Transcripts
1. Trailer: Creating next level renders
requires good lighting, good texturing, and good setup. And this is what I'm sharing
with you in this course. I'll show you exactly how I managed to replicate real life lighting with very
simple techniques that took me years
to accumulate. First, we will model the
product and the scene. You will learn how to
create objects, move them, scale them, and a lot more, including how to
create instances. Then we will set up the
camera for our shot. Not only will you learn
about HDRI lighting, but we will be creating
our own light. Then we will discover how to block light from
escaping the scene, and also how to cast
shadows on our product. Then we will wrap and
texture our product. We will also learn how
to mix shaders together and use multiple materials
on the same object. And finally, we render our result and move
on to composite. I don't miss out on this course, which is years of accumulated
blender knowledge.
2. Intro: Hello, everyone. Welcome to this new cosmetic product
course on Blender Treaty. This course is going to be
quite beginner friendly. But even the experts among
you are going to find it useful in terms of new
creative lighting techniques. As you can see on the
left side of my screen, this is the result that I have achieved previously on
a previous project, which this course is
going to be about, and we are going
to tackle how to replicate this result from
start to finish, basically. This time around,
we are going to be using two light sources. The first one is
going to be a NHDRI. It's going to be giving the
general feel of the scene. But the light that's
going to make everything pop for real is going
to be the point light. I can demonstrate here. I can turn off the point light. And as you can see, the
lighting is quite dull. All I did was put an HDRI. Of course, I selected
the HDRI carefully. But besides that, I didn't
even do anything to it, because that's not the
main light that I wanted. The main light that I
wanted is the point light, and it's the one that's giving the overall feel to the product. Additionally, you
can see that we have some shadows casting
on the product, and they are produced
by the point light. So if I turn it off,
they will disappear. If I turn it back
on, you can see the shadows being projected on the product and
the scene around it. And that effect is called
D pulled lighting, and we are going to
learn how to very simply produce it using
a very simple technique, and that dappled
lighting is going to take your rendering
to the next level. The other thing that
you can perhaps notice is that we
have some glare happening around the edges of the product that we are
missing in the preview render. And that's because
both the glare and the color correction
are going to take place in the
composite of Blender TreD. You can think of
it as photoshop. So taking a photo
and editing it in photoshop is similar to taking a render from Blender TreD and editing it in the composite
of the same software. You will not have to
worry about the sticker, as I will provide that for you. All you have to do
is download it and integrate it into
your note setup. So if we were to take a look at the scene without the
rendering turned on. This is what the
scene looks like, and we are going to be
recreating it piece by piece. In the following lectures, if we turn on the
preview render here, we can sort of see how everything
plays or fits together. And we are only concerned
about this part here. You don't have to worry about the difference in contrast and saturation as that will also be covered in the compositing
lecture of this course. And that's why it's very
important to learn about the compositor if you have
never touched it before. Additionally, we will
be learning how to edit or composite the
different objects separately. So let's say you want
to make the product have its own exposure,
brightness, saturation. Maybe you want to make
it more saturated, but you don't want to affect the background and the base on which the product
is standing. You can do that,
and it can quickly demonstrate how I'm doing that. So let's enable the backdrop and fit the render
in the window. So as you can see here, we have the rendered image, and we can mask the product
from the rest of the render. And then we can do whatever
we want with this mask here. So that we can composite it separate from the
rest of the render. And that's how we have the product sort
of like saturated, but the background is not. And we will explore this in
depth when the time arrives. Also, another thing, you will be able to see the
shortcuts that I am using throughout this course on the bottom right
corner of my screen. So if I grab this product
here and I move it with G, you see the shortcuts. Also, if I scale it, if I try to create a new
object, you'll see shift A. So if you get confused, don't forget to check
the bottom right corner. If you have any questions, please do not hesitate to ask. It depends on where you
are watching this course. If you are on
Skillshare, for example, you can join the discussion
and leave a question, and I will get back to
you as soon as possible. If you have purchased
the course elsewhere, then please do not hesitate to message me or send me an e mail. Also, I would really
appreciate it if you could leave a review by
the end of this course. It helps me a lot as a
skill share teacher, and it motivates me to make more courses for you. Thank you. Also, if you want to see more courses for me in the future, do not forget to follow me. It's worth mentioning
that I will be replicating this render
to the last detail. So, for example, I know
what size the product is. So please feel free to copy the values that you
see on the end panel, such as the location,
rotation, scale, dimensions. Um, Also, I have
seen some students do their own thing and
achieve their own results. If that's something
that you are into, then by all means,
you can do that. Both ways are
encouraged following everything I do or
doing your own thing. It's your choice, really.
3. 01 Modeling: So the first thing we are
going to do is import an image of the previous
render to follow along and easily show you
what I'm going to do next or what I'm working on or what I'm trying
to achieve next. So I'm going to go to
the top left corner here and I'm going to click and
drag and open a new window, and I'm going to change this
window to image editor, and I'm going to
open an image here. You can see the file explorer, And I'm going to browse to the image that I'm
going to be using. Actually, I might
use another one, the one that's
resized. There we go. Then we are going to create a cylinder by pressing
Shift A on the keyboard. Let's go to Mesh and
then select cylinder. We are replicating the result on the left to the last detail, so we're going to have
to input some values. And in order to do that, we need the panel to be open. So if you have it closed, just press N on your keyboard
and it will open right up. Then I'm going to go to item, and I'm going to type -0.368. And then I'm going to go to edit mode by pressing
tab on your keyboard. And let's change from vertex select mode
to face select mode. Let's select the top face, and I'm going to move it down. I can do that by pressing
G on the keyboard and constraining the movement to the z axis by pressing Z, and then move it down. To about there. I
want the product to be the same size as
I have made it before. So I'm going to
correct this number a little bit or three. That's enough. Then I'm going
to go into edit mode again. Let's select any phase here. We could have left the
top phase selected. But for simplicity, and in case you selected another phase
or d selected everything, simply select a phase
and then press control L on your keyboard to
select all linked. You have many options here. I'm going to leave it to C and then I'm going to shift D to duplicate this and then I'm
going to move it higher. To about there, I'm going to
correct this number here. And then let's select the
top face and move it down. And I'm going to correct
this number here. So now the product
that we have so far is exactly the
same as this product, both in sizes and dimensions, but also the location
in the treaty world. The next thing I would
like to do is add a bevel to the product so
that we have smooer edges. So let's select the product. Let's go to the modifier tab and let's click
this button here. Let's search for bevel
let's click on it. I recommend some settings here. So for the width type, actually for the amount, let's input 0.0 17. And for the segments, I'm going to input three. The other thing that
you can do is opening the search window by pressing F two on your
keyboard, I believe. That's the default shortcut. But for me, I got it on space, and I can look for Shade Smooth. Or, you can go to object
and choose Shade Smooth. You could also shade
smooth shade auto smooth. I'm going to leave it at
Shade Smooth for now. Also, while we are added, I would like to
subdivide the product. So let's click on the product, and let's go to add modifier, and let's search for sub
division surface modifier, and let's click on it or we
can do it the other way, the much faster way, and let's click control two. And that will add a
subdivision modifier with the level of
subdivision of two. If you press Control three, You will get the same modifier, but now we have the level
of subdivision of three. I would like to
keep it at two for the viewport and for the render. I would like to bump
it up to three. Then I would like
to add a cube to act as a base on which
the product will stand. So if you pay attention on
the left side of my screen, we have a base here, and the product is
standing on top of it. So let's hover on the
viewport and click Shift A. Let's go to Mesh
and click on Cube. Now, I would like to scale
the cube to be larger. However, scaling it with S
gives us a symmetrical cube where every phase is exactly the same size
as every other phase. And in this case,
we don't want that. We want the cube to be
thinner in the z axis. And Blender gives
you the option to scale an object in every axis, except for the axis of your choice by using an
additional shortcut. And that's what we
are going to do. So I will cancel the
scale operation and then press S again and then top it up with
another shortcut. So I'll press Shift
combined with Z because that's the axis
that I want to eliminate. And let's scale the object
or the cube higher. Now, I know exactly what size
I want the cube to be in. So I will input the
number manually. So I will click
on the x axis and drag down to the y axis, and that will allow me to edit both axes at the same time. So I will type 18
point actually, my numb pad was off. So 18.407. And as you can see, the cube is now
tenner in the z axis. If you observe here,
the z axis did not change in terms of scale. Now, I would like
to move the base below the product because
it is overlapping with it. So let's press G while
clicking on the base, G, and then press Z to move
it along the z access, and let's bring it down. Now, I know exactly how much
I want to bring it down. So I will add the location of the z access and I will
type a number there 374. And now the base is
exactly below the product. Then I will move it back, but where is back here. An easy way to find out is
by going to the front view. So on your numb pad, you want to turn off the
light with the numb lock key, and then let's press or one. And I will bring us
to the front view. And here I will drag the camera or the view with
the middle mouse button. And now I know which
direction is back. So I will press G and
I will try the y axis. And that will allow us to move
the base towards the back. Now, I know exactly how
far I want to push it. So I will addit the
number here to 18.1. Let's turn on the num pagan 195. And it is exactly as far back as the base
on the render image. Finally, as far as the
base is concerned, we will need to extend
this phase downward. So let's go to edit
mode with tab and let's make sure that we are
on the phase select mode. Let's click on this
phase and press G, then to move it
along the z axis, and I would move it down. Now, I know which number
I want here again, 378. Now, for most of these things, you don't need to match
the numbers exactly. However, I want to reproduce the exact same result to the point where it is indistinguishable from the
render image, hopefully. Okay. We can exit the edit mode by pressing tab again.
And there we go. So once the base is finished, we can start working
on the background, and the background is going
to be a simple plane. However, we are going to
modify it a little bit to sort of like help it
guide the light around. So let's however
on the viewport, and let's click Shift A, go to Mish, and
let's select plane. And let's rotate the
plane along the x axis. So r x, and then let's type 90. Then let's scale the plane up. So with S, and let's
drag with the mouse. Now, I know exactly what the
scale is going to be again. So I'm going to click
and drag and I'm going to input 42.77 three. Then I'm going to move
the background up. So G and then z and
then let's move it up. And I'm going to
tie here 36.2 33. And then I'm going
to move or actually, I'm going to scale it along the x axis or
actually the z axis. So and then and then I'm
going to scale it a little bit Then I'm going to move it along the B y axis. To about there, maybe. Yeah. You can pay attention to the numbers that are changing and trying
to match them. And then I'm going to
go into edit mode. Make sure that the background
is facing the front view. So I'm going to go
into edit mode, and I'm going to grab this edge, make sure that you are
on the edge select mode, and then extrude with
on your keyboard. And then type or press y to constrain the extrusion or operation along the y axis. And I'm going to
move it forward. I'm going to input
a number here. There we go. And then I'm going to grab this edge here and
I'm going to Bavel it. So the Bavel shortcuts
is Control B. And once you beavel
you can scroll up with your mouse to
add more segments. And I recommend adding as
many segments as necessary. That should be enough. And then we can select the background, and if you wish, you
can shade it smooth. By the way, if you
want to move or stray left and right
on the viewpoard, you're going to hold shift and then the middle mouse
button and then dragging. That's it for the background. I believe the modeling
part is finished. There is another object, but it's not it doesn't belong
to the modeling lecture, it belongs to the
lighting lecture. So I will leave it for that.
4. 02 Camera And Instancing: Now, is a good time to set up the camera because I want
to do everything that we are going to do next from the viewpoint
of the camera or at least check how things are looking by checking the camera. Also, we are going
to be creating a duplicate of the product. It will not be a real
duplicate per se. It will be an instance. So any edits that we do to the original object
such as texturing, will also apply to the
instance automatically. So we will not have to
do the same job twice. Okay. All right, so how exactly do you create
a camera in blender. While hovering on the viewport, Shift A as you would, if you were to create an object. But instead, we will
select the camera here. And now the camera is created. Now, how exactly do you
position the camera or assume the viewpoint
of the camera? You can assume the
viewpoint of the camera by pressing zero on your numppad with the num lock
key turned off. So let's press zero. Or insert. And that will
take us to the camera view. If you want to exit
the camera view, I believe you can
press insert again, or you can drag with your
middle mouse buttern. So there is an easy way to move the camera and position
it pretty quickly. And that way is by deciding what you want the camera viewpoint
to be will look like. So let's say I want
the camera viewpoint. To be this, and we can use
the shortcut Control Zero, I believe you need to turn
off the numb lock again. I'll try with the
num lock turned on. Okay, you don't have
to turn it off. So on or off, it doesn't matter. So control zero
on your numb pad, and that will automatically
move the camera. To assume the viewpoint
of the viewpoint camera. Now, I exactly know what
values I need to input on the end panel for
the camera to be exactly the same as in the render photo on the
left side on my screen. And I'm going to
input them right now. Once the values have been input, I need to change this to zero. Once the values are written
on the designated text boxes. We can press zero
on the num pad with the num lock key turned
off or press insert. And that will take us
to the camera view. Now, there is one
thing that is missing, which is the render frame
resolution or the format. So let's go to the output, and let's go to the format, and we will need to change
the resolution here. So the resolution is
going to be 759 38. And if you want to render
a let's say four k image, you can bump up the
resolution scale. So now it's 100%. You can, for example, type 400%, and the render image will be four times the resolution
that you have written here. I'm going to leave
it at 100% for now. I have no lights
in the scene here, so I don't have an
HDRI nor a lamp. So if I go to the
rendered viewport view, it's not going to show anything because there's
no light source. But that will be worked
on in a little bit. For now, I would like to create the duplicate instance of the product so that we can
get that out of the way. So let's select the product. And instead of using the
typical duplication shortcut, which is Shift D, we are going to incur a
special kind of duplication, which is the instance kind. So how to do that, you can press the
old D shortcut. And that will create a duplicate for you
that is Basically, a copy of the main object, and anything you do
to the main object. It's going to appear
on the instance. From here, we can
move it up with G, and let's use z axis. Let's rotate the product
along any axis that you want. Well, not any, I will use the
x axis and type 90 degrees. To focus on the object
that is selected, you can press the
delete on the numb pad. Actually not delete, but the
number block needs to be on, so it's not delete. It's point. I can try to manually
show you how to rotate this object here
so you can rotate with r. I'm constraining the
rotation to the z axis. If I need to move the product along any axis
except for the z axis, I can press shift, and that will allow me to move the product anywhere I
want but the z axis. If I go to the camera view by pressing insert
on the numb pad. I can see what the
product looks like. Let's press G shift. Shift Z, and let's see
how that looks like. Now, I know exactly what
values I need to input here, and I'm going to input them. Actually, I always forget to turn on the num pad on again, Now, the product is facing the exact same direction as the product on the
rendered image. You can try to copy
these numbers here. I forgot to click the product, but these are the
values that you need to have if you want to obtain
the exact same result. Also, since our project
is starting to fill up, it's a good time to
do some organization. So I'm going to start
by the product. I could, for example, click on the first part, and then whole shift and
click on the second instance, and then press M
on the keyboard. And a menu is going to pop up, and I'm going to
choose new collection. And I will call this product. And that will create a new collection and move
the selected objects to it. I'm going to rename this object here to product one
and the second one. I'm going to name it to product two for the base
and the background. I'm going to move them to
a collection called setup. Now, this is the base here, and I'm going to click on it
and press F two, I believe. This will allow me to rename it. So the default shortcut for
the search menu is not F two. I believe maybe it
could be F three. You could look that
up pretty quickly if you want to use the search menu. So I'm going to call this base. And the background,
I'm going to rename it to B G. I'm going to move the camera
to another collection. So I'm clicking on
the camera and I'm going to press new collection. Another tip, as far as the organization is concerned is collapsing the
open collections. So if you want to collapse
these expanded collections, you can simply press
minus on your numpad, and that will collapse
them for you. And with that, I believe theme and the instancing
lecture is over, and we can move on
to something else.
5. 03 Lighting Part 01: All right, welcome to
the lighting lecture. The first thing we
are going to do in this lecture is get our hands on an HDRI that we
can use to obtain the general lighting
or feel for the scene. So open your browser. And in the search bar, you're going to
copypaste the term that appears in the assets
folder in the text document, or you can simply open the link that I will
be putting there. If you want to search
for it manually, you can copypaste, press enter, and then open Pohan. This is the HDRI that we
are going to be using. And I recommend that you
use the four K resolution. You can go below, but
for such a simple scene, I believe that your
computer will have the memory necessary to render the scene with an HDRI
at four resolution. I also recommend
that you leave it at EXR and simply click
the download button. Once you have the HDRI
downloaded and ready for use, you can use the bottom window. If you don't have it open, you can simply drag from the middle right
corner and pull up. Now, I already have
a window open, so I will click on
the corner again and click Join areas
and choose below. You may have to change
this from object to world depending on your default blender
settings and then click. Now we can add our HDRI. However, to speed
up your workflow, I recommend that you have
node regular add on enabled, and to do that, you can go to the edit
menu and then preferences, go to the add ons tab
and type node regular. If you have it disabled, you can enable it and then save your settings and then exit. Once the node regular
add on is enabled, you can simply click on the background node and use
the shortcut Control T, and that will add the
environment texture node for you and connect it to the mapping and texture
coordinate nodes as well. And from here, you
can click Open. You can go to wherever you
downloaded your HDRI in, and I'm going to
find my HDRI here, and I'll open it. You may have also noticed
that the HDRI I'm using is not using
EXR file extension. Hopefully, that's
the same thing. It shouldn't look different, but I honestly prefer EXR since the last time I worked
with HDRI files. I will leave all the
settings as default. I will not touch any
of the settings here, and I'm going to preview
what the render looks like. Quite expected for
everything we have done. However, there is more to do, and let's get to it. If you pay attention
to the preview render, you'll notice that it
is kind of blown out, meaning there are some very bright areas
like the background, you can barely tell that
there is a background there. It looks almost
completely white. But also the side
of the product, and that's because we
have not corrected the color management settings. So the first thing I
would like to change here is the view transform. I want to change it
from standard to AGX. If you are using
blender four point and forward, you'll have AGX. If you are on an older version, then you can change
it to filmic, but A GX is far superior. I will change the look to very high contrast and
the gamma to 0.6 38. And that will match
the settings that I had on the render on the
left side of my screen. Please do not forget
that the difference between the preview
render and the render on the left side of
my screen will be corrected in the compositing
lecture of this course. After all the lighting is done, the preview render will still look different from the render on the left side of my screen. And that's because it has
not been composited yet. I'm going to rename the
World Note setup to HDRI, and then I'm going to
create a new collection. So I'm going to make sure that I am on the scene collection, and I'll hit the new
collection button here, and I will name it lighting. Now, with the lighting
collection created, I am ready to create
a point light. So shift a while hovering
on the viewport. Let's go to light
and select point. Now, the light is inside the
cube or rather the product. And that's because that's
where the cursor is, and I need to move it out
of there with the button g, and then I will constrain
the movement to the z axis. Then I can move it
back with the y axis, and then I will move it
left with the x axis. For the position of the light, I know exactly what values
I need to input here. So I'm going to input
them real quick. So for the x axis, I'm going to input -17.0 46. I always forget to turn
on the numpad again. So let's try again -17 0406. And for the y axis, I'm going to input
actually -24.4. And for the x axis, I'm going to input 21.49 four. And now the point light is exactly where it is located on the render on
the left side on my screen. But we are not done yet. We can go to the render preview mode and
turn off the light. And then turn it back on. And as you can see, it has almost no effect on the
lighting of the scene. And that's because with
the default settings, the light is very weak. So we can go to the data
tab here for the light, and we can bump up the
power to something like 9788 and As you can see, the scene is quite illuminated, and that's because
the point light is much more powerful now. We can go to the
camera preview mode to sort of see what's
happening now. And the light is having quite
a strong effect right now. The other settings
that we can change is the radius of
the point light. If you pay attention on the
left side of my screen, I have shadows casting
on the product, the background, and the base. These shadows are by
default, very harsh. You can see clearly the
edges of the shadows. However, with the radius, I can incur some sort of
blur to those harsh edges. And it will give this
result here where the shadows being cast
are not as harsh. And we will demonstrate
that when we get to the shadow creation part. However, for now, I would
like to bump up the value to 0.1 D pad light again. 0.187. And that's about it. As far as the light
is concerned, there is one more
thing we can do, which is configuring the light to have a color temperature. And how exactly do we do that? Well, we can change the
bottom window from world to object and tick the box
that says Use nodes. And now we see how the
point light is made up. We have the emission node
and the light output. So what we need to do here is press shift A and search for black body and connect it to the color input
of the emission node. And that will give the light a different color temperature. The color temperature
I want here is 4,000. And that will give it a sort of brownish color temperature to make the light look
like sunlight, and that's what's the point. Expanding on the
black body node, you must be wondering
what it does. Well, in physics, a
black body is an object that both absorbs and
emits light like a sun. In blender the black
body node converts a black body temperature
to RGB values. I can show you examples here. So this is an example of different black
body temperatures. So the sun is a black body, although it's not a
perfect one because most of the light that it emits
is not visible to us. However, it is
still a black body, and to simulate different times of the day depending
where the sun is, you can input different
black body temperatures You can, for example, see that we use the value 4,000, which can appear in the
morning or the afternoon. And if you look at our scene, it looks more akin
to this image here. There is another image. So you have here a candle, a light bulb and different
lighting conditions. A light bulb and a candle
are also black bodies, and they have different
black body temperatures. So if you want to model a scene and light
it with a candle, this is the value
that you want to use or somewhere around that. That's it for this lecture. We are going to continue the lighting process
in the next one.
6. 04 Lighting Part 02: Continuing on the
lighting process. The next thing I would
like to work on is this shadow caster here that is blocking the
light and creating this shadow streak
behind the product. Before we create any
objects on the scene, I would like to click on the appropriate collection
and highlight it. Then hover on the viewport, Shift A, go to Mesh and
then create a plane. I will rename this
plane to light blocker. Remember that the rename
shortcut is F two, or you can double click here. Once the object is renamed, I will zoom onto it with the button point on
the numpad or dot. From here, I will go to
the edit mode with tab, and then I will make sure that I am on the edge select mode. I will select this edge here. And then I will extrude
it with and constrain the extrusion operation
to the z axis with z. And then I will
correct the amount of extrusion to about 1.5 076 Once the edge
has been extruded, I will leave the edit
mode with tab again, and then I will scale the
object along the z axis. So S and then z and drag down. And I'll correct this
number here, to 9.721. And then I will scale
the same object along the x axis by pressing S
and then x on the keyboard. And I will correct
this number 236.379. Looking good so far. What's
left is rotating this object, so it is diagonal to obtain
this diagonal shadow streak. We can rotate by pressing r, and then we need to press y to rotate the object
along the y axis, and I will type on
my keyboard -27.663. If typing doesn't
work for you because there is a trick that
I have found to work. So if I were to
press R and then y, and then I try to type
minus It doesn't work. So we have to tie
plus on the keyboard, not on the nap pad. So we have to type
plus or equal, and then minus will work. So if typing doesn't
work for you, you can simply rotate
a little bit and then correct the value here. And I will do it now -27.663. The previous method is faster. But if it doesn't work, you can always do it
here on the end panel. By the way, in case
you missed it, you can see what you're
typing by looking at the top left corner of your
current viewport window. So if I try to rotate
with r and then y again, and then type 20, you can see
on the top left I typed 20. If I try to type 30, you can see that I typed 30. If I type minus,
it doesn't work, so I have to type
equal again or plus, and then minus will work. And that's how you see what
you're typing on blender. From here, I will move the
object to the place where it belongs to obtain the
same shadow streak in the exact same location. So I'll move it with g
and move it up along the z axis and then move
it back along the y axis. And then I'll turn or activate the camera
view by pressing insert and then turn on the
rendered viewport mode. To obtain the exact same shadow. I'll have to manually
edit the location values. So for the axis, I'll put 6.277. Remember to turn on the
numpad light again. 6.277. For the y axis, I will put 5.1 677. And for the z axis, I will put 24.929. And now the shadow
streak is exactly where it is in the render on the
left side of my screen. So I have investigated
and I have found that the lack of shadow here does exist in the
previous result without the compositing and the rest of the
lighting process. But there is one more thing
that we have missed doing, which is scaling the
objects along the y axis to about 2.720 and that will
mitigate it for now. But to completely get rid of it, we will have to wait for the compositing phase
of this course, but also the rest of the
or the missing pieces, as far as the lighting
is concerned. The next lighting
component that I would like to work on is
the light container. When you model and lit
things in a blender, the light hitting
the objects and the things around is
escaping into the void. If I zoom out here. You can see that the light
is hitting the objects, but all that light that's
bouncing off is most likely going into the
void without returning. And the light
container is going to make sure that all the
light that's going in from both the point lamp and the HDRI is going
to stay inside. And that's how you will
get a realistic lighting. This is a very good
lighting technique, and everybody should
learn about it. The light container
can be a simple cube. So let's go to the solid mode, and let's shift a go to mesh, and let's create a cube. Now, let's hit F two here and
name this light container. I would like to move this to lighting and the light
blocker to lighting as well. Now, the cube needs to be
a lot bigger than this. So we are going to
scale it up with S. I'm going to put 28. It needs to be bigger
on the x axis. So about 32. And now I'm going to go into edit mode and go into
phase select mode. Let's select the top phase
and move it up with G, and then z. I put 2.7, and exit edit mode with tab.
7. 05 Lighting Part 03: With the light
container created, there are a few problems
that we need to talk about, namely the HDRI light. So if we go into the camera
view, Luckily, this time, the camera is inside
the light blocker, so it's not blocking the camera
from seeing the product. Let's go to the
rendered viewport mode. Now, if I turn off
the point light, the scene is going to
be completely black. And that's because all the
light that's coming from the HDRI is being blocked
by the light container. Luckily, for us, Blender
allows you to fix that. And we are going
to do just that. So the first thing
I would like to do to the cube is first, make it wireframe only. So let's go to the object tab. Let's go to the
viewport display and change the display as to bound. You can change it to wire, can change it to solid, which is what we used
to have or texture. I'm going to leave it at bound. Unfortunately, this doesn't fix light from the HDRI
being blocked. It only facilitates the viewer for to see exactly what's
happening in the viewport. So it doesn't affect
the rendering. If we go to shading,
Or, excuse me. If you go to visibility, we can turn off the options here for the cycles
rendering engine. So first of all, I would like to disable it from the camera. And that's we'll hide
it from the camera, but it's still
blocking the light. So inside the light blocker, it's still pitch black. What we can additionally
do is disable the shadows. And now the light blocker
is not blocking any light, but it's containing
any light going inside and keeping
it bouncing around. So if we disable the light
blocker or light container, we can see differences
in lighting. Let's go to the camera view, and let's play around,
see what's happening. You can see that we got rid
of the abnormal shadows here. So, the scene now
doesn't look like it is or it was shot in the
dark side of the moon, but on planet Earth. So let me re enable
the point light again. The sat is going to be
looking quite blown out, but that's okay because the
next component that will contribute to the
lighting is going to tone the intensity down. Before we proceed,
let's make sure that you have one add on enabled. So let's go to edit and
then go to preferences and then add ons and type in
the search bar image. This is the add on in question, and it is called import export
import images as planes. Make sure that it is
ticked to enable it and then save preferences
and then exit. And what does this
allow you to do is import any image
of your choice as a plane instead of
traditionally adding a plane and then texturing
it with a image. Let's go to the solid mode, and I will shift a go to image. And if you have successfully
enabled the add on, you'll see a new option here
called images as planes. I'll click that,
and that will open the file browser
that will allow me to browse to the image
that I want to import. This is the image that
I would like to import, and it is a
silhouette of a tree. So I'll click it and click the button
that will import it. Now, the plane is created, and I need to scale it up first. So I will type a number here. I'll click and drag down
and then type 49.464. I have to be really precise
here because I want to replicate the exact same
lighting conditions on the left side of my screen. For now, I will
manually move the plane around to about the position
where I want it to be. But later on, I will manually
edit the position myself. Let's go to the camera
view with Insert, and let's turn on the
rendered viewport mode. The shadows are showing up. However, I'll need to edit the positioning precisely for them to match the left
side of my screen. So -17 on the x axis 0.0 46. And on the y axis -7.5 365. And on the z axis, I'll put -5.4 877. But now we have a problem. The plane is standing in front of the camera and it's
blocking the view. So what we can do is go to the object tab and
disable camera. And now we get the
shadow cast from the silhouette without
it obstructing the view. With the outliner
hovered by the mouse, I will click and move the plane that we just created to the
lighting collection. But you would have
to have it selected. I would also go
to the object tab and scroll down and
change the display as two bounds so that it doesn't interfere with the
view in the solid mode. This is the location of the silhouette in
the treaty space, if you have successfully and correctly input
these values. This is how the node setup
for the plane looks like. So the image has RGB, but it also has Alpha, which is transparency,
and they are both plugged into
the principal BSDF. That's it for this lecture. The next lecture is
going to be about the texturing process
of the product. So please stay tuned for that. But before I forget, I would like to
demonstrate the effect that the light radius
has on the shadows. So I will click on
the point light and go to the data tab of the light, and I'll turn down the
radius all the way to zero. And as you can see
in the render, the shadows have distinct edges, and it doesn't look
appealing to be honest. If I bump it up
to let's say one. Now the shadows have
completely disappeared. If we use the value 0.1, we get the blur effect back. So the more you increase it, the more blur you will
incur on the shadows. And I would like to leave it at the value that it used to be on.
8. 06 Texturing: We are going to work on
the texturing process, and it's going to include
UV unwrapping the product, but also creating two
different materials. Well, different in names, but the only
difference is going to be the sticker texture. Because as you can see, we
have a different texture for the cover than
the one for the body. I would also like
to warn you that the UV wrapping process is going to be a
little bit complex. So please if something
doesn't work, the way I show it, or if you get confused, please rewatch the lecture, or you can ask me directly. I would like to start with the U V unwrapping
before I add materials, but keep in mind that the
first UV unwrapping is going to be provisional. However, the real one will happen after we add the images, and you will see
why in a second. So let's click on
the main object and please remember that the
second object is an instance. So anything that we
do to the first one will automatically sync
up with the second, which is an instance. So I'll start by going to edit mode and make sure that I
am on the edge select mode. And what UV unwrapping will
do is it will make sure that the product lies
perfectly on a two plane. So if I open a window here, and go to UV editor. You can see that the cover is lying perfectly
on a two D plane if I select all the object by pressing A and then
selecting select all. By the way, if you see
missing options here, it's because you don't have
the Pi menu add on enabled. So you can enable it and
you will get more options. So I'll select everything. And as you can see, the body is lying
perfectly on a two plane, but also the cover the
face or the cover, and maybe the bottom
part as well. I believe some of
these are overlapping. So we'll go to the
face select mode. I'll move this one with G, and sure enough, some of
them are overlapping. But I want to do it manually to make sure
it is done right. So I'll start by selecting
edges from the back of the product from both the
cover and the main body, but also the edge rings. So Blender knows how to unwrap this product and
where the seams happen. So I will select this edge
ring here to separate these faces from the
face below the product. So shift A or shift old ther
and click an edge here, and it will select all
the edge ring there. And I will make sure
that I zoom in it to here and you can zoom in precisely by pressing control in the
middle mouse button and then dragging
back and forth. So I will shift old on
this edge ring here. And on the one on top
of it for the cover, and then I will select the
edge ring on the topmost face. And I believe that they have got all the edges
necessary selected. And from here, I'll
press you and choose Mark Sam Then I can select
all the object by pressing A, and let's select Toggle. Let's do that again. And it
will select all the object. Let's press you. And this
time, I'll select Unwrap. Now the product has been
perfectly UV unwrapped. If you remember we had the edges or faces from the
cover and the product, the same size, and they
were out of proportions, they were around here. But now after we have
manually UV unwrapped, They look proportional
to the product. So the cover is
thinner than the body, and all the other faces circle or faces are the same size. Remember that the
first UV unwrapping, namely pressing and then
choosing unwrap is provisional. We will have to do it again, for reasons we will
discover later on. However, the sam creation
is a process that is done, and we will not have
to touch that again. The next thing that
I want to do is add materials to the product. So let's exit the edit mode, and let's click new to
add a new material. And we'll rename this to
product as opposed to cover. Also to preview what we are doing as far as the
material is concerned, I'm going to cover on the
viewport and press Z, and then select
material preview. Or you can click on this icon, which is called
viewport shading. I'm also going to make
the window a little bit bigger to have more
space to work with. And I'm going to
hide the end panel and face the front
of the product. From here, we can start adding the nodes comprising
the material that you see on the
left side of my screen. So the first material or
node that I'm going to add is a mix shader
node. So Shift A. Be careful. There are
multiple mixed nodes. You need the mix shader here. And you can drag
it between them. From here, I'm
going to duplicate the principled BSDF node
by pressing Shift B. And why we need to do that is because we are combining
two materials into one, one material for the sticker, and one material
for the plastic. And that's why we need two
principled B as the Fs. So I'm going to
connect the top one to the top shader and the bottom one to the
bottom shader input. Now, how does Blender
know where to display the first shader or material and where to
display the second one? So let's demonstrate here
by changing the base color, I'll change one to yellow, and the other to red. Now, these two are mixed
by a ratio of 50 50. If I bump the factor to 100%, the second one is going
to be displayed, 100%. If I drop it to zero, the first one is
going to go through. And that's why we need something
connected to the factor to guide blender to know
where each material belongs. And in our case, where the sticker material belongs and where the
plastic material belongs, So let's first click and drag from the base color and then release your
left mouse button, and a search menu will pop up and I will search for image, texture and I will
click on color. And from here, we need to
open the sticker texture. Now, the sticker comes
in two varieties, one that is black and
one that is white. One is the base color
or the color texture, and the white one is
going to be the mask. And you can see
that in the names. So I have sticker and
I have sticker mask. So I'm going to open
the sticker PNG file. Now, keep the image
texture selected and press control T. You need no regular add
on for this to work, so make sure it is enabled. Now, I need your full
attention because we are going to redo the UV unwrapping here, and it's really important that
you understand this part. So the sticker is already
displaying on the product. However, it is both facing
the wrong direction, but also it is stretched out. The letters are not that long. So I'm going to go
to edit mode with the product selected
and I'm going to make sure that the sticker
image is selected because when blender
UV unwraps an object, it uses a perfect square. However, the sticker image
is not a perfect square. And that's why you can see that the UV islands are squeezed. Like, for example,
this is an oval shape. It's not a circle. So the only thing
that we need to worry about right now is the site. However, I'm going to UV unwrap the whole
product once more. So make sure that
it is all selected. I'll go to Phase edit mode, I'll select a phase, and I will click Control
L. And I'll go to normal and then make sure that the cover is also selected. One phase of it only Control L. You could do
both at the same time. Control L, make sure
that you are on normal, and I'm going to hit
you and click Unwrap. Now, the aspect
ratio is corrected, and the circles are perfect. But also the sides, they're not stretched out. What we can do here, we can select one phase from the side of the
product and control L and make sure that
you are this time on the seam so that we don't
select the cover as well. So let's go to SM and that
we select everything. But the side, make sure that the UVC selection is
disabled to avoid confusion. And then hover on the UV editor. Let's click A to
select everything, and let's press R
and then type 90. We need to position this one. So I'm going to move it with G, and then press S to scale it up. Now, there is a problem
appearing on the product. It's sort of like melting. And that's because we don't
have enough edge loops to support the geometry
of the product. So I'm going to hover on the
product and click Control R, and that will allow
you to create an edge, and I'm going to scroll up. How many times you need. And I'm going to make as many as I see fifth because
it's a simple product, so it doesn't hurt
to go overboard, and I'm going to left click. And here, I can move
them up and down. But I don't want to do that, so I will press escape. And that will create
the edge loops for me. Now, let's go back to
the phase select mode. Let's select one phase, Control L. Let's make sure
that we are on the seam. And from here, I'm going to
rotate this one 80 degrees. So R one 80, and the sticker is now displaying perfectly
on the product. Now, if you pay attention here, we got a problem. And that's because the
sticker is appearing on the top of the body
part of the product. And we don't want that. So
let's go to edit mode again. Let's click on the
product. Let's click tab. Make sure that you are on the face select mode,
select any face. Control L. Go to SM. And from here, I'm going to press while hovering
on the viewport, control, and that will
invert the selection. So every thing that is not
the sides now is selected. And I can go to the UV editor. I'm going to press
A to select all and I'm going to move them
outside of the image space. So G, and I'm going to
press y or maybe x, and move them out. But that doesn't fix the problem because we have to
do one more step, and that is changing the image texture
from repeat to clip. And now, anything
that is outside the image space is not going to be affected by
the image texture. However, we still have the
problem of the Mk shader node, not knowing where to display the sticker and where
to display the plastic. If we bump up the factor, we can see that
the sticker is not being displayed
correctly because the sticker is completely black. But on the result
we have so far, Only the outlines are working, and they're not black. And that's because we need
to create a mask texture. So let's click on the
sticker image texture, and let's click or press
Shift B to duplicate it I'm going to reuse the mapping and
texture coordinate nodes. So I'm going to drag from
the vector and drop it on the image texture. But we need to change the image of the
mask image texture, and we are going to reuse
or use the sticker. But this time, we will select the mask variant
and I will open it. If I connect the color output to the factor of the mix shader, It is sort of working. However, it is backward. The plastic shader or material is being displayed
inside the sticker. We want it the other way. So let's hover on
the shader editor. Let's click Shift A. Let's go to search, and let's type invert. And let's select
the invert color. Let's drag it and
drop it on the node connecting the output
color to the factor. And now, Blender knows
exactly where to display the sticker and where
to display the plastic. So how exactly is the factor and the mask
image texture are working. Well, whereever it is black, the sticker is being displayed, and wherever it is not black, the plastic material is
going to be displayed. The invert color serves
to switch white to black. You may ask why I didn't reuse
the sticker image texture? Well, I tried it, but for
some reason, it doesn't work? It has to be white
and then inverted. Now, I would like to make
sure that the sticker is pointing towards
the right direction. So I will press insert on the numphad to go
to the camera view. And from here, I'll go to the solid viewport shading mode, and click on the product,
go to edit mode, I'll select a face
here. Control L. Make sure that the
Sam is selected. And now I can go to the
rendered viewport mode. And I can move the UV
island left or right. I will use the x button to constrain the
movement to the x axis, and I will sort of use this
portion as a guideline. I'll also scale it
up a little bit bigger to make the
sticker smaller. That looks perfect to me, so I'll leave it as it is. I'm going to exit the
edit mode with tab, and then we can proceed
to something else. We also need to make sure that the duplicate instance is pointing toward the
right direction. So I will press R after
having selected it, and I will type or press X. That's not the right axis, y, that's not the right axis, that's not the
right axis either. So what's the right axis here? Well, there are two
types of aces in Blender the local
and the global one. Right now, after
having pressed Z once, I am using the global axis. If I press R and
then press Z twice, it's going to use the local
z axis of the product. And now I can rotate it along the local one because we have already
rotated the product. However, Blender remembers the local z
axis of the product. Be it knows the original
orientation of it, That looks good to me, so
I'll leave it at that. Next, I would like to work on the plastic part
of the material. So I will go to the second
principle BS DF shader, and I will change the base
color to this hex value. Make sure that you are
on the tab and input this exact value to obtain
the same yellow color. Then I'm going to
change the IR to 1.6, which corresponds to plastic. Now, I will make sure that
the product container has microscopic bumps
because as you know, nothing in real life
is perfectly flat. And I will do that with the principled BSDF
using the normal input. So I will click on the
normal input drag and drop, and I will type bump and I
will select bump normal. And from the height
input of the bump node, I will drag and drop, and I will type noise. And I will select noise texture with the factor input
or output rather, and that will connect it to the height input
of the bump node. But by default,
the noise texture is a lot bigger
than it should be. So for the scale, I'm going to change
it to something like 800 and for the detail, I'm going to bump it up to 16. But now that the noise
texture is a lot smaller, it's hard to see
what's happening. So what I will do is
zoom onto the product, and I will use the shortcut
Control B and a rectangle. And that will crop
the rendering area. I will also go to the
rendering tab and change the viewport denise options to a better deniser and
better settings overall. So for the deniser, I'm going to change it
to open image de noise. And for the passes, I'm going to change it
to albedo and normal, and for the pre filter, I'm going to change
it to accurate. I'm also going to change the
start sample count two 300. And as you can see,
the surface of the product container is
no longer perfectly flat. But it's a little bit too
bumpy to be realistic. So I will tone down the
strength and distance. I will click and drag
or rather type, 0.1. And for the distance, I'll change it to 0.1 as well. And I will wait for it
to finish rendering. Okay, it has finished rendering
or rather de noising. So I will zoom even farther onto the product and use the
shortcut Control B again, and I will draw a rectangle. It is a little bit hard to see, but the bumps are there, and they are not
overwhelmingly present. Since the bump creation
process is done, I would like to
undo the cropping by pressing control
alt and then B, and that will undo it. And then I will type or rather press home on the keyboard too. And if I like, I can
zoom back in a little. I will also change
the start sample back to one and leave the other
options as they are. They will be a
little bit slower, but they will look good. Now, let's work on
the final part of the plastic material,
namely the roughness. But first, I will move the
noise texture and bump node. Down to make some space, and I will click and drag on the roughness input and
drop and type overlay, and I will click on it. And this node is going to
allow us to overlay input A on input B and output a result which will serve as
a roughness map. The first input is
going to be a value. So I will drag and
drop and type value, and I will select value value. I would like to leave it at the default value, which is 0.5. And if you want to
see how that looks, you can control shift and
then click on the node, and that will connect it
to the material output. You need node regular
add on for this to work, so make sure that it is enabled. The second input is going
to be a noise texture. So I will type noise, and I will select noise texture with the factor
output connected. And I will drop it here. I'll move these further down, and I will move the new
noise texture to the left, and that's because I don't
want to use it as it is. I want a color ramp
node in the middle. So Shift A, I'll
search for color ramp, and I will click on it and
drop it in the middle. Now, let's see how
the noise texture looks like on its own. So control shift, click. And that's how it looks like. Now, let's check how it looks like with the color
ramp selected. Control Shift click. And it looks the same. However, I don't want it to
be at the default settings. I'll move the slider
to the right, and that will introduce more contrast onto
the noise texture. If you want to see how the
noise texture looks like, combined with the value, control shift and
click on the overlay, and that's how it looks
like, combined with it. Now, before we put things
back as they were before, I would like to
change some settings, namely the scale of the noise
texture to something like 40 and the detail to 16. And I will introduce a little
bit more contrast here. And I will tone down
the facture to 0.2, And then I can go back to the mix shader and control
shift and click on it. And now the roughness part of the plastic material
is complete. Then we can make sure that
the cover of the product has a distinctive material because it has a different
image texture. So let's o out on the material window and
let's select all the nodes. And let's click on Control C
and then select the product. Go to the material tab
and let's click on the Add button and
then click on, and let's rename it to cover. And let's delete the
default nodes here, and then press control
V while hovering on the material window to paste. The only difference
is going to be the mask and the base
color image texture. But first, we need to assign the cover material to the
cover portion of the product. So let's go back to the
solid viewport mode. And let's go to edit mode. Let's select a
face on the cover. Let's press control L and make sure that you are on
the normal the limit, and then select the cover
material and hit assign. Now it is assigned to it, and now we can exit the edit mode and go back to
the rendered viewport mode. The only things
that are going to be different in
this material are the image texture node for the mask and the image texture
node for the base color. So I will remove both, and I'll make sure that the
base color image texture is selected for the UV
unwrapping process to correct the aspect ratio, and I'm going to
open a new image. And this time, I'm going to
choose cover sticker PNG. For the mask, I'm going to
open cover sticker mask. And with the product selected, I'm going to go into
edit mode again. We have already selected the cover portion
of the container. And with the or with one of
the image tixtures selected, we are going to hover
on the viewport, and I'm going to press, and I'm going to select unwrap. Now the cover is unwrapped
to fit the proportions or the size or the aspect ratio of the image texture for
the sticker perfectly. As you can see here, the circles are perfect, and the sides of the cover
are the right proportions. I will move the side
UV island to the left. Make sure that you have
clip selected so that the image texture
does not repeat outside the image bounds. This face is for the bottom of the cover,
so we don't need it. And this one is going
to be responsible for what's being displayed on the top of the
product container. So I'm going to select it and
scale it with x or S rider, and I'm going to move
it to the right, and I'm going to scale it farther and I'm going to move it a little bit
to the right again. Make sure that you use
the x axis as you move it to move it perfectly
in the middle. I'm going to scale
it a little bit farther and rotate it with our I'll scale it a little
bit higher again. And that looks good to me.
I'll leave it at that. Now we can move on
to the last lecture, which is going to be about rendering and compositing.
So don't miss that.
9. 07 Rendering And Compositing: Now we are ready to
start working on the rendering and compositing
process of this course. If you remember me saying, I spoke about
compositing the product separately or separate from
the background and the base. However, the blender
compositor does not know where each object starts and ends on a two D image
by default, that is. And that's why we need to
do something else, first, to feed the composite that information so
we can work with it. Feeding the composite that information is
quite straightforward. All you have to do is click
the objects on the scene one by one and define
their unique indexes. So I'll start with the base. I'll click on it and then
go to the object data tab, and under relations, I'll
go to the pass index, and I will give it
the index of one. I'll click on the main product, and I will give it
the index of two. And on the instance, I'll give it the index of three. And for the background, I'll give it the
index of four Now, if you go and render
the scene as is, the indexing information
would not be preserved. So the compositor
will not have it. And that's why it is important to do something else, first. So let's go to the view
layer tab and under passes, go to Da and then take
the object index. And now, if you
render the scene, the indexing information will be saved with the render result. So the compositor
can work with it. But before I go
ahead and render, I would make sure that I have the correct settings to do so. So let's go to the render tab
and make sure that you have the sample count to a
number that is high enough, but not too high. The default value is
good for the scene, so I'll leave it as it is. Also, I'll make sure that the
denise option is turned on and that it is set to the best settings
possible for your setup. For my setup, these
are the best settings. The other thing that
you want to check is the resolution under
the output tab. Right now, I have
the resolution scale set to 100%, and
that's what I want. However, if you
want a larger image without having to
reconfigure the resolution, you can bump it up to
something like 200% or 400%. Once you're ready to render, you can go to the
render menu at the top left and select
render image. So once the rendering
process is over, I'll go ahead and save
the render result and work with that
because I don't want to risk losing the render in case blender crashes
or if I have to restart. So I'll go to image, and I'll select Save and
I'll create a new folder, and I'll call it render I'll change the file format
to open EXR multi layer, and I will leave the other
options as they are. And I will rename the render
image to render zero one, and I will hit save. Now I can close
the render window, and I will go to the window menu and I will select new window, and I will change
or make sure that this new window is
set to the composite. And here, I will shift
A and search for image. And it will open an image. And if you guess right, it's going to be the
image that we just saved. So let's open that. So there are a few
things to change here to expose the index object. So let's change the layer
to view layer. And now, The image that we
have just opened has the same outputs as the
render layers node. Now, we don't need this render layers node, so I'll delete it, and it will connect
combined to image, and it will press the backdrop button to
display the render. It's not working because
the view layer is not here. So control shift and click
with the mouse button, and that will create
the viewer node. And now the backdrop
is going to work. From here, we will need
to add some nodes. So I will start with
the color balance node, and I will press Shift A, and I will search
for color balance, and I will choose this one. And I will drag it and
drop it on the node. Once it is white, I will click, and
that will drop it. Do not forget that you will need to connect it to
the viewer as well. The viewer is important if you want to preview what you're
doing with the backdrop. The next node that I'm going to add will be the Gama node. So I will search for Gamma. And then I will add
the exposure node. I will control
shift and click on the exposure to connect
it to the viewer as well. The next node is going to be
the RGB curve or RGB curves. So I will shift A and I
will search for curves. And I will add the RGB curves, and I will connect it to
the composite as well. I. And I will control shift and click on it to connect it to
the viewer as well. I don't want to forget about
one node in particular, and that's going to
be the glare node. So I will press Shift A and
I will search for glare, and I'll drop it
in the middle of the RGB curves and
the exposure node. I'll change the type to fog
glow and the quality to high and the threshold to
1.8 and the size to nine. But for the glare node to
have an effect as it stands, we need to change some
settings before it. So for the color balance, I will drop the
lift down a little. And for the gamma, I'm going
to increase it a little bit. I'm going to increase
the gamma node to something like 1.2, and the exposure, I'm
going to change it to 0.8. And now the gl node is having
quite a strong effect. As far as the rgb
curves is concerned, we can go to the blue
tab and move the curve from the top right corner
to about the middle. I will also tone
down the factor of the algeb curves to
something like that. But there is one thing.
I don't want the RGB curves node to affect
the whole image. And that was the whole point of creating pass indexes so that we can mask the effect of
the Rgb curves using them. Making use of the pass indexes
is quite straightforward. We have it exposed
at the render image using the index or
on the index object, and we can drag from this
output and type ID mask. And I will select
ID mask ID value. I need two of these
because I will mask the background and
the base together. If you want to see how
the ID mask looks like, you can shift control and click on it and change
the values here. If I change it to one, the
base mask is going to appear, two, three, four,
you get the idea. I will need another ID mask, so I will press Shift
D to duplicate it, and I will connect the
index object output to it. And I will change
the value to one. We could have chosen to give the base and the background
the same pass index, and that would have given us the opportunity to
use one ID mask only. However, for
flexibility of reasons, it is best to give
different different passes. Now, I need a way to mix
these both together. So what I will do is drag from the alpha output and type mix, and I will choose mix ad. And that will give
us the mix node with the ad option selected. And I will select
the bottom one to the bottom image and the
top one to the top image, and I will control shift and click on it to preview
what it is doing. It has created a perfect mask for the product
and its instance. Then we are ready to
make some magic happen by making use of the mask
that we have just created. But before, I would like to
isolate the RGB curved node. So I will detach it
and move it down, and I will create a new nodes, so I will press Shift
A and look for Alpha over and I'll select
color mix Alpha over. I'll connect the glare to the first image and the algeb
curves to the second image. I'll connect the exposure node to the image of
the algeb curves. And then I'll connect
the alpha over to both the composite
and the viewer. The Alpha over is not quite
working yet because we need something to feed it information using
the facture input. And that will be the mix
node that contains the mask. So I will connect the
output to the factor. And now, the RGB curves is affecting nothing but the
background and the base. And to demonstrate, I could
go to the first step here, and I will turn down this
curve all the way down. And as you can see,
it has affected nothing but the
background and the base. I'll move it back up. So now what the RGB
curves is doing, it's increasing the level of blue on the background
and the base, hence, making the
scene look cooler. This is how the note
set up looks like. So in case you have
difficulty following up, I'll clean it up a little bit. And this is how it is set up. And that brings us to
the end of this class. Please do not hesitate to ask any questions
if you have any. Also, please do not hesitate to share your project with me, especially if you
are on skill share, you can share your project with me and with everybody else, and I can personally rate it. Also, please do not hesitate
to leave a positive review. It helps me a lot as a
skill share teacher. And if you have any feedback,
please let me know. Also, if you want to see more
cases for me in the future, do not forget to hit
the follow button. You will get notifications as
soon as I post about them.
Alaa Eddine ZAIR, CG Artist
