Blender 3D: Make Adorable Animations From Scratch

1. 1 Intro: Hello and welcome to my Skillshare class. I'm Andrew Andre and I also go by pixel freely. That's my professional working name. And what are we doing in this class is teaching you guys how to make this adorable, lovable little robot animation. We're gonna be doing everything. We're gonna be doing the modelling. Somebody shaped key stuff, animation, animation curves, setting up a virtual camera, adding some nice focal blur, all that really kind of neat stuff now, blender is free, so go ahead and download if you don't have it, what I would recommend is that you at least have a basic understanding of Blender. It will make it a lot easier to follow this course. And if you want to know where to look, you can look at some of my other content on Skillshare that is addressed more for absolute beginners. That means if you've never touched a software or Friday, that'll get you up to speed. It's only about an hour and 15 minutes. And then you can come back and watch this or you could just try and watch it. Maybe you'll be lucky, but definitely good to try and understand some of the basics. First one I'm gonna be doing is with each stage in this class, I want to be taking the blend file that we save, only putting it in a resources folder. So you guys can look at each stage if you get stuck on anything, you can see, for example, in part free we do modelling. Then you can go and look in that folder and you can get that exact file. You can look through it if you're stuck on anything. I want to be trying to make keep it nice and organized, nice and simple for you guys. And each individual file that we need as we're working with at the textures out or blend files, hatred your eyes for environment, lighting, all that stuff is gonna be neatly packed into resources folder. Ideally, towards the end of this, when you finished it, you'll be able to take this information and build on top of it. And the ultimate goal is for you guys to make your own project. After you've finished this class, take what you've learned here and build on that. So I'm really excited to see what you guys can learn, what you can do. If you have any questions, feel free to ask. So let's jump right into Blender and have some fun. 2. Set Up: In this part we're gonna be setting up a reference image. Now this reference image is provided. I'm gonna be showing you how to bring it into Blender, how to set it up on a front and a side view. And just reference image is gonna be really handy and helping us to note what we're doing, especially if you have a goal or you're working with a team. There may be a designer or concept artist that has a specific idea or you just want to have continuity. So having a model sheet is a very handy thing. Now this one that I'm gonna be providing, which I'll show you right here. It's into provided zip folder with this course. You can see here it's actually just one that I've already modeled, but it'll serve pretty well here. It's nice and accurate. I'm gonna show you how to bring that into Blender. So what you're gonna do is you're gonna download Blender is a ton of information on downloading it. And by now you should know at least the very basics of Blender, as I've said in the intro of this course, if you don't feel free to check out some of my other courses. But what we're gonna be doing here is we're gonna be taking that. And when you're in Blender, by the way, I do have my screen cascades enabled, so you can actually see the keystrokes here. But what you're gonna do is I'm going to press free on your number pad. That's gonna take you in to the right orthographic view and a negative. Press one quickly on your number pad. Nancy, take you into the front orthographic view. Now if that doesn't work for you, it may be that you don't have a number pad. You might be using a laptop and you just have to standard numbers at the top. In that case, what you can do is you can go to Edit Preferences. You can go over to input. And what you can do is go up here to keyboard and you can type or press your emulate the number pad. The conventional numbers on the top of your keyboard will act like your number pad. To keep that in mind, I'm going to untick this because I have a number pad. You can also go to View and just use these options under the viewport for top, bottom, front, back. So let's go into front. That's going to be one on a number pad. And what we're gonna do is we're going to take that provided image that comes to the course. You're going to take it, I'm going to left-click on it. I'm just going to drag it into the scene now. Don't drag it on top of the cube. Just drag it in the scene here, maybe just on top of the cube there. You can see it's been added in. I'll quickly drag this out of the way. And there we go. What are you gonna do is you're going to left-click on this to make sure it's active. You should see over here in your scene collection to empty, which this has been brought in as is active. You can press G to move it. If you press G and you follow that with a Z on your keyboard. So to z or zed key, you can move it down onto z and let's bring it down. So that green line here is resting on the floor. And then you're gonna go g x, and that's going to move it along the x-axis, g, x. And I'm going to move it. And you're gonna move it till it is. The front view of our robot here is nice and in the middle of this cube you should see this blue line here in the front orthographic view on this model sheet here or just reference, you can actually see there's a little faint blue line there. So if you just go gi X and you move it around, it should be right on top of there. So now the front is lined up. Let's go to our right orthographic view. Let's take that same image and just drag it in. It should automatically be the same size. And over here you're just going to press G, z and move it up till it is sitting right on that green line here. And you can see we have that green line there and we're gonna go G and we're gonna go why does time and move it onto the y-axis? And you can actually see over here, the green would be going this direction, like so where previously we went with the x, which was along like this. If that makes sense, I press free to go into the right orthographic view again. And we're gonna go, gee, why? And sliding it, we're just going to slide it. So it's in a middle of the cube, it this way. In fact, let's try and match it up with that little blue line again, g, y, and move it right there. Okay, so now it's nicely lined up. So now in a front we have this and then our side. We have this one on the number pad and free on the number pad. Now, this is really good, but they're intersecting of this cube. So all we have to do now is just grab them. Let's grab the front view, and let's just go G and then go y and move it back on the y. Let's just grab this one here and then go G and an x and move it back on the x. Now it doesn't matter if you press free now to go into your right orthographic view or one in perspective mode, it doesn't matter how far back you moved on those axes that we just move them on, they should still appear. So now we can come later and model with this cube and we don't have to worry about these planes. So these references intersecting with the mesh that we're editing. So now we have a simple little scene setup here. By the way, if you found this tricky, I'm going to be providing each stage. So just blend file will be in, inside of the resources. So you can open that up and see how I've set it up. But let's quickly save. Make sure to always say if you go File Save As now, I have a specific place on my computer, but you can pick wherever you want to do it. And I'm just going to name mine. You can name yours, whatever, but I'm going to name mine setup. And then we can go Save As. Now in the next part, we're going to start modeling this little robot. That's gonna be quite fun. 3. Modeling The Robot: So in this part, we're going to be doing the modelling of our robot. In the previous video, we were able to set up our reference images right away. That blend file is available in the resources folder if you want to use the one that I set up. But in this part, like I said, we're doing the modeling and we're gonna be using the default cube that is inside of Blender. So you can just left-click on the default cube and you're going to make sure that you're in your front orthographic view by pressing one on your number pad. You can also just go to View, viewport and then go front. But just using the shortcut keys is very handy. We are going to be primarily going into right over graphic, which is free on the number pad and front, which is one on the number pad. So if the default keeps selected in the front orthographic view, we're gonna come up here and we're going to toggle on our x-ray mode. So now we can see for it, we're gonna go G, z. We're going to move up our cube till it's kind of just sitting on top of that green line over here, just roughly in place. We're then going to press Tab to go into edit mode. That's the handy little shortcut. You can also just go up here and do it that way. So let's everything active. And where you can do that is just by pressing a, it will select everything. We're going to go S Shift and z. So if you go S Shift and z at the same time, it's going to scale on only the x and y axes, like so. Let's scale it down a bit so it makes it a bit narrower. So I just went out of orthographic view there while I was doing that. So you can kind of see, but S Shift Z will allow you to do that. Let's just make it the same size as the railroad, the same width like that marble was going to do is just select these bottom parts over here. We're gonna go G, z and move them up like so. And then just click and drag and select these top vertices and we're gonna go G and in z to restrain it to the z. And let's bring it down to this point here where the bottom of the neck is. When I press free to go into an orthographic view. And what we're gonna do here is click and drag and select these two vertices at the back. We're gonna go G, Z and bring them up to here. So now it's level with that area there. It's certainly not looking like any sort of round objects. So we're gonna go to our modifiers. I'm going to give it a subdivision surface modifier when it come here. And we can also enable the uncage so we can see how it actually looks. I prefer to turn that off, but you can use it if you want. And what we're gonna do is we're gonna click and drag and just select these two, all of these vertebra top and go x. And we're going to delete only two faces, zack. And what we can do now is just bump the levels of the subdivision up to two. And in the Render we're going to bump it up to free. Like so. We're going to now tap back into object mode. We're going to right-click and we're gonna go shade smooth. Let's just quickly disable the X-ray toggle and you can now see what we have here. So doing some very basic modeling, we've been able to make this shape. The only thing we need to do now is in edit mode is just corrected because we've lost a little bit of volume of the subdivision. An easy way to do that is to come in here and go Control R. While you hover over one of these edges Control R. And you can see yellow line, that's a loop cut. And if you left-click once, you can now insert it and you can move it and let's just move it down a bit. Like Sorry. Now to tighten that up a little bit, we're gonna get into our right orthographic view. First, H deselect everything and we're gonna go S and just scale it up a bit and then go, gee, why? And move it forward, just trying to match it up, like so. And then our front view, we can toggle back on the X-ray up here. We're just going to select these top vertices and we're gonna go S, x and just scale it a little bit on the X. So you can see what we're doing here. We're just selecting these bottom ones as well. And this time we're gonna go sx, which is scale it in a little bit. So we've just now corrected that little issue there is now all looking the same size. You could come to the side here if you need to and correct anything if it's not looking right, but that's all okay. So let's tap back out. Let's toggle off the x-ray, and now we have that part done. Let's now make the neck ring here and the helmet. So what we're gonna do is we're going to tap into edit mode with the body selected. And we're going to go to our edge select option, Shift Alt, and then left-click on this edge, two loops selected. We're doing gonna go E to extrude S to scale and just scale it a little bit to create a lip here. And we're gonna come over here, control R or Command R. Left-click once and induced drag that up just to tighten that loop a little bit. Now we can go Alt a to D, select, Shift Alt and then left-click on this edge here, the one that makes up the corner here. And we're going to go Shift D to duplicate it, right-click to let go. And then we're gonna go G, z and move that duplication up just a little bit. We're gonna go to Extrude and then Z in extruded up on the z like that. Just a little bit. This guy into the right orthographic view. In an orthographic view, we're going to turn on our x-ray toggle again. We're gonna go G, z, G and Z. And we're going to move until it's just lined up to our reference. And we have it more or less in the right place at the front here we can see it as well. Turn off the X-ray toggle once you're done. And you can kinda turn on the cage on here just so you can see what it would look like. Maybe turn on the x-ray again. So you can see here it's all matching up. Pretty good. So while we still have this edge active here, Let's go to Extrude and an S to scale and just scale it a little bit. I'm turning on, I'm turning to cage off for a second. And then Alt a to deselect everything, and then Shift Alt and then left-click on this bottom edge for selecting the bottom of that neck ring. And we're gonna go to Extrude S to scale and just extrude and scale it a little bit. We're then going to come over here, control our ad in a cut. We're going to get left-click twice just to add it in. And we're gonna go Alt. And Alt S just scales it along the normals instead of just everywhere. If you actually go up here to your displays and you go down, you can turn on the normals. And you can actually see what I'm talking about here. Decent directional points of the faces. If you've used Blender for a bit, you should have a bit of an idea with normals are, but that's something you can learn more about in some of my other videos on Skillshare. But for now I'm just going to turn off that normal display. Okay? Now we have doubtless quickly tap out right-clicking, go Shade Smooth. Every time we add in some new topology and edit mode or were duplicates something, it doesn't always have the smooth shading, I guess now, two ways we can actually make the helmet. We can go shift a in object mode and add in a UV sphere, or we can actually just do it inside of edit mode. I'm going to go in object mode. I'm gonna go Shift a. And you guys can do this as well. And you're gonna go add a UV sphere. And let's get to add UV sphere settings. Let's make it 16 at the top. And let's leave that. Maybe let's make it 14 at the bottom. So we don't want it to be too dense with the geometry. We're gonna go G, z, we're going to move it up under z. We can enable our x-ray. And then we're going to tab into edit mode. And if all of this typology active, make sure you press a, just like everything. You can go S and scale it down till it's roughly the size of the helmet. And then G, move it forward a bit. Then go into your front orthographic view and it should look okay, in the front, it's more here at the back where we're going to have to be editing it a little bit. In fact, what we're gonna do with all this active in the right orthographic view. We're gonna go R and just rotate it. So these edges are lining up with the direction of the flow here. We can now actually go to our face select option, de-select everything and shift Alt. And then left-click over here just between these two faces and it should loop select the whole thing. And then you can go x and delete those faces. And then you can just left-click and drag and just select all of these bottom parts. Go x and delete faces. All we have now is just a dome. We can tap back out, disable our x-ray mode, right-click Shade Smooth for that objects. And now we have the dome in place. You can easily go in here at anytime, just used to edge select, Shift Alt, click on it, and then go G and just move that in a little bit to tuck it in. Very simple to correct this little issues. One thing you're also going to want to do is select the body again, tap into here, Shift Alt, click, left-click on this inner edge that will duplicate it and then go E again and an S, E to extrude S to scale and just bring it in a little bit. So we have a closing here, as you can see. And you can also do the same thing with the bottom one here. Or you can just go control are hovering over this edge, you should see the loop Option left-click once and then just drag it down. Then left-click and then go Alt S and scale it out just a little bit. And now it's tightened that up a little bit. So this is more or less the body here. And what we're gonna do in the next part is we're going to start modeling a few of these little details on the body now that we have the main body and place. So make sure to save as you go. And keep in mind all of these different stages that you're following along with this course are gonna be inside of a example file in the resources. Make sure to download that. 4. Modeling The Details: Okay, So in the previous part, we were able to model our robot, most of the body. We're gonna be modelling a few additional details in this part. But I felt before we go any further to make things a little bit simpler going on in this course, we're going to just do a bit of Scene Collection Organization here, as you can see up here, this is our Scene Outliner, and we're just going to organize that a little bit, create some different collections, put some names on things. It's really simple. So let's start with these reference images. So let's left-click on this one holding Shift, select the outer one. And what we're gonna do is we're going to press the M or N on your keyboard and you're gonna go new collection, click on it, and this is call it rref, and this is stands for reference. I'm going to click Okay, and now this has a collection of here, you can see this collection called href. We can actually click on it. And if you come here to the eye, you can actually click on it and hide it. It hasn't deleted anything. And you can see now that those two objects in there, those two reference planes, they're actually grayed out. We can bring them in at anytime. So that just gives us the ability to organize our scene. Let's just take the camera and delights you select them and it's just press Delete. We don't need them for now. So what we have here is our main collection up here. And if we hide that, you can see that's all of the robot bits. So now that we have that, let's just go into a front orthographic view by pressing one on a number pad. And let's just quickly hide at that top collection so we can see the reference image a bit better. Let's start by modelling these little hub points over here. So I'm going to bring that collection back and let's go Shift a. And let's go up to our cylinder option. Let's go over here and let's just make it half of that amount. I believe what you could do if you want to make it half, that's actually going to be 16. But I'll just show you a little trick here. If you type in the slash key like that, and then you type in two and you press Enter, it'll have it. So that's a little operation you can do, but 16 is going to be half and we'll just leave that as it is. Let's just drop that down. And what we're gonna do is we're going to tab into edit mode. Let's go up here and toggle on our x-ray. We're gonna go S with all of this active. I'm going to scale it down. Silt matches the reference images more or less. And then we're gonna go s, z and scale it down into z. And then we're gonna go G, Z and just move it up until it's sitting about there. So you can see that it looks right if you're going to outright orthographic view, it matches up here as well. Now one thing, obviously it's a bit obvious is that we have a bevel on there. Let's go to our edge or point select here. Let's click and drag the top one's x, and let's click Delete face. And this click and drag the bottom. How to bottom? Lot here is now active and what you can do, a very simple thing to do is you can go Control or Command B if you're using a Mac and then you just move your mouse, you can see we're creating a bevel. If you drag, as you can see, it becomes bigger, but that's a little bit low poly. We need a bit more topologies. If you rolled a middle mouse button up, you can see yours progressively adding in more segments. You can also roll down to do the opposite. So this is roll in to like that. And then just left-click and that stops the operation and asset. That's very simple. Let's tap back out into object mode. Bits selected, you can just right-click and go Shade Smooth. What we could do is we could actually reuse this. So we still have that cylinder act. If you can see it's added into the reference here. I'm just going to left-click and drag and drag that into the main collection where it should be. And this is reverse active go Shift D to duplicate it. And let's move it over here, roughly. Where does Hobbes? And what we're gonna do is we're going to just disable the x-ray for now. I'm going to tap into edit mode and we're gonna go, in fact, let's just tap back out to object mode first because our origin point is now sitting in here, you see that little orange dot. What we're gonna do in a front orthographic view is we're gonna go our negative 90 and hit Enter. So r minus 90 to rotate it 90 degrees. If you press N on your keyboard and go to your item and then go down to transform it. You should see under the wider, that's a negative 90. And then we can add tab into edit mode S to scale all of that down. I'm just gonna quickly go into wireframe. So z, wireframe, make sure it still active and edit mode echo S to scale it down. And then G, x and move it along dx. Now, what we don't want to do is move it up like this because our origin point won't be in the middle. Let's just quickly tap back out into object G to move to whole object. Let's just move it over here. So it's roughly in place, then tap back in. And now we can just select these verts and we can go g, x and move them into the body like that. How cool is that? Now we have that re-used. Now we want it to be on the other side. So what can we do? We could probably duplicate this and bring it here, rotated, but that's a waste of time. So let's go over here and we might even want to edit it later, so just doesn't make sense. So what we're gonna do is we're going to grab that bit. We're gonna get to a Modifiers, add modifier and we're gonna give it a mirror modifier. You're not gonna see anything because this mirror modifier needs a reference point. So let's come over here to the mirror object. Click on the little eyedropper. And let's just select the body as a reference because it's nice and in the middle, and now it's mirroring it on the x-axis. And you can see the x-axis is this red line over here like that. And that's exactly what we want relatively quickly we've added in those two parts, makes sure that all of this mesh is on that top collection. But what we can do now is model these little fins over here. Okay, So let's go shift a, let's go to a mesh options and add in a cube. We have this cube here. We're going to tab into edit mode and move everything active. We're going to go S, x and scale it down on dx. Just like that. We're going to flatten it. I'm going to go into our right orthographic view by pressing free on the number pad and we're gonna go S, y. We're going to flatten it onto why, just roughly like this, go back into the front. What we can do now is we're going to tab out into object mode and we're gonna go G to move it. I'm going to move it over here. We're then going to tab into edit mode. And when you click on the X-ray mode, when I click and drag, select these top first, I'm gonna go G, z and move it down. Now what you're noticing is that origin point there is roughly where did this object here is the reason for that. If we can really tap into our object mode later on, if you want to rotate this, everything is going to rotate around that origin point. If I go RX, you can see it rotates around that origin point. And also just want to think of somebody might be wondering, the reason I'm scaling this in edit mode whenever I do scaling is because if you do that in object mode, then it affects the transforms over here you can see. And then what we'd have to do later on and we'd have to keep applying the scale which you could do, but it's kind of an unnecessary extra step if you can just do the scaling in edit mode. And that's kinda the reason for doing that in case anybody is curious. So back in edit mode, we're going to grab these bottom ones. We're going to take them up to about here. Now, one thing you're noticing is not matching up with the reference. Okay? So originally I modeled mine in a down position. But what we could probably do is model them in a downward position. But I think just to be a little bit more on the side of continuity, what we'll do is quickly tab out. And what we're gonna do is press M to bring up our Properties panel. And we're gonna go over to under the item to our rotation. And let's rotate this on dx minus 90, minus 90 on the x. And Alice tab into edit mode. And I think that's a little bit better. So we're gonna bring this 1 fourth on the y. You bring just one forward here and then select these and go s, z and just scale them down a bit. And it would have come here, Control R to add in a cut, left-click once and slide it up S to scale it up into z. And then what you can do is you can go to your modifiers and give this a subdivision surface modifier and bump up the view port levels to free. We're going to apply this later so we don't have to worry about to render. Let's tab back out. Let's disable the X-ray, right-click and go Shade Smooth. And let's give this a mirror as well. So we're gonna go to a Modifiers, add modifier, and let's give it a mirror. Once again, clicking on the eyedropper and selecting the body as a reference point. And now you can still come in here at any point, select things scaled and I'm just going to scale everything under z a little bit. But it's pretty, pretty straightforward as you guys can see here. Not complicated at all. Now we have those two fins on the side. Let's go to this bit over here, which is just a little outlet for the exhaust. I'm going to shift a. Let's just quickly add in a circle, go to add circle settings. Let's make it 16 as well. We just have a Friday too. And if this one where tab into edit mode with everything active, we're gonna go S to scale it down. And let's just g, z to move it up, move it up to about here S to scale it down. We just want it to be about the same size as the top of that outlet. And when to go to Extrude and z and extruded down like so. We don't have the X-ray toggle enabled at the moment. We're going to go S and scale it up till it's the same width as the bottom. And then Control R to add in a loop, left-click twice and an S to scale that. And then if you want to, you can go Control B to create a bevel. And if you have too many segments, just roll down till it's only one segment in the middle and then left-click and they have it. We can now tap back out. We can right-click and go Shade Smooth. And let's give this a few modifiers. The first one is going to be a solidify and that's just gonna give it some thickness making either go into the negatives or two positives. In this case, I'm gonna go into the positive, so it goes inwards. This just has to do if the normals, if you tap back in there, you can select everything and go alt N and just recalculate outside or recalculate inside. I'm not gonna get too much into what the normals are, but technically the correct thing should be going into the negatives, not to, not to positives, but it's not really that important at this point. We just wanted us to have some thickness, minimize this, and let's give it a subdivision surface modifier. And there you have it. Very easy to model and also very editable. You can at anytime come in here and edit some of this topology. So let's look at what we've done so far. We have modeled the robot body. We have modeled defends the little outlet here at the bottom. I think that's most of the Major modeling done. But because things are getting a little bit lengthy, what I'm gonna do is I'm going to make the modelling of this sort of like athletes in the chest. I'm gonna make that a separate video because it's a little bit more that goes on there. We're gonna be making the doors that can open up as well. So the overall modelling is now done for robot. Congratulations. Next part is really just building that inward part of the robot and finalizing a few things with two meshes here. But if you've gotten this far, congratulations, you've actually modeled something. Pretty cool, especially if you're a beginner and always keep in mind, I do provide the blend stages. So each part of these things you're watching has to provide a blend file which you can look at if anything is confusing, you. 5. Chest Doors: Okay, So in the previous part, we were able to finish modelling some of our details we're gonna be doing now is we're gonna be building the little chess door thing that opens up here in the middle of the robot. So if you enable the X-ray mode here, you can actually see dirt is on dereference. Now what we quickly wanna do earlier, we added in some new objects and they're actually in the reference collection at the moment. So just click on them. So these arms here click on them. Just take them and drag them into the main collection. And the same with this bottom part, which is in this case called circle, will name these things properly later, but just keep to the collections organized. We only want to empties that are our references into reference. So we can turn that on and off. So you should be able to see with the X-ray on that opening. So we're gonna go shift a, we're gonna go to our meshes. We're going to add in a cylinder and this time we're going to keep it at 32. In fact, we might take it up to 36 because we need it to be nice and smooth around where it's going to be cutting. So we're going to drop that down. And what we're gonna do is we're gonna go RX non-zero, and we're gonna hit Enter. And then we'll go into a Write of graphic view. We're going to tab into edit mode and we're gonna go S to scale. And we're going to scale it about the size that that would be over there. We're going to tab out into object mode. We're gonna go G, z and move that up. And in this case I want to turn off the x-ray and it goes Z and I'm going go into wireframe. It should be a bit easier. And we're gonna go G and just move it till it's roughly in place here, right there from the side and then get to the front. And the front, it should be roughly in the right place as well. Make sure you go G, z and move it till it's up in the right place. Like that. So nice and in the middle. And nice in the middle here. And then you can tab in, if you need to scale the whole thing a little bit, go ahead and scale it. But what we wanna do is when I selected these back verts here and the right orthographic view, and we want to go, gee, why and move it back on the why, as far back as we can without penetrating for anything. And this is going to be our cutter object. Now Shea, what we mean we're gonna be performing a Boolean operation. Let's tap back into object mode. We're going to select our robot here, the body. When it go, click on add modifiers. I'm going to go to Boolean, and I'm going to click on the eyedropper and then select that object there. Now if you select this thing here, we actually want to be able to see in there. So let's quickly do a little trick. We're gonna select the cutter object. We're going to go over to Object Data Properties window go down to Viewport Display, and let's go to the display ads and make it a wire. We also don't want this to ever shown to render. Let's go to visibility and let's turn it off for the renders. We don't want to do viewport, otherwise you won't see it. So I just leave all of these except turn off the render. We can now also select the cylinder. We can right-click and go Shade Smooth, make sure it has smooth shading. And then what we're gonna do is we're going to whip that active. We're going to press M, we're going to click new collection. I'm going to call this cutter and just go OK. And now we have a new collection. It should be under the reference and this is dropped the reference down for now, so it's a bit smaller in the cutter here we have a similar 0 to, let's just click on that, double-click this called cutter, so we know what it is. Okay, if we're going to start naming some things now, then let's select our body again, and let's go over to our modifiers. And let's on top of that, give this an edge split modifier for now, just to clean up some of that weird shading. So essentially anything that is under 40 degrees and angle here on the faces will get smoothed out, but anything over it will be sharps. In this case, this is a 90-degree angle, so it's going to be nice and sharp and that's kinda just cleans up. That's funny shading we have there. We'll deal with that a little bit more later. But you can actually notice now though, if you select the body and you tab into edit mode, you can notice there's no hole over there because this operation is a modifier and that means it's non-destructive. We can still come in here and edit our body. But this here is an operation that is going on. So let's just come over here to our cutter object. This is minimize that here and also just hide the little eye here. We don't need to see that for now. And now what we can do is we can add in another cylinder to model the actual details of that hole. So I can go shift a, we're going to add in a cylinder. We're gonna get our X9 0 hit Enter, and we're going to just go into Edit mode of debts, scale it down until roughly the same diameter. Tab back out into object mode and go G, z and move it up until it's roughly in place there. So it needs to be right in the middle. And then go to your right orthographic view and go, gee, why? And move it on the Y till it's lining up with our reference here. Okay, So if you now go back into solid, you can see here, this is where we have right-click Shade Smooth. It looks pretty terrible, so we need to add some more details. I'm going to tab in when it gets wet edge select, we're going to go Shift Alt and just left-click on this edge to loop selected. And we're going to go Control D to credit bevel. I'm going to create one that's about this big, not too big. And we're going to roll our middle mouse button wants to add in an extra cut and then just left-click. Then we're gonna go to Face Select option and select the face over here. Now we're gonna go into a front orthographic view. Let's go back to x-ray, toggle that on and we're gonna get e to extrude S to scale, and let's scale until it matches up with our reference. Here, you can see there is where the actual opening is and this is just like a rim might select the whole thing by pressing a and just going s, just scale it up a bit more. Then selecting that face here in the middle again and asked us to scale it down, just try to match it up as best we can. And I'm gonna go E and extrude it in the bath to here. And you can see it's close to the face at the back there. We're going to keep going. Gee, why just moved back and holding Shift, select this back face as well. So both those faces are selected and you can go x and just go delete. Faces. This is also go to our selection option here and make it 0 points or vertices. Just click and drag to select all of these and go GYN just moving back all the way into robot like that. Again, nothing should be sticking fruit. Let's disable the X-ray tab back out, and there you go. So just some funny shading here. You can also just go give this a subdivision surface modifier. What you will have to do is tab into edit mode and just go Control R. Inside of here. Control our left-click and just slide. Then left-click again just to tighten that up. Otherwise the sub-divide will smooth that out too much. And you can also come here, control our left-click and just drag about there. Just tighten that up nicely. So now we've modeled this hole in the robot. Once again, you can select the body, tap in and out. It's still all they're very non-destructive. Well, we can do now is mortal the little doors that are going to come up and down. So I hope this hasn't been too tricky. Let's just also make sure this new cylinder we added in, let's just go to the cutter. It seems like it's added in the cutter, just going to click and drag drag it into the main collection and let's just call it chest outlet or whatever you can come up with whatever name. I want to also select the body quickly. Over here we can see it's selected that says cubed. Let's just double-click on that and call it body. And let's select the helmet. That seems to be a sphere over here. Let's double-click on it and call it helmet. And maybe these fins here, click on them, Double-click, let's call it thins. And this outlet here, Let's grab that, double-click on that, and let's call it exhaust color, whatever you want. I think I spelled exhaust Rhonda. Just anyway. Yeah. I'll just gonna leave it at that for now. Just so we have general idea of what is inside of this collection is like let's double-click on this collection and let's call it body and just press Enter. And now we have the actual infact. This is double-click on it and call it a robot. I think that's more fittings. They're just call it robot and it's just dropped it down. So we now have a robot and we have our cutter object. We don't need to see that. And there we have our ref and that's all looking really good. So I know that was a little bit of a detour, but let's actually get into making the little gates now. So taking the little opening doors is actually quite simple. We're going to start with a cube. We're going to go Shift O under the Mesh options, add in a cube and tab into edit mode. And if everything active, you're gonna go S Y 0.005 and you can hit Enter. So just making it really fun. You can also just go SY and do it just normally without typing in numbers. But just make sure it's nice and fin, in a tab back out into object mode. And in your right of graphic view, you're going to go G and move it forward like so. You're gonna go into your front view and you're gonna go, you're gonna go to wireframe and see that little origin point right over there. You want that to be right in the middle of that cylinder. And you could, I add, we want it to be pretty precise. So let's select this cylinder. I'm going to go Shift S, and we're going to go cursor to select it. So he's gonna put the cursor to 3D cursor it right in the origin point of the cylinder. Then select the door and go Shift S, but this time go select it to cursor. Now this object is perfectly centered to that. I'm going gonna go, gee, why? And moved forward on the y to about here. And now we can go Shift S and make sure to set the cursor back to the world origins or cursor to world origin. So it's always there right in the middle. And what we're gonna do is in our front of graphic view, we're going to tab into edit mode, go into wire-frame, select these bottom vertigo g, z and move them up just a little bit above that origin point to about there. And they're gonna select the top. I'm gonna go G is the bring that down just to about here. And then a to select everything and go S x and scale it down on the x about that much. You've got a lot of overlap, but I'm gonna show you how we're going to deal with that in a second. We also need to go to Add Modifier and give it a mirror modifier. And this time we want to set it to z, so enabled and disabled the x and we don't want clipping enabled. So if we now go G, z and move it up, you can see what happens. So you can kinda see where we're going with this. So pretty cool. And how do we get rid of this overlap? Well, we're going to use an existing thing. Remember earlier we added into cutter. Let's tab out of here. Let's give this a Boolean modifier on top of the mirror. And now what we're gonna do is I'm going to go to Objects. Click here. Instead of using the eyedropper, we're just gonna go and select the cutter because remember in that cutter collection we named at cutter object cutter. Now we have that and this time it's cutting a hole which is not what we want. But if you select the plate here you go, you can actually change it to intersect instead of difference, which is really cool. I'm just one more thing we wanna do is just quickly tap in and this is just going to help with the Boolean a little bit. If we actually come in here, Control R and just roll in a few extra cuts or loops like this. And in control are and do it this way as well. That'll just, I just find that helps clean up the shading a little bit. And if that's still active, we're just going to go and give it a bevel modifier and make sure to drag the bevel above the Boolean. That's very important. And then you can bring down amount down. That just gives it a little bit of a chamfer like that and we can see it a little bit better. So also in edit mode, select the whole thing and then go G, Z and just bring it down to us a little bit closer. Now how do we actually make animate at opening up? So what we're gonna do is we can go to Object Data Properties. I'm going to create a shape key with this door still active, and it is active. And what are we gonna do is this shape here creates a basis. Now the basis is the state that it's currently in. But if you click here to create another shape key, you can now go into that shape key. And you can take this existing topology and you can move it around. You can go G, Z and just move it all up till it's no longer seen under here. And the thing that's interesting about that, I said, as long as you don't come in here and add in anymore topology, but just move around existing topology. It'll now interpellate between the basis, which is this one here, and the new shape key. Alright, so I'll show you what I mean. Let's tap out. And if you grab that k1 and in now take this value and you drag it up. Look what happens. See that. Now we have a slider that we can control. Let's bring it down to 0, double-click and just call it open doors so we know what it is. And that was probably the most tricky bits so far. If you can get to this point, you're doing really well. What we're gonna do next is we're just going to finalize all of these different meshes. We're going to parent everything to get her to an empty so we can animate a little bit easier. And that part should be a lot shorter than this one. So that's gonna be the next part. Thank you for watching and remember to check out the provided blend files. 6. Finalising the robot: Okay, so welcome back. And in the previous part, we were able to make chess doors that can open up. And what we're gonna be doing in this part is finalizing some of our robot parts and parenting them all to an empty. So we can grab that one empty or dummy object that isn't going to be rendered and just use that instead of trying to grab every little single part and move around in the scene, we're gonna start with going shift a and we're gonna go down to our empty options. Let's get a cube that's always a really good one to choose. If this cube we're gonna go s, z and scale it down on the z just so it's not as big. And we're gonna go G, z and we're going to bring it up to about here. Well, maybe even a little bit higher, just surrounding that color there. It doesn't really matter. You're not going to see this in the render. And then what we're gonna do is we're going to take our body and holding shift. We're going to select the dome and little gates, the housing that it's in. This bottom part, this bit, everything here, just holding Shift select all of it, Like I said, every bit with models so far on this robot, make sure to select it and holding Shift still, you're going to lastly click on this empty. The empty is last thing that's active and you can go Control P or Command P, and you can go Object Transform. Now if you select this and you go G to move it, you can see everything moves around. Now, you're going to see something funny happening down there because our cutter object. In fact, if we bring back our cutter layer or collection, We move this. You can see that the cutter shield stays behind. So all we have to simply do, no big deal. Just select the cutter holding and shift, click on the empty and go Control P, object, keep, transform. And now the cutter will go along with that, which is all fine. What can do here? We can actually select a body here and we can go to our modifiers. And let's get to the subdivision. Let's bring that down to two. And we're gonna go to the drop-down and we're going to apply it. So now it's set like this. But what we're gonna do, we're gonna go and add another subdivision surface modifier and just put that at the very top again. Okay, so now we can still give it some subjects, but it's not starting from a really, really low poly place. One thing you can also quickly to just go into edit mode, Shift Alt. And just while you're holding Shift and Alt, you can just left-click and just select some of these edges here. They're a little bit unnecessarily dense to some of these ones here go x and dissolve edges. We don't need so many of them. So that's a lot better there. You don't have to do that. That's optional, but I recommend it. And then we're gonna do is we're going to select the dome. We're gonna give that a subdivision surface modifier, just helmet here. And we're also going to just select the fins here. Quickly. Tab in control are just add in one more loop. Click left with left button once and you slide it up to here and then go s, z and just scale it down a bit. Just a little extra detail tab back out, come up to the subdivision, drop it down to two and then apply it, and then give this a subdivision surface modifier again and leave it as it is. Okay, and we're going to now just grabbed a helmet. We're going to go just to hide it. And in here, because we're gonna be seeing fruit, a helmet and some points, we just need to select the body tab into edit mode, shift Alt, and then just click on this edge. So just this edge that makes up the inner part of the bottom of the body not to neck ring itself. And then you can go S and just scale it just to close it in because we don't want to be seeing that when we're actually rendering and looking for the glass. You can also go Shift Alt, left-click on this edge here, and then go G, Z and just bring it down a bit. That's about all. I can tap back out and go Alt H to unhide that again. Now, eventually you'll see why we did that. This should be it. I think that's pretty much it. Maybe select these guys over here, just tap in to edit mode, select these verts here and go S, x and just scale them and X a little bit to widen them out and bring them just a little bit closer as well to this blade, arm, thin finger here, That's a little extra detail. Tab back out. And I actually think that is about it. We have the robot. That's all we have to do. The robot is now parented to this thing here. And we can go and do some animation eventually. But what we are going to have to do in the next part is modeled the actual arm that is going to come out of here when this opens up. So remember we gave this a shape key over here. Under the Object Data Properties, you can just go to that open doors, scrapped that value. So we actually need a little grabber clothing to come out of that. So that's what we're gonna be modelling next, but it's actually really simple. So I'll see you in that part. And remember this blend file, like all the other stages, is available in the project resources folder, which you can download it. 7. Modeling The Claw: Okay, So in the previous part, we are able to finalize our robot. We parented everything to an empty, um, what we're gonna do now is just make a simple little clawed its kinda come out of the robot. I just felt like it was a little bit simpler to, to keep that as a separate part to the robot. So we're actually going to do is we're going go Shift a and rich can add in under our meshes. Let's add in a cube. I'm going to tab into edit mode and we're just gonna go S to scale that down. No specific amount, just going S scaling it down, just at first about that much. And what we're gonna do is we're going to press Z and go into wire-frame. We're going to tab out into object mode. I want to go G, z and move it up to about here. So it's in, roughly in the middle of where it is. I'm opening in the chest, it wouldn't go press free on a number of path to go into right orthographic view. And we're gonna go, gee, why? And move it almost to the back of a robot here, all the way to the back. And let's tap back and let's scale it down even a little bit more about that much. Okay, we're going to then select these verts over here. We're gonna go, gee, why and move them forward to about here. And then worry too much about the exact proportions. We'll deal with that in a second. Which one to get a rough idea here. And then if that's face still active there, these four verts, we're gonna go Shift D to duplicate S to scale it up just a little bit in SX and skeletal Next. And once again, we'll finalize things in a bit just roughly the size and scale that I'm doing. And then E to extrude that face for like this. Okay, What we're going do now is we're going to tab back out into our object mode. And what we can do with this arm active. So it's active, we can press M, I'm going to create a new collection list is called a claw got and I keep calling it an arm, but I mean just same thing as to claw and I go, Okay, and let's just drag this claw. We're going to just left-click on it, hold it, and then drag it. You can see that little black barter we want to put it in between the robot and the reference. Open it. You should see we have that cube we added in. That's the actual arm. If you click on it, you'll see it goes active and we're going to double-click. It is called a claw. And let's just hide the robot collection. This is also hide our cutter object. We don't need to see it and now things are less cluttered. What we're gonna do when you get to a modifier. So if that arm or claw, and we're gonna go and give it a bevel. And let's come to the amount here and bring it way down. So if you hold down shift, you can make it smaller increments. So just dragging it down to its only a small little bevel and in bumping up the segments. And this is also select this and give it Shade smooth. Let's go to our top orthographic view by pressing Seven on an iPad, seven on the number pad. And I'm going to go Shift a. We're going to add in a plane, and we're going to tap into Edit Mode S to scale it down, tap back out into object mode and then go G to move it. And let's move it over here. And I'm going to go into a front orthographic view by hitting one and we're going to go Jay Z and we're gonna move it up till it's sitting just above here. None of this probably makes sense at the moment, but you'll understand as we go on. So let's actually now bring back our robot on that collection. So we can have that as a reference. And let's select a dome and we're going to press H to hide it. So H will only hide it, not delete it. And we're also going to just select our robot body and we're going to press hey, h Once again just to hide it. And then we're also going to just select this cylinder here that in cases the arm I'm going to press H to hide it. Then when I press seven to go back to our top orthographic, and what we wanna do is want to make some claws or come all the way up to where does Doris, but what I want to go through the door. So let's select the little plane here, tab into edit mode. We're still in that top orthographic view. I'm going to select the whole thing and we're gonna go R and just rotate it a little bit like so. Then just select these two verts over here we're going to eat to extrude R to rotate, E to extrude R to rotate or we're just trying to make something that looks like a claw. Okay. Just on one side, e to extrude R to rotate, G to move. And that's all I'm doing just like that. Then what we're gonna do is we're gonna go and give it a mirror modifier. Click on the little eyedropper and then select the actual claw object as a reference. Now it's mirrored over here. So all we have to do now is kinda visualize how we want our portal look like. In fact, with these two here selected, you can enable your proportional editing. That'll just give you a falloff gradient. It'll affect more of the verts. So if these two selected proportional editing enabled, you're gonna go G and move it. And if you've rolled down your middle mouse button while you're doing that role, your middle mouse button down, you can have less influence. So let's bring these two in here and just make what looks to you like a natural claw shape, something like that. When you're happy, disable it and then go are just rotate that make it nice. Even doesn't have to be perfect, just something like this. And once you like what you have, you can go and give this a subdivision surface modifier to smooth it out. And then on top of that, what we're gonna do is we're going to add a solidify and have to solidify. Let's just drag it in to the negatives in this case because we wanted to give us some thickness upwards. Once again, that has to do with the normals with maybe different for you, but likely you have to bring it into the negatives. And let's just go with a thickness of about that much. And then what we can do, we can give that a bevel, bring that that bevel amount, bring it down, give it a few more segments. That gives it a nice chamfer there. And then on top of that, another subdivision surface modifier tab back out. If this new object selected just right-click and go Shade Smooth. We're also with this selected, we're going to press M and we're just going to make sure that it's on that claw layer or claw collection. So both the claw on that plane. In fact, this is cool. This part, fingers even though they're not fingers prongs or whatever, you wanna call those parts. They're good, the grabbers. So what we're gonna do when we later, when we animate is we're going to rotate these in our animation. Some keyframes. So they look like they're grabbing whatever object we want them to grab. Probably just one more thing we can do a little bit better in edit mode is just come back in here, maybe move these out just a little bit. Select these two on the end of these two verts and E to extrude this one more time and an S to scale it just a bit. I think that's just looks a little bit nicer. Now if this object selected these fingers, we're going to hold down Shift and select a claw and we're gonna go Control P object, keep transforms now for grabbed a claw itself and we go, gee, we move it. You can see that moves along, and that is how we do our claw. So let's just press Alt H to unhide everything. And let's just minimize this claw over here. So now it's getting really need. In fact, let's just click on the robot collection. Let's just right-click and give that an orange color and right-click on applaud gift that an orange color. And if the ref, whatever is unnecessary, let's just make that blue does this stuff we don't really need to see or use most of the time, we'll make that blue. Two main collections here. In fact, I'll turn off the roof as well. So two main things we want here is just our claw robot. We can turn the robot off and just see how claw, what we can do it the other way around where we just get rid of the claw and just have a robot also if this empty, then we added in the previous part, just select it, make sure to press M and also make sure it's on that robot collection. Things are getting really organized and how we've made everything. Probably just one more thing. I almost forgot to mention it with the claw. Just come to the drop-down, select that claw, the actual claw arm. She might have to enable the cloth for that. So make sure to claw is selected. And in while you're holding and shifts, click on the empty and then go Control P, object, keep transforms. Now that is also parented to the empty. So if we actually selected the robot empty, here we go, gee, that arm should follow along as well. It's just a now I'm going a little bit slow here and repeating some things. I just want to make sure everything is nice and understandable and I'll see you guys in the next part. 8. Building The Stage: We're pretty much ready now to make our stage. That's pretty much the environment around the robot is going to make an animation a lot more interesting. So we have the robot out of the way, we have the chloride out of the way. And we can now start by going shift a and we're going to add in a plane. And this plane active, we're gonna go S and it would type in 25 and press Enter. So if we now press N on your keyboard to bring up your Properties, go to item. You should see here, just scale transforms are all set to 25. It's essentially 25 times bigger. What we're gonna do is we're gonna go Shift a and we're going to add in a cylinder. And we're gonna go to a top orthographic view by hitting seven on a number pad and wouldn't go S. And we're going to scale that up till it's just a bit bigger than a robot. In fact, once again, under your properties, under your transform, Let's make it about 4.5. I'm just gonna go steal it says roughly about 4.5 over here. And here, That's the hole that we have now. And what we're going do is we're gonna do not a Boolean operations. We have a whole enough floors. Let's select the floor. Let's go over to our modifiers. Let's give it a Boolean, and let's click on the eyedropper and select the cylinder. We're now going to come to the drop-down and we're going to apply that Boolean. Let's grab that cylinder and go G, Z. Bring it down until the top of it is where a floor start tab into edit mode and go to your face, select, select the top face and then go x and delete phase, and then select the bottom face and go x and delete phase. Now, tap out and we now have an opening here. Right-click and go Shade Smooth as well. You can also select the floor, Right-click and go straight to move. And this is pretty cool as far as a whole goes in the ground, but we can add a little bit more detailed than that. So what we're gonna do is we're going to go Shift a. We're going to add in a circle, and we're going to go tab into edit mode. We're going to go S to scale it up as bad, as big as the opening of the hole. And let's go to vertex lecture. We can see it a bit better. We're going to go E to extrude and then z and extrude it up just a little bit. And then E to extrude again and an S to scale, bring it out a bit. An E to extrude Z and bring it down just so it's touching the floor and an S to scale. And then we're going to give this a subdivision surface modifier and tap back out, right-click and go Shade Smooth. So now we have a nice little border here and it looks a lot better. We're now also going to go Shift a. We're going to add in a cylinder, we're gonna get to a right orthographic view by hitting three on the number pad. We're going go, gee, why? And we're going to move it over to the front, just in front of a robot here, tab into edit mode and then go s shifts z, esh, shift in z, gonna scale on everything except the z-axis. Let's scale it down about this much. Oldest is gonna be, it's gonna be the pipe where our item that the robot's going to grab, it will be coming out of. And if you go back to your right orthographic view, you can see we have these grid spacing here. We want it to be about as high. So if you go GZ and you move it, we want it to be about as high as halfway where the robot is, or where you can see this grid spacing here. I'm going to select the bottom birds. Let's go into our X-ray. Let's just select these bottom vertices. So we're gonna go G, Z, bring them up, and also go x and delete the faces. Then we can select the top face here and go to Extrude S to scale and an eight to extrude it up like this. Just give it a bit of a lift and eat to extrude S to scale, and then eat to extrude, bring the whole thing down. And let's just go out of x-ray mode. They're gonna go E to extrude S to scale, and an E to extrude and extrude the whole thing down like that. And you can delete that bottom face if you want by going x and deleting faces, as long as we have something that's just like a pipe, you can model this however you want, just have it roughly about that height. That's all that really matters. Right-click negotiates, move, Control a to apply to scale just in case you've scaled it in object mode and then give it a quick bevel, bring that down that bevel amount and give it some more segments. There you go. It can be even simpler than that, but that's what we're doing. Select all of these other items here that we've added in anything that's our environment, control a and apply the scale that's gonna be important for texturing later. And in fact, let's grab these three, these items, everything that we've just made except the robot. And this is press M. Let's create a new collection and let's call it stage, and then press OK. And now we have a new collection here called status is minimize it. Let's right-click. Let's give it a new color, green. So green is gonna be that. And this is left-click on it and drag it and put it underneath claw. And also while we're at it, let's just go to our robot. And the robot you can see we now just see the empty, but if you dropped down under the Mt, we're going to see everything that is parented to, everything that has to do with robot is parented to that empty. And that's why it's hierarchically under here. This is the hierarchy. So what we're gonna do is empty selected. We're going to double-click on it and let's just call it robot CON for control. And then just minimize it and then also minimize the robot collection. So there we have it. That's our scene. And what we're gonna be doing in the next part is finally our animation. And that's also where we're going to be setting up our camera, make sure to save as you go. And as always, all of the blend files are included with every stage. 9. Animation Part 1: We're finally at the part where we can start our animation. Animation can seem a little bit intimidating and oftentimes it is, but we're going to try and keep this really simple doing is minimal amount as we can. That's why we have this empty here that all of our robot bits are parented to, so we can control everything a little bit easier. So let's start by pressing free to go into our right orthographic view. And as far as this column that comes up, Let's just select that. Let's just press N on the keyboard, go to your item. And over here, let's just give it a distance of freight negative Fraser minus free. Make sure to type that in. In fact, let's just go with minus 3.2. So we all know we're on the same scale here. We have the distance that we're moving. So robot is here. That's where Mt is, and that's where our pipe is that we're gonna be going towards its, Let's select the empty on the robot, and let's come down here to the timeline. So just hover over here, you see it a little error, left-click and drag. Just give us a little bit more real estate. And what we're gonna do is we're going to start by coming up to frame ten. In fact, I'm already on as a frame ten down here. Just drag this little slider. Make sure you have these transforms open. And what we're gonna do is with that empty selected, we're going to go G and Z, and we're going to move this down to pipe. We're going to put our robot down here, just somewhere about here. Doesn't really matter. It's just about, Let's have a look here. We've moved down the location about 2.6 meters or so. You wouldn't be able to see it very easily from looking from the top. And when you have it there you can go and you going to insert a location and a rotation keyframe. Essentially what it's doing it is that these values here, the rotation, you can see the x, y and z coordinates and the locations for the x, y, and z. Frame ten, anything we move here, we're gonna kinda clamp it there. We're going to hold it there with a keyframe if that makes sense. If you don't really understand it, you can watch some of my more beginner friendly tutorials at that from a beginner's perspective, just check out out on Skillshare. But we're gonna go on frame ten. I'm going to insert a location and rotation. And now you can see our location transforms and rotation transforms have the yellow value here on frame ten, and we can see this yellow marker there. But now I'm going to drag it up to frame 4047. Let's go to frames for D7. In Frankfurt, E7. We're gonna go G, z and move our little robot up till it's hovering above the ground. By about that much. You can see everything here in the scene for reference. And we're also going to rotate it just forward ever so slightly. And we're gonna go I, and we're going to insert a location and rotation keyframe for 37. You can see now once again it goes yellow. So between frame ten, if we go to frame ten and we press displays, the space bar, you can see between those two keyframes, That's what's happening. It's interpolating between those values. So let's get back to 47 and let's drag it up to 44. And it's 44. What we're gonna do is we're going to go R and we're going to rotate it back a little bit. And also gonna go G and slightly move it back and go I and insert a location and rotation. And then we're gonna go to frame 55 or about fame 57. Let's make it a frame 57. And we're gonna go G and sync it down a little bit just to give it some anticipation, some buildup. It doesn't just immediately, immediately move off, rotated slightly more. And then wanna go I and insert a location and rotation. So what we should have framed our robots here, it pops up at 47, then it's slightly starts leaning back like that to give it a little bit of anticipation. And then it's going to shoot off towards the pipe. So let's now go to frame 84 and frame AT for what we're gonna do is we're gonna go G and move our robots forward. And we're also going to go are, and just rotate it forward a little bit. Maybe it just G to move it up just a little bit higher so that outlet there or where the opening is in a chest is kinda pointing up towards that pipe little bit. Not too much rotation, but a little bit more height. So right about there. As long as we have that clearance on frame 84, go ahead and press I and insert a location and rotation. So now let's go to frame ten. Let's press the spacebar. Let's see what happens. And art guys, now it's all still looking a little bit rough because we haven't messed around with our animation curves. We haven't cleaned anything up. But we're going the right direction. As you can see. Right. But it's looking very dead at the moment. That's fine. Don't worry about it. This is all about blocking out and animation. Nothing looks perfect right up front. Now what we wanna do between frame to another frame, Let's just pick maybe a 160. So we need a few seconds at 24 frames a second for just your standard while it can grab the item that we're gonna be making it grabs. Let's go to frame 165. In frame 165, we're actually just going to go once again i and insert a location and rotation. And you notice we haven't moved it because it's just gonna be having a hold of pause while it's doing that, but we are going to add some noise to it later with modifiers. So it's kind of bobbing around a little bit. But overall it's gonna be in the same position. And then what we wanna do is when it come to frame 195 and a frame 195, we actually want to come here and grab the keyframe. So just click and drag and drag that keyframe from frame 58 over here are 57 and then go Shift D to duplicate it and then just move your mouse and drag it all the way up to 195. So now from one 60-ish, 165, after that long pause, it's going to fall back to that position where it was there. If we go to our graphic view, let's just press the Z, go into solid, go to frame ten, and let's just see what it looks like. Remember, it's going to look rough at first. There we go. Bit of a pause is doing its thing, and then it falls back. And we don't want it to just immediately go down because it's still going to be closing attach while that's happening. So let's go over to two, twenty, two twenty, once again, let's just drag this one here to select it, Shift D to duplicate and drag it. Got it to 20. And you can see now it's this bar in-between because just like over here It's a hold. These values here are exactly the same. So it's a hold. It goes back, a little robot goes back as a whole. Then we want to go back in. But before we do that, let's just give a little bit of anticipation. So at 234 to 44, we're gonna go G, move it up a little bit, R to rotate it forward a bit and then go and insert a location rotation. So it goes up for a little bit of anticipation. And this has come to an end frame value here we only have 250 frames, so let's make a 280. Essentially, it's very simple. Our animation here starts at one and it goes to 280. Now that's the value of set. And remember, blender runs at 24 frames per second by default, which is what we want. So just animations can be a few seconds long. So let's come to frame 262. And then we're gonna go G, z. I'm going to bring our robot down. This is cozy, go into wireframe so we can see and just move them down where he where he was, rotated them a bit and then go i and insert a location and rotation and on to 62. So now if we go to frame one all the way back, Let's just stand back and let's just play it. Unless you see what all just looks like. It comes out the whole guys back, It's doing its thing here. Remember you got to picture to the robot arm coming out here, the claw. And then he pauses quickly and it goes back down. So this is all going to make a lot more sense later on we still have to get into the animation curves and due to claw, but it will get there. Just bear with me, make sure to save as you go. I guess what you're going to do is just quickly drag your slider down a little bit so you can select a robot, just click on some of the different parts, go over to the modifiers and to give us a little bit better performance while we're animating, Let's just turn off the real time display for a sublist modifiers. So in this case, I'm just going to click on that little window there, the renderer, as long as the camera's enabled, we'll still see this in the render, but we just don't want to see it in the real-time view port. So let's select the body and get to the subdivided exact same thing. Any little of these bits, we can just turn that off for the sub div will really help speed things along. Okay, so I'm just clicking those ones and that's already a lot better. If we now go to frame one, we press the space bar, we just get a little bit less laggy view time, real-time performance into viewport. What we're gonna do next is clean things up a bit. But what I decided to do is just quickly select the empty refund animating. And I actually think that this little step here, just a little extra keyframe on frame 45 in-between those two is not necessarily just going to select it and go x and just delete keyframe. So now what we have with the space bar is this leans back and goes forward. We don't really need that little extra bit down because we're going to fix that with the animation curves. Speaking of which, let's go up here to our animation workspace. All we have to do here is come over to this little tab here, left-click, and let's just make that window, a graph editor, come here and drag it out a bit. Now, immediately you might think, Oh, this looks really complicated. How am I going to do this? But all this is here is just another way of visualizing what we've already done with our keyframes. In fact, if you come over to this little window here and you press N on your keyboard, go to your items, and you should see the transforms here. Let's just select that empty again. You can now see if we drag here on the timeline. Let's just go to frame ten where we added an a keyframe. You can see where it's yellow over here. This is the exact same timeline here you can see we're on frame ten, and this is just representing the negative and positive space of these individual transforms. Let's just come to the drop-down here on the Object. Transform it to make things simpler, let's just quickly turn off everything here except the z location. We have to z location, that's this one right over here. The Z-transform on frame ten. If we drag this little slider all the way up to frame 47, you can see our little guy here is going up on the z transform over here because we only have the Z enabled, you can actually see the blue line. And so it starts lower. So this is the negative of Z. So you can see here on frame ten, we have this keyframe and over here it's just represented as a handle. If you click and drag over that handle, you can see this little controls come up here. You can actually left-click on them. And you can drag these and now you can smooth out your curve. Let's just grab this one here, for example, and drag it out. Let's just come up to the next keyframe. Drag it up. So this keyframe here is framed 37. So this is left-click and drag over frame 47. Let's now grab this handle here, and let's just take it up a little bit and then grab this one and bring it out a little bit. Now what we have as our little robots going up to this frame, it's kind of dipping over a little bit and then coming back down. So it's a little bit of over, over overhang on animations. Let's go to frame ten. Press the space bar and let's see what it looks like now. You see that it doesn't just go up completely and stopped, but it kind of dips back a little bit on that Z height, so just sinks down a little bit. And that's a very simple way. We can smooth things out. You can keep going, you can select the next keyframe. So every handle here is just the next keyframe. And you can maybe grab this little handle here and just dip that valley down a little bit just to even it out. Now let's go to frame ten. Let's press Spacebar. Yeah, okay, so because he accelerates from here, a little robot list is actually grabbed a keyframe and actually drag this one in a little bit. And let's see if that looks a little bit better. So now it comes up, dips down and goes. That's more like it. A titan that curve off just a little bit there. Let's see what that looks like. And it dips back. Okay, cool. So what you can do, and I encourage you guys to take your time with this, is you can actually undertake these. And for example, one of the things we did here is we wrote edited on the x. So if we got our X quickly here, you can see that, right? So let's just turn off the z location and enable the x rotation. We don't want to z location just to x rotation n exact same thing over here. You might have to scroll back a little bit and then click on this little tab and just drag up just to make it a little bit more noticeable so you can actually see it all. So just clicking, left clicking on these tabs, dragging them up or left clicking on this one and dragging it down could just give you a bit more visual space here. Exact same thing. But this time it's just to do with the rotation. So let us come to frame 48. In the frame for the eight. Let's just grab this keyframe here. And let's just grab that handle and just drag this handle point out and this handle point just to give it a little bit more width and smooth it out. Now let's go and see what that rotation looks like. So you go to frame ten or roundabout there and press the space-bar. Okay. So if it's not looking quite right, maybe over here, it has a little bit too quick of a dip, So let's just come back and while we still have that handle and 37 selected, this is crap, this one. Drag it in closer a bit. Let's see what that looks like. Okay, that's good up here, but down here it's just a little bit too much of a Ford jolt. Let's select this keyframe down here on 57, that handle. And let's just drag that point out a little bit just to smooth that curve. Drag it back space bar. Okay, so what I've done here is I've just dragged it up even a little bit more and just a bit closer to the next keyframe. And I've moved to next key frame up just a little bit. So we get something that looks like this. Okay, That's a bit smoother. So this is a lot of fun messing around with this timeline. The curves here in the animation curve. And the more you play around I've done, you'll start to understand how it all works and how it gives you that little bit extra control. But what we're gonna do now is we're going to do something that ad with a generator. We're going to use some noise to automatically add a little bit of random variations to this time just curve here. So that's actually really simple. So let's enable all of these again. And let's click on the Y Rotation to y rotation. Let's give this guy a little bit of sideways wobble. So what we're gonna do with the Y rotation enabled, I'm gonna come over here and this window we're going to press N, and that's going to bring up our properties. We're going to go to the modifiers. I'm going to go with that y rotation active. We're gonna go add modifier and we're gonna give it a noise. Now you can see it generates a whole bunch of noise. And that if we were to go to frame one and press the space bar, you can see it's going ballistic, but what we can do if we increase the scale to something like 50. So it's nice, big, wobbly waves. You can now see this is what we have now. It's nice. Steady waves that are automatically generated on the why for us. And we don't even have to animate that, but it's a little bit too strong. So I'm going to come to the strength and just make it point to we still want those nice big sways. We just don't want to be happening so intensely. So now he's got a little bit of wobble there. And it just makes it a lot nicer. And instead of making all of this again, all you have to do with this one now is click on this little copy, this little button up here, then click on the Z, and then click here on the little Paste button. So now it's gonna give us some a debt on the z. So it's going to bob up and down. But let's come here to the scale and make it 40 instead. And now let's see what that looks like. It's gonna go up. And now he's also bobbing up and down a little bit. And that's all happening as a generator. And that's really cool. So now that we have that added to our animation, Let's just quickly go back to our layout. And just quickly this is adding a camera. Just want animated yet, but just so we can have a bit of a frame to work inside of. So let's come into the front of our scene here we're going to shift a, wanna go down to our camera options. Add in a camera, the camera active. If you press Zero on your comfort, your number pad, you're going to go into the camera view of your camera active wherever it is. In this case, it's put it into the stage, just make sure it isn't as such. If it's not, you can just select the camera, press M and then move it to the stage. But with that camera active, we're going to press G and then middle mouse button once and then just move your mouse back and it'll zoom the camera out. Let's zoom to about here. Let's go to our camera settings. And let's give this a really big focal length. Like a really should. We have a really shallow view of our model here? If you don't know anything about photography, It's worth looking into it a little bit. But essentially we're going to take this focal length here from 50, we're going to take it up to 150. So it's a really shallow and you can see we're a lot closer now. But if we still have a camera active, we can go gee, middle mouse button once and just pull the camera back till we're something like this. And then we're gonna go G and just move it till reframed about here for now. Now, if you go to frame one and you've hit the space bar, you should be able to see this. We will eventually antiemetic cameras that kind of goes along with our little robot. But now you can see what we're dealing with here visually. And it's gonna look a lot cooler once we've added some animation to our camera as well. But what we're gonna do now is we're gonna go onto animating this little door. But we'll do that in the next part because it's a little bit of animations or we're getting a little bit lengthier. But essentially we'll be animating these doors here, opening up and closing and then animating a little arm and we'll make a little diamond pop-up which is already built into Blender. And a little, it's actually wanted to extra objects that come with it, but I'll explain that all in the next bit. But if you've made it this far and make sure to save, because it's always important. And I'll see you guys in the next bit where we finished off the animation part of this course. 10. Animation Part 2: In the previous part, we were able to do most of our robot animation. We're gonna do now is just opening up, dislocate here this little door and chest and animating a little arm that comes out. Now, one thing I'm going to quickly do is just select a robot empty Harris's quickly pop back into our animation and I'm just going to click on the Y Rotation. Remember in a previous part, we added the modifier. I wanted to just come here and set the strength to five. Sorry, 0.5, most definitely do not set it to five. So 0.5, it's a little bit more than 0.2. Let's quickly hit the spacebar kinds of camera view actually. And now we've got a little bit more wobble there. Okay, that's a little bit more exciting. And maybe even just on the Z, I'm just gonna go in there and give it a strength of 0.35. Okay, just have a look at it. I just feel like it needs a little bit more of that variation there. Just to make it a little bit more exciting for our robot, that looks a lot better, slight adjustment, but it looks a lot better. Let's go back to out loud. And now it's fun. Let's grab that little door. You can see it's active. And let's come to frame AT, I think for MAT is a good place to start. So we're going to come here to frame AD over slider, just click there, and then frame AT were to come to our object data properties. And we're going to take that sheet shaped key we created in the earlier parts. And we're going to click on this little button that's going to automatically add in a keyframe for that value. You've added. You can see it's yellow that indicates, and you can actually see here dares to keyframe. And what you're gonna do is you're going to take this and you're going to drag it. Just pass a 100 to about a 100 and free lot about their one hundred and three hundred and five. We just want a little bit of time there and add 100 and free, what you're gonna do is you're going to drag this value all the way up to one. Maybe not even all the way. Let's just go about that. Marcia can just see it sticking out. And you're gonna click on that little diamond there. It's going to add in a keyframe again. And then what you're gonna do is we're gonna create a hole because we want it to stay open. So simple way to do that is to click and drag over that keyframe Shift D to duplicate Shift D, and then just move your mouse. And let's move that up to 190 for now and roll your middle mouse button down just to shrink the timeline here. And then hold in your middle mouse button and just move up and just click and drag over that keyframe again and just click and drag it up to 20 there. Okay, so just before to 20. Okay. The only reason I drag it to 190 is because I didn't have enough space there but around about there. So let's just quickly look at that. Let's hit the space bar. You can see there it opens up. Okay, It's playing, is playing. And as he's starting to go back, it's still open and just the last second before it goes down, it closes. So let's make that two Verde. Let's make it to Friday. And let's come here to this value and drag it all the way down to 0 and click on the Shape key here. So now let's watch the whole thing from the beginning. Drag it like that and just watch. Okay, there it goes. It's opening up. Okay. And then it just closes as a robot goes back down. So that timing there is perfect. You guys can adjust it a little bit if you want, but I think that looks great. Now what we're gonna do is the arm here. So see that robot arm. And let's just select those prongs. And let's go to our modifiers. And let's just turn off the subdivision for that towards the end because it is slowing things down a bit. So just in the viewport. And what we're gonna do is we're going to go to the solidify that we added earlier and we're going to give it a little bit more thickness. That's a lot more interesting. Now, what we're gonna do is we can actually select that bar that it's connected to. The bit that claw part itself go up here to Scene Outliner. And you should see that is under the claw drop-down because as we put it in, again, you want to make sure that is active. And if you click on the little drop-down under debt, you can see that the other parts are under debt in the hierarchy because we parented the prongs, those finger bits. We parented that to the actual cool part itself. So make sure to close active. And what we're gonna do is we're going to come to frame 120 because that's about not too long after the door opened up. So frame 120, let's go to our right orthographic view. And what we're gonna do is we're gonna go, I am going to insert a location and rotation just like we did with all the other items before. And then we're gonna go up to something like 1 sixth. So that just gives a second and a bit like about two seconds, just a little bit less than two seconds of time for it to move from here to here. So at 160, we're gonna go G and we're going to just move it in an orthographic view. Now we're going to move it to about here. And we're gonna go and insert a location and a rotation. And this is click and drag over that keyframe. Let's go Shift D to duplicate it, and let's drag it up to 200. So now we have a hold. So it comes out like this. It has a bit of a hold. And then let's go to 225 or 220, false get to 24, right about there. To Twenty-four, Let's go G and move it all the way back into our robot, like so. And let's go and insert a location and rotation for that. So now I'm gonna proceed, just go back into solid and let's see what that looks like. Let's go into our camera view by pressing 0 on the number pad. Go to the very beginning here, and let's play our animation. And let's see what it looks like. A K. That's looking pretty good. So what we're gonna do now is we're going to also animate these prongs here, grabbing something, but first we have to make it That's something. And to do that you have to enable something in the add-on. So let's quickly go to Edit Preferences. Go to your add-ons here. And by the way, this is not something you have to download. It's already built in to the package. When it come up here to the search, I'm going to type in extra, and we're going to see something here called add mesh extra objects. And mine is already ticked because I've already enabled it. But go ahead and make sure you take yours. And once you've done that, just close here. And it should now be able to go Shift a and go to your mesh options and go all the way down and you're going to see something called Diamond. And you can go to just make it a gem. Actually, you can come here and change the settings, but I'm going to leave this gem just as it is. It looks perfectly fine. Now let us go into an orthographic view, pressing free on the number pad. Let's go to G and move it over here to where it is, column is a little pipe. Let's go S to scale it down to about this much about the size of the inside of the pipe like that. Maybe just a little bit smaller, then go Control a and applied at scale. That'll make sense later when we do the texturing. But what we need to do now if the diamond is, we need to go way back in the beginning of our scene. Let's go to frame a and frame Friday. Let's go G and just move it down into here somewhere and then go, I insert a location and a rotation. And then we're going to drag all the way up to about where to claw is resting over the area here where the diamonds going to come up. So that's gonna be about 160. We're gonna go and insert a location and rotation. In fact, let's move to Diamond up, actually scale g, z and just move with diamond up, we're still in 160. Move it roughly up to where the claw is and then go i and into the location and rotation again. So it should go up between Friday and 160. And then what we can do is we can probably click and drag over this frame here and 160 then go Shift D and drag it back to about 80. So our diamond is going to come up here, like so before the robot gets here. So you can either leave it as a whole. But if you want a little bit of movement, you'd come to 160 and then you can go G and move it down a little bit. In fact, maybe just go to 80, let's just go to AD and AD. We're going to go G, z and move it up a bit, go i and insert a location and rotation. So what it does is it kind of comes up, but it's not just sitting still. It has a little bit of movement in there. You could make it a hold if you wanted to. But I think just having a little bit of movement like that is okay. Maybe even on AD will come here and just give it a little bit of a rotation and then go, I insert a location and rotation. So now it's popping up. And it's kind of like settling down on a spot and it's settling down right about where that grabbers are going to be in a claw. So what we're gonna do now is we're actually grabbed the claw itself, order to arm the claw arm. And now what we can do is we can come here to frame 161 says grabbed that keyframe for the claw arm and this has got a J, drag it forward a little bit, just gives a little bit more time. Okay? And what we're gonna do is we're going to grab those clause there. And let's come to about frame 132. Or just as it comes out of the chest, in this case, it's a bad one for 36. And if you go, Are any double-tap z, r, w, z, It's going to rotate it on the local z-axis. So not a world space, but the local space. And let's open that up. And let's go and insert a, just a rotation, not a location. And then let's drag back tilts in the chest and then we're gonna go our double Z and close it, and then go and insert a rotation so it's closed up in a chess. And then between these two keyframes here, it opens up just as it's coming out. So maybe just grab this keyframe at the frontier and just move it closer and closer till it's not causing any sort of issue with penetrating the housing here that it's sitting in. So just needs to clear. Just dragging it a little bit forward will help with that spacing there. So just as it's coming out at chest, the whole thing opens up. And now it's staying open while it's grabbing the diamond here. But it might be open just a little bit too much. Let's just go back to 136 and Cisco, our double Z and just close it a little bit. Then go i and insert a rotation just so it's fitting just where it needs to be on the diamond head. Don't worry that the diamond isn't moving along. We're going to work on that in just a second or if some constraints. But you see what's happening here. It's just opening the right time and it's about the width of that diamond there. So what we're gonna do next is we're gonna be using an empty with some constraints. To make this diamond attached to this claw at a specific point and it'll go along, we have the robot. So it might sound a little bit tricky, but I want to explain this step-by-step so you can see exactly what I mean, make sure to save as you go. So what we're gonna do is I'm going to drag our slider on the timeline till our arm, our claw here comes out. And it might be just a few frames off depending on how you've animated things. So don't worry if it's exactly the same frame, but come a roughly to a shot where those claws or as much in the both sides of the crystal. So we want this diamond here. Does gym be perfectly or as much as we can perfectly in the center of these two prongs here, right? My case that's gonna be framed 160. So what I'm gonna do is I'm going to select a diamond and I'm going to go Shift S. And we're gonna go cursor to select this. It's going to put that cursor there exactly in the middle of a diamond. We're going to go Shift a, go to our empties and add in an empty. We're going to add in a cube. We're going to hit S to scale and scale it down till it's just small. So just inside of the diamond there. And make sure you don't move to frame who want to be exactly on that spot right there. We're going to go Shift S and we're just gonna go and set the cursor back to the world origins. Always important to have it right there in the world center. Now we could do is we can select our diamond. We're gonna go to this tab here, which is our object constraints properties Add Object Constraint and when it gives us something called a child of so essentially what we're gonna do when it tells us diamond with this constraint to be constrained to a certain object. In this case, it's gonna be empty. So at a certain point it's going to attach itself to not empty. So let's now go ahead and click on this Eyedropper. And let's click hover over that empty and you should say, you should see there it says empty. In this case it's empty dot 002 because it's the second empty we're adding into our scene. When I just left-click on it, you should now see it's added that MTN. Make sure it's the empty and then just select it empty and holding and shift select the arm, the claw arm here, and then go Control P and go object keep transforms. Now we've parented this empty to this control here, or does this arm here to robot arm that comes out of the chest. The clothing. And what we're gonna do now is we're going to select our diamond. So what we're gonna do is I'm gonna come here to this influence here. And currently it's set to one, which means it has full influence over its attraction to that empty. The empty has full influence over to diamond, so it's completely holding it in that place. So if we now drag this down to 0, it will have 0 influence on frame 160, just as it comes into that place. Let's just give it a value of 0, which means no influence. And click on here that little dot and that's gonna go yellow. We've added in the keyframe. Then what we're gonna do is we're going to just move up one frame. So one way you can do that, if the left arrow button just move up one frame and then take this influence and drag it all the way up to one. And then click on here and a shape keyframe again, click on the keyframe button here. Now I've added the value for one. So what's happening the whole time? That MTS no influence all the way up to 60. And then just the next frame, it has full influence and a diamond goes along. See that? Nice, isn't it? I can see here it's an issue that diamond is sticking out there. But don't worry if that happens to you and you don't have quite enough space, all you do is go to your right orthographic view and just simply go in to your deselect that arm there to claw. There we go, just that bit. And let's go to frame 124 where we can say it's sticking out. And let's just enable our auto keying here. So that's just gonna do the know how we've been pressing I and then we insert keyframes. That's just gonna do it automatically. So now right, orthographic view, we're just gonna go G and move this back and up a little bit more and then rotate it just so it's a little bit more back. We don't want it sticking through it just so it's clearing those doors. Okay. And then turn off the auto keyframing on 124. So it's automatically added in those keyframes. Now let's go to frame 0. Go to our camera view, and let's hit the Spacebar and let's see what it looks like. So here it comes. Here, it comes out, it grabs, it has a full influence, grabs a diamond, and it goes back and that's pretty good, isn't it? Nice little trick there. Now, you can see there's some areas here where it penetrates, it goes, it goes Frodo and all you have to do in those situations is just grabbed that claw arm again. And you can just add that point where it's a bit of intersection enable the auto king. You may or may not have to do this and then just go G and just bring it down just a little bit. So now it's just goes down at a point a little bit, just working your way through. It's going to happen pretty quickly. You probably won't notice it too much if it intersects with just this closest, you can get it. I just that little adjustments there. But now you can see what we've done here. And that's a really, really cool way. You can use the child off constraints. And I hope just trickier hasn't been too difficult. If you struggle, make sure to check out to provide a blend stages so you can see exactly how I've set it up, but this is pretty much our finished animation from here. It is a lot of cool stuff like adding some of our materials are going to be animating the camera and a separate part when we set up our lights and stuff. I think that's easy enough to do so I'm not gonna include a camera animation in here, but thank you for watching and I'm looking forward to seeing you guys in the next part as we started wrapping this project up. 11. Lighting &Textures: If you recall in the earlier part, I was telling you guys about the project resources folder inside of there is where we got our model sheet for the first part where we did our modelling on what you're going to be doing in this part is you're going to be going to that same folder and I'm going to quickly show you inside of there, you also going to see something called materials. And it's going to be called underscore packed file. That just simply means that the textures that I'm gonna be using, by the way, these are free textures and the public domain that I got from poly haven. So definitely go check them out. It's a really good site. They're all in here, which means it's not referencing anything. So you're not gonna get that issue where it can't find the textures. So that should be in there and you're also gonna be seeing long with all of this also different blend files in here yet because I'm obviously still making a course, so don't worry if you're not seeing them. So going back to our blend file, I'm going quickly show you how we can bring those materials in. The way we do that is with the append feature and blender, just gonna go to file and you're gonna go to append. And then you're going to go to wherever you've downloaded that project resources folder. And you're just going to open that up and just look forward to blend file that says materials underscore packed file. Double-click on it and you can see all of these different things. We want to simply go to this one here called material. And you can see there's a few materials inherit only one that we want once we want are these ones here. So from Jim diamond all the way down. So holding Shift as you go down, you can just select all of these wants to gem the glass of green paint, the metal grid, old pipe, and orange paint. You're going to go and click on append and it's brought those in to the material clipboard. You're also gonna go to file and you're gonna go to external data. And I'm gonna click here on automatically Pack Resources. So what it's gonna do is gonna pack all of those textures that are in there into your blend file so they're in there. So let's just quickly go to UV Editing and you quickly go to the drop-down up here you should be able to see a whole bunch of textures are now in here. You blend file is now gonna be a lot bigger, but you at least have these nice quality textures in here. So let's just quickly pop back to the layout. And before we actually get into the actual textures, we do want to add some lights, and this is really easy to do in Blender. So one of the common lights that I like to use is, first of all what we call a HGRI. So HGRI is like a high dynamic range image. Once again provided with this course. So what we're gonna do is we're going go over here to our world properties. So that's anything to do with like our environment. And we're gonna go here to this color tab. Now, traditionally you could just change the color here and your environment color would be whatever you set there. We're going to click on this little tab. This little yellow dot is left-click on it. And I'm gonna go over here to textures and we're going to click on environment texture. Then you need to actually find a so click on open and then find wherever that downloaded project resources folder is that came with the course, the same one where we've been getting everything else. I'm going to quickly go wherever that is on my computer, which isn't necessarily going to be the same for you guys. But once you've found it, it should be called Adam's place underscore bridge for k0 XR. Now once again, this is also a free resource I got off of poly Haven. It's completely free to use the CC. So once again, big thanks to them, but I'm going to go ahead and just click on that e dot EXE file. You're gonna go open image. And if we now press Z and you go render, you're going to see that there is some light in and say now let's quickly go over too, our Render Settings real quick. We do need to make sure we have EV enabled us to render engine, didn't want to take ambient occlusion. We're also going to come down and this is the most important one. We're gonna enable screen space reflections. And we're going to also drop that down. And because we're gonna be working with a glass material, we need to enable refraction because glass is a refracted materials. So click on that as well. Later on we're gonna enable the bloom and we'll get into that a bit. But just make sure MD occlusion, screen space, reflections and the refraction are all enabled. And now if you press Z got rendered, he probably wouldn't notice a whole lot of difference, but when we start adding textures, you're going to see how it all works and we'll still mess around about lighting a little bit. But let's start by actually selecting our robot here to body. Let's go to our materials down here. And by default it already has a material because we use a default keeps you just click the little minus there to get rid of it. And what we're going to do is when we go to the drop-down, I want to get the orange paint that we've imported. You can now see Derek supplied. We're also going to click on the dome. We're going to go to the materials tab, guard down, and then get the glass dome material. We're then going to go and click on our ground, the ground plane. I'm gonna go to materials and we're gonna go down and we're going to get the middle grid. We're also going to select our pipe when a go-to materials go to the drop-down and give that the old pipe material. And we're going to select our tube or the tunnel that is coming out of here. And we're also going to give that same old pipe material and also this ring over here. We're going to select that and give that the old pipe material. They're going to select this bottom part here where our exhaust is coming out of the thing just above it, I'm going to go down and give that the green paint material, this bottom part here for now, let's just give that the old pipe material and then these fins here, let's give them the green paint material and also these parts inside of them. Let's give that the green paint as well. And just the door here as well, giving debt to orange paint. And then the chest thing as well, it gives out the orange parent. Now what we also want to do is we want to give this part here, the actual ring, the green material. But at the moment that's all one object. One material, but I wanna quickly show you something. If you an object mode de-selected body can actually go to your materials properties. Go to this tab here, click the little plus, and instead of creating a new material, just come to the drop down and get that green paint. And now if you tab into edit mode and you come to this rank because it's a separate piece of mesh. If you just left-click and select a vertex and you go Control L or Command L. It's going to select that whole piece of geometry. And you can now with that green paint selected, you can go assign, and now at assigns it to that, you can tap out and that is how easy that is. So you can already see here, we now roughly have our lighting in the scene. We have some basic materials applied. We're still going to keep working on in materials a little bit and add some quick eyes and a Smiley face. But let's just also quickly just select our gem here just before I forget, go to the material drop-down, there should be something called gem and just select that material there. Cool. So we have our environment lighting, but we still want to add some lights of our own. So we're gonna go shift a. We're still in our render mode. So z rendered, we're gonna go Shift a, go to our light options. We're going to add in an area light. These are one of my favorites to use. We're gonna go G, z, we're going to move it up in the scene. I'm going to go to our light settings down here, a light properties and let's give it a strength of 120. And let's come to the size and make it free meters like so. Now at the moment our environment light is a bit too dark, so we're gonna go back to our rural properties. When it comes to the strength of that nature, I'm going to make it 0.25. I'm going to press Enter again. Now, that's more what we're looking for. Now we can get some nice contrast here. So we've got a light selected. Let's see if we can increase the strength of it. I think a 150, maybe a bit. Let's go back to your object data properties of light, and let's make that 350. Okay, now depending on how big your scene us, that's going to depend on how much power you need it because it's working with the inverse square law and some real world physics. So just keep that in mind, but you can mess around with that power for what we want here is one main light that's just above here and to the front little bit and pointing down towards the robot. So you can see that's already starting to look nice. So we have that nice dark background, which adds a bit of contrast. But this stuff here is just way too dark like a tube here. So what we're gonna do, we're gonna get to a right orthographic view and move that light active. We're gonna go Shift D to duplicate it, move it forward, and then R to rotate it towards the scene here. And if this one here, we're going to take it and we're gonna give it a strength of 200, so it's a bit less and we're gonna make it slightly bluish and that bit of a shadowy flight. We're then going to select that top light that we have there. I'm going to make that a little bit orangey, just slightly, a little bit more light. Then what we want, we want some nice rim lighting, some lighting coming from the back here to make our little robot pop out. So what we can do that can grab that big light at the top. We can go Shift D to duplicate him moving kind of behind a little robot here and in R to rotate it. What's the back of the robot? You can go from the top view if that helps. And you want to place that light just off to the side there and maybe even a little bit more back with just wanted to kind of catch that corner there. And let's make that a bit blurry as well. That's a nice rim light color. And let's just get to the size of a light and make it too. Okay, so just you can mess around with this as much as you want. Just move the camera Till that light that's getting caught on the end there looks nice and just gives it a little bit of a pop. Lighting is one of those things you can customize however you want. This is where you get to use your creative license and really make your scene something unique to yourself. But already this is looking great. So this is Save As we're going because in case blender crashes, we don't want to lose our work. So it's always good practice to save. So let's quickly add just a few more materials before we go to the next video where we're going to be finalizing a lot of this stuff. Let's select that done and we're going to press H to hide it. Now inside of here we just extruded the inside of the neck here just to give it kind of like a closing here. So all we're gonna do with this body selected, it's just quickly go to your materials tab, click on the plus, and this time create a new material. All we're gonna do is go to this surface here. And instead of having to principled shader, we're just going to come over here. I'm gonna go up and select the emission. That just essentially means this material glows. The strength means how strong it is and color. Well, that's pretty much self-explanatory. So we're going to take the color and we're going to make it kind of like a greenish blue color. And let's make this true length five. Now to see this, we need to tab into edit mode and we need to go Shift Alt and left-click on this edge to loop select these verts and then go Control plus just to grow to selection. So we have this whole thing selected and then select that material and then go assign. You can now press Z and then go render to see if it's assigned. And you can also click on the material and just call it inner light, like sire, tab back out. Now this doesn't look very cool, but if we now go over to our Render Settings and we go down to bloom and enable that. Check that out. Now we have this nice balloon while we're there. This is Berkeley go Alt H to unhide that dime. Let's come over here to our collections. Let's just hide our stage for now. So everything that is our stage, should it be on that stage collection? This way we can just see our robot and let's just go into our solid workspace. And let's just go into a solid view quickly by pressing Z, clicking solid. Click on this bottom outlet part here, tab in here. And what we're gonna do is we're just going to go Shift Alt and just left-click on one of these rings here. Shift D to duplicate and an S to scale that down. And in press F to fill it in, I guess. And now we just have this face. You can scale it a little bit bigger than go over here, click on the Materials tab and do the same thing. Click on the little plus, go New and let's just call this out let light because this is where the outlet is, where the exhausts come out to propel the little robot. And we're gonna do is, once we've named Atlas, come here to the surface. Once again, we're going to make it an emission. Want to take the strength here and make it 35 when it comes to the color. And we're going to make it really blue. We can now go Z and go rendered. And that should be, with that face selected. We should be able to select that and go to Assign and net now assigns it to that new geometry. Let's tab back out. If you now go into your camera view by pressing 0, you can't really see anything. But if this little thing selected as little hub here, if you press R to rotate and you double-tap X, it will rotate it on its local x, like so. Right now the reason we're doing the local x and not to world is because our little robot here is actually rotated. So if we were to just rotate it on the X is normal. It will rotate it on the world. Exit this one here. And we want to look at the local x rotations are going, are double x only rotated locally where if we went our x, it rotates it according to the World position. So our double x and just rotate it forward and that just gives it a cool look. We now go into our camera view, press the spacebar. At some point, we should be able to see our little robot, the bottom of a dairy. If you can just tab into edit mode with that piece of geometry selected in here, you can just go to Face Select if it's easier just to click on it and select it. You're gonna go G and then double-tap z. So G double Z and move that down locally. And keep going. G double Z, income of utility kind of see it sticking out and in tap out. We just want to see that light can come here to the strength and make it 120. Anything you can just to make it stand out nice and bright. Just bloom has a little bit large. Let's go to our Render Settings. Let's go to the balloon settings and let's make the radius a little bit smaller. So something like 4.3. And now let's bring back our stage. That's all pretty cool. One thing we can also do is select this arm, inherit a claw, go to our materials, get to the drop-down. Let's just give it that orange paint material. But what we're gonna do is we're going to click on this little seed that's four there. If we click on F4, it makes this its own material. So we can now click on that and let's just name it metal. And let's come over to our settings here under the materials. And let's go to the metallic and drag it all the way up to one and then bring down that roughness, which we can do at the moment because there's actually a map that is controlling that and not a value. So let's just quickly go to our shading workspace. In here you can see the whole notes setup which you're not gonna get into at the moment. But all we need to do here is come to the roughness input for that metal material and just plug it out. And then we can take that roughness down manually like so that we can come here and just plug out this color as well from this color ramp. So we just have the white hair. This is make that a little bit darker in value. Now we have a cool metal. Let's select those arms on the claw, come to the drop-down, and let's find that new metal material we just created using an already existing material. If we now press Z and we're going to have rendered view, we should be able to see what that looks like. It's pretty cool, mess around with this color here on the principled shader, but something like that. Nice and simple. We'll do the job just fine. You can also select this bottom part here, the little outlet. Go to your materials, click on the old pipe, come to the drop-down and you can give it that actual same metal material, which looks a little bit better. But so far you should have something that looks more or less like this. You can always try out different things. Maybe select this ring, give it at same metal material. It's really up to you what you wanna do with it from here on. So what we're gonna be doing in the next part is we're gonna be finalizing a few things. We're gonna be adding some, a bit of camera animation, giving it some soft focus by adding a focal point for the camera. And we're also going to be adding a quick eye and Smiley face, which is really easy to do, maybe make another material or two, but we're just going to be getting this thing finished off. And then we can finally, after that, render out an animation. Hopefully this is something that you guys are really going to feel really proud about and even build on top of, I look forward to seeing you in the next part. 12. Last Touch: So in the previous part, we were able to finish most of our materials. We're going to be doing this part is just a few final touches. We're going to do something about the eyes. I think adding some eyes and a Smiley face. So this would be cute. Then just some basic camera animation and some soft focus we're gonna be adding in some focal blur, which is really easy to do. So let's start by grabbing our robots empty controller, and let's just go Alt G and Alt R. And that's just reset the transforms. As long as we don't add in a keyframe for that. For that, it should just go back to where things were when we play the animation. So just go G, Z and just move it up. The reason for doing it is we really want there to be, for it to be nice and straight. When we add in the eyes, we're going to shift to a. Let's just add in a UV sphere. Right-click and go Shade Smooth and in your front orthographic view, or it's gonna go G and move it up S to scale that down. And if you want to enable your X-ray up here to see what you're doing. Go ahead and do so. I'm going to move mine here. Let's quickly go to our modifiers. Let's give this a simple mirror modifier. Click on the little eyedropper analysts is selected dome as a reference point. So now we have our eyes, we can go to our right orthographic view by pressing free. And let's move them forward a bit so it is embedding them here at the front summer. You could do this however you want. And for a simple mouth, we can go shift a, let's add in a tourists are X9 had Enter and then go G, Z, move this up and S to scale it down, tab into edit mode. And then you can go Alt S to scale it in along its normals. Left-click and drag to select the top faces about that much. And then you can go see, if you press C, you can get the selection tool to select these two little ends here as well. Press X and delete only the faces. Then once you've deleted all of that stuff at the top, you're going to press C and you're just going to left-click and drag to select these verts. Left-click and drag to select these ones. And then what you're gonna do is you're going to press F, and that's just going to fill those with faces and modifiers and gives us a subdivision surface modifier. Tab back out, Right-click, go sheets, move. Now in your object mode, you have a nice Smiley face. You can take this now, scale it however you want. Make it whatever size. Just places more forward in the helmet here, that dome that all of this is sitting inside of. So what you're really going to see now, once we start adding a glow material here, you'll really see how this looks. Let's just select the eye. Let's go to our materials. Let's just click New, and let's go to our surface. And once again, we're going to make this an emission because we want it to be emissive. Let's just make it a yellowish green and let's give it a brightness of six. Now, if we just save control S to save, let's just say, let's go into a rendered view and you should be able to see this fruit to glass material if you don't, we have this new material, by the way, let's just double-click on that and call it eyes. You should be able to come down here if you're not seeing through here. And make sure that this here, this under the Settings screen space reflections isn't turned on. If you have that turned on, it will think that this is meant to be receiving refraction, which is not so just make sure that's not ticked. You should be able to sit right for the glass, but it actual dome material, the glass material, the dime that does have the screen space refraction ticked, which is accurate. Okay, so now what we have to do is select that mouth as well as a select that mouth, go to the drop-down and this is get the eyes as well. You can call it eyes and mouth if you wish. Snow need to really, it's fine. Now before we go ahead and get too crazy of this, Let's just select this. I holding Shift list is also select the fact I'm just gonna get rid of the dome for now. Just click on it and press H to hide it. Just select these objects here and don't play the animation yet. Holding and shift select the empty and then go Control P and then go object, keep transform. So if I now go all to H to unhide that dome, you can now see that that's all gonna go along with our animation. If we now drag for animation, you can see those items go along with our robot, and that's all really, really cool. So let me think, what have we not done yet? I cannot, I think I did previously as I selected my diamond with my original. And what I did is I went to Edit Mode. If all that active, I went Shift D to duplicate and S to scale it. Then I went to my gym material here under the materials I click plus new and ice called a gym dinner. And I made it a mission under the surface and they made it slightly red and I gave it something like five. Then I just made sure that screen space refraction was not enabled. I made sure to assign it. And now if you press Z and you go rendered, you should see something like that. But if you actually go into edit mode and you still have that inner part selected, you can scale it way down, like so. Maybe bump up the strength. And now you have this nice glowy effect inside of the gym. You can make this color whatever you like, honestly be as creative as you wish. I'm going to leave it as more like a reddish pinkish color, which I think looks fine, but this is already looking really cool. Let's now quickly animate our camera. Let's toggle off our x-ray. And because this is a looping animation, one thing we wanna do, we wanna make sure to cameras starts and ends the same way. So let's go to the very first frame over here, and lets us, with our cameras active under our stage, we're gonna go G and we're going to move it right about here. So this pipe is almost off to the side here. And with the camera active on frame one, we're going to press i. We're going to insert a location and a rotation. We're then gonna click and drag on this keyframe, Shift D to duplicate it and drag it all the way to 280. Now, it starts and ends the same way in or anything in-between here that we move will be different in the two end frames, as long as the end and the beginning of the same, it'll loop just like the rest of our animation. We're also going to do is we're gonna enable auto keying. So anything we do now on a timeline and any movement of the camera is automatically going to be keyed in. So we don't have to press i. But in this case, you have to be careful that you don't move at someone we don't want to. Otherwise it's going to add it as a key-frame. Let's drag for animation till it comes up to about the point where robots here at the top. For me that's at about frame for free. And I'm gonna go G, move my camera up like this. And then G middle mouse button and just move in a little bit by moving to mouse. So now you can see from 0 to 33 it moves up. Then I'm going to drag fruit and let's come to about 72. And this is double-tap, are with our camera active and just rotate our camera a little bit like that. And let's see what that looks like dragging through. And then let's drag through all the way till where Robert comes close up to it and it starts opening the doors. So let's come to about 101. And then with the camera still active, we're going to go gee, middle mouse button and we're going to zoom in even closer like this. And we're gonna go G to move our camera off to the side a little bit. That's being auto kid as we go. So you can see here, That's what we have so far. Now he's doing his thing and what we don't want it to start pulling back. So we have a keyframe here, so let's just click on it one on 101, Shift D to duplicate it. And let's drag it to about here where the whole thing comes to an end, about 160 from one 60-ish roundabout here and onward. As the ribosome is going back, it's come to about 218. We're going to double-tap. Are we still have the camera active, this routed back towards the robot G middle mouse button. Let's zoom in a bit. And then it'll automatically pan back as a robot goes back. So let's go to frame one. Press the space bar, and let's see what all of that looks like at the moment. You can see here. I do apologize. There are some construction works in the background, but they shouldn't be too long. And there we have it. We now have our little robot camera animation. Let's quickly add in a focal point here, so we have some nice soft focus in the background, I guess. So what we're gonna do now is we're gonna make sure to turn off our auto King. We don't want that causing any issues. Make sure that buttons off and we're going to now give our cameras something to focus on. You could choose anything but having an empty or a dummy object is ideal. So we're gonna go Shift a and we're gonna go to our empty options. Let's add in a sphere. Let's go to our right orthographic view by pressing free. And if that, Let's go G and move it forward to about where the diamond is. We're gonna hit S to scale it down. Now this is simply going to act as a point for our camera to focus. And let's select the camera. And let's go down to our camera settings and we're gonna enable depth of field, come to the drop-down, click on the eyedropper and then hover over that object. Empty dots are free and left-click on it. And now that's the focal point. If we now press Z and he got rendered, you're going to see there's a little bit of soft focus in the background. But if you take this f-stop value and you make it something like 0.5, that becomes much more intensified. So let's leave it at 0.5. But what you can actually do, select it empty. And just as a test, Let's come to about 140. And just as a test, Let's just go G and in Y and move it back and forth from the scene. You can kinda see if we remove that where the focal point a. So it's just like a camera. So what we're gonna do is we're going to have this animated. So we have a nice focus where we want it. This is really going to help with the animation and blend things together a bit. It also makes the actual character or subject matter that you're animating pop out from the environment or the background. So we're going to come over to frame one. Frame one, we're going to have that empty right over here by the pipe and want to go, I am going to insert a location. We have that done. We're going to drag over that keyframe, this added in Shift D to duplicate it, drag that to 280. So now it's going to end and start in the same place. Then we're going to drag for animation, like so. And just as our little robot pops up here, what we're gonna do is we're gonna go, I, in fact, maybe just a little bit before that come to about 26. I'm gonna go, I insert a location and then drag up just as a robot pops up and it comes down. And then we're gonna go G and move it over to where robot is, and then G and move it back in the scene like so just to where it's right in front of the robot there, I'm gonna go i and insert a location. Here's what's going to happen. If you can now go to Z and then go rendered. At first it's going to be focused on that thing standing out to pipe. Then just as a rubber pops up, the focus now goes to our little robot. And as it's coming up to that diamond, what we wanna do at about frame 100 is why we have that empty still selected. We're going to go, gee, why? And move it forward towards the front here where the focal element is the diamond. And we're gonna go and insert a location keyframe. Let's press Z, Let's go rendered. And now you can see what's happening there. And it's focusing a little bit too much on that Diamonds. Let's go up to frame 140, or maybe even frame 120. And let's just quickly fade back to the robots. We're gonna go G and move it back towards the front of the robot. So it's nice and in-focus and we're gonna go i and insert a location. So you can see here, just as the camera kind of the robot comes up here, it's switching focus to the diamond for second, and then back to our robot. And that's kinda what would happen with a camera as things are moving around and cameras auto focusing. This is something that is trickery. It's not something we're trying to imitate as much as possible what an actual camera would do. But now we're going to just leave it there. Let's come to about 106 in frame 106, you're going to go, gee, why maybe move it for just a bit? Then go, I insert a location. And then as the little robot fades back, Let's just come to about 186. I'm going to go into the location again for that. And then just at about 208 is going to quickly jump, focus and it's going to sharpen up again, right where the robot is. I'm gonna go, I insert a location and let's just leave it at that. Okay, then just goes back to where it was. So one thing we're gonna do now is we're just going to press Z, we're going to go rendered. And then we're going to save and make sure to save you some cases crashes, and this is quickly play. Our animation. Blender might go a little bit slower, a little bit laggy, but we're just trying to see what this all looks like. Okay, that's looking really good. Okay? So what we could do over here, maybe at 180, this will actually grab that and we're gonna go G and just move it more closer to the robot and go into the location. This is something where you guys can use your own artistic license, try and make it something that you think visually helps with the actual scene here. Also the advantage of having this, as you can see the background here, that's kind of a bit out of focus so we don't really get distracted by that environment. It doesn't have to, we're going to have to put a wall there to block that out. So it kind of just cheats a little bit there, which is really cool. Now one last thing I mentioned before we go into the final part is this. If you actually look at these doors, these doors here are actually working with a procedural material that is being applied with generated. It's generating it over the object. It's like a box projection, which means it's not using the UVs of the actual geometry. And because we're using a shape key for that, to open up, it's looking at it and kind of like a bounded area, if that makes sense. So the actual shape key is just moving around our existing topology between two, between the basis and as open door shape key. But it's not, doesn't have any UV. So what's happening is the box projection is still staying in the same place. And that's why if we actually drag through here and there's doors open, you can see that even at the doors open, this texture stays in the exact same place because it's being applied in fangled quickly just go into the shading, just I can explain it. If that material, if you go over here to the texture coordinate is being projected on the object into the vector input. And it's all a box projections. So if that's a little bit confusing, just study it out a little bit more. Look online about textures and proceduralism and you'll understand it. But what we could do to fix that, and I'll quickly explain, is just come over here to a material's properties and we have this orange paint here on this door. Click on this little number here, that's going to make its own material. Let's just double-click on here and this is call it orange paint underscore door. And now all we have to do is quickly go into editing workspace. This is now its own material gun to a front view. And with doors selected Cisco, you answer scoped project from view. Select it over here S to scale it up. You can actually come here and press Z and then go into the material preview and just scale it till that projection looks like it's the right scale. In fact, it actually going to see anything till you come. In fact, let's just scale it about this much for now and just place it over here just so it's about the same size of the texture. And we're going to quickly go into our shading workspace. And let's just come to that new door, underscore paint and let's just change all of these methods, projection methods here from Box to flat because we're using the UVs, not like a bounding box. So we're gonna go to each of these textures individually, just changed it to flat projection, like psi. Okay? They're all now flat. Now if we go z and we go rendered, we can see that looks quite horrible. But we also need to come here and take the UV from the texture coordinate and plug it into the vector here. Now that is better and the scale there seems okay, So now if we go over to the UV Editing or our layout and we drag for animation, you can see the textures now go along with that. Now it's actually is mirroring exact same with the bottom. So you can see it's just a mirror because this is actually existing as a modifier, not an actual piece of applied geometry. But we can get away of debt and people shouldn't notice. In fact, this extra step here is actually optional, but I thought I teach you guys just so you can learn a thing or two about these little issues. But for now I think we've done enough in this touch-up part. In the next part where we're gonna be doing is we are going to be animating, rendering these out. And you're going to have a final animation that you can share with your friends. And I'm definitely encouraging us to build upon this, make it your own, try some different animation techniques and see what you can do. Thank you for watching, and I'll see you in the next part. 13. Final Rendering: Welcome to a very exciting part. This has been quite a few steps we've been going through in this Skillshare course. But what we're gonna be doing now is rendering out our final animation. And if you've made it this far, congratulations. This is actually a lot simpler than you might think. We're just going to be pressing a few buttons pretty much. Once you're sure you're happy with everything, what you can do. So you can go over here to your Properties panel. I'm going to get to the output properties. Anything that has to have outputting something, it lives right over here. We're then going to go over. And you can at this point choose your format. And most of you are probably familiar with resolutions. You get Hg for K2, K. And here you can do whatever you want. This percentage here, essentially, at the moment it's 1920 by 1080 and it's just saying we're gonna do a 100% of that. You could technically take that up to 150 per cent, make it bigger, or you can just leave it at 100%, which is what I recommend, and then change these resolutions. Now a little handy tip and I'm not gonna do it here. Maybe it's a bit of homework for you guys. But if you change this resolution to something small or you drop down this percentage, maybe it's like 25. You can actually render out this animation had renders it a lot faster. So you get a little preview animation and then you can decide what you like, what you've done. And if you need to make changes, you make it then before you invest the time and energy into rendering out big formats or something that has much higher resolution. And that can save you a lot of headaches. So that's a little thing there you guys can try out for now. I'm going to leave this at 100%. I'm going to leave it at the default resolution. We've been working at 24 frames a second. You could change this, but if you change it now, blender isn't necessarily going to automatically update the keyframing, so things are going to look really fast. You'd have to change that first, but let's just leave it as it is. And the frame rate here, that is what we already said. Don't touch that. Now one thing to keep in mind, as we have been adding in keyframes from the beginning and the end, that data exactly the same first and the last keyframe or exactly the same, which means we're going to get what's called a step. And that step is essentially going to give us a double frame. So there might be a little bit of a pause, but at 24 frames per second of an animation like this, we're really not going to notice that double frame. If you have a really fast-paced, short little animation in some situations you can note, notice that double frame. So somebody might be aware of this, but I'm not going to be changing that. So just leave it as that it's not gonna be dropping or adding a frame. And then over here we have the output. Now this is right-click on the folder and you can select anywhere on your own personal computer. I'm gonna go to my desktop. Click Accept. Once you have that destination, what you can do now is you can get your file format. Now, some of you may want to choose to do a PNG, which is the default. So it's gonna be imaged sequences that are gonna be exported to your location. And then you can take those important to Adobe or whatever programming like to use and compile them together into an animation that gives you a little bit more control and security. Because if it crashes halfway, then at least you can start from where you are if they're sequences. But if you actually choose something like a video format, then you kind of stuck having to re-render it if anything crashes. But because we're working with EV, even with a mid-range computer, you should be able to render this out relatively quickly, even if you do do a video format. So I'm gonna go the changes to FFmpeg video. And then you can go to your encoding. And under your encoding, this is where you choose your container type. By default, it's set to mattress soccer, but we're going to take this and make it MP4 peg, which is essentially an MP4 as we all know it. And that's in my opinion, one of the better ones to work. Or if it's really stable, renders out quickly, you can change the quality here. I just like to leave it at medium. I think it works fine. And once you have that all set, you can go to file, and you can go save, and you can go render. And this is the exciting bit. Have a bit of a pause. You can now click Render Animation. And once you do that, it'll render it out to your destination. So go ahead and do that. Have a ton of fun when you see the final results shared with people. Keeping in mind all of these blend files that I've been making as we go. And of course they're all going to be in the resources folder. So if anything has been confusing, just open that up, make sure to look at it and there'll be a big help to you. I'll see you guys in the final outro video. I'll give you a few more tips and encourage you guys to do some of your own personal projects so you can actually build on what you've learned. But yeah, this has been really fun. And I'll see you guys there. 14. Outro: Congratulations, you've now finished the Skillshare class. I hope you guys have your own little robot animations already and finished. And it's at this point where you're going to do the more important thing. And this is where I encourage you guys to actually build on it yourself with your own personal project. See what you can do. You guys can take this and you can make it your own. You can tell a different story. All I wanted to do and to Skillshare class is teach some basic ideas. Stuff like making the lovable animation, how to use some different tools. But it's up to you guys to take that and make it your own personalized things. So you can try changing the animation a little bit. You can try different lighting. You can even design your own robot. You can sketch out some basic ideas. You can take what you already have and build on top of it. I'd really like to see what you guys do as far as projects go and what we'll do in the project resources folder. I'm gonna put a folder in there and it's gonna have some stuff in it. I can give you guys some ideas. What you can do with your project, what you can try out, some of the different things you can do. And that's gonna be really exciting. So once again, a big thank you from me. Thank you for taking the time and keep on learning and stay safe.