. Let's click somewhere here. You see this vertice right here. So this means that we can pretty much live without all of these guys. And I think even all of these ones. So if I go delete these vertices, see that everything works fine. If I go back under rendered, and I see the shadow here, everything works good. The same goes for the top part as well. So if we go and select all three of these entrances and press tab, and I go into the view camera mode, and then I see here press G, or actually, let's go. We need to select all of these edges right here. View camera, G Y. And then we start pushing them in the Y axis towards us. You can see, we actually need them only to be roughly up to here. So this is how much we actually need. Everything else is not even visible. So if we go click here, t, we can pretty much live without all of these guys right here. There we go. And that pretty much kind of saves a little bit of information from our scene. And I think we can also go here on the top view and delete a little bit from here as well. Vertices. There we go. So if we go and out view camera, everything pretty much looks the same, but it's taking a little bit less data. And now this is now the final part kind of before we go into the render settings, which this has to do with our basically coloring of the sun, the strength, and such. So I think right now, the one that I have in here is a bit overexposed, and so what I can do is simply just take the strength, slightly lower it down, change it to match this one a little bit better. But I also want to now zoom in here a little bit. If I compare the shadows, these ones are a bit more stronger versus the ones that I have that are a bit softer. So I'm just going to change the sun size as well, because the sun size is going to make my shadows sharper. As you can see here, now they're much sharper, which is a little bit better, and I'm going to also sun rotate it more towards the left so that these shadows are kind of similar to the ones over here. There we go. So these two things now have been fixed. And lastly, if you think that the the softness of your shadow here needs to change, you can always press G z and then move it a little bit more up. And if you move it more up, you can see that the shadow is much softer. If you move it more down, the shadow is much harder. I'm just going to go roughly I think this is very close to what I need. So I'm going to keep it around here. All right. I think this pretty much does everything. I might even just slightly change the strength. Just a little bit more to kind of try to match the coloring here. But these are my final settings in here. And so in the next video, now that we have everything here prepared, we're going to jump into our render settings. So I'll see you guys. 23. Bake the simulation: One small thing I forgot to mention in the previous video is that don't forget to bake the simulation. Otherwise, if you don't bake the simulation, the crowd actually isn't going to get animated in your final render output. So before jumping to render sayings, make sure that you bake the simulation. You can either do that by simply pressing he play, but then it's going to run the entire animation very slowly, so this might take a little bit longer, so you can do it this way. A alternative way is, I think it's a bit faster if you just go here under physics, and here you have simulation nodes, and you can simply press bake. So if you go like this, it's just going to start baking the entire simulation. So once you have this purple line covering from start to finish, you can pretty much go to the next video. So once your animation is baked, I'll see you guys in the render settings. Je. 24. Render Settings: L et's finally jump into the render settings. So we're just going to go from top to bottom here for all the necessary things to first check it for everything is correct. I'm going to be obviously rendering in cycles, supported GPU. Right now, in our viewpot, we've been using 200 samples, and I have it set up to 400 for render, but I think you can pretty much render it at 200. I think my initial test was in 200. I'm going to go with 300 because for me, it's going to take like around a minute per frame, and I'm going to leave this to render overnight. If you want, you can go even lower. Just be aware that obviously the lower the sample size, your shadow here might be a little bit more noisier. But you can then turn on the D noise if you wish. I'm going to keep it turned off. And then if you do use D noise, obviously, if you have a VDA GP, you can go with an optic X, which is, I think, a little bit faster and better. Otherwise, you can go with open image D noise and say Albedo and normal. For me, as I said, I'm going to turn off the noise. And then if I scroll down here under film, everything here is okay. Let's see color management. We are going to be rendering using AG X here. So instead of filmic, you can go AG X. And that's just going to give us a bit more information in terms of coloring. And more also about that. Now we're going to get into the output settings. 1920 by 816. We're going at 24 frames per second. Start frame number one and frame number 250, because we have those extra 10 seconds. Ten frames, sorry, at the beginning to kind of help us spread out all of these crowd that we have. And then now we have the output. For my output, I'm going to create a special folder. So I'm going to go here under my Dune tutorial I'm going to create here a folder that I called a test rein. I'm going to actually create a new one called, let's see, Dune three Render. And then inside of it, I'm going to create a new folder called beauty. And here, I'm going to have my beauty do like that. All right. For the file format. If you want your shot to look exactly the same as it is from here with the least amount of post production later on in the coloring, and you're already happy. You don't want to tweak any of the coloring and stuff later on. You're more happy to render it as a PNG. But if you watch P one, we use what was called an Open EXR. And I showed in Part one how Open EXR retains much more information than going with a PNG, because obviously, PNG, we can go here, let's see. PNG has an eight bit and a 16 bit. Open EXR also has a 16 bit and a 32 bit. Now, we don't need 32 because that's an overkill p. We can still render at 16, while having file sizes much smaller than the P&G one, if we choose here as the DWA loss here. So we're going to be getting more information than an eight bit PNG because we're going in 16 bit color channels, and we are going to have much smaller file sizes, so it's much better to use an Open EXR. But as you saw in part one and part two, there were some issues with matching the color that comes out of the out of blender. Like, what we see here in the viewport wasn't exactly the same as we added in After effects. No worries. I've also figured out how to kind of like mitigate that issue. So you'll see that in the next video once we start jumping into after effects as well. So All that is to say, if you want to dive into more color correction, more post, I recommend using Open X R. If you like keeping it as is from here with little as work as possible, you can go with the PNG route as well. All right, F here, everything else pretty much here stays the same. Color management, follow scene, and then we can go here under view layer. And we need to enable our cryptomats for object material and acid. We're going to be using pretty much only object, but still let's enable all of it. All right. Now, let's also do a render image because here under compositing, if we say use nodes, we're not going to be able to see anything. So if I go here under viewer, as you can see, nothing currently is showing. So let's just render one single image here. Render image. All right. So for me, it took 30 seconds for this final frame to render out. And let's now go into our viewer here that we have connected. So here we have the viewer, render layer, composite. Alright, and here we have our scene. So what we're gonna do is go here, shift A and go cryptomat. Plug it into our viewer here. Control, Shift left click until we get the pick. And I want to select for this cryptomat to use the crowd. So this render here is only going to be for my crowd so that I can control kind of like the color of the crowd itself. So Shift A. I'm going to click here under file output. And I'm going to connect this here into here under the file output. Going to go into the Node settings, properties. In here, let's just create another folder. So here we have the one called Beauty. But for this one, we're going to go and click here. Go back. So Dune three Render, and then I'm going to click Accept. And then in here, we're going to create a new folder. This one is going to be called Crowd and Crowd. So basically, n folder crowd at files with the Title Crowd. There we go. Additionally, now, so we have our beauty, we have our crowd. What else could we render individually? Well, something that I actually want to be able to control individually, also is this shadow in here. And the way we're going to be rendering out this shadow, because I don't think we can get it directly from here in our layers. But we can actually render out only the shadow using something called a shadow catcher. So I'll show you exactly in a second how that works. Let's just collapse everything in here. And in here where we see view layers, Let's create a new layer. So just click here, new like this. And then in this new layer, we're just going to rename this one called Shadows. This one is only going to be used for your shadow. What I mean, my dad is, let's go right click, New collection. Let's call this collection Shadow. Then in here, in our collection on the top, we have our ground, and we have our shadows. So we're just going to take control C, and then copy it here, and then we're going to take the ground, control C, and copy it here. This is actually going to be called shadow catcher. It just makes more sense. And now in this layer, I'm just going to uncheck everything from here except the shadow catcher. And then if I go under the view layer, you'll see that here in beauty, everything still remains the same, but we want to uncheck only the shadow catcher and keep everything the same. So here we have our beauty. And here we have our shadow. So beauty. Shadow. And then again, beauty. So they're basically identical. The only difference is, here we have the shadow, but not for too long, because for now for the ground, if you click on the ground, and if we go here under object, there is a setting here called Shadow Catcher Under the mask. Now, if we click this, we're not going to be able to see anything because here under our film, we need to click transparent. So once we click transparent, aha, there is our shadow. So now we have a transparent shadow here that we have, and we can use it as a layer, because if we go here under compositing, we can go shift the duplicate this over here. And then go instead of beauty, say, use the shadow, and we can connect that shadow in here. So let's just go render this one more time so that we can preview it. And now you can see that it's also rendering the second layer. It was rendering the first one, which was our beauty image, but it's also now rendering the second layer which contains the shadow itself. So this is going to increase our rendered times by double as a matter of fact, because it's rendering it as a separate layer. And here we go. So let's now go under our render layers. Here we have the one called shadow. Let's just preview it. Here is a shadow. And then here's our beauty, and here's our crowd. So here for the shadow, we're just going to go under file output and add another input. This one is going to be called shadow slash shadow, like this, and we're just going to connect this shadow into here. You could potentially also render the mask, but we're not really going to be needing that as a matter of fact in the next stages that we're going to be doing. So pretty much everything now is here, set up and ready, I believe. And all that remains to do is to click Rando Animation. Make sure that now you have your main beauty layer. You have your individual crowd here that you can then control the brightness of later on. We have our shadow that we can also control the darkness of the shadow, and we have the layer that contains everything. So, this is pretty much it for this video, and I'll see you guys in the next one when this finish is rendering, but we're going to jump into post. Cheers. 25. Preparing for post: Watch P one and P two, then you should be pretty familiar with this part of the course. In this video, we're going to be adding all of our render files into after effects. And we're also going to be installing if you haven't already the plug in that's going to be used for chromatic aberration, which we used in part two, but not in part one. And most importantly, we're also going to be showing you how to match the color output that comes from Blender into after effects. So the issue that we had when rendering an Open EXR in the first one, and in the second part as well, which is why we had to do it PNG. So all of that now in what's to. This is like I this is your first time in After Effects, if you haven't watched part 12, and this is the first time, you can pretty much close off this window for now, we don't need it, and this is your typical layout. So we want to start off simply by pressing right click here by going here on the project. Sometimes you might start off with effects control like in my case, but just click here on the project. Go right click and go import. Now, we don't want to import multiple files yet. We just want to import the first one. Here. And it's going to take me immediately into where I rendered my files, and I'm going to go under beauty here, click on the first one and just say Import. Now, before I even go and drag this down, which is something that we're going to be doing. Something that's really important to mention is that After Effects interprets our footage as 30 frames per second, whereas we have rendered it at 24. If you go right click here and go under interpret footage and then click in main, or if you go control Alt and G, and this takes you exactly here, interpret footage, you can see here, assume this frame rate is 30 frames per second. We need to press here number 24, so it gives us the actual duration of our shot. So pressing Enter, and just drag and drop this now here and it's going to immediately create a new composition. But what we noticed immediately is that this looks way different than our original shot. The colors don't match. It's super dark, it's not bright, and et cetera. So. What we need to do here is basically have this output match the one that we had in Blender. So we need to change our color management setting. So we're going to go here under file. Go under project settings. And then here you see it says color. Now you have this color engine so color managed, and here it's going to say ACS 1.2. Go here, click on it and go under custom. And now we need to basically upload, upload our own custom So configuration, which is going to be from Blender. So press here, select, and now find wherever you have Blender installed. In my case, it's going to be in M D drive. Go here under program files and then blender Foundation. Find a version that you are using, so 4.1 in my case, 4.1 here. Click on the data files, and then color management. From here, click on conflict dot sio this part right here, and then open. Once you do that in here, you'll see that it also gives us all of the blender views that we had in terms of the color management, so AGX, and et cetera. Right now, the working color space should be set up to default linear or RX 709, and then display color space, we're going to change it to say SRGB AGX. So the second one in here. And then one Cypress K, the scene is kind of There was one frame where it kind of worked, but then it changed. This is why I didn't want us to upload any shots in particular except this one because what we're going to do is just delete this one like this. Then re upload our shots. Once again, so click multiple files this time, and now start with this. Click Here. Import. There we go. Go now back, go under Crowd, import the crowd. There we go. And lastly, going here, soldier model. That's not the one. In my case, shadow import. Here we go. From here, I can press it done now. I'm pretty much good. And then I can just take this image and then drag and drop it back into my composition. And as you can see, it is its normal color. But the duration is still not correct because we need to go and again, reinterpret our footage. So Control Alt and G or RClick interpret footage, and then just change this number here to 24, and you need to do the same one for all of these guys here. So Control A G. Then change assume this frame rate to be 24. Once you do this, you can stretch this out all the way. But remember, we have some extra frames here that we add. We have ten frames extra that we don't really need. So you can either take them out now or we can take them out in our final step when we're going to be merging all of our footage from part one and part two. But now, in case you don't have that footage, I'm going to just push this a little bit backwards. We actually, what we need to do is go under composition here. Then go under composition settings, and here it says that our composition currently lasts 10 seconds and ten milliseconds, I'm assuming, so we need to change these here to type in zero, zero, so it's just going to be 10 seconds. And then this way, now, if we just push this slightly towards the back like this and match this corner here with the edge, we're just going to remove those extra ten frames. So here is our shot. Can do the same thing with also here with our shadow. And let's just rename this so that we know what is what. So right click here. Beauty. You can also press enter, by the way. So if you go here and call this one shadow. You don't need to do it, then there's no need. And then this one is going to be crowd like this. And so then I'm going to go and add the crowd above my beauty. And lastly, I'm going to add the shadow here. Obviously, the shadow is too strong, so I can maybe make it weaker, but for now, I'm just going to hide it, and then later on, I'll see how much of a strength for the shadow I need to add. Alright, so we have everything in terms of our colors setup. We have everything in terms of our files here set up. Last thing that's remaining is the plug in that's going to be used to help us with chromatic aparation. So, for that plugging, things are a little bit different. If you go under your resources folder, so here under resources, you'll find a file here called QC A V 3.2. This is a plug in from I think it's called plug in everything. I can't exactly remember 100%. I'll put the name here so that they get the original, mention. But if you go here and then click on the folder and then go here under QC A three, you can just select this file, and it also comes with the documentation on help here. So you can select this file, Breast Control C. And now you need to go wherever you've installed your after effects. So in my case, it's in my C drive, program files, adobe, after effects, clicking in here, and then going under support files, and then here, I need to go under plugins and just paste it right in here. So you already have one here. Added. So I don't need to, but in your case, just press Control V so you can paste it. And then once you do all that, be sure to press file, save as, save your after effects file because you're going to need to reset After Effects for the plug in to actually be added here under your effects and presets. So just save it. I'm going to go and do that right now, adding it into my folder here. I'm going to call this one Dune three, and simply save. Once you have all of that completed, you can reset after effects, and I'll see you in the next video where we're going to be starting with post production. Cheers. 26. Post pt1: Et's jump into post production. Now, if you're familiar with my videos, whenever we do jump into post and color grading, I always turn off my camera just because it's easier to see all the nitty gritty details without the lights that are glaring directly in my face that I use for the keying afterwards, in my own post production of these tutorials. So Without further ado, let's jump into this. So, the first thing you need to do is make sure to match these two layers with the same duration as the one from below. So just click on both of them and then click with the mouse and drag them towards the left side like this. Make sure that all of these three corners are matching so that because as you remember, we had those extra ten frames that we added so that we can mitigate that extra kind of separation from these guys at the beginning of the animation. So once you have all of that, we can start by adding our first layer here. So right click in here under your layers composition, and then go here under adjustment layer, and we can press Enter to rename this one. It's going to be called chromatic, so. We're immediately going to be using the chromatic apparition plug in that we just installed in a previous video. So go here under effects and presets, and then type in chromatic. And under plug in everything you'll be able to see chromatic apparition number three, drag and drop it here into chromatic. And then you'll notice that we already have some chromatic aberration now being added. But this is a bit too strong. I would say for my taste. So I'm going to go here under position and type in 0.25. And that's just going to decrease the strength a little bit, while still maintaining some chromatic aberration effect that we want. All right. Now we've completed part one. For the majority of this video, I think I might even split it into two parts. So for the majority of this one, we're now going to be focused on adding a layer of dust on top because obviously, if you have a large crowd walking here, it's only natural that the sand is going to slowly build up and rise, and you can kind of see it around here. There's a little bit of like this dust. And then even here at the entrance, there's also some dust going on. So all of that to come now. We are going to start off by simply right clicking here again and adding a new layer. This one is going to be called a solid right here. And once you click it, you can actually rename this one to be called dust. The color that's in here doesn't really matter, so you can use whatever color you want, because we're going to be adding actually on top of this another effect. So under here effects and presets, type in fractal. So here we see we have fractal noise, and then click, drag it into the dust. And here we have what's going to be later on used as the base for our dust. Going to go here under settings, change this to subscale. And then I'm going to be playing around a little bit with the contrast, just trying to maybe add some extra contrast, but not too much because remember, there's not too much detail in this, obviously. So something like this should be more than enough. I am going to even reduce the complexity to maybe 3.8 or something like this. And then I'm also going to transform it. So this part here where it has transformed. I'm going to click off the uniform scaling, and I'm going to give it a bit more of a stretch kind of kind of like this here. And then just play around a little bit more with the brightness until I get something like this. Alright. The next thing is, I want to also add a bit more color to it. But before I do that, I'm going to go press the letter T, which is going to drop down the opacity settings. If you can also click on this drop down arrow here and find the opacity settings over here. And I'm just going to drag this down to I don't know, like, a number around I'm going to go with 24. Needed for now because I want to be able to see where I'm going to mask out. So where do I want this dust to actually appear. And so that is this area here. So I'm going to go press on the Pen tool, this one right here, or you can press the letter G, and I'm just going to start drawing my dust by clicking holding my mouse and kind of trying to match some of this crowd here. And I think this should be more than enough. You don't need to go fully crazy, but something like this should suffice. You can also press Alt and then left click on this, and this is going to give you like a softer handle, so it's not like a super sharp corner. Then you can play around with it like that. Right. We can also add another one by just clicking here again, and it's going to immediately create a secondary mask. We can notice it by the difference in color. So just doing something a little bit like this should do the trick for us. Perfectly. All right. Additionally, now, we can play around with the color of this dust. So if we go here under effects and presets and type in tint, you'll find the color correction tint effect right in here. Drag and drop it right after the fractal noise in here. And then for the settings, we're just going to change these colors to the following. So I'm going to go click on the black one here and just type in the number 393636. But I might drag it slightly more down. So it's going to basically map the black values to something like this. And then additionally, I'm going to then map the white values to this following color. So I'm just going to increase the saturation, going to give it a bit more of a color, dusty color, something like this. So it matches more with the seam. And then additionally, we also need to feather our mask a little bit. But let's do that. Later. Right now, we also need to animate our mass because, you know, this is pretty staticy. But luckily, we also have the settings here, one of which is the evolution. And as you see, if I move the evolution number in here, it also moves the dust around. So what we can do is just do a very subtle change here by pressing on the evolution and then going all the way to the final part and just moving it ever so slightly, or we can even move this value, but this is going to move it way too much. So let's just go here to something I like 80 seems to be fine. So just subtle movement in evolution. And additionally, you can also do some movement here with the offset turbulence. So if we click on the offset turbulence, and then we move it all the way here, and we move this value slightly down, this one slightly more to the right. So there's some extra little bit of movement here. Let's just check it out now. So if we press space. We're going to need to wait a little bit for our animation to kind of pre render. There we go. And there's some very, very subtle, small dust movement that we can see kind of going on. And now all we need to do is feather out our scene a little bit. So go under your mask here and you'll see the mask fetter. Start fettering it atle bit. All right. And then for the second one also, start fettering the second one a little bit. There we go. Let's take a look. Looks pretty good. And now additionally, if you want, you can also play around with the strength of the dust. So you can maybe say that the dust goes weaker or stronger, so here under opacity settings, as you see, and we also have the settings in here. So let's just go here under our main dust, the global here, and drag the opacity back to from 23 all the way to 100 and then go under our individual mass settings and then individually control how strong we want them to appear. So for instance, this one here, I want it to be maybe around 30. And then for the second one, I want it to be slightly lower, so maybe, like, 20 ish. So let's see how these look, pretty good. And then additionally, I want to be able to control, let's say, this one starts at 30, but then as we kind of go here, it gets a little bit weaker. Maybe gets slightly stronger, and then goes back to maybe 16 in something like this. So there's a bit of a additional oscillation between the strength of our dust that we have going on here. And I'm going to even increase the fettering a little bit more extra here probably. And I think this was a bit too aggressive, so I'm going to take this one out here and just move it a little bit like this. This is more of a matter of a personal preference now so you can kind of do it in your own. So I'm just going to increase my feathering here to maybe go around 56. I think this is a bit better. And I might even go and stretch out my mask. So if you want to do some extra changes to the mask, you can click here under the Pen tool, and then zoom in here, click on these click Shift and then double click on these guys, and he's going to turn it into the ability basically to just move them around. Now, for instance, it has locked into one of them, so I need to go click one more time, and there we go. I'm just going to slowly maybe go and increase my dust because there's quite a large crowd over here, so it only makes sense that dust might be slightly bigger. I might even do like parts here where it's smaller, and then here larger. I'm going to add maybe an additional point in here. To push this one in here like that. I'll click on it, to maybe curve it a bit more. Let's take a look. So there's two separate dusts here accumulating where the crowd is, that looks pretty good. What I don't like though now is that both of these two kind of get separated, disappear slightly. So what I'm going to do instead is just close this part off, to have it be like this. And then I'm going to go turn another one just around this area here like this and then change it obviously the strength to let's see feather let's go and then opacity also super low. This and then feather 56. There we go. So now we have some extra dust in our shot. Okay. Let's go fit everything here. Fit. Perfect. I think for this video now, we can pretty much close it. We are exactly almost 11 minutes. And then in the next one, we're going to continue adding additional camera imperfections to bring up the realism for our scene. So I'll see you guys there. Cheers. 27. Post pt2: Start this video off with color correction. To begin, I'm going to actually drag my PRF here, and I'm going to try to kind of like somewhat match it with my shot. So I guess something like this is going to be fine. This is just going to give me a little bit easier with my eyes to kind of try to match these two colors of the ground. So I'm going to go right click here, press new, and then go on the adjustment layer, press Enter, rename this one to color. Additionally, I'm going to take the chromatic and push it above my color. And I'm going to also change the label here of the color itself. I'm going to use I don't know, like, maybe a green one here just so I can differentiate between the three of these guys. And then for the color, I'm going to go under effects and precess tap in lumetri, drag it into the color. And here I can start off with my basic correction, just slowly changing the temperature, just making it maybe slightly colder, so going into the negatives. And then let's see, I'm going to go increase the saturation just slightly. Playing around with the values. And I think the real magic is going to come once we dive into our curves and our color wheels here are human saturation. But before we dive into that, I'm also going to play around a little bit more with my maybe exposure just slightly, trying to maybe increase, let's see if I decrease, that's definitely too low. So maybe negative one, then let's see. One here for the highlights, I'm going to drop down the highlights just a little bit. Then let's see the shadows, might increase the shadows. Slightly, let's compare the shadows over here, so maybe they're a bit too strong, so I'm going to just keep them at a zero. The whites I'm going to keep them as well as they are. And so then I'm going to go here and just try to match using simple curves here. Moving out to the red one. Moving it slightly down, then going into the blue. Just keeping it some around here. Okay. Let's zoom out a little bit. And then now I'm going to go ops. Let's go. Fit. I'm going to go down into Q and saturation and versus H. I'm going to start with u versus Saturation. I'm going to click on the eye dropper tool and then click on here to select this color specifically and then just drag this up and down and try to see if I can get to a color that's fairly close to what we see in here, and I think this one is getting really close, and then I'm going to go under Hu versus H. Click here one more time, do the same. I think this color is almost as close as I can get so far somewhere around here. It's still not there exactly, but I think it's pretty close just by playing with these two values. This kind of helps us match the color to be closer to what we have in here. It's a I think it lacks a little bit of pinkish, so we're going to go now back into our main curve here. Just try to play around with our shadows. And light over here overall, and going back into the exposure, see if we push the exposure to maybe zero. Does it get us closer? I still think this one needs a little bit less maybe saturation. There we go. By reducing saturation, it gets me a little closer. The values. So negative 30 temperature, one oh one, one contrast, highlights negative two, and then slight adjustments here on the curve, slight adjustment on the red, slight adjustment on the blue. And then in here, we use the eye dropper tool, selected this part and then try to match it as close to as possible with this here. Now, obviously, it is not one to one, but it's pretty close. This now leaves us also with the shadow because you can notice that the shadow here has a little bit more of a bluish tint to it versus ours that is purely dark. So where we're going to do this, actually, because if we were to, let's say, add a color lumetri color, so let me just show you don't need to do this, but if we were to add a lumetric color into our shadow, and we were to say, Hey, let's change, you know, the shadow color. See that it doesn't really affect it. So if we go in here and say, you know, Hey, have this be much brighter, it doesn't really change. It doesn't do anything. We can say temperature, temperature doesn't change the color. So what is the shadow actually then for? Well, what we're going to do is we're going to take our beauty layer that we have in here. We're going to duplicate it, Control C Control V. And let's rename this one and call it shadow color. And then over here for this shadow, we're going to use this shadow kind of like as a mask to drive our shadow color. So under here, Track Matt, we're going to go and say, use this or shadow color. And I think this should actually work now. As a matter of fact, I think I did it the opposite way. So we need to go here, shadow color, use the shadow like this as a mask. So now if I click here on this button, you'll see that this is kind of what we have now under our control. So if I go under metri drag it now into the shadow color, Let's go click on this solo button one more time again. Go under basic correction and start playing with the temperature. You'll notice that it impacts the temperature of our shadow here. And we can change the exposure. It only impacts that area over here because we're using this shadow that we created as a mask. So let's now just get to a color that's a bit more closer to the one that we have over here. So I think we just need to do some minor tweaks with the temperature, and we're already there. There we go. So now look while looking at all of this, I'm going to go back into my color, just slightly increase my saturation overall and I think this is going to help me get closer to the color and here. And this looks pretty close, overall, I would say. Perfect. From here, we can also maybe just decrease the strength of the shadow that we have. So we can maybe go under either contrast. I'm going to keep it kind of like this as it is here. I kind of like it right now. And then lastly, we can now start adding our basically camera imperfections. So we can start off simply by going here Relick new adjustment layer. And let's call this one Light burst. Like this. And then we're going to go under our effects and presets. Here, let's go light st, CC Light burst 2.5, add it in here. We're just going to be using a very, very small value, something like 0.5 on both here. So it's just going to give us a little bit more of kind of like the what I call it Atamorphic lens. Look, it's going to warp out the parts on the sides here. So that looks a little bit better already. The next thing that we're going to add now is some camera lens To do that, we're going to first create a mask. So I'm going to go right click here. Press and new go under solid, and I'm just going to click pure white here F FFFF. And then press, like this. And then additionally, I'm going to go and add a gradient mp. So here under settings, just go type in gradient. Then take this gradient mp, put it here. And let's call this here D OF so depth of field. Let's add mask. This. So with this one gradient map, go right click here and then press precompose, and then also say move all attributes into new compositions, press K. And so here, double click on this composition so we can enter, and here we have our depth of field mask. So what we need to do now is just basically just control C Control V, so we have two of them. And the one that's on top, in order for us to be able to see it, because right now they're kind of overlaying one another. So if I move this down here, now I only see one mask, but I don't see the other one. This one on top, just go normal and click on multiply. And so now we have two masks. So with this one number two, I'm actually going to just rotate it, so it appears so by clicking on this little anchor and then moving this anchor, like that, I'm just going to create a little bit of a shadow coming from this bottom part. And then for the one that's on below, I'm going to click again on the gradient ramp right here and then move this part. Slightly, somewhere around here, I might change it later. Somewhere, let's say here, and then take the second part of it, so this part here and move it right about here. So basically, the area that is fully black is going to be highly affected by the blur, and then the area that is a bit grayish, is going to be less affected by the blur. So something like this, I think is going to be fine, but we might need to tweak it later on, so let's just go now in here. We can actually hide this part, and then go right click new adjustment layer. Let's call this camera lens blur. Let's go use a camera lens blur effect, dragon dropping into the lens blur and here. And then here on the layer, select depth of field mask, like this. And now press here, invert blur mask. As you can see, everything is now highly effective. I'm just going to change the blur radius to number one. Maybe I'm going to go even lower to 0.5 I'm going to go even lower to 0.25. So let's see, maybe 0.15 might even be the one that does the trick for me. And for the rest of the settings, I'm just going to keep it as it is. So now the only thing that's still remaining to be added is some film grain. So I'm going to go right click, new, and then go adjustment layer, that been grain. There we go. And then I'm going to go here under settings, add grain. Use this one. Dragon, drop it in here. Then for the settings, I'm going to choose, let's see viewing mode, final output. I won't be able to see the final brain. Obviously, I don't want to use this one, so I'm going to go here and choose Eastman EXR 100 or t. I'm going to change the strength of this to way way lower to something like 0.2 in terms of intensity. Then size, is going to be 0.5, softness, is going to be one, one, and there we go. I might even try some different ones. You can try maybe, let's see, Codex are also pretty good, usually. And such, but just make sure to change the strength because this one is a little bit way too strong. So I'm going to go back to the one that I used. There we go. And I'm going to even reduce the strength slightly more to be 0.1. There we go. I think this pretty much covers it with our shot. Now we have everything created in here. And the only thing that's remaining is to render. Now, important thing when rendering. So let me just show you this part now. If you go under render, so file, and then export here, add to render Q, one last thing that's really important to do in your settings is go here now under output mode, press in here, and then go under color, make sure that you're working color is based now here. You need to change it, press and show all. And then go and say, where is the SRGB AGX. There we go. So this one here, press. And then now simply you can select where you want to render this out. So whichever folder, I'm going to go and render it into my blender file here. Call it Doom three, save and press render, and you're good to go. So, this pretty much concludes the rendering part. And now in the final video of this master class series, we're going to be putting everything together into one coherent video with all three of our shots. So unless you have completed Part one and Part two, you won't be able to finish the final video. If you haven't, I do recommend checking out Part one and Part two. But if you only wanted to see this video, this last final shot, thank you for watching the editorial. I hope you've enjoyed it, and I'll see you in the next one. Cheers. 28. Combining the sequences: Seems only appropriate that we finish this master class series in Blender. Usually, I would use Premier Pro to edit my videos and compile them together. But for accessibility, so that you don't have to install another software that you might not be using. And if you are using Premiere Pro and, obviously, I do recommend, you know, working in Premiere or in Da vinci for this part of the video. But in my case, kind of like to bring it out in the full circle. I'm going to go for the first time, by the way, I've never actually used the editor inside of Blender. But for this video, I think it should be pretty straightforward and simple. So I'm going to go here under Plus and just type in video editing here, rendering. Actually, I'm going to choose the video editing one. And here we have our main window. And now all I need to do is go find where is exactly all the files that I've rendered. So the P one, P two and P three, I have them all on my SSD. So here we go. And then for the first one, I'm going to go Dune, where I have it. And here is the video. So I'm just going to click on it, drag and drop it like this into my shot, and here we have our first one. I'm going to change the amount of keyframes here to 100, like this. And then take the second one. So find the second video that you rendered. So from P two, take it, and then drag and drop it into here. I think this one actually comes with an audio. I'm just going to remove the audio. Let's see, so we have the first one. Here comes the second one. Okay. And now let's add the final one. So Part three, this one right here. Perfect. Now, inside the resources folder, you'll also find an audio file called Audio final. So just take that as well and drag it into here. This is going to be your audio file that you can sink your shots to essentially. So here it begins. And then the moment we hear this buzzing a razor sharp sound, we see that the ships are coming out of it. And somewhere around here, now we're going to do a cut towards the second shot, so let's just wait. So roughly around here, we need to actually, let's go a little bit forward. So somewhere around here, we want to do a shot transition to this. So let's go and check this out. There we go. That looks pretty good. And now for this part here, let's see, our shot continues to go here. And it goes all the way into here. And around here, we're just going to cut it, so we can just go and cut this part to something like this. It fades into black. There we go. This is, like, probably the shortest video of this entire course that I did. So obviously, if you're using premiere, do you feel free to combine all your three shots and match them with the audio, the way you prefer? Feel free to tag me in your final results. I look very much forward to seeing your final composition, all of your three shots, or even individual shots. So really, once again, thank you so much for watching these three tutorials. If you've enjoyed them, please do rate them. The ratings do help a lot. So, and I'll see you guys in my next course. Cheers.