Blender and Gaea Masterclass – Procedural Ice World

1. Introduction Blender and Gaea Masterclass - Procedural Ice World: In this mask class, you are going to build a complete cinematic ice world from scratch, using both Gaya and blender, knowing that you built most of the world procedurally from the first noise Odin Gaya to the final composited frame of black. My name is Josh. I will take you through a full production style workflow from creating icy environment. I will start by walking you through the interface, node graph, navigation, and central terrain nodes with cute introduction and explanation of how nodes work so that you know exactly where everything lives and how it works. We begin to build a dramatic rocky based terrain using nodes like extendard multifractial erosion, debris and snow simulators and color our terrain so that we have a texture to use later. Export high quality height maps, color maps, and masks from Gaia in the right formats and resolutions. Once we're in blender, we will turn our flat plane into a landscape. We will subdivide the drain and use multiple displaced modifiers to add both large scale and small scale detail, including an interesting diagonal displacement pass to give the whole world a dynamic tilt. We're then going to build a layered material and blender, which blends rock, snow, ice, and is driven by the masks that we exported from Gaia. We also cover a slightly extensive section on bug fixing. If blender and Gaya do not communicate correctly or if blender has UV mapping issues, I'll show you how to track down the common issues and fix displacement problems and cleanup seams so that your train actually matches what you saw in Gaia. To sell the mood of the scene, we build a custom HRI also in blender, using layered fog and a lightly modified use of sky texture. We'll learn how to create a planet, a full planet using a simple texture, a sphere, rings and clouds. Then add it to our scene as a HDRI. We'll then add multiple fog volumes for distance fog and ground fog using gradients noise and volume scatter to get that cold cinematic atmosphere. Down, of course, our scene is not complete without a hero object, so we must model a custom spaceship right from scratch, right in blender. We'll start from a simple cube, of course, and use classic hard surface modeling tools plus bit of mirror modifiers to block out the main body, wings, engines. Shading, we will create a metal material and use displacement based textures that will generate in another program called JS placement, which procedurally generates random si fide textures, and use that for panel detail and emissive engine glows that will tie into your lighting nicely. To finish off the moon, we add snow particle system that uses motion blur to create snow stringing across your lens. You can learn how to control the size, density, and motion of the particles and how to balance them with your fog and lighting. Last step is polishing the image. In the compositor, we add glare streaks and saddle bloom and add a color balance to push the cold blues and the white highlights, a vignette to draw your eye to the important parts of your scene and gentle lens distortion. Give you that slight aberration for a cinematic finish. By the end of this course, you will have a fully realized procedural ice world, custom spaceship, atmospheric effects, and a lovely final rendered image that you can proudly put in your portfolio. 2. Procedural Terrain Creation in Gaia for Blender Integration: Welcome to Blender and Gaia Mass class, procedural Ice World. Now, as you can tell from the title, we will actually be using another program along the side of Blender called Gaia. Gaia is a very, very fun to use height Map generation tool. It will procedurally generate height maps with simulated erosion and rockfall and all kinds of terrain modification for you. Output some very nice looking height maps. Now, I'm going to give a quick demonstration on the uses of Gaia's height maps and what a height map is, how to create Wilding Gaia and how to implement it in Blender. Right. Now, just so you understand all of this lesson and probably the next one will be dedicated to an example, should you wish to skip immediately to the course material skip ahead. The lesson should be marked when we start the actual course. But if you're interested in understanding the program, please continue. Righty. Now, on the left hand side, we've got all of these categories, a whole bunch of menu. It's a bit like the right click menu and Blender for nodes. And we are going to grab ourselves a terrain primitive, sorry, a primitive extended multifractal. Here we go. That looks like some pretty cool terrain to me. Now, GAA is a mode based program, so you'll come out here and you will type in something else like this erosion two. And it links. It's nodes. So if you don't understand nodes, um, I'll try to explain it. But yeah, I hope I hope for your sake that you understand nodes before we start this. Anyway, so like Fudini and unlike Blender, all of the parameters on the nodes are on the right hand side in, like, sort of an outliner here. It outlines all of the node parameters. So we've got our graph view here. We've got our view port here, which you can rotate with left click, pan with middle click and Zoom with scroll. Up here, we've got our save where we can save it and the preview resolution that we want to preview at. I would suggest working on it in one or 0.5 K and cranking up to two and four once you're happy and you want to see the detail that you can get out of it. Now, down here in our little panel here, this is basically like the actual outliner and Blender. This outlines all of the nodes that you can click through. If you have a lot of them, you can scroll for quite a bit. Then we have the build menu. This is where we choose to output our file. So here I can choose the resolution output that I can output in. I'm going to output in one K because I have paid for this program. This program is completely free, by the way. Well, not completely. The program is free to use. If you don't understand, I'm going to go quickly over what a height map is. So height map basically is a two dimensional image, you know, it's just a flat image. But once applied to a flat plane with enough subdivisions in a three D software, it will displace all of the vertices on the plane up and down based on the grayscale image. So black is zero, white is one, and every shade of gray in between is halfway. I will move all of the points up and down. So it's quite a very efficient way of creating terrain. Now, of course, if you want more detailed terrain, you're going to need higher resolutions. And Gaia can go to some truly ridiculous resolutions. I can't even dream of what I would need 256 K image for. What? Like, I legitimately have no clue what you would use. This would be like NASA. In case you were wondering, NASA actually does use Gaia. It's on the Gaia quad spinner, which is the publisher, their page. Kind of funny. But still, that's a little bit overkill. I'm going to run on one K because the community version, which is the free for everybody version, can only export up to one K. Now I have the Indie version, so, of course, I can use it commercially and go to eight K, which is useful. But for the purposes of this course, I'm going to use one K so that you can follow along and not feel left out. Now, we've got that. There's some more settings over here. Most of them you don't want to touch. The one relevant one that used to be in here that I've just recently updated two days ago. And this new build destination is now not in a settings menu somewhere else. It's right here, which is really useful. Set this to a build destination. As you can see, it's already going to somewhere specific. And then once we're ready to export, you'll press F three on a node, and we'll market to export and export all of the images that this node creates. And then there's all the file formats that you can do. H. Quick tip, XR for the height map, and for when we do colors PNG. Unless you specifically need one of these other ones, which I've never used, yeah. I'm just going to unmark that for a second. And then over here on the right, all of this panel, including these at the bottom only pertains to each node. So here there's a whole bunch of modifiers, and then here these are basically these, but they're faster to access. Sweet. Now you understand how it works. We've got our multifractal, which I'm going to click up here on this little thing. It's going to, that's going to clip off. Wish that would flip the other way. Let me just Let me just pull that over here. There you go. You can see it now. There's a whole bunch of things here, but if I'm going to close this back up so you can see more. But if I ever click on this, I'm probably changing between mask and default mask will let us see this as the Toti grayscale image. And it will effect as a Toti grayscale image, as well. Alright. Let's stick that back over there. Wish that would flip to the other side. Oh, well, kind over everything. Now, we've got our multifractal, and I will not be going over all of the parameters because that will take probably about its own course's worth to go over, like one category's worth of parameters. So, to be honest, just click through it like this one does scale. That's pretty self explanatory. The relative feature scale, you click around on it, you get the idea of what it does. Same with the roughness, you know, Gaia is a lot of just clicking the parameters back and forth to find what you like the best. Now, I'm going to decrease the regular feature scale. Now we've got some nice terrain looking here. I'm not going to use any of those. Then I'm going to come over here to my erosion. Now, these ones produce self explanatory duration is how long it's been eroding for Oh, geez. Okay. Down cutting is how much the water cuts down, as you can see. Erosion scale is the really fun one that goes from this kind of sort of very furrowed terrain to this sort of more sediment based terrain, which is kind of nice. I'm going to set it right about Now, there's a whole bunch of sediment parameters, but to be honest, I don't really know much about these apart from the fact that they make sediment, I know they're really good to use, though. I just never find myself in a situation where I use them. Then, of course, there's the shape is, you know, let's look at this mountain here specifically. This mountain has this sort of pointy shape, and then I can put it up, so it has a more bulky shape. Pretty good. I'm going to go back for the pointy shape. I like that looks better for me. Y. I'm gonna increase it down cutting too. I just want a little bit more. Sweet. Now we've got our train. We are now going to save, or at least I am going to, because I like to do that. Um, save that Bush, also, in case you're wondering, I'm using Gaia two, not Gaia one. Gaia one is good, and it is definitely a lot more complete than Gaia two, but Gaia two has a lot more powerful and it works a lot more faster. And more faster, yes, correct English people. Anyway, um, I'm going to now use surface terrace stratify. There we go. Actually, I don't think I'm gonna use stratify today. Stratifi make some really cool abstract terrain, though. I love that. We're gonna use that later. Now, what we're going to do is we are going to use simulate, scatter, debris. Now, if you're wondering how all of these are automatically connecting, when you click on a node and you add another node, say this scatter here. It's debris scatter. It will automatically connect it to the last one. So if I click on here again, and I say, I want to modify blur this, it will actually plug out of that. But if you don't have anything selected, it will just place it in the view. Another useful thing to know to delete a connection. Click on it, press delete. Yeah, that's it. Righty. Now we've got our debris. We're going to increase the debris amount because there's not enough. I'm going to increase and increase both sides of the scale parameter so that we have bigger. I'm going to decrease the friction, which means they'll roll further. Oh, that's a little much. Oh, I actually want a bit of friction. Yeah, I like that. I actually want a bit more now. Pretty cool. Now, let's have a look at this node real quick. So we have the in and out. The in and the outs height map. It always will be if it modifies the height map. Unless it's a color node, this is going to be the height map. Now, some nodes have these in like this precipitation. Like say you only want to erode a certain part. Let's say, let's grab a radial gradient right here. And let's plug this into the precipitation. If I decrease the scale here, you'll see it's only this area here. Now, if you have a look, none of this is getting eroding, but this is here because as this is seeing it, the water is only falling in this area to erode, which is pretty cool. You can also do this using the mask, but see, this will dynamically, you know, if it was only on top of the mountain, it would dynamically go down the mountain. Whereas if it was the mask, it would cut off completely exactly where it was. But anyway, we want to erode our whole thing. Same with here. The emitter, if say you wanted only the rocks on this mountain, you could do something similar, and you could do it over here. Now we have our outputs. So this is the flow. This flow output is basically going to be a grayscale image. Let me just grab an effect not so you can see it. It is all of the lines. There's all of the where the water went, basically. Pretty cool. If we do the wear, it's pretty much the same thing. This is where all of the like, rock has been worn down the most. And deposits is where all the sediment went. Now, we don't have a lot of sediment, so you can't really see it. If I go at water level here, there you go. You can see a little more. So this is where all the sediment is. Let's have a look at the Sea. You can see where it's worn more. Right. Now, if we have a look at the same thing with the debris because we're actually going to be using these outputs from the debris. We've got the debris here if I turn off the water level. This is going to be a random color for each rock, which is really useful for coloring the rocks later on. Then we've got the debris, which is basically just a mask of where the rock is and where the terrain is. Now, from here, we are going to add in simulate water C. And we are going to get some water. Now, of course, water levels not high enough. And also, all of this just terrain has moved way off the bottom. So we're going to go over to the debris node, and we're going to click this one right here, which is drop two surface. So it will drop the lowest point to z zero or vertical zero, depending on what program you use. And there we go. Now we've got C. I'm going to decrease that actually. I like these. It's going to look like a Y once we're done. Increase the variation. I just like to do that because it means it's varied. I'm going to do that. This is basically the mask. The shoe size is the mask and the shore height is sorry, the shore size is a combination between the mask and It's like it's where the terrain that borders the sea gets flattened out, which is pretty cool. And it affects the mask as well. The shore height is how vertically that can go. Like, for me, I don't really want a lot of shore height here. There we go. That's much better. Feel that. That looks pretty good. Right. Now, I was going to add trees. In fact, I still might. Yeah, we might do that just because. So let's add tree. Now, I'm going to click on this C node, and I'm going to press G. What G does is it adds this little icon here, and once we've done all the coloring, what the coloring is gonna do is it's going to say, this thing with G, in case you didn't know is mark for underlay, which means that all of the color nodes are going to use that cause when we open up the tree, you see, the trees actually going to modify the train. It's going to add in lots of trees. Wow. Who knew? Anyway. So what's going to happen is if we plug the trees into the color, we would be coloring the trees as well, but we don't want to use the trees as physical mesh. We're going to instance the trees in Blender later using the mask this tree node generates. So this pressing G will allow us to use this as the terrain, and this is a mask later and not have this effect all the coloring because it would look really weird. Now, I'm going to set these two big trees. Now, we have a problem here, the trees are growing in the water, which is not good. But remember these masks here, we've got the water musk that tells us where the water is and the shore musk, which tells us where the shore is. So if we combine these together using a combined node, and we set this to 100 and we set it to add, so it adds both of those together and stick this into the inhibition. None of the trees are on the shore anymore. That's pretty good. Now, I'm going to pause this here because that's been 15 minutes. And yeah, you probably don't want to watch this for more than 15 minutes, but we will come back to these trees in our next lesson. So yeah, hopefully you stick around, hopefully you enjoy it, and we'll see you in the next one. 3. Realistic Terrain Coloration and Exporting from Gaia: Alrighty. Welcome back to Blender and Gaia Master Class, procedural Ice World. Now, in our last lesson, we started the example of how Gaia works. We used our multifractal terrain. We eroded it. We scattered rocks all over the place and dropped to the floor. We added some water. We added some trees that are now no longer grow in the water, which is kind of helpful. And in this lesson, we are going to be finishing this terrain by making the trees not look so uniform. And we are going to export this into Blender and create a mini finished scene with it as an example of how to use Blender and Gaia together. Yeah, where we left off, we masked out the trees. Now, unfortunately, the trees are looking a little uniform, which if you ever know the joke about three D and nature, nature's never uniform. It's perfection and imperfection. So fortunately for us, Guy has this lovely patches and spread. Yeah. That will reduce all of the uniformity here, and now it looks way better. Also, nice and fun. We have a slope inhibition so that the trees can't grow on cliffs. I'm going to decrease this so that they only grow, you know, in a sufficient amount of Oh, that's a little much. No bad. You know, decrease the spread a little too, so that they can spread out a bit more. See that's kind of thinking there. Going to hear my PC firing up background. Trying to achieve lift off. Alright, now you can increase the health a little bit. Now, we're done with this. We're going to stick this down here because this is not going to be the end result, sort of. We're going to come back to that. However, what we're going to do now is we are going to output this into a chokepoint. Now, what a chokepoint is, chokepoint is basically like a reroute node and Blender. If you want to know, you can double click to close it up. Probably should be running screencast keys, but oh, well. Um Now, I've done this before. I've colored an entire terrain with like 20 color nodes and then realized I needed to stick another terrain modifier after that. And so I had to unplug all 20 color nodes and stick them all into the new node. So this thing here, basically we reroute all of our color nodes into this output socket. So if we decidere to add another node after C, like, say, we want to add I don't know. What is the rocky. Let's add outcrops. After this here. We can just plug that in and then all of our color nodes are still connected, and it won't cause any problems. Now, let's get on to coloring, which is quite fun in case you didn't know. Now, this drive basically creates grayscale images based on, you know, curvature, slope, peaks. There's flow, there's rock maps. But the one we're going to be using is texture base to start off with, which is basically just a cheat sheet for all of them at the same time. I'm going to crank a few of these up. Probably not the flows, though. Definitely the soil going to go down so that we get fun stuff. This is definitely one of the click around and find out nodes. So please enjoy yourself here. This is. Alright. Now, if you're wondering, this is a horrible color for our terrain. You know, it's grayscale. We're not making a 1950s film. So we're going to add in a colorized SAT map where I'm going to just drag out and go SAT. Now, what the SAT Map is is basically it's a color like in Blender, but there's a whole bunch of presets. There's like nearly 2000 I think they said there was. I'd love to see a day when you can do your own, but yeah, for now, we are perfectly fine with the ridiculous amount that we have currently. Now, I'm going to click around here until I find one that I really like. I think I'm going to go with that one. See, I'll like this one. So what this is doing is it's taking this band here and coloring the grayscale band that would be, if you could think about, imagine that this texture base has a band like this that's the gray on one side, the black on one side, and the white on the other, and it's gray in between, just like a default color am. And it's assigning all of these colors to those. Pretty good. The bias, in case you wondered, basically shifts. I picks up this line here and it will move it along the other colorm. So if I move this along here, all of it will offset, but I like to leave it at zero. Also, useful thing to know. I probably should have mentioned before. RClick will allow you to do a whole bunch of parameters and will allow you to type in individual values. Now, I know you're probably not going to use that a whole lot. I don't really. Most I do is to type if I want a really small value. Right now, also, useful thing to note, there's a HS fig right here. That's the last thing I'm going to say that's about it. Right, now we've got this. This does some pretty cool terrain, but unfortunately, it's a little bit pixelated. Now, that is, of course, because we're running on one K, and I'll crank it up to two KCL see what I mean. So good time to control this and save, please. Now, when you switch resolution, just so you know, it is going to rebuild your entire tree. So if you have 100 plus node tree, you're probably going to want to go and have lunch while it rebuilds. And as you can see, the train is now much higher resolution. If I crank this all the way up to four K, which is going to be way, way overkill. Just watch it. See, this is what ten nodes, and it's taking forever if we watch this as it goes through. L see the train will get much higher detail. There we go. Look at that. That's some crunchy terrain right there. Very nice and high rest. But remember, every time you edit, it has to do that pretty much for at least two nodes a head all over again. So every time you click on a new node, it has to recalculate it. So I'm going to set it back to one K so that we can actually do things at a reasonable speed. Now, we're going to grab our sat map, and then we're going to drag this out, and we're going to go color erosion because color erosion is a really fun node. It basically does the erosion, just like the erosion node back here. Well, that's bright. But it only does it to the physical color. It doesn't actually affect the mesh. N I can just connect this. This is just going to Oh, dear. Never mind. Always connect it to your choke point. That way if something you want to mess with it later, you can do that. Now what the color erosion is gonna do, it's basically going to drag all the colors down the rain, as you can see here, by switch between these two, sort of blurt them out. Probably don't want it as strong as I have it. Blender is generally the one that you can that's the blur. If you put it higher, it blurs more. This is also another click around and find something you like with Yeah. Now, I'm going to add one more. Now I'm going to save again because last time I used this node, it crashed, which is unfortunate. It's called the weathering node. The weathering node. If I ops connecting the height. God damn it. I wish there was a thing like Blender with the right click. This weathering node is basically is just edge detection and cavity detection. Makes the edges white. I'm going to decrease the amount because that's a little much. And the cavity is darker if you click on the darker, you can see here, if I turn this on and off, it makes it darker. I'm going to increase the creep, increase the scale. I'm going to increase the amount, and I'm going to click washed out that sort of washes away. There we go. As you can see, it sort of adds just a little bit of extra depth and almost ao to the terrain. Okay, the grassy rain's done now. If I really wanted to, I could mask rocks and do, like, make the peaks all rocky, but that's a little bit of overkill for right now. So we're just going to roll with this for now and stick our fingers in the air and go, La Di Da, this is how it works. Now, unfortunately, our water is green right now. It's a very, very interesting pattern of green, but it's still green, which is, yeah. So what are we going to do? I found the best is the depth, the depth output of the C. We put the depth output into a SAT map, I hope so. So pro typing there. We're going to switch it to the blue one here. And I already know this one specifically here is really nice for tropical water. And I'm going to clamp in this so that that white edge is right right at the edge of the water. Now, if we look back here, Oh, yeah, that's okay. That's dokey. It's the white is not going to the edge of the water. So we can change this bias here to make it go all the way in the edge of the water. I don't know why that's not going, Bray. What? Does some Unfortunate. Unfortunate. Oh, well, that's the way it's gonna have to be. I know I probably could scroll through all of these and find another one, but I can't be bothered. But yeah, so we now have what it looks like some pretty good aerial water. Now I could also add in, like, I think that's what that pixel noise is for. Remember if we go back to the basic, we go to the noise. Oh, dear. If I color this with a sat maps in blue. Look at this. I add these together. That went a whole lot better in my mind. Oh, well, we'll just use this for now that looks kind of good. Now, like before, we can just drag this output into this output to combine. And set the blend ratio to one, and we are going to set this to water. I forget that you can't drag these. That's unfortunate. There it is. Water. And we stick that into the mask. That's wrong way. Let's just swap those inputs real quick, and there we go. Water. I like that. Now, I actually want this water to be a little more green because we're going for a tropical here. So we're going to adjust the hue here to something like that. And there's a slightly greener water. Sweet. Now, in case you noticed, our beach is also green, which is not generally the color you see beaches. So we're going to do this all over again. Sort of. We are going to drag out the shore and we are going to go Satmap again. We are going to go for the sandy one, and we're going to pick a sandy color, and we are going to mix it again with 100% blend, but we're going to use the shore output this time, which is the last one. And we're going to go, Oh, oops. Again, wrong way. Swap in buts. Hey, and our shore has been I don't know why it's over here, though. What Did I make sure that I put the right questioning my sanity right now? That's weird. That is really weird. Anyway, I can live with that. Let me just have a look at this shore real quick. Counting this is share. That's Alrighty. Okay, I'm going to introduce another thing like we press G here. You can also press F on a node, and we'll lock the preview to that. So I can go back here and screw with the shoe size here while still looking at that node, the FX node down here. I'm going to delete that now, and I'm going to click over here. I'm going to press F twice to go out, and there's our share. Kind of. All things are going wrong, but oh, well, I have everything. Oh, yeah, that's much better. There we go. And now we've got our beach. We've got our terrain, and we've got our water. I like that. Now what we're going to do is we're going to plug on here and we're going to press F three. F three is the export like before. We're exporting the combine, and this is going to be color, so we're going to set this a PNG 16. We're going to come back all the way over to here and we're going to press F three on the C. The C is going to be a EXR, but we are only going to export the primary output. Now, if you wanted to replace this water with your own, like, a box, volumetrics water shader and Blender, you would turn off Render surface, and this would remove the part where it flattens this out, and you could add in a box and raise it to the same sea level. Now, for my demonstration, I'm not going to do that just because it's going to be faster, and you've probably been bored enough watching this. Now. So we're going to do that, and we're going to only export the primary output, which is going to be an EXR because this is going to be the height map. We're going to come over here. We're going to look at our trees real quick. We're also going to press F three. This is going to be a JP sorry not JPG A PNG 16 again. And we're going to mark none, and then we're going to click on trees. This is going to export basically a map of where all the trees are so that we can use it to scatter tree models on the terrain later. Right. Now, I'm going to leave this here because I've yapped for long enough. We're going to come back in the next lesson, and we're going to export everything with all our correct settings, and we're going to start importing it into Blender. So yeah, hopefully, stick around, enjoy it. I know I'm enjoying it, which is pretty good. And I'll see you in the next one. 4. Displacement Mapping and Color Texturing in Blender: Alrighty. Welcome back to Blender and Gaia Master Class, procedural Ice World. Now, right now, we're in our introduction. This is how the program works. In case you somehow missed the last few videos, we built all of this, which builds a very nice terrain with color and water, and we have simulated trees as well over here. Now, I guess you missed, I've just cranked this up to four K so that we can enjoy this terrain and all of its crispy glory, about to compute all the trees, which is going to take a little bit. But I actually figured out what was wrong. I mixed the shore after the water, and I need to do the shore on the grass and then the water. So yeah, in case you were wondering what happened there, that's what happened. So yeah, also good time to save. Yeah, I'm going to click back over here. And yeah, so now we're on to the exporting part. So we're going to press F three on this one, because of the output, I think I actually did this before, but I have had to make a new one, so I'm going to do it again. Set to PNG 16, and that's EXR. Sorry, PNG 16 straight. And that's a color. And now to export. If you have a higher version Gaia, you're probably not watching this, but if you do, please take the time to enjoy one of the higher resolutions, but for the purposes of this course, I'm going to be using one K like everybody else. Now, this is already set to a area that I know where I'm going to build at. I have a folder full of Gaia builds that I've already set it to go to. So this is ready to go. Please set your file output here. Just know that there will be about four or five image files, so it won't just be one. Now, we've got all of these. We've got them all ready to go. And now we will click on Build if you're ready. Let me just make sure I've got the trees, too. Oh, dear. Oh, well, and now we pick up Build, and it will pop up this little thing I'll say we can close Gaia to save REM and GPU memory, but I'm not in case I want to come back to this and modify it and then export again. And it will pop up this terminal window, which will tell us a whole bunch of fun stuff. It will go through all of the nodes as they build, and they output. Now, if you didn't we go. Mine's finished. We're going to press any key to exit. Now, if you didn't disable thing, your file explorer just probably popped up with all of the files in it. Now, we're done here, so I'm going to open up Blender, but we are going to have a look at these images first. We come back over here to Gaia. Where's my Gaia output. There we go. We have a look at Gaia here. I've got this Builds folder, and there will be one called course Example 001. And there's our terrain that we just exported. If we go over here, this one is all the trees. You can see us as trees. I went the wrong way. Let's combined. Then, of course, we can't see the XR and that thing, so which is unfortunate. But lucky for us, Blender file explorer, we'll look at any image file, which was really fun. Right. Now we're in Blender. We are going to add ourselves a plane, and we're going to scout through ten. Because the height map will work on any object, mesh, but it works on planes better. But the thing to know is height maps only work with geometry. So we need to subdivide this. I'm going to subdivide this 100 times and then subdivide it once more. Now, I would suggest not going much higher than this and using a subdivision surface modifier. Oops, that is not the right. Oops. Not bad. Subdivision surface. Now if you somehow don't know what a subdivision surface does, a subdivision surface, basically, it takes all of the squares in our mesh, and it will cut them from the top and the bottom. And it does that again for every level. Also, a thing that's useful to know, we're going to be using the simple mode because simple mode does not make our corners rounded. We are now going immediately proceed to Vertex mode by pressing tab, and we are going to go to select. Now yours might be along the top here. I have an add on that compresses it into here for ease of use. We're going to select by trait, non manifold. You can do this in normal Blender. Don't worry, and we're going to presete and click on vertices. Right, now we've got our subdivision. We are going to hide this for now just so that we can work a little faster. And we're going to add in a displaced modifier. Now what the displaced modifier is it does exactly what I said before. I'll move all of the points in the space up and down based on grayscale image. I'm going to use this to example. We see we have this image here of noise. And so the black parts of the noise, like this bit here, that's going to be that bit right down there. This bright part in the middle, that's probably that bit right there. So it moves all of the points, the vertices on the mesh. I can't quite see it until I turn this on up and down, based on that image, which is really useful. Right. Now, we don't want clouds, which is good if you don't have a way of making height maps. We're going to use Image and movie, and we're going to open up that Gaia Builds folder with for me, it's called course Bors example because that's what it is. And see here. Here we have Blender just instantly reading the EXR file. And then we go, There's our terrain. Now I'm going to go Shade Smooth. There we go. That's our terrain from over here. Pretty cool. I like that. Now, if you so desire, you can turn on your subdivision and get your detail back. I'm going to set this up to four for my um Rs for the render so that once it renders, as you can see, we can get even more detail. Okay, word of warning, never, ever click and drag the iterations on subdivision, because while it might take, I'm not going to say this right now. While it might take, like, half a second for two subdivisions, 3 seconds for three subdivisions, 20 seconds for four subdivisions, it might take 3 hours for six subdivisions. So you definitely don't want to try and drag it. Always type it or use the little things here. Right. Now we've done all of that. This is some really boring white looking terrain. So let's color it off to the shading tab. My shading tab will look a little different to yours. That's just because I like the way it's set up. We are going to enter material preview by holding Z variety. Now we're going to start coloring. Now, we're going to add ourselves to new material. We're gonna call it terrain. What it is. We're going to press Control and it'll open up this image texter. Now, if you for some reason, don't have the node wrangler enabled, go to your preferences by pressing Control comma, or you can go edit preferences here and search for node Wrangler. Now, this will come pre installed with Blender. It should if it's not, you can click Under Get Extensions and search for it here and install it. But it should become pre installed in Burner. You always want to have this on. It just makes your life so much easier. Anyway, now back to this. We've got this is coming from the UV, as well, which is important. We're going to open that exact file again with the Gaia builds. I'm going to decrease this so I can actually see this now. Cross example. And I'm going to grab the combine now. Hey, look at that. Now, because it's terrain, no roughness and no specular. Useful to know. Alrighty. Now, if you remember correctly, we actually did some other things, too. We did the trees. Now I'm just realizing I want a roughness map so that I can make the water shiny and the terrain, you know, not shiny. So let's click back on to Gaia. Let's turn off, click on these, and press F three to turn them all off, except for the C. Now, the C here, we're going to go under this little icon here, we're going to click off out and we're going to click on water. This is going to give us a white map that only outputs the water, and I'm going to click on Build, which I'm going to save first. I'm going to click on Build. And I'm going to set that going, and I'm going to click back over to Blender because by the time that's done, we are going to have it. I'm going to come back here and I'm going to go to number two, and here's our water. PrutyGod. Let's add in a color ramp. I have mine set to C because like quite literally just set the node to a shortcut C because I use it so much. So if I summon a color ramp out of thin air, that's what I'm doing. But if you wanted to do it, you can go It's color ramp right there. Also, if you didn't know, this is this node Pi is an add on, also like node wrangler comes pre installed. It's called node Pi. I probably should have mentioned this before. This one right here, development node pie, which is really useful. Makes my life so much easier because I don't have to, you know, Oh. Oh, I want a converter. I want that converter. Wait, what about a shader? Oh, no, shader. Sorry. Shader. Oh, yeah, over here. It's like, No, I want this shader. I want that shader. Anyway, we're going to flip this color amp so that the water is black, which is going to be zero and the grain is white, which is one. And I'm going to do the opposite. I'm going to just plug this one into the IOA level, which is going to do the exact same thing, but the opposite direction, and now it's all shining, but it's a little bit too shiny. So I'm going to just breeze through a wave bump map setup so that because this is technically not part of the course yet. Also, useful the Noe, Control Shift Left click, we'll preview the node just like clicking on a node and Gaia. Yeah, you got to do it a bit differently for Blender. There we go. Now we got some water. And we got our train. All we need is some lights, camera and action. And as a film student, I can tell you nobody ever says that, which is really funny. I'm going to pull out from my environments add on. So it's a free add on to Skylab. I'm just going to do this just so that we can enjoy it real quick. I And here we go. We have ourselves and mountains. Now, you can add fog and stuff, but it's a little much for now. Maybe that's going to be on that's gonna be in the coarse material, my guy. That's going to be in the coarse material. That's where all that fun stuff is going to be. So, yeah. So this is how you import height maps from Gaia and you put them into Blender, which is really fun. I stick this to real time so that when I do this, it doesn't look so horrible. Yeah. Right. This is gonna be the end of this lesson. Uh, yeah, that's the end of the introduction. I hope you enjoyed. Um, yeah. I will see you next time to start the actually relevant stuff. Took me long enough. 5. Modeling a Stylized Ice Terrain with Advanced Gaia Nodes: Hello, and welcome to Blender and Gaia Master Class. Residual Ice World. Now, I made some previous videos on how to integrate Gaia into Blender and how to understand Gaia and how Gaia generally works. So if you are new, please refer to those as those will make you understand things a little better if you're coming straight in, or for some reason, you'll just want to skip this tutorial. Or you already know how to use Gaia. I'm assuming you've skipped here. Right? Let's talking more doing. Let's start off with a primitive train landscape. We are going to do plates. Well, it's pretty cool. So the idea is we're going to have, like, scraped rock, a bit like this that the ice is sort of scraped over and broken. And, oh, that's interesting. And then we're going to have these lovely ice spikes coming up out of the sort of abstract rocky terrain. Rady. And then we're going to have all of that colored, and we're gonna have sort of a dark volcanic rock for the ground. And then we're going to have some big giant spikes of Well, they're gonna look like rock to start with, but we're going to use a mass to turn them into ice and Blender. Rady. Now, let's add an effect note after this plates and decrease the multiplier because I don't want it that strong. Now we're going to add ourselves a primitive extended multifractle. Multifractal is one of my favorites. It's pretty good for a lot of different things. Going to have a really spiky multifractal real quick. I'm going to auto level and drop to the ground. Oh, that is the wrong. That is not it. I'm actually going to turn that off, and I'm going to get an actual auto level node. That way I can control the influence of it using this thing. There we go. We got that. And now I'm going to add in a primitive extended dot noise. Oops. Plugged in. Oops, my bad. And we're going to have quite a few iterations. The size is going to be set as basically the exact same thing, and we're gonna have quite high. I actually Yeah, we'll stick it right there. Right about there. Okay, now what we're gonna do. Look at this. So we're gonna affix them, put them together in thin shape. Now what we're going to do is we are going to put these into another effect node, and we are going to shape them and multiply them, so they're a bit taller, more interesting. Now we're going to mix these together. Good old screen style screen 100%. Now we're going to stick all of this into another effects node and use the shaper and the multiply. Oh, that's a bit much. Now, I'm thinking that roughness is probably a little much right now. The relative feature scale should be a bit bigger. Mm. So we're getting more spikes with that. Decrease Oh, There's some spikes. There's a lot of spikes, actually, increase the iterations here. That way we get a few more big spikes. The dot noise really makes the large spikes, and the multifactal dust the little ones, there we go. Now we got all of those. We are going to combine all of this with a terrain, landscape, mountain range, and we're just going to combine this just before the effects node. The mountain range gets. Should we do it before that date Fixed node? Nah, let's do it after the fixed node. Yeah, I know it's a lock node. What we're going to do is we're going to go screen again and we're going to screen these together. Now, I'm going to increase the height on this, so it's actually interesting to look at and make it basic. Decrease the scale. That way, we're going to get some interesting terrain, probably a little much probably a little high. Then we got that. So now we've got the spikes and we've got this sort of little rocky terrain here. I'm actually going to change the seed of this because I don't like that seed. That looks much better. Yeah. Wait. And then we're going to combine it with our plates. Also screen. You can see the plates aren't doing a whole lot. I mean, if I do that. Oh, that looks cool. If I did that, that could look pretty interesting. I think I technically I want to drop this, and I want to drop this, as well. I probably want to add these on instead of. Yeah. That looks way better. Um does it, though? Not really. Alright, screen it is. Rady, now comes the fun part. We get to shape all of this rock with our modifier nodes into something that looks pretty cool. I'm going to start with the sandstone node. You'll notice the modifier nodes, they all have this sort of green, blue teal outline. Now this is Sandstone is quite literally smashed out arrange to pieces. We're going to have to mess with it a little bit. We're going to see the iterations to 11 highs a bit more convexity, and we are going to decrease the chipping. And we are going to click on the seed until we get all of the big spikes from back here until we get all of them back. I do want it to break. I just don't want it to break that much. There we go. That looks pretty good. It's not really affecting up here as much, but it's definitely affecting down here on the bulky parts. Now we're going to grab out another one called distress, which is also a modifier, which does exactly what you think it does. It basically just breaks apart the terrain like it's being distressed. Though I will warn you this takes up a lot of computing power to do. So if your builds are taking too long, when you build it at the end, probably a good idea to remove that one. This is one of the things that always goes sideways. There we go. I like that. Now, let's drag this out again. And we got my favorite one stratify. I love sttify. Strotofy makes everything look cool. Increase the spacing, increase the tensity, shape. There we go. Look at that. How crunchy it looks. That's not really the most interesting thing if you really don't like it. But still, I like stratify. Stratify makes it look like it's sort of been bashed around a bit. Now, on top of that, we're going to add the, yes. The D exists. Also, can't we just name it, you know, break and crumble slightly instead of Antostomosis? Yes. I love this if you've ever used Anisystrope in volumetrics shading or her toy hognous volumes. It's Oh, I love three D. That's the most unpronounceable stuff you've ever heard. Anyway, and then we're going to add crumble. Oh, finally, something that actually makes sense. We are going to increase the impact of the animus, and we're going to do full quality. And we're going to crumble a bit, duration, strength. And as you can see, this is basically just making it more bashed up terrain. Then we're going to go erosion, two. No down cutting. Down cutting is where it cuts down into the rock, decrease the duration, and we're going to decrease the erosion scale because this will make it look really interesting. Also, no sediment. Absolutely, none of the sediment. And we're going to make this shape a little more shapy. So, yeah. So if I give a recap on this, it kind of breeze past them. The sandstones basically just mashed it's basically just taking a hammer to everything, kind of. It's broken off pieces. It's cut cut pieces out of the terrain. Then the distress basically just throws a whole bunch of little rocks and chips it off, and the stratifier is turning into a whole bunch of strata, which are these lines. The animosis is basically a distress but a different way and stained with the crumble. And then the erosion is turning it into, like, sort of weathered so that it doesn't look too, you know, CGI, almost. Okay, important thing to do now save. If you haven't already, please do. Now, we are going to add another modifier. I think it's the last one. We're going to add the crowd texture modifier, which basically is just going to texture all of these ever so slightly, you know? It's just going to make them ever so slightly more more, more bumpy, more detail. Now we're going to add one of my favorite nodes, the debris node. The debris node does exactly what you think it does. It scatters a whole bunch of little rocks all over the place based on flow and gravity and yada yada, yada. So as you can see, we've got a whole bunch of yea. Now, I'm going to increase the maximum size and decrease the minimum size so that we get a little bit more variation. They're not all like the exact same, like, marbles. Wait for this to finish computing. Debris is often one that takes a little while there it goes. And I'm going to set it to sharp as well, because we want sharp rocks. If we think about this, all of this is going to be sort of super wind swept and, like, snowed on. So we're going to assume that all of the rocks are being pushed into the cracks. So if we decrease the friction all the way down, all of these rocks are sort of going to gravitate to almost, like, the lowest point wherever they'd hit and they'd stop. So they won't be up here anymore. They'll all be in the cracks and crevices. I'm going to decrease the amount because that's a little bit much. And I'm going to increase the scale because that's cool. The scale is gonna allow us to see it. There we go. Ready, good. Now we've got these rocks all over the place. It's like they've broken off, kind of bounced around, fell down. I think actually we even less than that. Yeah, let's go about 30 K. Alrighty. Now, we are going to add in the snow, and it's going to cover up all of our detail. Yeah, pretty much. You could increase the duration. I'm not particularly fast. I'll set it back to whatever it was. But the important thing here is we want to see our detail from all of this. So I'm going to grab out of the erosion note. I'm going to grab out a height mask. Now, what I'm going to do is I'm going after I decrease the fullness and the range. You'll see it's masking everything by height, right? You know? That's how it's going. Now, I would do a warp after this, if what I was doing was going to be a hard line because the warp would displace it up and down. We're going to do it later, though, in case you're wondering. But what we're going to do is we're going to stick this into the melt map here so that when we crank up the melt, it's going to melt all of the snow below, no, inside the mask. So if I do that. Yeah, but there was also another thing. I want the rocks to be open. And so I've got this debris output. I'm going to mix it without height. Oops, mix, please. I'm going to add at 100. So as you can see, we've got the mask for all of the debris now, and I'm going to stick that into the melt, and that will break up all of the snow because all of the debris will now be free of snow. It'll be like the snow melted around it. It's pretty cool. Now, now we've done that, we can move on to colorization. But that's next lesson. So you're going to enjoy that in a little bit, and I'm going to be back soonish. All right. See you then. 6. Colorizing Terrain with Texture Maps and Erosion Effects: And Alrighty. And welcome back to Blender Gaia Master Class, procedural Ice world. Now, in our last lesson, we made all the terrain, you know? We made the mesh part of the terrain. All of the physical objects. We didn't do any shading, as you can see, that's just the ice node the snow node there. But, yeah, we made our lovely ice spikes. We weathered it, we broke it up, we applied strata and we put our snow on. Now, right now, because we're looking directly at the snow node, it's coloring the snow white. But if I were to say add in a choke point, that would all disappear and I would just go back to being default McCAp. Now, we're going to start the colorization now because that's the next step, and it's going to give us a much better color than anything we could make in the shader Editor, because all of this color will be simulated and derived directly from this mesh, so to speak, even though it is technically a two D plane. Now, we are going to add a checkpoint for the simple reason that when we plug in all of our color nodes, they're all going to come from a mesh output because we're going to drive all of the color from the actual physical geometry. If you say finish making your finish making your coloring, all of your colorization. And then you want to add in a node just like between the colorization and whatever your final output used to be, you have to unplug all the colorization nodes from that output and plug all of them into the new output. So if we add a chokepoint node, which is a bit like a reroute node in Blender, we will not have that problem because then we can just plug this into the new node. So I wanted to add in vegetation shrubs for some reason. Oops, probably not shrubs. Shrubs is a bad example. Vegetation trees. I can just plug it in here and then plug it into here, and then all of those color nodes are still connected, technically. As you can see it's thinking quite a bit. There you go. And now we've got a whole bunch of trees all over. I think. We don't want that. But that's the general idea. So we're going to add a choke point. And we are now going to use derive texture. Texture base. Now, texture base. Oops, is good for turning like nothing into something like this is the better one. You can use the texturizer and we will use that for the snow later because but this gives more varied inputs. Now, I'm going to go over exactly what's going on here and when we turn the when we turn this into color, what's going to happen. Now, the thing is, if you've ever used a color ramp in Blender, you'll understand that you can color, you can color a grayscale image into color based off, like, its position on the color ramp. So we're going to grab ourselves a SAT map, which if you missed the first bit is Guy's version of a color ramp, as you can see, we've got a whole bunch of preset color ramps, basically. Um so what's happening here is we've got this bar. This is the color bar. You can clamp out how many colors you have. You change the bias. There's HSV down here. There's some other processing things there. But as you can see, what's happening is we've got this gray scale. If you imagine there's another imaginary bar like this that's the gray scale. It's black on one side and white on the other and gray in the middle. And what it's doing is, you know, it's just going along through here. And okay, that gray value that was here, we're going to give it that color because that lines up. And that's pretty much what's happening, which is pretty good. It's very convenient. And it lets us do really interesting colours instead of just having, you know, solid color, which would be really dull. Anyway, onto what we're actually doing, we're going to make this into volcanic sort of blackish basalt rock. So we're going to grab rock. And we're actually going to choose a really stripy one like this that has a lot of detail, and we're just going to decrease the saturation all the way. That way, and a bit of the lightness. That way, we've got ourselves some very nice volcanic rock. Now, this would be great, but it can be better. We're going to add in a color erosion note, which you missed if you missed the earlier stuff, the color erosion does the erosion thing, but it only does it to the colors. It doesn't actually affect the mesh. So if you have a look here. You can see it sort of dragging out all the colors and washing the way of it. Now, this is actually a little bit much for me. I don't I actually quite like the detail that that had previously. See what. I have to ask the color hold. Okay. Yeah, I think that's pretty good. I'll probably go a little higher. I'm running two K. Okay. That's why. Okay, let's just spread this build. Okay, another useful thing to know while it builds is when you're looking at a color, you are, Oh, dear. Okay. That is disappointing. Oh, well, anyway, when you look at color, it's using the mesh as well as the color, even though you're just looking at the color output. But say you want to use a different thing, like if you don't want to use this snow output, you can click on this node and press G. G will basically market for color rendering. So as you can see here, I'm looking at this, there's no snow, even though the snow node, if I look at it now, is in between, and I turn that off. Now we have the snow back. Oh, you can bet, yeah, it's soft there. So this is useful if you want to use something like the trees, you want to get the trees mask, but not the actual like you saw before it makes the little spikes on the terrain. If you don't want those spikes, you can use the previous node before it. Have that as the color output, and then have this tree node, that would be here. As a mask output, even though it does modify the mesh, you won't use that modification. It's kind of useful. So we're going to click on this checkpoint and press G so that we make sure nothing goes sideways. You can do that. And we are going to dial these back a little bit, especially the blend. That's going to do unfun things. I might actually change this up. Yeah, it looks a bit better. Sweet. Now, what we want to do is we want to have a look at this real quick, make sure it all works. Yeah, that looks nice. Okay. Now, we are going to use a different part. We're going to add in another one. We are going to add in What are fun things can we do here? We've got to flow. So as you can see, you can derive things like the angle, the curvature, the height, the normals, we used the height before. And the slope slopes always good. Same with dirt or soil. We are going to use another texture base. No, sorry, we are going to output a SAT map directly from this height output. Now, what this does is this makes sort of like sedimentary layers almost, where it's all kind of lining up on the terrain, which is great if you're using the color erosion because then you can plug in the cool erosion here, crank up all of this. And that really yeah, look at that. It's displaced them all, sort of. Just kind of fun. Gonna increase the flow volume on this one. Now, we are going to go back here and we're going to desaturate this. And I'm actually going to pity that, there we go. I was going to say it looks like it should be a whole lot closer together. To decrease it brightness, and we are going to combine these together with a overlay, I believe this one should be 100% overlay. Maybe a screen. Now, it's overlay. Okay? Now I've got this really dark volcanic rock now. That's a little bit dark. So I'm going to press F to lock the preview, and I'm going to increase the brightness on some of these just a little. That way, we can still see our terrain. Ironically, it probably didn't need to do this one. So right clicking, if you've missed before, reset. Useful. Now, this is done. We're going to press F again to unlock the preview. We are going to add in snow. Now, like I said before, we are going to add in a texture is up. Now, the text riser basically just comes with a whole batch of presets. That's about it. I'm pretty sure C is the one we want to Oh, that is not. That is not it. I do wish there was, like, more presets. I know you can, like, screw with them here, which is kind of fun, but, like, yeah. Two. See if we can find one. These ironically, actually change every time you open it. So I guess it is infinite. There we go. That looks good. I actually don't want the slows. I want the slope and the soil. Yeah, look at all that detail. Look at the detail. Anyway, we are now going to add in another SAT map. And we're going to do the exact same thing, though. We're going to use sand this time, use the sand. Well, that's an interesting color. That's an interesting preset. We're going to use a sand one, something like this. We want something that will basically give us a whole bunch of detail. I like this one. This one looks detailed. Yeah, I like that. We're going to decrease the saturation just like before. Oops. That And we're going to increase the lightness. Now we are also going to add in a different node. We're going to add a clamp node. This is so we're basically going too. We're going to. And you can't see this because of how my monitor is set up, which is really unfortunate, but I'm clicking on mask here just so you know. Um, this is going to make it so we don't have those horrible black bits, but this doesn't get too ridiculously overexposed. Now what we're gonna do is we're gonna combine this again. We're going to do a blend at one because we're going to mix it based off the snow output over here. I bet you it's going to be the wrong way. Yep, it's the wrong way. Then we go swap inputs, and there's our snow. Pretty good. Ah, I really wish we could do this in a little higher resolution, but I will provide a four K map of this once it's done. That way, if you want the high resolution at the expense of your own creation, you're more than welcome to. But anyway, as you can see, lots of detail. I'm actually going to preview this, and I'm going to drag these up and down to see if there we go. A little bit of variation there. I went a little too high. And there's all our snow, ready to go. Pretty good. Now, this is technically the terrain texture done. Now we just need to make the mask for the ice spikes. Now, I actually did it using the height aspect before. Whoops. But I'm going to really quickly check if picks does better. I probably should have checked this before. G to unlock this. Oh, yes, we need to connect these two Au output. Et me just check. Yeah, I don't think I don't think that's going to work. Oh, well, height it is old style. Okay, now for the height, we only want the tops of the peak, so we're going to set the range to the maximum, then the minimum, close it in, and we're going to decrease the fall off so that it is slightly harsher. That way we can just see it a little better. I'm going to mess with this ramp until I get some of the peaks, but not all of them. So you can see this entire mountain here is turning into ice. Oh, well, there we go. Anyway. Now, this would be great, but it is really uniform and flat. Now, that's because it's based on the height, but we can actually add in warp using the warp node, just to spice it up a little, let's say. So I'm going to decrease the strength. A little bit. I'm going to decrease the size a little. And as you can see, it's messing with it. It's like plugging the normal into the vector on a gradient a noise map into the vector on a gradient in Blender. You mess with the z axis slightly. Just kind of good. That's a little bit that's a little bit like, nah, okay. Let's go with a slightly smaller value. Now, this value, these values here will differ depending on the seed that you use. Oh, that was not good. Oh, well. And both your personal terrain and the height you set this at. So basically want to make sure that there's no black. Now, that's the other side. We can't deal with that. Like this, you got no black on the peaks. That's good. But we also have the variation. Right. Now, due to how we're going to import this into Blender, we want this to repeat. Now, we could use an array, but that's going to cause issues later when we build geometry nodes set up for this. So we're actually going to sort of array it using the textures. We're going to repeat the texture. Now, if you've ever used textures before ever, you'll know that repeating them never looks great. And fortunately for us, I'm just going to save here real quick. You sure probably should, too. Repeating textures doesn't really work unless they're seamless. Now, quad spinner, who has made Guy they are the people who make this. They've already thought ahead and made us a seamless note that allows us to convert our stuff into seamless. Now, unfortunately, I've plugged the color into the height. So you're going to need to plug in your height here first. There you go. And as you can see, it's modifying the edges. And it is making it seamless. That's all you need to know, really. So as you can see this bits getting cut off there, well, it's over here now. Which is really good. I'm very, very, very happy with this because this is a very fun node. Allows you to do more things, which is really nice, which I very much appreciate. Now I'm going to duplicate this node with Control D. It does take a few times sometimes. And I'm going to do the same in here, but I'm also going to have to plug in the height because the seamless needs the height to work correctly. And technically, this is a image. So there we go. There's all of our outputs ready to go. Now we're going to press F three, which is the output button on both of these. And we're going to switch over down here into the build tab, set your build output. I'm going to use I'm actually going to name the first, something I never do usually. Press F two. This is going to be height. Oops, some premium spelling. More premium spelling. Height and color. Now, useful to note, also, this will just rename it over here. No, no, it's 26 characters, letters of the alphabet. You cannot do other things. Otherwise, it will cause problems. So, you know, I tried to do H C for height and color. That did not work. And I'm going to name this to Ice mask. And yes, I'm going to rename it over here. The ice mask is going to be a PNG 16. I wish you could set the color from this to be a PNG 16, as well, but we're just going to have to deal with it as EXR. Technically, EXR is way better as well, so, you know, they're just much larger files. Rady, we are ready to go. We are going to save because that is important. And we are going to quickly check that we have done everything. We have our ice. We have our color. We have our spikes that look pretty good. And we have our ice mask so that we can turn it into ice and Blender later with the Blender shader. Okay, we are now going to hit Build and we are going to start build. Now, because we have this loaded in at one K, everything's exactly as it should be. So instead of building all of this all over again, Gaia is just going to, you know, build it's just going to save the current height maps, which is really good. Okay, we've done that. We are going to add in right click here and go New Tab, and now we have another graph, which we're going to go back. We can do over here. And this is going to be the next lesson because we've probably gone far enough as it is. What we're going to do now is we're going to add in another sort of detail map that's not going to be terrain, so to speak. It's going to be a whole bunch of little spikes that we're going to overlay with another displacement modifier and Blender so that we can add just a little bit more detail to our scene. Anyway, here ends this lesson. I will see you in the next one. 7. Detailing Terrain with Fine Displacement and Height Masks: Welcome back to Blender and Gaia Master Class. Procedural ice world. In our last lesson. Yeah, we finished out terrain. It's looking pretty good. We did our coloring. We made it seamless. We added our mask in for the ice, and we exported our colors. Now, we are going to add in a new scene where we are going to basically make another little height map that just does details. This is going to be useful for, like, a little just a little bit of extra detail. We're going to add another displacement modifier and Blender, add a little bit more interesting detail. That way we don't have to screw with this directly, as we wouldn't be able to make this kind of detail on top of here, which is unfortunate. Anyway, start off. We're going to go primitive extended mollifractal. Not this again. Okay, if this happens, this is basically this trying to combine with this, which is really unfortunate, yeah, pretty much just added in twice, and it will just I don't know. It's a bit interesting. Anyway, we're going to drop this down so that it does not cause problems. We're going to keep a fairly high scale and a very low relative feature scale. And we're going to lower the roughness just a little bit. Now we're going to add in, again, the dot noise, extended dot noise. Oops. That's afterwards my bad. And we are going to effex this. We are going to actually, first, we're going to add in a whole bunch more, a whole bunch more. We're going to make them much, much smaller because we are doing, like, little bits this time and make them really high. Now, we're going to multiply these up so that they are quite high and use the shaper to sort of combine them down into little spiky bits instead of having them before. This is probably could use more of these, like a lot more. There we go. Anyway, we're going to combine this now. With a screen at 100%. And we are now going to add in an effect node, which we are going to shape actually. Yeah, no, we're going to add in actual shaper node because we want to do this beforehand. We're going to shape these down. I kind of want like these have random high spikes. That's unfortunate. Oh, well, I kind of have everything. It's much better. Okay. Now we've got this. I always want this to be more pronounced. Let's add ourselves in an effect note here. Before. Oh, dear. That's not good. Okay, guys being special. Let's add in ourselves ffex note. And plug it in here. Ignore that. We're going to shape this ever so slightly, but we're also going to multiply it, so it's a lot taller. It's easier now all the way up here. I'm going to lock the preview here and increase this multiply until it works. Same here. Other there we go. Now they're much more interesting. I'm going to decrease the scale on these. I'm going to decrease the dot noise size a little more I want more like spread detail as opposed to, you know, like physical there's big bits here and big bits there, small bits there. I want more even Um, that could do. Mm. Right. And now we're gonna add ourselves an effet node and decrease on the multiplier so that they're more, you know, not so ridiculously high. Okay, here's our detail map. Now, we are going to add an erosion and decrease the scale. And here we go. Here's where it gets interesting. We're going to increase the shape, sorry, decrease the shape all the way down. So it gives us those spicy bits back. We're going to decrease the down cutting and no sediment. No sediment on this one, either. You know, feel free to play around with this erosion. It may help. It may not. For me, I don't think it's gonna add a lot of problems if I do that. And then this even adds extra little details over here. Adds in little bits of sediment. Okay, now we're going to add. We're actually going to add the sediments. Oops. Sediments. No. This is just going to sort of it's a little bit much right now. I want to be fine fine sediments. This is just gonna make it so it's not excessively over the top. I'm gonna go a little less scale, a little less angle. It's basically just go to smooth out the little bits in between the small details. Just gonna be nice. It looked like it did nothing, but oh, well. Oh, yeah. By the way, when we come back here to this shape and node, maintain fine details, please. This will allow us to have more detail in our final option. Just remember that one. And now we're going to output this into a height mask. 'cause we are done with this one, at least. We are going to Okay, this is being funny. Why is that Okay. Now, I have a feeling this is all happening because I left this as having the marked the marked for rendering on it, did something strange, but oh, well. Anyway, we're going to decrease the fall off all the way and increase the range so that it doesn't do everything. Here we go. So now you can see we're getting our little ice spikes here. We just want a little bit. I'm going to say, probably a little more than that you really kind of only want the ice spikes. You don't want anything else. I wonder if we can turn this on I was going to say maybe there's a maintain finer details back here, but there isn't. That's what allows us to get all the little spikes. Okay, this is done now. We are now going to press F three on this one, because we only want the height Oh, sorry, we're going to press f three on these two, because we want the height from this one and like the height map from this one and the height mask from this one. And I'm actually going to undo that. I'm going to put these both through a seamless node just in case it causes issues later. That's our in and that's our color. And I'm leaving it as the exact same settings. That way it matches up with this one over here. So we got that. We got that. Going to press three here. This is going to have to be XR again. This is going to be fine details. Sweet. Oops, and I'm going to click back on here. Okay, sweet. Now we can out Expot again. And also, good idea to save before you do this. We go to build, and we're going to start. As you can see, it's starting. This is how you build old style if you don't want to just save off exactly what you have. For some reason, it's doing it this time, but not the other one. I don't know. It's being a bit funny now. Oh, it's trying to build all of this, as well. Okay. Anyway, we are done now with Gaia, pretty much. This is our detail. Then we've got our actual t goodness. Got to be careful when pressing G, 'cause it can sometimes be crazy. Oh, well, you know the drill. It looks like that. It's here. Sweet. We're done. Time to work, move on to Blender. 8. Importing and Displacing Terrain Height Maps in Blender: Welcome back to Blender Gaia Masterclass, procedural Ice World. Alright. Now, in our last lesson, we finished up we finished up our terrain. We finished up this side, and we finished up this side, which is really good. Now, what we want to do is we want to put all of this into Blender. Now, I'm going to hope that you watch the introductionary videos. If you did Please do if you don't already know how to do this. Now, let's switch over to Blender. As you can see, I've got my Blender scene right here. Not much you can do to set up the scene to start with. Probably a good thing would be to write, click down here and turn on scene statistics or go up here and turn on scene statistics up here. This will just make sure that your subdivisions don't go too high. Now, we're going to add in E mesh plane. Or you could use grid. Grid probably be good as well, because then you can change the subdivisions here to say 100 and then you can right click and subdivide again. So now we have technically a 200 times subdivision or 400, sorry. We're going to add in a subsurface modifier, set it to simple, and I'm going to crank it up to three for viewpot. So this is basically going to make our plane super, super high details. If I turn off this, this is going to be really, really crunchy detail. Also, we set it to simple so that oh, my God, scroll, it doesn't round the edges. I'm actually going to set this to two, let's say. Not adaptive, optimal. So you can see this is a really high res plane. Now we're going to just hide this for now, just for now, while we add in a displaced modifier. Pretty good. Now, I'm going to decrease the mid level all the way, and I'm going to add a new one and click on these sliders over here that says texture tab. Now, we're using an image. So we're going to open from here. Please find your Gaia folder, which is down here, your builds, your ictern cores. And here we have all of our outputs. So we have our height and color out XR. Now, this out is the color. Sorry, the height. This is going to be your height map. See how this one says texture, that's going to be the color. That's the mask. Okay, well, that's something different there. So, yes, we want to use this. Oh. Oh, my bad, this is the detail. Oops. This is here is our terrain. My bad. It's odd. It renamed itself. Anyway, we are going to crank up the strength of this so that we get our lovely terrain back. As you can see we've got some quite nice, large ice spikes there. Now, I'm going to turn our subdiv back on so that we can see our lovely, highly detailed terrain here. Yeah. Pretty good. Now, we are going to scale this by ten. And in my file, Oh, my goodness. Just ignore this, please, so I can organize it all. If I click on item here, I can see this is 20 meters by 20 meters, which is, you know, one scale by ten is 20 somehow. Anyway, the relevant thing is we need to scale this up until it hits about 80. This is what I had in the original file. This is what all the settings will work at. Stick it right there. Now, a thing if you looked at the old file is it had sort of like an angle on it, which is kind of interesting. It was actually quite fun to use the first time. Because if you use a displaced modifier, generally, they always go off the normal direction, which is, you know, if we add in a sphere here. And we subdivide it real quick. If you add in a displaced modifier, and we could probably just add in our ice mask out. You'll see it's going out of the directional. This is a horrible example. Yeah, it's going out from the directional, you know, if you have a look at the physical the physical mesh, and then you have the turn on, oh, I can think you have to do this in edit mode. The mesh normals. That's very you'll see all of the mesh normals are pointing outwards, and that's the direction that the displace pushes outwards. Now, this is useful for if you're making like multi sided things, but we're making terrain, it only goes upwards. Mostly because our plains mesh goes upwards. Mesh almost go upwards. So we set this to Z. It does nothing because it's also going upwards because it's still going the same direction. But if we now duplicate this and we change this to y, we can bend our terrain and do fun things now we actually want to go in the other direction. Yep, 'cause that's how our terrains built. That's pretty good. I really like that. I'm going to have it all lined up. I'm actually going to increase my thing here. Some reason these look like they're turning out quite a lot higher than this over here. It's discerning slightly. Anyway, I guess that's the way it will be. Now, we've done this. We want to do this again. We're going to add displacement modify. This is going to turn into absolute broccoli right now. We are going to add in another one. We are going to duplicate this using that little number. That basically number will basically tell you that I don't want to change all of the displaced modifies textures at the same time, which can be useful if you want synced textures. But we want a different texture. We want the fine details out EXR. What the hell is the difference between those. We are going to decrease the strength of this a long way. And we are going to set this to the Z axis so that when we do this again, and you'll probably want to decrease that. So now you can see we've got all of our little fine details. Now we're going to do the exact same thing again. We are going to duplicate this, or you can press Shift D. And we're going to set this to the Yxs and we are going to make this going the other direction. So it all lines up. And so, see, now you can see if I turn off these, you just add in just a little bit extra detail, which is really nice. Now, big problem. This is not enough terrain to look at, you know, if you put the thing in here, crank up sub div to like three so that we can see all of our detail. Oh, that's spicy there. Okay, that displace might be a little strong right there. Ah, I guess we'll just have to position our camera so we don't see that. Unfortunate. Anyway, if we stick our camera in somewhere like here, you'll notice that it's not really enough to look at, you know? If you look out past the horizon. You'll see, you know, the world ends, which is not generally a good thing to look at. So if we go back to our texture tab, we can actually change and repeat on the mapping, which is going to array our terrain, basically. This is what the seamless is for. So as you can see, there's no seam in the middle, which is really nice. Now, you're gonna have to decrease your display strength. I'm going to change the whoops. Okay, turn off my subdiv sub dip. Sub dibs going to make it run really slow. We're going to come back here. We're going to decrease our display strength so that we don't have to look at that horrible probably stretched terrain. And we're going to do the exact same thing with our little terrain here to turn these back on. There we go. Yeah. So now, I'm going to set this to two and turn this back on so that we can see our terrain. Yeah, we're pretty much done with the setup. We are now going to proceed to make a HDRI in another Blender file and then import it into this one so that we have a custom world. Because otherwise, we'd basically be stuck using the Nish Da sky, which is, yeah. I mean, it's good. But, like, really? You want to I don't want to use that, man. So, we are actually going to build ourselves our own HRI. Next lesson, because that is gonna take quite a while. Alrighty. Yeah, so that's gonna be the end for now. I know this is probably gonna be a really short lesson. We're gonna delete this camera real quick, too, because we're gonna come back in later. We are going to probably go and have a look. See what went wrong with these giant ice spikes, 'cause they're getting very, very tall for no reason whatsoever. So we will do a little bit of troubleshooting in our next video. Actually, we might do that right now, 'cause the next video is gonna be the HDRI one. Let's have a look, say. So I Gaia, it looks fine, okay? Hmm. If we look at our height and color, I said this to be G, please let me look at that. Ah, for some reason, has unplugged itself. Maybe that's why it went wrong. I wonder. Shouldn't really make a difference, but oh, well. Anyway, uh, so let's go have a look at those EXR files and blenders File Explorer. Shall we? Let's just make sure this is, this is the terrain. Let's make the size really large. Okay, so I wonder wonder if we used this. I accidentally used that. It doesn't look like it. Wonder what the difference between these two are. Hmm. Questions, questions. See. This is why it's always good to make sure you're doing everything right. See, it seems fine details. Huh. That's odd. That is odd. Did not happen last time or the time before. Hmm. 9. Terrain Displacement Cleanup and Artifact Fixes: Welcome back to Blender and Gaia Master Class, procedural Ice World. Anyway, let's try and export this again. Hopefully, that way, nothing goes wrong. We don't really want the fine details, so we're going to disenable this, so it turns off. And we're going to turn off the ice mask. So we just have the height and color. So this one right here is the only one that's exporting. We're going to build this. Yep. And we're going to save the cached file. That might be it. It might be something wrong with that saving method. So we may just have to rebuild it manually. We're going to open up at number three, pull out this ice mask here. That did absolutely nothing, okay? Let's turn off both of these displacements here. Turn off our sub div. Make sure we're opening the correct file open, BG again, builds. Make sure you find the ones that you are doing. Oh, that's interesting. Ah, my bad. Number three here. It is number three. This is the third one. Somehow, this is all built all over again, even though I disabled it. Huh. And as you can see, these are really tall again. Okay, let's try this again, but we're gonna force it to build. We're gonna go no, and we're gonna force to build. Hopefully, that's not going to do anything over here. Okay, let's pull up this again and watch it. We can watch the exceedingly amusing thing of watching Gaia build. Okay, let's get rid of this again. Let's actually turn on Blender file. Go into the images here, and we're going to remove the height and color out. Got EXR. Going to delete these? We're going to delete, whatever that is. Yeah, okay, so that's the small fine details. Sorry, that's not the fine details. That's something else. Okay? You know what? Let's reimport everything. That way we make sure everything's completely clean. Gonna go back to our view layers. I go on our grid. We're going to do Gaia, builds train cores. Now this is number four, for some reason has built everything anyway. And we're going to look at this. Okay. That is perturbing. Let us off this one. Ah. No, that shouldn't that shouldn't go too high. Okay, let's have a look at see exactly which ones these are. So it's this one here, which is right beside see. That one's the right height. But is it this one? Is it just that one? I set these back to one. Ooh. That's interesting. This disappeared now. Mm. I still feel like these are a little high. It's that one right there. I can see it being really bright. If we look back at Gaia. It's this one right in the middle. But see that should only be like twice as high as the mountains definitely way higher than twice. Mm. That is interesting. Okay Ah, what are we going to do? What are we going to do? You know what I think we're going to do? I think we're gonna change the seat. We're going to press F on this so that it locks the view. We're going to come back to our multifractal, and we are going to press C. No, I think that's probably a little bit far. We can probably, we can look at it back here at Sandstone. We click on the multifractal. That way, it doesn't have too many to look at. Okay? Let's try the dot noise now. This is going to change the big ones. To do I like one. Oh, there, that's really good. That's really good because they're right on top of that. That's gonna be nice and fun. Okay, I like this now. Let's press F twice on this so that we can unlock the view, the preview lock, sorry. Wait for this to all build out. Make sure that our ice mask still works, looks like it does. And now we are going to I wonder why this is Let's just unmark these for export. Actually, no, we're going to do the ice mask because that's what we're gonna do. We're not going to do the seamless. We can press F three and unmark that. We're just going to do these now. So we've got ice mask, heightened color, and heightened color, both as XRs. Why have we got this as an E X? This should be a PNG 16. Odd. Anyway, let's build this again. And we are not going to do that anymore. For some reason that is not working. Right. Let's try this again. This is not supposed to happen, but okay. And over here is number five, which is gonna be filled up with our stuff. Soon, there we go. If we refresh this, there we go. Okay, so we've got our height and color out EXR. That looks way better. There we go. There we go. So there's something wrong with the export. I guess that's what you get for using the new version of Gaia. It's currently, I think it's still in Beta. Anyway, now that's solved, we can go back and we can turn on all of these again. Is this well now, there we go. That's way better. This is also a little bit much. But remember, we're going to go back in here and we're going to crank these both up to two. Oh, that is way too strong. Spin off our sub div so that we can modify this all in real time. Now, all of this angle, this is up to you, okay? This is artistic preference. I'm going at about 45 slightly more than 45 less than 45 degrees, just because I feel like I'm going for more like the idea that the wind's blown really, really fast across all of this, and it's sort of blown these up into ice spikes like that. We're going to actually add some clouds in later that make it look like those clouds themselves there. I'm going to now turn back on my small displacement back on this so that I can actually see my small displacement. My small displacement didn't work because we removed the texts. That's right. We are going to open this up again. We're going to grow to our Gaia folder with builds. And this one here, I don't think we have our fine details in here, just so you know, but we are going to have our fine details in this one. We have a look at the fine details at xi dot. There we go. As you can see, that adds in a little bit of extra, extra interesting thing. Let's turn this off just so that we can get a little bit of idea what's happening. This is gonna be a long video, I tell you. There we go. And there's our small detail, and then we can turn both of these back on. Sweet. So it's looking very crunchy terrain. Don't worry. It will look much better later. Especially if we crank up this to, like, three, you'll start seeing some of the smooth parts. You definitely can't see it from this angle. Well, that's the thing for another day. Now our terrain is fixed because nothing went wrong technically and okay. It's improvisation. Adapt, expand, improvise. Something like that. Anyway, that's gonna be the end of this lesson that you've probably worked for way too long right now. Hopefully, this problem did not occur to you. In case it did, this is how you fix it. Yeah, onto the HDRI. I'll see you next one in the next one. 10. Designing a Custom HDRI Sky for Procedural Scene Lighting: Welcome back to Blender Gaia Mr. Class, procedural Ice world. In our last lesson, we imported the train into Blender. We made it angled. We did all the fun stuff. Then it broke and we spent like 20 minutes trying to fix it. So it's now fixed, thankfully. Hopefully this didn't happen to you. But I'm going to leave this in here in case it did so that at this point in the course, you will understand how to fix it. Now, we are going to completely ditch this Blender file right now. We're going to save if you didn't we are going to go Control end and we're going to click New. We are now going to open up ourselves a new version of Blender, and we are going to make ourselves some pretty cool as your y. So we can't open a new version of Blender. Now, in this new file, we're going to have a planet. We're going to have a planet in the background because that's going to look cool, you know. So we're going to add ourselves UV sphere, and we're going to press Control two to subdivide it. Right. And now we are going to add in a circle. We're going to go down here under Mike Mouse thing, and we're going to set this do 64. We're going to scale it out a bit. We're going to go into Vertex mode, and we're going to scale quite a bit. Pretty nice. And we're going to deal with this a little later. We're going to come back to the shading of that a little later. We are first going to do the fog and the like background. Okay, to start this, we're going to go to the shading tab. Now I'm going to expand this a little so that we can see it a bit better, and I'm going to open up cycles. Now, we're going to add change this, sorry to the world setting. So this is how we do all of our world shaders. Now as you can see, it's pitch black. That's because this is set to zero. So if I set this to one, it's white. We are going to add in now a sun texture. I saw texture, my bad. And we are going to set this to have a lot of ozone. As you can see, this is very bright. We're going to have to crank this down a little later, increase the sun elevation a bit. We're going to add in HSV. And we're going to decrease that a little bit. So we get this sort of greenish tinge? I know it's red over here, but that's just the sun. What we're gonna do? So we're going to plug this into the color here. We're going to decrease the strength. We have this sort of why is that red? That should not be red. Okay. Decrease the air a little. That'll take away the red. Anyway, what we want to do now is we want to add in ourselves a volume. Now, there's some very specific values for this volume, and we're going to do them later because what we want to do is we want to build this planet first, and then we're going to have we're gonna have three levels of the plane. We can actually can have a whole planet here. That's like a full res planet. And then we're going to have a big sort of plane up in the sky that has, like, a cloud texture on it that's, like, you know, looks pretty cool, my abysmal drawing skills. And then we're going to have a fog volume, which will basically act as sort of like a distance fog. But anyway, it's going to make everything look much cooler. So to start with, we're going to set this back to object so that we can actually do our stuff. I'm going to add in a new material. And this is going to be the ground. Now, I am going to use a texture. I'd love to say I know where to find one, but I really actually don't. Textures are quite planet textures, not everywhere, but they're not too hard to find. I remember where mine went. Remember I probably there was a great you can actually Oh, yeah, blue marble. NASA has a whole bunch of Earth textures that you can use. So I'm going to use this, and, yeah, there's one in here. Okay, so I'm going to grab the Oh, I do not want an 86 K map, bro. I'm going to grab this world image here. Now, I know this is Earth, but if we rotate it to the sideways, you're never gonna really notice. No, are you? It's not gonna matter that much. Okay, what we're gonna do now is we're going to add in a colom. We're going to clamp these together so that we can basically just mask out the oceans. I would suggest setting this to constant. This is just gonna make your life a little bit easier. There we go. Now we have a oceans mask. We look at this. It's probably a little bit far. Right. Oh, God damn it. You know, let's just do this procedurally. A, noise texture. Object coordinates with control We're gonna look at this. We're going to add in a color ramp. We are going to clamp these together so that they form interesting shapes. We're going to increase the detail, decrease the scale so that we get more continent esque things. Gonna set this to constant so that we can see much better. There we go. Yeah, I don't know why I didn't even just do this to start. A a bit of roughness, just to make it look cooler. Okay, so now we have our sort of this is going to be the mask between both of them. So we're going to have two principal BSDFs actually. This is not going to be there. And we're going to mix them using this. Oops. Please. Now, we are going to put in I've got a whoops, my bad. We are going to put in a deep blue value here, quite deep blue. Feel free to copy the hex code that you see once this is done. Something like that, I think. So this is that hex code or these parameters here. This is going to be your ocean. So this is going to be a 0.1 roughness yeah, that should probably be pretty good. And we are going to now. We are going to duplicate this Control Shift D, which will retain its original link, sorry. My bad. We are going to control shift left click on this, and we're going to look at it, and we are going to color it. So we're going to have white up here, add in a few extra nodes. We are going to have sort of, I want to say, gray, probably darkish gray. And then we're going to have green, sort of desaturate probably a little bit too much. You know, do we want this to be an ice well? I think we want this to be another ice well. So we're gonna make this blue, actually, just for a little bit of spicy. And then we're going to make this sort of a different kind of blue. This is going to be like a less green blue. Then that's gonna be black. Then if we plug this into the color here, increase the roughness all the way and decrease the specular IR wet level, so it does not reflect. And we look at this. Mm. Interesting. My bad. Flip color mp. See, we were coloring it the wrong way. That's much better. And now if you mess with these, might actually increase the value on this one a little bit. Sometimes you got to get quite careful with these parameters they will cause issues, as you can see. This white one isn't even showing through. That's why. You got to clamp them in. There we go. And there's our mountains, sort of. Now, if you look back here, that's pretty good. I'm going to add a little bit of distortion to this. Oh, that's a little bit much okay. Never mind. No distortions. That did not work well. Okay, bump map. Color into the height, set the distance to one. Joshi left click. If we increase the filter width, that will do horrible things. I hate this new filter width. It's so annoying. I'll break things. Really unfortunate. We're going to control shift D and duplicate this again. We're going to clamp this in using Bpline. We're going to add another stop. That way, it doesn't go to gray. It goes all the way to black. Going to make these a little more. And we're going to plug this into the distance so as you can see, it's only really like it gets sort of I'll That's the wrong way again. Flip color amp. Please, that is unfortunate. Oh, well, if we look at this, you'll see it's like it's only bumpy in the middle and it sort of gets thinner on the edges. So you want to decrease this so it's not really predominant. That's much better now. Now, if we look at this again, we have a pretty good planet. It's only missing two thirds of everything, so let's duplicate this sphere and scale it up ever so slightly. Let's name this to terrain. Sorry, no, no, not terrain, ground. This 'cause this is the ground level, basically. And we're going to do the same here. Ground. We're going to name this two rings and this sphere here too at Moss. I think I technically. Okay, so we got to Atmos. We're going to remove this material, and we're going to add a new one called you guessed it at Moss. And this quite literally just going to be a volume scatter. Yeah, that's it. Have a little bit of ist Anisotropy. I get slightly blue. You know what I'm gonna make this slightly green, actually, just for something interesting. Gonna increase the density and decrease the size. So it's just enough to see. Or isotropy. There we go. See, there's quite a bit of difference. Anyway, for the last bit, we are actually going to use a texture. You can do this. Oh, God. You can do this on your own with a noise texture like I did the ground. But trust me, it doesn't look as good as if you do it with a texture. So we're going to make clouds. Those two. We're going to remove this. We're going to add a diffuse BSDF and a transparent BSDF which is basically just white and alpha, basically. And we are going to add in ourselves a mixed texture to mix it, and we're going to plug generate it in. We're going to open ourselves text up. And as you saw here, I have blue marble. I have this cloud combined. If we wait for this to load in, we are going to then proceed. Probably a good idea before they do this is to save your project. So I'm going to save this over here as the like that. So we've saved our file. We're going to preview this. And as you can see, it's quite a stretch for press to slash key, we can just look at it. That's probably because we have not set this to sphere. That looks way better, at least in my opinion. So we now have this. We're gonna look back at our mix shader, realize that these are in the wrong inputs, and we're going to switch them around and lo and behold, clouds. Let's press this again, and we've got our clouds. That's pretty good. I don't like this atmosphere anymore. You know what? Let's change this to MI. MI is MI is actually what real atmosphere is. This is meant to mimic real life atmosphere there. We go that looks way better. Look at that. Ooh. Spicy. And anyway, now for the rings. Now, the rings are gonna operate a little differently. We're going to use UV editing for these. We have a look over here. We are going to select one of these edges here. Now, this only works if you're in edge mode, by the way. You're going to right click and go, Mark Sam. We are now going to then press A, select everything, and unwrap angle based. Now, unfortunately, so there's a cut just exactly where I thought it would be. Unfortunately, this isn't really going to work. So I'm going to scale I'm actually, I'm going to rotate this, holding control so that it snaps, doesn't really snap. Rotate it enough, so it's sort of that way, vertical. And then we're going to scale on the Y axis, which is up and down by zero, which is going to make it completely flat. We're going to do the exact same thing here. We're going to scale on the y axis zero. Move these underneath. We're going to grab this edge we're going to scale on the X axis to zero, same with this one. So now we have this perfectly flat quad. So we're going to go right click and we're going to go flow active quads. Oops, we have to select everything. Okay. Now it's all in a straight line. This is going to save us so much trouble. If you had some U V square add on, use that. You can do all of this. Everything I just did, you can do by just clicking that button. Now we're going to go back to the shading, and we're going to add ourselves to new material, and we're going to call it rings because that's what we're doing. And we're going to add ourselves in a Oops, diffuse Transparent. Not transparent, yeah, transparent. You got to be careful not to use the trans oh goodness. You got to be careful not to use the translucent BSDF as that does not do what you think it does, pretty much. Okay. Now we're going to add ourselves a noise texture. Gonna press Control T to add ourselves the mapping, and we're going to use the UV. Now we're gonna Josh left click on this. Looks pretty good, right? You know, pretty, pretty average. It's got a seam over on the top side, but you don't really see it. 11. World Shader Tweaks for Better HDRI Lighting Control: Mm come back to Blender and Gaia Master Class, procedural Ice world. Okay, here's where the magic happens. We're going to decrease the scale on the Y to zero. And then increase the scale. Look at that. That's pretty cool. That's pretty cool. Now, I'm going to go over here. I'm going to grab this, and I'm going to make this clamp it in a bit. Now, this is basically This color ramp will dictate how much of the rings you have. So I'm going to increase the detail all the way too, by the way. Here's the roughs. So if we have a look we have all of these rings. If I increase the black value, it gets rid of if I decrease it and say, increase one of the others, these will get way stronger. So I'm going to actually make this Oops, that's the wrong way. I'm going to make this quite dark, actually, so that we get sort of bright rings, and then we get the little rings. Now I'm going to plug this into this mixed Jada and bet that this is the wrong way around. Yes, it is. And there's our rings. Now, you'll notice there's a bit of lack of geometry, press control, too. This will smooth it all out by adding in a subdivision surface modifier over here. Sweet. Now we have our planet. We have our rings. We're cooking with gas. Now, depending on whether you end up looking at this from the bottom side or the top side, mess with this black parameter here and these white ones, and they'll come back and forth. I'm going to leave mine for there for now and get back to the middle. So we're going to add ourselves in a plane, move it up, and we're going to scale it up really big. This is going to be the world Clouds. Now, I have a cloud texture. We're going to use the same diffuse translucent again for the clouds. I have a cloud texture. From Samuel Krug, who is a very good Zuber. I followed his planet tutorial a while back, and I built some really, really, really, really stupidly high, high quality cloud textures. Like, this one here is, like, I think that's 30,000 pixels on. At 7,000. Okay. My bad. Some of the Okay, these comp ones will be much bigger though. As you can see, that's 109. It's a 200 megabyte image. So if you didn't know, you can go to LandSAT and LanSAT will let you download images of Clouds, which is really nice. These are all real world clouds taken by satellites. So I'm going to end up using this one right here. But if you want to see how to get these, you go to this website here, USGS, Earth Explorer. We're going to go down under the LanSAt LansAT collection one Level two, and the Lance at 89. And then we're going to go back here. We're going to Zoom out. I'm going to take here. Alaska has some very nice clouds. So I'm going to take a picture of stuff over here. We're going to add a polygon, so I'm going to go Oh, whoops. Actually, I'm going to use the circle. I like using the circle much better. There we go. Right here. And then I'm going to apply. And what this is going to do is after we set, let's say date that date to that date, doesn't really matter that much. Yeah. So we're going to apply that and we're going to look at the results. Now this is currently going to search for Landsat. And then up over here, we're going to get a whole load of those images which have, you know, fully, if you takes a while to load, these are very large images. As you can see this is actually taking a picture of the train. Let's perhaps go down down over here on the sea. Let's go back to the search criteria, clear circle. Here, here, it's apply to show results. It's going to search through all of the images again. And here we go. Here's a nice big Bank of Clouds. That looks pretty nice. If you remember this websites a little outdated. Got them over here. There's more clouds. So you get the idea. So you'd go and download those. Or you could just use noise texture, but that's not really going to look that great. So I'm going to go I'm going to open up my Clouds folder, and I'm going to go grab that Cloud file. This is going to open up this. Pretty good. It's going to plug into here. This is the wrong way. Yet and I'm going to use a color ramp just to press E, switch it to E's, and there we go. We've got some clouds. Now, I'm actually going to add in a math multiply and multiply these quite a bit. I think because we're viewing this from the Boment it's not going to look very great, so I'm going to actually switch these out for emission. There we go. That looks way better. Look at that. Look at that. Look at it. I'm actually going to add a power node in front of here. This is just going to make it Oh, that's a little bit much. This is basically going to make the high values really strong and the low values like less strong, depending on which way you go. Power node is very fun to use. I think I'm going to put it like that and rotate it a little bit. Okay. I'm going to grab all the planet, including the rings, and I'm going to go, New collection, planet. That way, I can just instantly right click and go select objects to get it. I'm going to move this all the way over here and make it really big. Oh, that's a little too big. Suspension. And I'm going to rotate this ring so that it looks interesting. Pretty good. Pretty good. Now comes the fun part, the volumetrics. Okay, to do this, we are going to add ourselves in a cube. And as you scale it up quite a bit, seeing Shift S to only scale without scaling the Zaxs. Now we're going to add this. We're going to call this distance bog. Okay, now comes the fun part, the really hard part because this will actually change depending on what happens. We are going to set this to Raleigh. Raleigh is actually something that will simulate light scattering in the atmosphere, which is what we want. We're going to plug this into the volume. We are now going to add in a gradient texture control T object, and we're going to rotate this 90 degrees -90 degrees, my bad, so that we have much softer fall off. But the best pline you scale it on the zaaxis slowly downwards so that we get more of a smooth gradient. Whoops. And then we are going to add in a math multiply. Let's say this to 0.01. Let's this into the density. And here we have. It's very nice. Distance fg. Right. Now the fun part. Now, you've probably been wondering this whole time, how are we going to turn this into a HDRI This is never going to work. Okay, well, no, and yes at the same time. We're going to add in a camera at Origin. We're gonna press old R, which will completely remove all rotations. We're going to press RX 90 so that it is pointing exactly 90 degrees upwards. Then we're going to go down here into the cameras. And under perspective, we're going to go to panoramic. Now, if you've ever used panoramic before, you'll notice it's, it's a panorama. It could be a 360, but it's just, you know, field of view is 180. But if we go on to here and set this to equirectangular, you might notice this looks very familiar if you've ever used HDRI before. Pretty good. So let's have a look at this. I think I'm going to increase the density on this. Oh, that's a little bit much. I'm gonna make this light blue as well. There we are. I think I'm gonna make my planet a little bigger too. Also, unfortunate thing is solid view does not work. So yeah, solid view does not show the equirectangular, only the rendered view. So yeah, I'm going to do that. That looks actually pretty good right now. I think I might scale up this a whole lot bigger. Let's pull out a new window real quick, set this to the camera view. I'm just going to make sure this is big enough that we won't see the edges like that. Move this back so it does not intersect. Rotate this a little bit more. It's like that. I like that planet. That planet looks good. Mm might increase the density on this just so that it sort of blends those clouds out a little more. Let's go back to the shading tab. Helps increase the height. Oh, my. Okay. Oh, yeah, that's good. That's good. Right there. This is the outcome you want, generally. Here's the current setup from that. The clouds are really big. Oh. Okay, if you encounter this kind of clipping, please press N, find your view panel, which is somewhere here and increase the end to something really large. That will just allow you to see as far as you want to. Okay, so we've got the really big plane, we've got the really big square. We've got the really big planet. Yeah. Okay. Sweet. Now, a useful thing to know when rendering HDRIs is this is going to be a 12 ratio. So we want 180 times two instead of 290. So we can go up here. We can press this and we can go times two. This is now an echo rectangular map. This will go This will fit perfectly with everything else. Also, because this is a HDRI, and we will be seeing it, we want this to be quite a high resolution, like 400. So we're going to add in 400%. This will basically just increase the resolution. So this will end up being like a 16 K image. So if you can't render it this higher resolution, that's unfortunate. I will include this one in the course files, but I encourage you to make your own. Now, we're going to set this to be a radiance HDR, which is how you store like the light information in a HDRI. You could also do an EXR, but that's don't bother. I'm pretty sure radiance is better for this. So we are now going to press render. Well, I'd love to give you some updates on like, these are the settings I use. I'm using GPU. I know, I'd love to say I could give you the answer to these, but these values differ depending on your PC and your graphics card. So generally, 0.5 from the noise threshold, a fairly lowish number for the Max samples to start off with and a denise using whatever you have, use the GPU always. And now we're going to press F two. Now, this is going to holy. This is going to be a humongous image. Oh, that just absolutely flash banged me with that image. So yeah, we're going to render this out now. As you can see, it's very, very large. Each of those squares is 256 pixels, by the way. You might render the whole image slowly as it goes through. That's fine, too. It's the output that matters. And once we're finished with this, we are going to save it into a file where we can bring it back as HRI later. Yeah, I'm going to soon as this is finished, I'm going to save it, and that is going to be the end of the lesson because I've probably gone just a little bit too long this time. Uh, but I wanted to make sure the HRI was, like, done. It was, you know, no more problems. Yada yada yada. Mm, it's still making a bit of a line. Oh, well, hopefully I doubt you'll see it. You shouldn't see it. If we do see it, we'll come back later and mess with it. Now, don't delete this project. Always save this project because you may want to come back later and modify your HDRI, you might want to, you know, change the place of the sun or how many clouds there are or how big or where the planet is. So always, always save this one, and you'll come back to it later. This is going to denoise real quick. This is going to take a truly monumental effort to denoise. But once it does, we're going to get this lovely HDRI. Now, I'm going to press Alt S, which is the key for Save. This is where you can see this is the one I already made. I'm going to call this Ice course HDRI. And I'm going to make sure that this is saving as a radiance HDR. I'm gonna save that image, and we are done. That is it. This is the final output. This is the scene, if you wanted to have a look. I'm going to leave it here, and I will see you on the next one. 12. Ice Shader Creation with Subsurface Scattering and Volumetrics: Welcome back to Blender and Gaia Master Class, procedural Ice World. In our last lesson, we made ourselves an HDRI Oh, dear, which was very convenient. It means we don't have to search the Internet for HDRI and might have to buy it, download it. Who knows what goes on. So we made ourselves in Blender, which is really nice. Now we are going through colorless terrain using the color outputs that we made during our creation in Gaia, and then we are going to add in our HDRI and add some fog to our scene to make it look a little bit interesting. So we're going to go to the shading tab. We're going to view this right here, and we are going to go into the render view. I'm going to go under these three, the viewport options, I'm going to turn off both of these. That way we can see cycles, but in like a preview. We're going to set this back to Object and I'm going to add a new material, and I'm going to call it for rain. Okay. Now what we're going to do is we're gonna press Control T to open up our textures. We're going to go find in Gaia, again, it builds ice rain course. This one right here, the height and color texture. Now, this is set to linear, whatever that was color space SRGB, SRGB people. That's the go. Now, because we did the array of this terrain using the mapping, we need to set the scale to two on everything that way everything lines up. I have a feeling something might have gone wrong here because we've displaced it twice. So if we go back over here and we turn off these displacement real quick. There we go. Okay. There's our terrain. It looks pretty good. Unfortunately, it's kind of shiny, which we don't like. So we're gonna turn these back on again. This will basically make it so it doesn't reflect light. I want to make this a bit bigger. This is hard to look at. Okay, so there's our ice. Well, it's not our ice. There's our rock. It does look a little weird, though. I feel like there's something, apparently, that's working. Okay, now we're going to turn both of these back on. Just be warned this may make things look slightly strange in certain locations, something to be aware of. Okay, so now we have this. This is working fine. But now we have to build our ice texture, sorry, not our ice texture, our ice material. So we're going to basically have this all on its own. And then we're going to have an entire ice material built down here, and we're going to mix it with this one right here. Based on that actually we're going to control shift D because we want to maintain that array, the double. We're going to use this ice mask texture, which we have a look now. We'll mask out all of our ice bikes. So we're going to stick that right into here, and then that's going to be our output. That's the plan. Right. Now, let's get started with this ice material. Okay. Now to start off on our ice texture, we're going to be using subsurface scattering. Now this is going to be quite heavy on lower end PCs, so I do apologize, but this is how you make good looking ice. So we're going to add ourselves to subsurface scattering, and we're going to use these parameters because these are the ones that I've made sure work. We are going to have an IOR of 1.309, which is ice, I do believe. We're going to have a scale of zero to start with. Just gonna cause problems later, but I will. And we're going to have a transparent BSD of. Okay, there it is. We're gonna mix these together. And we're going to mix these based off a layer weight. Right here, add in a color ramp. In case you're wondering how I'm summoning color ramps out of thin air, I've literally like, set my but the C key to just instantly summon color ramps because I use it so many times. So you'd probably just have to go A and find your color ramp. So if you're wondering how I have this node Pie, it is an add on comes in Blenders extension Library. You just sech it up here. It is node Pie. So if I miss that, yeah, it's that. Okay, so we're going to use the facing. And we're going to have a look at this real quick. We are going to make this sort of like mid gray, almost like that. We're going to clamp this in quite a bit, so it's only on the edges. That way, it's going to only be transparent at, like, the very edges, as you can see here, it's slightly transparent on the edges, and then the rest is the subset for scattering. Righty. Now, we want to add ourselves in a noise texture. Press Control T object. And we are going to go with another color ramp. We are going to plug the color in here. Gonna have a look at this. We're going to have a light blue, almost, sort of, like, almost actually, I want to, like that. So under how I'd say this, almost like a dark teal blue almost. And we're going to have this over here. And on this side, we're going to have basically the same thing, but it's going to be slightly lighter, and it's going to be like light blue, blue blue instead of green blue. And we're going to put this immediately through a HSV. This is going to allow us to modify the color later if we so choose, stick that into here, and we have a look over here. There we go. Pretty good. I'm going to set this to like 0.45. There we go. It's a bit more green our ice is going to be nice looking transparent later. Righty. Now for this noise texture, we're going to go for a scale like 25 not much detail, no lacerenity. Yeah, it's pretty much just going to be like that. Yeah. Just like that. Just a little bit of variation in the color so it's not boring. Okay. And now we are going to add in the fun part, the volumetrics. To start this, we're going to add in a voronoi texture. We are going to set it to distance to edge from F one to distance to edge. We're going to add a color ramp. We're going to plug it in here and we're going to switch the sides, and we're going to clamp this in so, so very tight. But it is important to set this to object first, too, with our control T. Oh, my God, my things over here. Okay. Never mind. I'm gonna stick that there. That way you can see my little cursor thing a bit better. Alrighty. Now we are going to set the scale on this to, like, 45. This is, it's a little much. Oh, that's 450. Okay, 45. My bad. There we go. That's much better. Holy. Details is gonna be about ten, let's say, 0.6 on the roughness This is basically gonna give us these nice jagged, sort of looking stuff. Pretty good. We're going to control shift D and duplicate this again, but instead, it's going to be back to F one. This is going to give us you can't quite see that. You're gonna have to remove the detail to see that. It's going to give us these things again, which are really good. Oh, yeah, and you probably want to set this back to 0.5. Add in another color. We are going to have a black one there, another black one here, and white one all the way heavier. But we're going to set this up Bast bline. We're actually going to increase the dark. Now we're going to control shift right click and multiply them together using a color mix node, multiply. There we go. So this is basically going to mask out some that are, like, sort of in certain locations. Now, because this is the exact same it's the exact same pattern because we've got the scale the same. They're going to do this kind of strange thing where they like leave some and not. So we're going to decrease this scale back to, like, 25 again. That way, get some cracks are going to be dark, some are not. Some are going to be completely black. And anyway, you get the drill, okay? So we've made ourselves some nice procedural sort of cracks and stuff. Now, it does look like cracks, sort of, I don't know, it's kind of like lines and doesn't really look that good, but trust me, it will now we get to the fun pit. We're going to use the math multiply. We're gonna multiply this by 175. That's a lot. I know what you're thinking. That's a lot to multiply. And by the way, we're gonna plug this into the strength of an emission shader. I'm gonna make this a light blue. Now, just so you know, you want this Oh, dear. Updating lights. Okay. Now it would be a good time to save just in case something go sideways. Okay, there we go. Did a little bit of funny. So yeah, so we've got our nice emission shader here. And that's great, but it doesn't really do much for ice. So we're going to add in a volume scatter. We're going to set this to foia fernia for end, which is used for underwater, if you didn't know. We're going to set the IOR to the same thing, 1.309, which is ice, I do believe. Set the back scattering to 0.038 I'm going to set this color to a red so that when the absorption comes in, it's going to look green. We're going to mix. We're actually not going to mix these. We're going to add these together. We're going to be special. Can we Blender is being special right now. Okay. Okay. Is not liking that because I'm trying to look at a volume scatter with the surface. So what we're going to do now is we're going to plug this into the volume right here. As you can see, it's doing exactly what we want. It's creating a whole bunch of fractures inside the ice. And if we plug this over the top, we're going to get this really cool. We do need a little bit of scale here. Really cool. Ice texture. Looks like it's refracting around inside. Now, I think, if we look over here, there's a little bit too much black. So I'm going to increase this color here until I can sort of see more of the white, more of the light light texture. There we go. So now it's a bit more predominant. Yeah. Okay. So that's our ice texture. We've done all this. Now what we're going to do is we are going to mix these together. We remove that. I think we can just leave the volume in. Oops. That's probably anyway, we're going to mix these two together, control shift click, which will mix our shaders. And we want to do this based on the ice mask like that, exactly like that. And then we're going to plug this into the volume, and we're going to have these gorgeous ice spikes with our lovely black volcanic terrain. And that's going to be the end of this lesson because that looks pretty cool to me. Hey, look, even though the snow's even piling up on the ice. That shouldn't happen, but that's actually pretty cool, anyway. Right. That's the end of this lesson. I hope you enjoyed. I will see you in the next one where we will start adding volumetric fog. We'll start positioning all our camera and stuff. We'll add sort of effects. We're going to add into here. We're going to add in a bit of these little spiky bits. We're gonna make them the ice, too, using our mask from before. And, yeah, that's it. That's it for now. See you later. Oo. 13. Atmospheric Fog and Cinematic HDRI Lighting Setup: Welcome back to Blender Angya mask class, procedural Ice World. Now, in our last lesson, we built this texture, and we made this truly wonderful ice. Well, at least in my opinion, I very much enjoy looking at this ice. We have built that and use the masks to mask it out to be only effective on top of the correct piece of ice. Now, we need to add in all the little ice spikes that we added with the fine details. So what we're going to do is we're going to go over here, we're going to turn off both of the big displacement and only have the little ones. So now it's only all the little spiky bits. So let's control Chef D this because this is our mask. This is our ice mask. We go back up one, go back, we can find out fine details. So if you can see here, something is ever so slightly wrong because none of this lines up. Oh, do we actually I don't think we. We did not array this, I believe. We go into our displays here and we open up this. Did we? No, we did not. That is where we went wrong. We forgot to repeat our mini ice spikes. See, as you can see now, they look much better. I'm going to add these together. And plug this into the output right there. Now if we bring back everything else, this is going to look really cool because now we've got all of these little bits of ice that are peaking up out of the ground. I'm also going to just set all of these coordinates to UV because I remember that something went wrong and that was the fix to it. We're going to do it now just in case to make sure it's all done anyway. Yeah, we go. There we go. Now we've got a whole bunch more ice, which looks really cool. I felt it was a little bit odd if we just, you know, just had these giant bikes of ce, you know? Got to have, you know, variation between just the boring bit and the big bit. Okay, that's done now. Now we get to move on to the volumetrics. But before we do that, we are going to place our camera. This is a fairly important part, but definitely one of the most fun, I would believe. So I'm going to add in myself a camera. I'm going to go Control Alt number pad zero, which will allow me to snap the camera to my view. And I like looking backwards at the ice spikes, you know, looking at as opposed to, like, looking at them this way. So I'm going to come over here. I think I'm going to look at right here. Let's crank up this sub div to, like, let's save real quick. I'm going to set this to four real quick just so I can see all of the detail. Oh, this is gonna suck. Oh. There we go. Now we've got our really crunchy terrain. I think I'm going to look up at this right here. Settle somewhere around here, to look up like that. I'm going to come over to here, decrease my Well, decrease my focal length for like 15, add this make that little zoom in a little bit. And now we get to move around and position our camera. Now, there's a really fun thing you can do. If you've ever used Unreal Engine, you can go to view, view and Where is it? Is the view Where is it? I be right here. Navigation, my bad. Navigation and you can choose fly walk navigation, which allow you to use the WISD keys, like in Unreal to navigate through your scene, which is quite useful for situations like, Oh, I like that. I like that very much. And Q and E are up and down, by the way, just so you know. We're going to stick this right here. And right there. And once you left click, that will place it. I'm going to turn on Viewport display. I'm going to increase my pass part out nearly all the way, and I'm going to turn on the thirds composition guides. So as you can see, I've lined up my can't probably can't really can't really see it, which is really unfortunate. But like my Oh, that does not work. That's sad. You can see my line lined up here and my line lined up here. So we've got the big open space over here, and then we've got the main spike over here. If you rotate this slightly, I could probably line it up a little better. But, yeah. Also, useful to know, double tapping will engage a gimble mode, which will allow you basically to just look around, which is really fun. Okay, now we've got our camera temporary setup. We are going to add in our HDRI and our fog. Now, start this off. We're going to do the HDRI first because this creates light. We are going to go over here. We are going to scroll along the top here. If yours is closed like mine and turn back on scene world and scene lights, you can see this actually glows, which is really fun. Now I'm going to sect world. I'm going to press Control T, which is going to add ourselves an environment texture. And I'm going to go open that exact file. I rent it out right here. I'm going to load that in. It's going to take a little sec because this is quite a large image, and it's creating light, so it's going to have to update images and lights. What's this again, body. This is going to take a while. Okay, this is taking a while at work. There we go. And there's our host Shari. Now, unfortunately, this is at the wrong spot, as you can see the sun is like, all the way over this side, and then over here is our giant planet, and then there's our clouds up above. I love that. I really love that. So let's rotate along the Zaxs until our sun shows up in our viewport, which is where we want it. There's our planet There we go. Nearly got the sun. There we go. I'm going to increase I think it's the X rotation. This will change depending on your scene, by the way, the X rotation so that we can basically bring the horizon up a little bit. There we go. Now we have that. That's a little bit bright. This is why you want to make sure that you save your HDRI and come back to it. So I'm going to go back and remove that horrible white glare from my HDRI. But for now, that's going to have to do. So we're going to go back to our layout. We're going to go Shift A, and we're going to add a mesh cube. And we're going to scale it up quite a lot. Make sure it's up here, and then we're going to go scale shifts so that we don't scale on Z axis and just scale it on Z axis a little bit manually. Now, we're going to switch back to the shading tab, and we are going to switch this back to the object tab so that we can actually modify our object. We're going to add new, we're going to go fog one because this is going to be one of two fogs. We are going to remove this completely because that's useless. We are going to add in a volume scatter and a volume absorption and an add shader. And we're going to add these both together and stick them out into the volume. And that all went blank because the volume density is really high. What we want to do now is we want to add in ourselves a gradient texture. So basically the smoke Oh, smoke. The fog is going to get clearer and less dense the closer it is to the camera. And no, I'm not going to do this with a miss pass. That didn't work, unfortunately. So we are going to use the object cordon, and here we're going to look at this, seeing that. And we are going to o decrease the scale, the X axis to quite low, and we're going to move this across. So it's quite a convincing gradient or quite a stable gradient. Okay, there we go. All right. Now what we want to do is we want to add in a colmspe to Baseline. Is going to allow us to make it even smoother. We can actually bring this back a little bit too. And we're going to add in a multiply node or multiply math multiply. I'm going to set this to 0.3. I'm going to stick this into both densities. All right. Now that is done. We have this sort of further you get away, the more dense it gets folk. I'm going to set these both to a light blue, very, very carefully light blue. Otherwise it will go very saturated by the way. And as you can see, that's doing what we want, but it's just a little bit much. That's a little dense. Let's make this a little let's make this 0.1. See what that looks like. Yeah. Now, just so you know, this is going to end up being a drain and the nisostropi is going to be -0.25. I probably could actually crank that back up a little bit now. This is gonna make us a very nice sort of once we get that sunlight and we make it a bit brighter, this is going to look way better. But for now, we have that lovely sort of distance fog that sort of gets, you know, more opaque the further it gets away. Now, I also would suggest rotating this object to fit your camera's angle. So it does that a little bit more accurately, just like that. We bring it down a little bit. Hmm. Fog is something you can play with all day and get nowhere or play with for 3 seconds and finish the scene. It is so finicky. Definitely screw around with this to your liking. Um Yeah. Okay, hold up. Have I not set Oh, that's why. Our world strength is set to like 0.3. That's not good. Let's set this to like 0.6. That way, it's not too bright. There we go. Righty. This is going to be the end of this lesson. In the next lesson, we are going to finish the environment setup, and then we're going to start. Then the next course after that, we're going to do modeling. I know you didn't think you're gonna do it, but we're going to. We're going to go through some very interesting things of how to model a spaceship. So yes, save, please, and I will see you in the next one. 14. Refining Fog Layers and Rebuilding Custom HDRI Lighting: Welcome back to Blender Angya Master Class, procedural Ice world. Now, in our last lesson, we finally imported all the stuff. We made our scene look like a scene. It looks like something like now. It's definitely not a finished product, but that's what we're gonna do. We're going to finish all the fog. We're going to fine tune the fog. We might go back and mess with the HDRI a little bit. As you can see, it's quite bright on the left hand side over here. I definitely want to remove that, and our planet isn't very visible, so we are going to fix that. But right now, something we can do just off the bat is we're going to fix this distance fog because it's it's working, but it's also not working, if you know what I mean. So I'm going to decrease the size of this. Now, this distance fog is definitely you're going to have to you could follow what I do exactly, but because you'll have made your scene ever so slightly different from me, everything's going to be a little bit different. So I would suggest trying to find a way to do it on your own. Here we go. Scaling it up seems to have given us much smoother gradient to fall off into the background. Let me let me switch this to object. Yeah, this looks pretty solid. I feel like I probably could increase the saturation to it so slightly on these just to make it a little bit more poppy. Okay. Now we've done that. We're going to duplicate this with Shift D. We are going to scale it down, hide the previous fog for a fit. Okay, now we're going to take a moment to name everything. So this grid here, this is our terrain. So we're going to name it terrain. This cube here, this is the second cube, sorry. This is going to be our distance fog, so we're going to call Distance fog. So I can't talk while I'm typing. Kind of interesting. And this one here, we're going to call ground fog. Oops. Case in point. Okay, now we've named everything. We're going to hide our distance fog. Now, if you see in my Atlana, I've got this cursor icon. I've got an eye, a TV, and a camera. Now, if you want one of these, they all do different things. But if you want these, you just click on this little option here and you can turn them on and off right here. The I is hide. This simply hides objects in the viewport, same as pressing H, and you can bring them back with AltH. However, if you click on the TV icon or Monitor icon, this is stable in viewport. This will not come back if you press ALTH. So this is like going down into your object properties and ignoring that and changing the visibility here. And the selection means that you cannot select, if I click on this distance object I turn off the selection. I can't select that anymore. It's kind of useful, but for now, we're just going to disable that in the viewport. Okay, now we're going to grab distance our ground fog, sorry, this time. Wait for all of this to update. I'm going to go onto my Oh, like. I'm going to go over here and I'm going to turn off this subdiv in viewport so that we can see it. Now we're going to grab this fog and we're going to get rid of it and we're going to add a new fog material. H that's dog. None of those in our scene. Okay, now we're going to add in a volume scatter again, and we are going to set this to -0.4, which is going to look a little interesting, definitely. But it'll look better in the long run, trust me. Now, we're going to open up this. We're going to grab ourselves a gradient texture, control T to open the mapping nodes. And I'm going to add in a noise texture, plug this into the vector, plug the object into the vector that way our gradient is aligned to the middle of the middle of the object. The object coordinates is based off the origin of the object, as you can see right there, that origin. That's where the center of our coordinates are. Now, what we're going to do now is we're going to rotate this along the y axis, 90 degrees. We're actually going to do -90 because we want the white on the bottom, because the white is yes. We're going to that I'm going to say this quid dratic real quick. It's going to give us a nice easy fall off. In case you didn't know if there's one of these menus, you can hold Control and scroll, scroll through all of the options. I'm going to go back to quadratic, and I'm going to go control Chef right click, and I'm going to drag to mix these together. And I'm going to have a look at this real quick. Okay, I'm going to now apply Control A, and I'm going to apply scale. This is going to apply the scale of the object so that our noise texture doesn't look horrible and stretched. G to decrease the scale so that the size of the noise texture gets a little bigger. You don't want it too small, and we're going to increase the detail all the way. Now, if we look back here, you'll notice that this has started displacing our our gradient, which is what we want, because we don't want a uniform flat. We don't want uniform and flat ground folk. That's not going to work. Anyway, now we've done that, we're going to duplicate our noise texture. We're going to plug the object coordinate into here because we don't need any of the mapping that this does. If you ever look back here, this is this. You're going to increase the scale slightly. I'm going to summon a color ramp out of thin air, and I'm going to clam this together slightly while setting this new beast line, which will allow me to have a much nicer fall off on the noise, allow me to have the dark bits and the light bits without having it, you know, really, really black and really white. Okay, now I'm going to control right click again and drag this with our gradient texture, and I am going to color burn this one. Is going to add something interesting. This is going to add in just a little bit of detail, as you can see. Kind of fun. Okay, this is going to go into our density. But first, we are going to stick a math node in here, math, multiply. Right, I'm going to now enter my camera view with number pad zero. I'm going to drag down by pressing G and then Z. I'm going to drag down our fog volume till it only covers parts of the ground that I want to see. I'm going to set my render preview to real time real quick. Now, I've made these render presets. This one's for real time. This is basically just automatic fast using GPU denoising with the really low samples just so that everything I can, like, look at it fairly fast and it's nice and smooth. I'm actually going to decrease. I'm going to set this to like 0.1. There we go. Actually, You know what? I think we might we might increase the scale. We might scale with some of the za axis real quick just to make it a little bit more a little bit more deep. I have to bring it back up, though. Let's go even lower. Let's go 0.0. Oh, that's not 03. It's gonna be like almost like condensation, I want to say, sort of forming in the low parts of the scene. Might crank that back up just a little bit more, 0.05. There we go. Alright. Well, that's that. And now if we turn our distance fog back on, don't forget to save. And we're going to turn this back on here. Don't worry. If this looks really like gray, we're going to fix out later. But the important thing to look at now is the actual fog and how sort of it's making the distance look faded out, which is really, really important if you want the depth. Okay. Now we're going to go back to our HDRI scene, and we are going to hopefully improve it ever so slightly because it's great as this is, it's a giant white light there, and our planet's a little not there. Alrighty. We're back, and we've got our very own custom made HDRI. Now I'm going to cris the pass part. It's useful thing to know if you increase the pass part out all the way, it only renders what's in the viewport instead of all of this outside. Okay, which makes it render faster, which is good. I think our density on this is a little too high. I think that's our current problem. The density on this leg scatter is too high. We bring that back down. Perhaps perhaps I think it'd probably be wise to also rotate the So that for a second. I would be wise to rotate this so that that open part is beside the planet. That way, we can see the planet more clearly. No, I still don't like this giant white light in the sky, so we're going to go back to the world settings here. I'm going to mess with my sky texture here. I'm going to decrease the amount of dust this is what adds in that questionable table. Oh, that's nice. I like that. It's kind of cool. It's what adds in that questionable light in the sky, all of that dust the sun's bouncing off. It's almost like the volume scatter. Um, I'm going to increase the sun size, too. I think I want a little larger sun. That could be interesting. Decrease this dust a little bit. Now, alternatively, you could use a sky add on, like I could pull up here from my Environments one. I've got Skylab, a nice free sky option. Um, You could use Skylab. You could use I think this is actually one that comes built in with Blender. There's a true sky. Oh, sorry, not. No. It's some kind of sky add on. Then there was the true sky that came out in the Blenders launch bundle, which is really good, but it doesn't work into 4.5, which is unfortunate. So I'm trying to do this in main Blender. But if you have an option that you have that would be better, I would encourage you to use that. Anyway, we're back here. Let's press TH and bring back our scatter. That looks way better. Now our planet's a little bit more there. Yeah. Alrighty. I I think back over here our icebkes of course, we have a look at the sun positioning here without either of the fog so that this renders really fast. I think we probably want to move the planet a little bit closer to the sun and make it a little bit smaller. So if we switch back over here, let's go back to our layout. Let's grab this and let's make it just a bit smaller. And let's move it closer to the sun. Now, I'm pretty sure I also rotated the HDRI upwards so that we could see the planet more, so I'm going to move the planet just a little bit past the horizon. Alright. Let's try this now. Also, I know I said that you'd want to render out in super high resolution with the 400%. But until you've perfected the HDRI, I would suggest rendering out at half normal resolution, 50%. That way you can just render faster. I mean, if you want to render a full resolution the whole time, that's fine. But I'm aware that some people have limited PCs, and if you either have one of those or you just don't want to spend the time rendering while you're fixing it and only want to render the 400% quality once it's finished, it probably would be a good idea to start out using that. Okay, I'm going to render this out now, real quick. I'm going to S, to save this, save it here again. And I'm going to save over this previous one, we're using radiance HGR save image. Uh, it probably isn't a great idea to save over the image, but I know I can just change everything if I want to. This is quite bright here, I have to say. That's perturbing because that's not how it looks like in the viewport. Hey, we might decrease the shading on this. We might decrease the strength of this pato even more down to 0.02. This scatter is basically just to give us this nice effect on the planet so it doesn't look like the planets, you know, it's just there. Plus, it also it removes all this dark gray black stuff down the bottom, which is kind of dokey. Okay. Let's try this again. Save. Always save, always save. It's better to save than to not save. Alrighty. I'm going to save this again. I'm gonna save it over the top because I know it's exactly there. Okay, back to our previous. Alright. So if we go back to our world settings, pull up the nope again, I'm going to remove the rotation because I've fixed that. Oh, it's already loaded it in, too, which is extra nice. There you go. So let's rotate this. You know what? I'm going to change this again, cause I want that sun to be right there in between those. So I'm going to move the planet a little bit more, just a little bit more. Let's hide that. I'm gonna probably do this in this viewport. Describe the planet. I can just right click and select objects. What's this cube. Why is this in the planet collection? This should not be in the planet collection. Yeah, I'm gonna write click, select objects. Ist to go into the top view, and I'm just gonna move it. A little Ooh. Why is this camera in this collection as well? Okay, that's funny. And I'm going to just move my planet a little bit closer. That's going to also give us a really nice sort of highlight on the edge of the planet. I'm going to rotate my rings again so that they show up. Actually, I'm going to go for something interesting. I'm going to rotate my rings this way by pressing twice. This can be quite hard to use the orbit mode. And I'm going to get it so that the planet casts a shadow across the rings because I think that's cool. Okay, now we've done that, you guessed it. We're going to render it again. Is that Saves F 12, render out. Great, Save, back to the other version of Blender, open this IcecreshI. Okay, that did not work. Did we save it correctly. Maybe you have to refresh this. That is still not the same. Maybe we didn't save it properly. Okay, let's S again. Save it over Ice course HDRI. Let's call it Ask course HDRI plus and use the plus to give it a one. That way we know which one we have. Let's go back into Blender, open up these again. Ice course one. There we go. Yeah, I like that. Because then we have something on this side. Probably could do a bit better framing for this, but, you know, let's actually let's use the rotate and rotate this up a bit. I know I said I wasn't going to, but there we go. There's a little bit of better framing. To be honest, I could probably decrease the size of this again, but I don't want to. That's enough for me. I don't like that ice spike being right there. Just gonna reframe it ever so slightly. Move across. Sweet. That's it for this lesson. Um, To recap, we made ourselves the distance, and we we tweak the distance fog, made ourselves to ground fog, and fix your HDRI. So now it looks like this, which is starting to look a little bit white, I know. It's starting to get a bit washed out, but don't worry. That's what compositing is for. Anyway, I will see you in the next one, where, if you remember, last time, I promised we are going to start modeling a spaceship. See you then. And don't forget to say. 15. Modeling a Sci Fi Spaceship Using Mirror Modifier Techniques: Welcome back to Blender and Gaia Master Class, procedural Ice World. In our last lesson, we finished our i, we've tweaked it, we placed everything. We got all our framing right. We did all the fogs and volumetrics. We're done with sort of the base scene setup. Now we're going to move on to modeling a little spaceship to give our scene a little bit of something interesting to look at. So we are going to do a little bit of basic modeling, and we're going to do some fun. Probably going to be a bit overkill. I'm going to show you how to use displacement maps and like hada displacement and stuff like that. But yeah, I'm I'm thinking we probably won't end up using it, but I'll show you just in case. I'm going to put all of this into a thing called scene. I'm going to move my mouse over so that it's not in the middle. And I'm going to hide this real quick. You know, shift S and pull my cursor back to the origin. Now, you could model a spaceship out of nothing, you know, you can go and get a cube, that's about say square. Go get your default cube, and you could, you know, Spaceship. You ever watched the Lego movie? Yeah. Spaceship. It's actually a bit fairly similar to what he does. You know, you mash pieces together until, you know, it looks cool. But we're not going to do that because we want, I want to say continuity. It's almost like we want a plan, okay? We want a plan. And we could get that just from thinking about it, but, like, yeah, I vote for something else. And, I'm going to use hard ops real quick just to illustrate my point, but, you know, if you would make a spaceship like that, you could just I forget what the name is for doing this. Like, I don't remember. Anyway, so we're going to grab ourselves some reference. Now, you could get reference from anywhere you want. But for me, definitely the best, easiest, and most accurate reference is AI images. Now, I know it's AI, but if you get multiple AI images, you can take the parts that you like and then sort of mash them together and then put your own spin on it. Like, I made this, and if I pull up the original project file, this is what my spaceship looks like in the original one. So it's sort of similar. It shares the same sort of features, but it is actually, in fact, different in some aspects because, you know, copying is not that interesting. It has, you know, I extended the jets. I didn't include these guns because we don't need it. I did actually like these protruding parts. And yeah, there's a lot of there's some things different, something's less, something's more. But, you know, it's open to interpretation. This is an idea that we're going to turn into a spaceship. Now, I think I did actually copy this pretty accurately, but I would say not to do that because I know some people are really on it about AI. It's like, Okay, it's basically the same thing as reference images, but it's just one image instead. But okay, I'm not going to get into that debate. But I know for the purpose of this course, we're going to be using an AI image generator. Now, you might be thinking, Oh, yeah, but we've got to pay, way too much money to get like five images, and probably only one of them is going to be good, maybe half good. Well, I've discovered that I'm pretty sure this is Google has very helpfully given us something called image effects, image effects. Yeah, Google Labs image effect. And it goes infinitely. There's no limit. There's no models. There's just aspect ratio. It's power by image en three, apparently. There's aspect ratios, there's, you know, prompts, there's extra prompts. And you can just make spaceships or whatever you choose to type in. And it goes forever. You know, it's free. It's 100% free, which is really, really nice. Yeah. So we're gonna just I don't know. You could choose to type something specific. Say maybe you wanted a round spaceship. You go, you know, round spicy spaceship, yada, yada, yada, type in what you want. Probably I'm gonna probably going to cut here until I've managed to make something that this makes something that I like. So, yeah, I will see you in a bit once I've found a suitable lima. That one right there. A, is it? Alright. I finally found something that I like. I've got this one right here. I'm going to download this image real quick. C, they're all called image offXs. Annoying, but oh, well, so we've got this image now. We are going to pull it into Blender. To do that, we are going to go Shift A image as reference. G to find downloads. We're going to find that image that I just downloaded right there. I'm going to go Old art, clear the rotation on RX 90. Ooh. Boney. Hey, that's odd. Usually, it's not that way. Okay, now we've got it upright. We are going to flip this on the Z 180 degrees, so it's facing that way. Gonna push it out, scale it up. And we're going to add ourselves a cube because that's how we start. Just pushing this off to the side of it, too. Now, I'm just going to I hope you know how to model, not particularly well, but just know, like, you know, tab goes into Edit mode. Es to extrude, S is to scale. You can press Z to make it go up and down. I'm going to, I'm going to try and I've got my little screencast things over here so that you can see what I'm pressing, but, you know, petrol B is bevel. Right. Now, I'm going to basically just make this. I have some ideas. I don't want these parts here. I don't like those fins, these fins. I'm going to make them more Ah, let's see. I don't know. We might experiment with them later. I probably I want some more antennas up on top here, and I don't think I'm going to have these spikes out the front. And it's going to be a whole lot more symmetrical. That's the plane, but I'm going to follow the same, the same lines here where it's got that little bit down. As you can see, there's not much back here. There's a lot of just, you know, nothing back here as the AIs trying to figure out what's behind, but it can't we're going to have to improvise back here, but, you know, that's how modeling works. So let's get cracking. Now, we're going to start with this top part. I feel like we grab this and we bring it back, and we bring this top edge up a little and scale it this face outwards along the y axis. We're going to start getting this part here. And now, I'm going to bring this down ever so slightly. Oops. I'm going to grab this top edge, bring it down ever so slight. Okay, I want to wait to see this much better. I might. I'm going to just go change my viewport settings a bit so that oh, I forgot to turn on cavity. My bad. And why is the normals on? Okay, we don't need those. These little blue lines. I'm going to go change my viewport settings because for some reason, they've changed so that you can see everything a little bit clearer. Alright, I'm back. I've changed my viewport settings. I've now put on a different Mccap up here. I've chosen this. Oh, yeah, that's better. Don't mind. There's our nice dark gray. You can actually see what I have selected now, which is much better. Yeah, yeah, that's way better. I should have done this before. My bad. Anyway, we're gonna grab this edge up here. We're actually going to grab this whole face, and we're gonna drag it forward. 'cause this is a long spaceship. We're gonna grab this, and we're gonna move this down. So it's starting to starting to go back. I'm going to turn off the grid real quick just so that we can mess with this. And then from what it looks like, we're going to go forward again, but this is going to go down fairly sharply. Right. Now we've just done this whole part here. We need to expand it outwards. Just so you know what I'm doing. We're going to expand all of this outwards here. We're going to move it up a little. Might have to fix this later. Here we go. Okay, now we've got that Hmm. That kind of, like, goes forward, doesn't it? Like that. And inwards, too. Right, real quick, we're going to add ourselves a mirror modifier. Gonna go along the whoops, y axis. I want to go the other way. At least, let me go the other way. Oh, dear. I do hate this. I want to flip it, bro. Flip the sides that I'm doing this on. Oh, there we go. I forgot it was that one. I'm just so used to using hard ops. It's been a while. But yeah, so we're going to do that. This will allow us to only need to model on one side, and everything will be updated on the other side, which is really convenient. Came cause issues later, but we're gonna stick our fingers in our ears and pretend that doesn't exist. So, to start here, we want to mm, I think I'm gonna roll with that. I wonder what we can do. We can probably just merge this up, can't we? Go click on that one. Merge at last. And I'm going to do the same over here. Merge at last. Sweet. Alrighty. Now we have all of this. This is basically the top side of the spacecraft. Now, if you notice, it gets wider at the back. So we do want to grab this interface, probably the t that verticee as well. And we're going to scale these inwards. Just like that. Yeah, I like that. I do like that. But now I'm going to come back here. I'm gonna extrude again. E. And we're gonna leave that for interpretation later. We're now going to grab all of the faces. You want a quick, interesting tip. First, I'm going to go to use Oh, this is Xray view, by the way, Alts. I'm going to scale along the X axis to zero. It's just go to line up that nice and flat. Um, Okay, I'm going to show you something really cool, real quick. I'm going to click on this and I'm going to go Shift G, and I'm going to choose normal. What this will do is it will select, add to the selection every single face that has the same normal as that face. Now, of course, this one didn't do it because it is slightly off, so we can open up the select similar and increase the threshold. I'll just do it. And now we're going to do a scale Z zero, which is going to make everything completely flat along the z axis. As you see before, we just flatten that out. Now we're going to extrude this all down. If we see here, we need to immediately go outwards, which is going to be a little bit of a pain to do. Also, this doesn't appear to be it gets wider at this point, like here, as opposed to, like, it's coming in really short here, my horrible drawing. Oh, well, so we want to have this line here sort of pitched downwards, as well. I mean, it's got to rotate it. So we're going to grab that I'm going to grab this side as well, just in case. I'm gonna pitch these down. I'm going to grab this top pi up part and do it as well. Okay, now we've got that. We want to extrude outwards. So I'm going to try something real quick and extrude all of this, and then I'm going to scale it outwards. You have to fix up here in a sec. But like. What else we could do? I'm going to use edge mode, and I'm going to Alt click on both sides here. This will select all of the loop. So we'll select all of the ones along here really fast, which is nice and easy. I'm going to ignore the other side real quick. I'm going to go Alt click here and I'm going to extrude straight out. Maybe not that much. I'm going to go down a little bit, if we have a look over here, it does go down. We're going to grab this part, we're going to move it up, and we're going to move it back in, too, because everything sort of gets smaller as it gets towards the front of the spacecraft. We're gonna do something like that. Now, remember, you do want to Improide bit here. Like, I'm going to go. I want to say, okay. I want this to continue all the way past it 'cause I'm going to mess with the wings later. So I'm going to go and I'm going to grab all of this. I'm gonna go down. I'm going to go down again, but I'm going to move it inwards. I'm also going to turn on clipping. This will just allow us to lock the vertices at the center, which is going to be very useful. Yeah, I like that. And then I'm going to go that one, that one, that one, that one, and I'm going to go extrude again, and I'm just going to move it all the way in the middle. Now, there are technically two vertices on top of each other here, so I'm going to press A to select everything, M, to choose to merge and merge by distance. And you'll see it removes that one vertex. This also good for cleaning up mesh if you have mesh with trouble. You move this up a bit, this up a bit to lt select this and the top. I'm going to press. F to create a face. Wait. Now, we do have some of these funny things there. I think we'll fix that in shading later. Alright, so we're starting to get a spacecraft. And I know it doesn't look. Is that a normal flip? I think this normal has flipped. Old N for the normal panel? Yeah, it was flipped. And you can choose the flip option. There's a lot of fun things in here. Be careful. These will most likely break your normals if you don't know what you're doing. Alrighty. Now let's just check inside, make sure nothing's wrong. Okay, so this here, there's this giant these faces down here. We don't want these anymore. So we're gonna press Delete and press F for faces, or you can click on Faces Option. Sweet. Okay. Now, I think what I'm going to do is I'm going to sort of come back in here. The spaceship, the end of the spaceship is going to like the angle back in, and then we're going to have our booster jets out the back like that. I'm not sure what the configuration for those are going to be yet, and I do I do kind of want, like, some fins, but they might be very small, almost like that. Anyway, that's my that's my limit for today. Apparently. Uh oh, don't forget. Okay, these apparently a flipped as well. You know what? Let's recalculate everything. We press A, select all the faces, Alt N, and we're gonna choose to recalculate outside, which is just going to basically go to fix everything. So I just thought it was those two, but apparently, there's more. If you have a look all fine. Except for these. I'm gonna Alt select. Oh, that does not look good. Okay. Gonna Oh, okay. Yeah, I'm going to manually select that. I'm going to click on this one. I'm going to hold Control and click on this one, which is basically going to select the shortest path to that, which is what we want. I'm going to press F to create a face, and there we go. Now, if we have a look on the Okay, so it does and it links up, which is nice because we have the turned on the clipping. I forgot we did that. Anyway, that's to start. We're going to come back later, and we're going to go through a little bit more modeling, and then we're going to go over the shading and how to use shaded displacement with adaptive subdivision, which is gonna be absolute overkill, but I'm gonna show you how to do it anyway it's really cool. Even though we're probably going to end up turning it off for the final render. Anyway, that's it for now, and I will see you in the next one. 16. Engine and Wing Modeling with Mirror Modifier Techniques: Welcome back to Blender Gaia Master Class, procedural Ice World. In our last lesson, we started modeling our spaceship, using this AI image as reference. And as I illustrated, literally at the end of last lesson, we're going to start working on the back to, you know, give it some engines. We might give it some little wings. I'm thinking probably not as big as these. They're at they're a bit too long for me and definitely some engines so that our spaceship can go forward. So, yeah, let's jump right into that. Also, I should feel like I should mention right now as I press tab, I get this radio menu. This is an add on that I have that yeah. It's just helpful. Unfortunately, it's not free. It's not that important, though. You can access all of these by just pressing one, two, and three up here respectively, and cycling through the modes. So, yeah, don't worry about this. This is not necessary for anything I do. Anyway, let's get on to the point. Right now, we need to pull these backwards a bit, 'cause I feel like the rear of our ship should be a little longer. Perhaps extrude it and scale. And to be honest, because there's gonna be a whole bunch of engines back here, we don't really need to do anything much back here. I'm probably going to make it a little longer, though, a little longer. Oh, you've got some room for engines. Alright. Now, we are going to add some engines, and following Oops, shift day and add a cylinder. And over here, behind all of my cursor, we're going to set these 26. Now, as you might have noticed, there's currently nothing in my scene collection. This is due to the fact that for some reason, the episode the lesson that I recorded disappeared. And so I'm having to return and do this in the post production stage. So there may be minor in discrepancies, but I am going to replicate what I did as precisely as possible. So don't worry if all of this disappeared. And you should end up with 90%, the same ship. So do not worry. That's why my outliner is currently empty. Anyway, now we're going to use this cylinder to make ourselves jet engines because that's pretty cool. I'm going to come in here. I'm going to move this over here. I'm going to scale it up a bit. I'm gonna press T so that my tools go away. I'm gonna extrude forward, scale it down a bit. Maybe a bit forward, as well. I'm gonna extrude, and I'm just going to move it inside. I think I'm actually going to scale all this down a bit. And I'm making sure I've got that last face selected, I'm going to move it down a bit, so it feels a bit more natural going in there, maybe a bit bigger. And then we want that to all look like it's right there. Now I'm going to grab this. This is a bit long right now. I'm going to grab this. I'm going to go ES, and this is going to just scale it outwards. E again, ES again so that we have that little ridge there. Actually, I'm going to alt select this real quick and scale Shift x so that I can just scale in a bit. If you didn't know, scaling on shift will scale on every axis butt. So if I just press S, it'll get bigger and smaller. As you can see, here's the X axis going this way. If I scale Shift X, I will scale on everything but that axis scale on the Z and YO axis. If I did it what Shift Z, I would scale on anything but the Z axis. It's just helpful. And then I'm going to scale this one down ever so slightly. ES, inset it. I'm going to go in, in again. I'm just going to make a little bit of detail. Sweet. You can move this back as far as you want, but it's going to end up clipping with the main chip. Now, unfortunately, this is only on one side. So like our spaceship, we are going to mirror it. So what I'm going to do is I'm going to go right click and I'm going to go set origin to three D cursor, because the cursor is in the center of our spaceship. Now when we go here, and we can go and we can add a mirror modifier, we can mirror it on the Y axis, problem solved. Problem solved. Alrighty. Now, we are going to come back, and we're going to add another cylinder, another hexagonal cylinder, rotate it on the y axis 90 degrees. Bring it down. This is going to be like the main engine. So we're going to compress it a bit. We're going to scale it on the shift X, so it does not scale on the X. We're going to make sure it fits. We might scale it out a bit. And what we're gonna do is we're just going to this is going to be really simple. We're actually just going to bring this out. And then we are going to go here. We're going to control out of loop cut. And as a different way of making these little ring things, we're going to go Control B, open up this bevel, and then I'm going to go Alt E, and I'm going to extrude faces along normals and just extrude out slightly. Then I'm going to go into face mode and scale this back down, ES, scale in, ding it all the way back. I might actually do this again for this one. That way, we've got a little bit of detail. And now we've got this. They've all got these kind of rings around them, which is interesting. Sweet. Problem solved. Now, as of knowing this after it occurs because I'm recording this in post, we did end up using a booling to, like, make this go further back inside the spaceship. Knowing now that that does not work and causes more problems later, I'm going to emit that now, and you can forget to do this step conveniently later. Um yeah. Okay. So what I'm gonna do now is I'm going to what are we gonna do next? Oh, that's right. Wings. See, our spaceship isn't really gonna go anywhere without wings, which is a problem. So, let's fix that. We're gonna grab ourselves a mesh cube. Don't have to modify anything for this one. We're going to scale on Z axis. It's going down scale Shift Z, so it does not scale on Z axis. We're going to move it on the z axis. And then we are going to go scale this axis, that axis, we're going to add a loop cut in the middle, and we're going to grab this edge right here, that specific one. Go into the top view, and we're going to move this out like that. Then I'm going to go into Alt Z, so into X ray view. Box select, you can't quite see it, but when you box select it, you box select that singular vertice edge there. We're going to move it in, I think. I think I'm actually going to move this whole wing in. I don't want it to be that wide. And then I'm going to go Control R, actually. I'm going to go Control B to extend it out. I'm going to go, I think it's Alt S. Yeah, Alt S is expand or shrink and fatten, sorry. Um, yeah, that's helpful. And I'm gonna move all of this forward slightly, so it looks more like a wing. Um, yeah, and I'm gonna scale this on this axis, so it's a little thicker. There we go. Uh, I'm going to. Actually, while I'm at it, I'm gonna grab this, and I'm gonna move this back slightly. That way, it's just a little bit, a little bit fancy. A little bit fancy. Yeah, feel free to play around with the proportions on this, all of the locations and the vertices. I'm going to move these so they're back in line right there. Wait. And then, exact same as the jets. I'm going to set origin to three cursor, and I'm going to add a mirror modifier and set it to the Y axis. And now we have our spaceship, our two wings. Hm. I think these wings are a bit big. Let's make them a bit smaller. Oh, this is also useful to note. That's up there now. So I'm going to go into Edit mode. I'm going to grab everything. I'm going to press one to go onto the side view. I'm gonna move it up, so it's nearly at the middle. Then I'm going to bring it back down. This way, our origin is at the right level. So when I go in here and I can go scale down and bring these backs. These are a bit big right now for me. Yeah, that's better. Yeah. Okay. Sweet. Um hm. Also, just to note, you can't move this around on its own. If you want to move it and mirror it, you have to move it and edit mode. It's just a quick tip. Go to position these wings in a interesting form. Oh, quick. There we go. And there's our wings. Uh, yeah, actually, I probably could make these a bit bigger. Think this bit here. This section here and this section here, I'm going to scale Shift X, so they're just a little wider. There we go. Sweet. Disaster averted, these bloody shading artifacts. Doing it the second time. They still got them. Ah. Okay. Now, I'm going to ask you to once again, do the most important part of any three D, anything. Control less and safe. Right? I'm pretty sure that's all for now. I know it was a super, super short lesson, but yeah. Unfortunately, unless you wanted to magically make all of this rear section and wings materialize, we had to do it. But next step is a lesson. We're going to get onto the fun stuff. We're actually going to do a bit of geometry nodes to scatter greebles which we're going to make across our ship, which is pretty good. You actually end up using this greeble setup anyway. It's just a scatter. But yeah, kind of fun. Alright. That's it for now. We'll see you later. 17. Scattering Greebles Using Geometry Nodes and Voronoi Textures: Welcome back to Blender An Gaia Master Class, procedural Ice World. In our last two lessons, we modeled this spaceship, based on our reference image over here. And I'm thinking that it's probably the ships a little too tall, if I wanted to copy this exactly. And I do enjoy the fact that this looks flat, so I'm going to grab all of these faces up here. I'm going to move them down. Yeah, I like that. That looks much sleeker. We're gonna have to modify this now. Okay. Anyway, as I was saying before I got ridiculously distracted, we are now going to we are now going to do the final gribbling some slight adjustments. And hopefully, hopefully, we're going to get onto that lovely texturing I was talking about for way too long. Anyway, start off right into the action. Let's grab the front of the ship. Now, what do we want for the front of ship? Because this does not help at all. So we're gonna have to improvise here. I almost want to, like, an ice breaker, you know, something like this. This could be interesting. I got to fix that zoom, bro. Yeah, if you don't know, you can hold Control and drag middle mouse button to Zoom smoothly. I should probably be doing that. Anyway, I'm going to select these two, and I'm going to press J. This is going to add in an edge so that it doesn't look horrible. Yeah, the icebreaker isn't doing it for me. Let's just move that back up here. Same here, I'm going to grab those two vertices and press J to add an edge. And, you know, let's do it for the final one as well. Gonna look a little strange, but kind of looks like a bird now. No, let's move this down. Some of these down. That's the wrong. Hmm. Interesting. I'm gonna use the top view. I'm gonna enter Xray, so I select everything and scale them out on the way. That's a little better. You know, let's just leave it there. This is going to become a moot. Whoa. That does not look good. Okay, let's undo that. Sorry. That did not. That did not cook. You know what I'm going to do? I'm going to merge these down. I'm going to merge both of these down here. I'm going to press A, M, and merge by distance. In case you're wondering what pressing G twice does, it allows you to slide vertices along the edges as opposed to going G and then pressing X to slide along X. We can press G twice and slide along all of these edges. That way you can basically merge you can stick the vertices on top of each other so you can merge them really easily. Alrighty. Now we've got the front of our spacecraft. We are going to add in these little grebs up the top, though we're going to have a few more than that. Okay, so we're going to go over here. We're going to add in ourselves a cylinder. Now this is still Sector six. I suggest you set this to 16. This is a good sort of low raised but still circular option. Gonna scale shifts a so it gets thinner but not shorter. We're going to think, What do we want? We want kind of like multiple antennas. We want maybe a radar dish or something. I might actually we might not do the radar dish. That's going to look a little bit weird. Anyway, we're going to tap inoEoe. We're going to grab this top face, and we're going to extrude it out and scale it in. And for the top, I'm actually going to extrude it out just a little bit, scale it up, extrude it, and do that. That way, it's just got a little bit of something interesting on the top. Right click, shade Auto smooth. We are now going to duplicate this, scale it down on the z axis. We are going to grab this top set and move it up. We are going to do the same thing for the middle set, and we're going to scale it up, and we're going to pre Control B, which is going to bevel. We're just going to make it a little bit bigger. So this is going to be a little bit shorter and stouter. Now we're going to do the same thing, but we're going to add another cylinder. Cannot talk today, and we are going to make it thick, really thick. We're going to grab the top face, move it down, extrude out. It's going to go much thinner, and then we're going to go extrude up again. This is going to be a really tall one, actually. And then we're going to extrude oh, that's sideways. We're going to extrude all the way up and then scale into a point. Just a little bit of difference. Okay. Now we've got that. We're going to do a few little bits at the bottom. Oh, that's a circle. We're going to grab a cube. To bring it over here, scale it down on the Z axis. We are going to go into Edit mode. We're going to click the top. We're going to right click and subdivide that where we get these squares. I'm going to extrude this one up and this one also up but just not as high. Creating this sort of Grebel effect. We are now going to erratically and subdivide this again. We're going to grab this piece, and we're extra it's going to just add a little bit agreeable, a little bit of detail. I'm going to do this again with another cube. But this time, we are going to do something a little interesting. We are going to shiftS and drag the closer to selected, so it's onto this face. Going to go Shift A and add a cube again. We go to scale it down and out, so it creates this sort of long rectangle. And we're going to move it over here. We're going to go Control R, which is going to add a loop cup. I'm going to right click to place it exactly in the middle. I'm going to go Control B, which is going to expand this out because we are beveling that edge. I'm going to orbit under and grab on face mode, both of these faces, and I'm going to extrude them down. I'm now going to press L to select all of this link geometry. Z to move it down, and I'm going to do Shift D and then middle click and drag it so that it locks on the X axis, and then I'm going to left click. Now, because we did the duplicate and move all on the same action, I can press the hot key Shift R, which is repeat. Oh, what? That should be repeat. Oh, dear. Okay. Never mind. We're just going to press Shift D repeatedly. That should be repeat. Anyway, and we're going to add this sort of grid. Nice. I'm going to turn on cavity cavity seems to have disappeared yet again. Now you can see everything a bit better. Ooh, this is not smooth Shade Smooth. My bad. Okay, we're going to grab all of these real quick, and we're going to go hit Control A and apply rotation and scale. This is gonna make sure nothing goes sideways. Now we're going to have a fun bit. We're going to do some geo nodes because I can't be bothered placing all of these manually. So we're going to select these top faces. This is where all of our Gribbls going to come out of. We're going to go Shifty to duplicate the faces, right click to place them back exactly where they were and hit P and choose selection. This is going to separate those faces out as their own object. Now, I'm going to click on my geometry nodes tab. I'm going to open this up so that you can see it a whole lot better. I'm going to press making sure that I haven't clicked off and that faces that we duplicate it out are still selected. I'm going to press the slash key. This is going to isolate just this section, and we're going to add ourselves a new geometry node setup. Okay, we're going to move this all the way over here. Now, this is where I enjoyed the node Pie add on. Now, if you missed it before, in your preferences, you can see, I was changing my viewpoint before. Under add ons, I have one called node Pi. You want this one, by the way, not the old one. If you don't have this, you'll be able to find it in extensions. Yeah. It has, I haven't updated it yet. I should. Anyway, this allows you to do press Control A, and pull up all of the nodes. Instead of having to manually search through all of these, like, you know, there's that one, that one, that one, one of the ones with nothing in it. I say to go geometry, I want to Oh, I want to read. Wait, I set position that would be a write, right? Oh, there it is. What What about extruding geometry? Maybe I extrude Do I sample extrude? Do I write extrude? Or maybe our operations. Nope, Extrude isn't in here. Well, with Control A, you can just see everything, and I know that extrude faces is up here somewhere. Extrude mesh. Anyway, so I'm going to be using this. Don't worry. Everything is color coded, and I know it's going to take a while to figure out where everything is. But I'm going to be using it. You could also just, you know, 'cause I'm telling you what the node's called, you can just search for distribute points on faces. Ooh. Okay. That's obviously an asset I have. And then get the distribute points on faces note. But for me, I know it's right down here. Distribute points on faces. Anyway, this does help speed up your workflow quite a lot. Anyway, so now we've got all these points. That's pretty good. I'm almost tempted to not use this and to just subdivide this. This could be really good. That's subdivision surface, my bad. I want to subdivide mesh. I'm going to increase the amount here. I'm going to just turn off the grid real quick so that you can see. I have wireframe enabled, so it's really helpful. I'm going to add a loop cut in here. That way, everything's square. This is going to help us make a grid to do it because they distribute points on faces, if you have a look here. They do it randomly. There's no it's random option. Whereas if we go here and we go measure to points, this is a grid, which is helpful. I think we're going to go with this for now. I'm going to increase, I'm going to leave it on three right now, actually. Okay, now we are going to delete geometry. This is going to remove everything because we're currently just deleting everything right now. We're going to add in a Voronoid texture. We are going to control shift left click on the mesh to points. Actually, we're going to do it on the subdivided mesh. We're going to crank this up to six right now. So we've got really, really high resolution mesh right now. This is just so that when we Control shift left click on the color, we can see our Voronoi texture really well. I'm going to change this from Euclidean to ebutev. I'm going to decrease the scale so that they get bigger. To add in a color ramp, like I said, I can just summ it out of thin air. And we are now going to plug this color into the selection and clamp in both value. So as you can see, it's kind of it's only deleting certain parts of the mesh. Appears to be the ones. The white section just so you know the white section is the one that gets deleted. I'm actually going to increase the scale on here, so it's a little more random. And I'm going to set this back to three. I'm actually going to set this to two. I don't want that many things. Okay, so now we have these sort of it's in a grid, but it's also like some of it's not there. Now, useful to know if you want a different different Voronoi pattern, you can set this to 40 and change this W value, and it will change I was like a random. It's like the seed, just so you know. 18. Refining Greeble Scatter Patterns and Variation: O. Welcome back to Blender and Gaia Master Class, procedural Ice World. Roddy. So yeah, so you can see I can change my seat here. Roddy, now that's set up, I'm going to add Instance on points, and I'm going to Okay. I'm going to add in a collection info node and turn on separate and reset children and stick that into the instances. Now things happened because we haven't got a collection yet. That's bad. We're going to switch back to our view. We're going to grab all of the antenna. There's only three right now. We're going to go to add them to a new collection. New collection, and I'm gonna call them Antenna. And I'm going to grab these two, and I'm going to add them to a new collection called greeble. That's not how you spell greeble. There we go. Greeble. Okay, let's go back to geometry nodes. Unfortunately, we've deselected out object here. This is why you name things, people. You know, click through one of these until I find. There we go. Okay, this is a great point to name this to antenna system. That way we know what it is. And we don't we don't, that's where you name things, people. Anyway, we are going to go in here, and we're gonna choose the antenna. As you can see. Unfortunately, it's spawning all of the antennas on each point. So we're going to choose pick instance, which is basically going to choose randomly between them. Great. It looks crazy bad, though. So what we're going to do is we're going to add in ourselves a random value, stick that into the scale, and here we go. They're all random scale. That looks much better, in my opinion. Now what we're going to do is we are going to add in a rotate instances node after our instance on point, and we are going to rotate along with the Yaxis so they are pointing backwards. That way, they're more like, you know, streamline. Feel free to go as far back as you want. I'm going to set mine about there. Now, unfortunately, that would look kind of bad because well, not the rotation, but this is going to look kind of bad because there's no base to it, which is what we're going to do. We're going to duplicate all of this. In fact, we're going to make this we're going to make this into a note group. So I'm going to pull this collection instance all the way out here. I'm going to, I'm going to grab all of this. And I'm going to go Catrog. This is going to add everything into a note group. We're going to call this node group scatter. I'm going to press tab again. I'm going to plug the level the random value max and the rotation input and both the oops that's the vector, the W and scale input into here. So now we have this nice little scatter node with all of our parameters on it, and we've got this instance option here. Okay, I'm going to Control Shift D this. This will allow us to maintain our previous connections. I'm going to shift D this antenna and replace this with the instance here, and I'm going to set this to be the Greables. If I control shift, let click on this, we're doing the exact same thing here. Of course, we don't want the rotation, so we're going to set that to zero. We are going to increase the level so that there's more of them, and we're going to decrease the max scale so that, you know, they don't overlap infinitely. We're going to do a little bit of interesting rotation fun to rotate these so they're not all pointing the same way, as you can see, all of these are going the same direction, which is, it could be better, you know? Oh, that's the scale. These W and scale for the noise just soon though. Okay, we are going to add in a random value. Going to set it to vector. We're going to add in a vector math node and set it to Snap. We are now going to plug our random value into the top snap vector and the vector from the snap into the rotation. Oh, that's the wrong one. The rotation. Now, what you can see is, if I increase these, these should rotate. Actually, I'm going to switch this. I'm going to add in another rotation below that's the one for the instance on points because that seems to not work with the rotation. We're going to plug this one into here. That should be working. Oh, there we go. Okay, so it was snapping it to nothing. That's why. My bad. Let's undo that real quick. I forgot I forgot that the snap does that at zero. Okay, so as you can see, all of our things are rotated randomly. Now, if I set this to zero on both X and Y so they don't rotate, they're still going to rotate randomly, and we want this to stay in sort of a grid pattern. Now, to do that, we're going to use the snap node. We are going to set the snap to a certain value like this. And as you can see, it's snapping everything to this angle. Now, unfortunately, because this is Pi, this is 3.14 15, if I do that, real quick. You'll see they've all snapped to 90 degrees. Unfortunately, it's the exact same as if you hadn't, you know, done it. Actually, no, Pi has done 180 degrees. So Pi has rotated. Some of these, as you can see this one over here is rotated 180 degrees. But we want them to only rotate 90 degrees randomly. So we are going to do Pi. We can actually type it in Pi divided by two, which is 01.571. And this is now going to rotate all of our things exactly 90 degrees. And it's only ever 90 degrees, you're not going to get any random things. As you can see here, this one's rotated 90 degrees. That one's not Gaia yada. It was very useful. And we are using Pi instead of typing in like 90 degrees, so 45 degrees or 90 degrees or 180 degrees because this is this is radiance, I believe, it's called. These are radians, which is there's like 100 radians or something. No, there's I don't know, man. It's, it's vector math, my guy. It's vector math. It's just It's painful. And I know. It's the ones when you get the degrees. Like if I do the angle, one of these angles axes to rotation, one of these will be used Rotate. I remember there's a vector rotates, the vector rotate has angle. As you can see here, this has the degree symbol. This will be 90 degrees. So but all of these, that number there and Pi divided by two, here, these both equal 90 degrees because this is a radiant and this is degrees. It's special like that. Please don't ask. Anyway, I'm now going to control shift right click and drag, join these together and plug this into the output so that we have a little bit of greeble to stick on our output. Now we're going to go all the way back here and scale down a little bit, because that's a bit big. Okay, these these antenna are really large. Okay. We're going to decrease the MAX scale on the antenna, like that. Come back here. And we've got our antenna poking out the top of our spaceship. I move these up. You'll be to see the rest of the greebles. Alright. Now, what you can do is I'm going to finish the lesson here, but should you desire to, you can do the same thing. You can control R and take out these faces here and do the same thing, but minus the antenna using the same scatter system here, that convenient little scatter node that we just built to add on things like this bit here or maybe you want a bit of extra detail on here. I'm just quickly going to go in, and I'm going to go I want there, there, there and there. These are all going to be the windows, sort of. I'm going to go I'm going to use the Alt E again. Ooh, that's, old E, and I'm going to extrude manifold. This is basically it's going to do funny things. Trust me, it's better than just in this situation. It's going to basically it's going to basically cut inwards into the mesh, which is helpful. But anyway, I'm going to do that real quick. I hate the shading artifacts. Oh, well, we'll fix them later. Anyway, that's the end of this lesson, and my mouse is now right in the middle. That's very unhelpful. Anyway, that's the end of this lesson. And our next lesson, we will be getting definitely be getting onto the shading, even though I've promised it to you for the last five lessons or something. Yeah, next one is shading. Don't worry. Anyway, I'll see you next time. 19. Adaptive Subdivision Shading with Displacement and Emission: Welcome back to Blender and Gaia Master Class. In our last few lessons, we modeled this little spaceship here. Pretty cool. We used our reference. We made ourselves a spaceship. It's got some problems, but we'll fix them later. Actually, we might fix these right now. If we just press J, we can fix that. Alrighty. Now. We're going to start shading, which is why I am in my shading tab. I'm going to do all of my shading in cycles, but for some unknown reason, IV is really slow for me right now, which is unfortunate. But, oh, well, I guess you'll just have to keep up with the cycles or do it in EV. Some of these will only work in cycles, by the way, so just be aware you might want to switch two cycles occasionally to check that all of the things work out. Alright, first off, I'm going to use this drop down to turn off scene lights and scene world. That way, I've got a preview setup. And right now, I'm going to completely ditch Blender for something called JS placement. Now, JS placement is a very, very cool, sort of old greeble texture generating program. So what JS placement will do if I look at the classic here, JS placement will take all of these different sprites, and it will scatter them at different, like, brightnesses all over a four k square image. So I go here and I click Generate. There you go. Look at that. It's random randomly scattered all of these sprites over 104 k. So 48 4096, I believe it is 4096 by four oh 96 image might be getting that wrong, but oh, well. And if we go, have a look at J's placement two, and we say, Have a look at this particular one, let's generate this. That looks pretty cool. That's a pretty cool extra right there. And the best part is, it's infinite variations. You can change the background brightness, so you can see the background's a bit darker now. You can change the amount of sprites there I go. I can see this is going to take way longer because there's now 390 sprites sticking on. You can change it so the sprites are really small. You get the idea. It's really cool. And there's different variations you can do too. Okay, I'm going to increase that and decrease that that way this just works a little faster. Give it a nicer output. But, yeah. So these are this program is so cool. But there is a big but in this one. The butt is it's no longer available. Well, sort of. Okay, so basically, it was open. I want to say it was free to use, free for commercial, free for everything, like Blender. But, if you go to the website, the connections failed. You used to be able to click on this and go to the JS placement website, a feeling it's down now. But it said there was basically the entire website was gone, there was just a little bit of text that said, I'm not on this anymore. Please don't bother me, which was unfortunate. It was a pity because this was a really cool program. However, because it was so widely used, there is quite a few instances of the program floating around on file sharing sites. Feel free to grab at your own discretion. However, the most cool thing that I've seen is there is now a web based version of it. So if I go up here, I can do all of this in the web browser. So I will be including quite a few. Well, this has taken a while, bro. What is this? Hey, this appears to be down. Unfortunate. Um, that's a problem. Could just be my really slow Internet, though. I miss that. I'm gonna include There you go. I just need to be less impatient. Um, so I'm going to include a whole bunch of images that I've generated with Jazz placement in the course files so that you can pick and choose should you not want to do this or, you know, you don't want to download Jazz placement or you don't want to use the web browser because for some reason, it's not working very well. It was working fine the other day. But anyway, you can just use those. But, yeah, I'm going to I'm going to use this one, I think. Am I going to use I think I'm going to use Agro Mac. A little bit more. Okay. This is going to be my image. And also, you can turn on the colorizer and you can. This is cool, trust me. Anyway, if I toggle off the colorizer, I'm just going to generate another one. So it's in the gray scale, 'cause the grayscale is kind of what we want. I need more sprite spray. You got to fill up the background. There we go. So I'm going to save height. I'm going to save this file to the rest of my JS height maps I'm going to use. I'm going to save that. And I'm now also going to go up here, and I'm going to grab wire, which does something really cool. It makes these. I'm not going to go I'm going to do cardinal directions, and width color, I'm going to Oh, the max origin spread all the way up. This is basically in a mean. It doesn't all come out of the middle. Like if you decrease the max wire wire splay, I decrease this, you'll see they should all come out of the middle, like that. Oh, there you go. That one. That one's pretty cool. I love that. But anyway, so we're going to increase the max origin spread. We're going to set it to cardinal. We're going to increase the layer count. We're going to decrease the max wire width. And we're going to increase the step length so that they can go further. That looks good. I'm gonna save this hides again. Ah, I have a feeling I didn't save those PNG files. Yeah, the unfortunate thing is, when you use Jazz placement, you have to type dot PNG, which is really annoying, oh, well. I'm going to do this again. So I forgot to do that. I was Oops, that's the wrong button. I'm going to go. Yes, and I'm gonna go. Okay. Save them as PNG files, and now I'm going to click on here. I'm going to add myself a new material. I'm going to call this ship base that's what it is. Click on the principal BSDF Control T, and I'm going to do the principal texture setup. Now, I actually I just discovered the screen caskes has this option to tell you exactly what I'm doing. Like, as you can see, I'm selecting here, I can box select, or I can, you know, move and attach. Pretty cool. I thought that was fun. So it's actually telling you what Blender does as a result of my thing. So I'm going to open this image. I'm going to go to my Blender stuff where I saved all of those height maps. I'm going to grab the ice course Agro, and we're going to look at this and think that looks really bad because right now, we're using UV map that doesn't exist. So we're going to switch the UV editing tab. Actually, before we do this, we're going to go back here. We're going to remove this texture. We're going to go new. We're going to type and call this UV. And we're going to change this from generated blank to UV grid, and we are going to go new image. And then we're going to go back to the UV at end tab, and we're going to go into face mode and material preview. You'll see this image, that's the one we just made, which is pretty cool. Now, I'm going to cheat real quick, and I'm just going to press A, I'm going to U and then choose Q projection. It's just going to work. This occasionally won't work depending on your specific the way you've modeled, but for most things, this will work. So I'm going to do the exact same thing here, AQ projection. I'm going to link all of the objects to have this material real quick. That way I can just use it for everything to make sure that everything is UV Nwrapped correctly. I'm going to grab all of my objects here, tab into all of them at once, press A, choose this UV option, and I'm going to average island scale, which is going to make all of the squares the same size. Sweet. Now we're going to go back to the shading tab, and we are going to Jesus little drop down here, and in here, we should be out to find out somewhere. I'm going to type in Agro that's what I called my texture. I calls agro. There we go. See how texture works now. Great. Los kind of bad, though, because it's kind of white, and we want the dark sort of sort of base metal plating. Now I'm going to increase my metallic to 0.5, and I'm going to drop a color ramp over the top, and I'm going to click on the white, and I'm going to decrease the color. So it's really dark. There we go. So sort of I haven't increased the roughness or decrease the roughness at all. I've only increased the metallic to 0.5 so that we get the sort of almost like a plastic metal look, which you can see a lot of in the sci fi sort of things these days. Kind of cool. Alright. Now that's done. We are going to go over here, and we are going to add in a displacement. No, data is not the displacement. And we're going to plug this into the lazy connect. Is that really what this is called? Lazy Connect. Oh, man. And I'm going to plug the displacement the ice course Oh, my God, the texture, sorry, bad the texture into the height option. This is going to do nothing right now because we need to set we need to do two things. One, we need to scroll down to our material settings down here. And under the settings option, we are going to change displacement from bump only to displacement only. This means that when we change our scale, our displacement is going to work. Sweet. However, if you increase the scale, you'll notice that this is really not the image. We're not displacing the image at all. So we're going to go back to our layout. We are going to do the most important thing we're ever going to do. We're going to save there we go. And we are going to we're going to isolate this in our viewport real quick with the slash key. And we're going to come back here. We're going to go over to modifiers. We're going to close all that, and we're going to add the subdivision surface modifier. This is going to look really stupid. But if we turn this back to viewport level zero, along with this one, we choose adaptive subdivision. Now, do not go into Reno view right now if you have a slow PC, because this basically uses your GPU to subdivide on a pixel level. This is like the equivalent of 12 somewhere 6-12 subdivisions on if you had the normal subdivisions. So this is truly ridiculous level of subdivision, and it only occurs in the rendezvous. It doesn't actually occur on the mesh level. So I'm going to increase my dicing scale to like three. This is basically going to make less subdivisions. I'm going to go back to my shading view. There we go. As you can see, we now have that subdivision. Now, of course, that three was a little high. That was just so that we could load in well. We're going to change this back to one, as you can see, slowly getting there. I decrease my scale to 0.1. And, okay, this is try it. If I said this to simple. There we go. If we set it to simple, simple Catw clk will smooth your edges. Now, you could want that if you want a smooth spaceship. It looks a bit like the Queen's ship from Star Wars one, you know. That could be a vibe. You could go with that. I want my angular ship, so I'm gonna set this to simple. Simple doesn't smooth the edges. I'm going to increase my scale to like 0.3 and look at all that detail. Look at all that free detail that we didn't have to model. 20. Material Polish Emission, Micro Detail, and Adaptive Subdivision: Welcome back to Blender and Gaia Master Class, procedural Ice World. So what we're gonna do is we're gonna mess with the mid level until that problem doesn't show up anymore. Okay, that's the problem. It's these faces didn't UV unwrap correctly. Let's go back to our UV Editing tab. Um That's odd. This is displaying differently from EVD cycles. Well, that's that's something I've never seen before. I'll have to admit. Okay. Perhaps I UV unwrap all of these separately, if I go U and just use angle based. Ah. That is very interesting. I've never seen this before. Something spicy is going on here. Hopefully, this didn't occur to you. I'd love to know what this is. It's very interesting. Wonder if it's got to do with one of my modifiers. Oh it's got to do with the subdiv. Okay. Interesting. Perhaps it would be wise to control B to bevel and then press V to use vertex bevel and to just bevel off that nose just slightly. And then if I turn this back on does that, there we go. Apparently, the adaptive subdiff does not work with triangles. That's news to me. Okay, that's big news to me. Okay, that's news to me. Okay, so you got to be careful with this, apparently. Well, that's a problem. Well, I sincerely hope you didn't. See if I could just do that and that. What this to, like, not affect the UV? Can I do that? Be a thing? I insert a vertice here. Oh. This is how to troubleshoot people? What? Okay, I caught Bull. This is some random stuff. This did not happen last time. Okay. It's because I no. Okay, that's concerning. Any of those work? No. I haven't messed with this enough. I need to really need to look into this more. That's really odd because this Mm Hmm. Okay. Abe cube it again. Okay, so now we've only got this as a problem. Yes. That does it everything now. Well, that's dookie. I wonder what bet I'm gonna have to do. Oops, that's the wrong button. Okay. That's weird. Hopefully that didn't happen to you. I've just linked this up to the front. That's a triangle now. Oh, it's a quad, though. Ah. Okay. Note to self. Adaptive adaptive subdivision is more times not useful than it actually is. Oh, look, it's doing it down here as well. Why? You know what I can do. I can do this. Oh, now it's doing it here. God damn. That's even worse. Yep, adaptive subdivision is way, way more pain than it's worth. Okay. And we don't care about that because that's all the way on the bottom. Okay. Ah. Man, why does it have to be this difficult? What? What? Okay, let's apply this bullying modifier real quick. Let's just isolate this so that we can see. Not the bullying the Oh, it's a booling. Let's apply the booling way we know what we're dealing with. You want to what we might just do. We might just drag this below. There we go. Problem solved. Ah, that took long? Geez. Alright, now we've quantified everything. We can finally get back to what we were doing, which is we can look at this, and we can stick our displacement back. Oh, please tell me it doesn't. Oh, no. Alright, no more bowling. This is just gonna cause too many issues. Oh. Oh. Well, I sure as hell wish I'd discovered this before I started recording. Oh, my goodness. Yeah, okay. I'm gonna cut here and fix all of this. I'd love to say I can tell you how to fix it, but your your measure is gonna be different. So I'm just gonna Alright, I fixed it. It all looks like it works now. That was painful, to say the least. Okay, we're gonna have to do something about the inside of that later. I guess it doesn't really matter. We're not going to see it that much. To the mid level. I'm going to increase my subdiv. I'm going to set it to one. Oh. Yep. There we go. Look at all that detail. That's why we want the adaptive subdivision. It allows us to do all of that fun stuff. Now we're going to do the same thing for all the rest of this. We're going to Oh, that's gonna cause more problems. Oh. Control, two. Both the zeroed to simple adaptive subdivision. Excuse me. And I'm going to apply scale for these. I'm gonna do the same thing again. Adaptive subdivision. The last one over here. Adaptive subdivision. Maybe the round is better. Yeah, I'm feeling the round right now. Yeah, that looks way better. It's a little bit chunky, though. So reason. I like that real quick. I'm going to, I'm going to decrease the amount of strength on the scale on this displacement. Is a little bit much. Let's say, 0.23. There we go. So we got our really cool, high detail. These are really low detail now. I'm going to set this I'm probably going to regret this, but I'm gonna set this to 0.5. Okay, now that's much higher quality. I'm going to set it back to one because we're not actually going to even use this displacement, to be honest. I'm just showing this because it's really useful to know. Actually, we might we might we might include. Yeah, we might actually this is going to make it look cool. Anyway, now we've done that, we need to move on to the important parts. We're going to grab the inside here where the lights are gonna be, and we're going to add a new material sign, call it ship Lights. And we're going to do the same thing again. We're gonna go control P to add that in. And we're going to open up from that file that we had. Open the wire folder. We go back out of it mode now you've done that, increase the scale, which will make more detail. And I'm going to put a color ramp into the emission with this one. What color do we want our spaceship lights to be? I'm I'm gonna go for orange, I think, could be fun. Also gonna make the base color black and rough. I'm going to increase the strength of this so we have our spaceship lights. Now, in one of the Blender versions that introduced EV next, it removed the option to have bloom in EV. So if we go back to the compositing tab and we set this glare to bloom, this will only you can do fog glow if you're on an earlier version than like 4.4, I think it was. And I'm going to set the quality to high. And if we go back now and we scroll all the way over here and turn on Viewpot compositing, there we go. We've got our bloom back. Wait. Why is it not on this side? You should have a mirror modifier on here. Oh, we don't it's my bad. Yeah, if you don't right now, now it would be a good idea to add a mirror modifier on the YXS flipping. And now we have lights on both sides. Oh, that's bright. Let's come back here. There we go. Here we go. Alrighty. Now, for some reason, this is ing. Ah, I got to do it before. The adaptive subdivision only works if it's the last modifier. Yeah, it's pin to last. Let's do that just in case. Sweet. Now we are going to leave it here because we're going to do the second part. We're gonna do the engines and the greebles and all of that in the next lesson. I'm going to leave it here. I will see you guys in the next one. I know this one's been a bit of a pain to do. But yeah, we're going to get there. Don't worry. M 21. Realistic Engine Glow with Gradient Emission and Ambient Occlusion: Welcome back to Blender Angyams class, procedural Ice World. In our last lesson, we kind of got screwed over by adaptive subdivision. Yeah, if you were there, you were there. You weren't don't need to know it was a truly horrible experience. But don't worry, we push through. Now we are going to. I'm going to just increase the adaptive subdivision on these cause I want it to look nice. 0.5. Just don't do that. This is just for your benefit so that you can enjoy the detail. Okay, now we're going to add in gloat these engines like they're hot. Now, this looks really cool. I very much enjoy this. First off, though, we are going to go Shift test, and we're going to add our cursor to selected. That's the cursor to the main engine. We're going to add ourselves an empty plain axis and we're going to bring it back out here. What we're going to do now is we are going to add in ourselves a gradient texture. We're going to add the texture setup, use object, and we are going to click and choose the empty. So what this does now, if we look at this is if we move the empty, you will see it brings the gradient with it. I'm going to put that just there. And save. Save is the most important part. Now we've done that. We are going to click on here so that we can get our material back. We are going to organize everything. And we are now going to work some magic with the AO, or ambient occlusion. This is going to create a delightful effect with our Ooh, there you can go. So you can see, when we've got our shaded displacement with the displacement map, it actually counts towards the AO. So we can do some really fun things with this got in a color ramp here, increase the sample, so it's accurate. Increase the distance just a little bit. I might Uh, I might set these to one for now so that we don't spend four years looking at updating mesh, which is not very interesting. There we go. If I flip this color ramp around, I clamp this in. I think you can see where we're getting. Whoa, your time is insane. I might I might just isolate these out with the slash key. Um, Oh. That way, they just render up a bit faster. I'm going to decrease the distance a little bit. So it's just the You know what, we might set both of these to, like, 2.5. That way, it won't take forever. I thought I thought I thought one was gonna work. Apparently, no. I might say this to Besle yes. It's bespline. Gonna bring this out here. I'm going to click on this one. I'm going to set this to, like, a really slightly desaturated sort of orange white, and I'm going to set another one in here. It's going to be Oh, that's the hue. My bad. No, I want to go back. I want to increase the saturation quite a bit. Move it down probably more over here. Then I want one more all the way over here. It's like this sort of deep red. But it should be easing a little bitter. Should be. Whoa, that's a bit much. Should be just say just like that. That looks pretty good. Now, what I'm going to do is I'm going to mix that with our gradient mask that we just made using the empty. I'm gonna contrive right click, and I'm going to mix these together. I'm going to choose multiply, crank it all the way up so that it's only at the back that's a little bit too red a red. There we go. Let's try. That's a bit better. Then I'm going to plug this into the emission. And I'm gonna crack this up to light. Let's say, 12, maybe. Our gradient texture needs a bit of tweaking. Alright, we're going to drop a color ramp in here, and we are going to set this best line, and we are going to soften it all out. Oh, we're not previewing it, that's why. We're also going to decrease the scale on the x axis just so that this can, like, show up better. A little bit much. Maybe something like that. That way, it's more of a gradual fall off. Alright. Now if I click back on here, we have some superheated engines. That's I love this effect. This effect is so cool. And if you want, vaguely remember one of these modes will do better. I just don't quite remember which one it was. I think it's that one. Overlay. Yeah, that sounds about right. Let's show this one. But we're going to copy this color. Yeah, I've got a frog on my throat today and paste it here. That way, they yeah, look at that. Look at that. Look at that. Look at that. Oh, that's a bit bright. Never mind. If I switch the inputs on this, no. Pity. Oh, well, I think we're gonna just have to stick to multiply. Well, that might be it. Subtract. Yeah, no, absolutely not. Hit? Well, it will just have to be ultiply. I can live with that. Let's set this back to saturation of zero. I actually don't mind that that color. Look at that color. And originally, I actually did have this as, like, a light blue so that when you sort of cranked it in, it would get really, really hot in, like, the gaps. But to be honest, I tried that, and it just I just wasn't it. Like, I just didn't look that great. And probably increase the value on all of these, so they're not dark. Just go to make this like a light. There we go. Okay, now we've got all that. We've got our gorgeous engines. We are going to add in a point light. We're going to grab this color here again. Probably already have it copied, but just in case, we're going to paste it over here. We're going to increase the exposure all the way set this to like 100. And we can't see anything right now because we don't have the scene lights option ticked on. There we go. I probably was a little bit much. Let's try ten, five. Basically, you want to make it not bright and then just go a little bit above that. Like that. Okay, there we go. So one and 8.8 for exposure. Now I'm going to do the exact same z over here. Going to select this inside face, though, these interfaces here. That way, I can do ShiftS in selected and duplicate this light directly inside. That way, it's easy. And I'm going to come back here, shifts because it's selected, I'm going to put my three Dcursor down here, duplicate this. I'm going to go Control M, which is mirror, and I'm going to press X. Oh, X is the wrong way. Why? Sorry. And Y is going to mirror it directly over. And using the center point as the curse since we set this over here. If we look at this again, we've got our engines raring to go. Yeah. Sweet. I'm now going to for scientific purposes, I'm going to set all of these to 0.9 so that we can enjoy our super hierus engines, maybe they're working? Post it. Okay. Quite known, both. Gonna save the most important thing ever? Oops. That's space bar. My bad. Gonna wait for the geometry to build. Downside of adaptive subdivision. There we go. And look at that. We got a really, really nice. Wish the gradient was a bit smoother, though. P. Oh, well, to be honest, you're not going to see the difference in the gradient that much. You're just going to see the fact that it looks like that. Oh, that's the wrong camera view. Anyway, I'm going to set these back to, like, two. Now we've enjoyed our high resolution version. And I'm going to unhide the rest of the spaceship by pressing slash. And our next lesson, we're going to go over how to color these, how to color them randomly. And yeah, I think our spaceships nearly done. Got that. Pretty cool spaceship. Righty. Here ends this lesson. I will see you in the next one. 22. Geometry Nodes, we randomize antenna and greeble colors by storing a named insta: Welcome back to Blender and Gaia Mass class. Procedural Ice world. In our last lesson, we finished texturing all of the main parts of the spaceship. Added in our displacement. We did our probably not in the last one, but before we did our displacement, we modeled, we did our displacement. We did our texturing with jazz placement. Then we did our interesting engine effect with the AO, which was pretty cool. And now we are going to dive into randomizing the colors of these right here, these antenna agreeable things. Now, I know I said I was going to stick like greebles on the front here, but, like, the spaceships probably going to be too far away to see the difference. So maybe. I don't know. We'll have to think about it later. That's it. Okay. We're now going to press slash to isolate our selection. And now we're gonna add a new material, and we're gonna call it antena greebles. Alrighty. Now, you'll notice that putting in geometry and clicking through and saying random island W, well, first off, we need to assign our material. So we're going to have to go back to geometry nodes. We're going to I've already isolated this, I think. We're going to go in here. We're going to caress Control A, and I've updated this. All of the set material used to be over here, but now it's over here. So just beware if you're using earlier version of node pie. Yeah. Anyway, we're going to set our material here. Oh, God. And we're going to set it through antenna greebles and we're going to click back so I don't have to look at my horrible mouse placement. We're ready. Now, if you look over here, this doesn't work. None of that random per island works. It's questionable at best. You can see it's kind of trying to do it here, but it's just it's failing. So this is where we introduce geometry nodes asset attributes into the shading editor. So we're going to go back to geometry nodes. You have to deal with my mouse for a second. Hello. Let me just Yo. Okay, there we go. And we're going to store some attributes that basically tell us give every single attribute every single instance here, and different numbers so that we can color them all later. So what we're going to do is going to compress control A and open up our choose store named attribute or you can search it up. I'm now going to add in an index node, which is going to if we press Ktroshef leftClick on this and Ktroshef left click on this, it's going to give us a whole bunch of numbers. You can get these numbers by choosing the circle icon dropdown. Now, before you click on attribute text, be aware that if you have a lot of vertices. You'll see there's a lot of numbers here. But if you have too many numbers, it will actually crash Blender training to display every single vertices numbers. So you can go over here and you can switch the viewer from auto to instance, which will only display one number per instance instead of one number per vertice, which is kind of helpful. Okay, now we've done that. As you can see, we've got different numbers per instance, as you can see, some are overlaid right on top of each other. So there's some multi numbers here. But, yes, as you can see, there's a different number for every instance, that's what we want. So we want to get rid of this viewer, and we're going to plug this index into the value on the store named attribute. Now we're going to switch this also from point to instance. That way, it does exactly what we did before. I'm going to call this. What am I going to call this? Let's call it's going to be IDX, so it's going to be the ID of the index. All right. Let's try this now, just real quick. Let's go back to a shading. We're going to press Control A attribute, and we're going to look at it, and we call it the ID index. As you can see, nothing's happened. This is because we need to set this also to instancer. Now, this has become very bright because, remember, there's a lot of instances here. So if you have a look at this real quick, you'll see that some of these numbers, they got the hundreds, 200 maybe even somewhere. So that's why I think we have nearly that many. So when we're looking at this, this is assigning numbers to your thing. So you have an emission value of 200 in here somewhere, which is why this one here is black because that's the 01, so it's giving off an emission value of zero. If you didn't know when you prove you a color, it's basically like plugging it into emission value, an emission shader, sorry. But yeah, so we're getting quite bright here. Now, we don't want that. We want basically a gray scale 0-1. Now, to do that, we're going to do something really funny. We are going to delete that. We are going to discover the attribute statistic. I'm going to plug the attribute statistic in. It's one of the biggest nodes, too. And what this is going to do is it's basically going to measure our attribute here that we're making. It's going to measure it. So if we plug this index in here into the attribute, set this two instance again, you'll see there's a whole bunch of outputs here, but the relevant ones that I like to use are min and max. This is basically going to tell us the minimum amount of them or the maximum amount of them. Now, so how do I put this? So let's say you have 100 objects, or let's say, actually, let's say you have 105. That way it's not perfect. You have 105 objects. And you want to come back here and you want to put in a map range, and you want to set your from because if you don't know how MAP range works, map range is really fun. The from minu from Max are basically your inputs. So your input is going to say it's going to be, say, if we have a gray scale, exactly what we want this to be, if we want, like, a noise texture, let's say, that's color. We want a noise texture here, we plug this in. We're going to have an input 0-1. That's how the noise texture works. Now, here, it says from min, zero to from max one. So that's indicating that we know that the noise texture, it starts at zero and it ends at one. And then we want to say the two min and two max I say we want that zero to one to be put into zero to two. So, you know, or maybe it's minus one to one. So the numbers on this, even though you can't actually see less than black, which is zero, you have now a gradient between negative one and one on the noise texture. So that's how map range works. It's really good. But basically, what we want to do is we want to input our attribute, and we want to its maximum amount of the indexes, all the way to the zero to one, which is already here. So if we go over here and we grab this max and we stick it into another store named attribute, but call it max. This is going to tell us exactly how many like how high the index value goes. So when we come back here and we duplicate this and we set this to max, we can plug this factor into the two max, and it will tell the map range exactly how high to go to encompass everything perfectly. Pretty good. Anyway, that's how you do random instance shading that isn't dokey. I know you can do it with a white noise texture. It's one of the few uses for the white noise texture, but it really doesn't look that great. I'll show you real quick if you want to know. If we didn't just mute this and say this didn't happen. So we've got this don't exist. Neither does this. We're going to grab ourselves a white noise texture. We're going to plug the color into the vector, and then we're going to add in a math snap node. Nap go. And if you screw with this, you'll see it randomly colors it. But at some point, you'll realize that like, there'll be two colors per instance sometimes. Like it will be half of the instance will be gray one dark gray and the half will be light gray, and it's it's just not it's just not great. Anyway, this is the way I prefer to do it for obvious reasons. Since it just works, oh, I forgot to turn on my max again. Well, if you miss that, press M to mute nodes. Basically, it bypasses them, which is helpful. Alright, now we've got this. We're gonna add in a color ramp. We don't want perfect black, and we don't want perfect white. So let's put this back down. This is going to go into the base color. Go increase the metallic. We're gonna decrease the roughness slightly. And I'm going to add in a noise texture and another noise texture, plug the color into the vector, press Control T on the first noise texture to open up the mapping coordinates and plug in the object, so it doesn't look wonky when we map it on because if we don't looks weird and stretched. Now, I'm going to add another color ramp behind that, but before I do, I'm going to decrease the scale. Just so you understand, the first noise texture is the scale and primary detail. Like if I crank up the detail on this, see, it's primary detail. If I look at the second noise texture, that's basically the detail, the secondary detail, kind of helpful. Um, I wouldn't suggest touching anything else on that. I mean, you could, but, like, you know, yeah. Anyway, we're gonna decrease this gray value a little bit, and we're going to plug this into the roughness. Oh, that decreased a little bit much. We're gonna increase this value black value cause we don't want to be perfectly reflective, either. Sweet. There's our metal. As you can see, it's different colors. I've probably decrease it. Mm. No, actually, let's leave that. Anyway, now we've done that. So reason this isn't working on our antenna. Not entirely sure. I wonder if this index doesn't apply to it. Hey, that's interesting. Let me, no, it is. It's just that they're at the bottom. Okay. Sweet. Okay. Well, there's our random texture. I like that. 23. Geometry Nodes ID Based Colour Randomisation: Welcome back to Blender and Gaia Master Class, procedural Ice World. Righty. Now if we go back to PresSlash to reveal the rest of the spaceship, wait for all the Jeetib to build because we've got the adaptive subdivision on. And there we go. We have ourselves a spaceship people. Now, I'm going to improvise a little bit. I was actually, I'm going to put up the image on screen. I was actually going to put the spaceship up in the sky, but that would mean that all our hard work in making this spaceship look good would go to waste. So I'm going to improvise by making. We're going to start a little bit of modeling, just to finish off. I'm going to add in a cube. I'm going to scale Chefs. I'm actually going to bring this out here so I can look at it. Press that too, that's in the way. Alright. Now what we're gonna do is we're gonna model landing gear. So this spaceship is going to be landed in front of our camera. That's the plan. I probably should have gotten reference for this, but I'm going to wing it real quick. There's a good chance you probably won't see much of it since it's under the spaceship. I'm gonna bevel real quick. How are we going to make this? Just thinking real quick. I'm picturing in my mind what I want to make. Okay, Shifts, we're gonna drag it over here. So when we add in a cylinder, it's going to be over here ready. Rotate along the Y axis 90. Is that Y? No, X, sorry. My axes decided they want to look exactly at the same time. Oh, I'm not going to use the hard ups real quick. I'm gonna shade auto smooth. Oh, that actually work that time. Usually, I have to use hards, otherwise, cause for some reason, the default Blender is one broken for me. I'm gonna apply scale. Then I'm going to bevel these edges edge end edges. You've got that gonna go into the side view. We're going to duplicate this we are going to scale it down on shift instead, so it doesn't scale on the Z axis. I'm going to now move this ever so slightly to the side, and I'm going to duplicate it also to the other side. So now we have a two. I'm now going to add in a cube, move it down. Scale. This is going to be our landing year piece. We're going to have, like, a skis, I think. I know there's, like, spaceships with, like, wheels and stuff, but for ease of use and also law accuracy, since I don't think a spaceship would be out of land on snow with wheels, we're going to make these skis. I'm going to grab this. And I'm going to shear this. I'm gonna press open up all of my Oh, my God. I'm going to open up this. I'm going to grab my shear option here. Shear is a really fun tool. It's also fiddly sometimes. It will basically, like, cut. Oh, God. We undo that. Basically, like when you rotate this face, usually, you'll, like, stretch these faces up and down. Like that one will go out that way, and that one will probably go out that way. But when you shear, oh, that's small. When you shear, it will basically just rotate the face perfectly so that it lines up with everything, which is really helpful. I'm going to grab the shear. Sometimes it doesn't work, though. A good idea is to apply scale, though. I'm going to grab my shear to for the 15th time. There we go. And now I'm going to press E, and I'm going to extrude upwards. I'm going to do scale on what I'm going to take. I'm going to go back to press W to go back to my box I'm going to press this button here, which is the left carrot, if you know what that is, or it's the omic key for typing. And I'm going to choose the normal option. Now I'm going to go scale on I'm going to use my middle click and drag so that I can make sure I get it right. I'm going to scale on the X axis in this instance. Yep. Alright. Now I'm going to do the same thing over here, I have to lt so that I can select that face easily, grab my shear. Actually Oh, whoops, that's the wrong one. I'm going to grab this one here. I'm going to E extrude, then go W to just go back to the selectant I'm going to scale on whatever this axis is also the X axis. And now we have that. I'm going to grab Alt select both of these edge loops down here. I'm going to control B and bevel them until they look satisfactory. Okay. We've got some landing gear. Please don't make me rig this. I might have to do some some constraint rigging real quick. Uh Okay. First off, we're going to add another cube, and we're going to bring it down here so that we've got some kind of way to connect, this landing gear to the ski. Gonna go into the side view again. I'm going to grab this bottom place. I'm going to move it up, and I'm going to scale it on this axis, the Y axis, Gaea, extrude it down, just nearly all the way, and then I'm going to extrude it down again and scale up. This one is not going to be on one axis. So we're going to get this sort of little thing that's connecting our skiing. Sweet. Now I'm going to get all of this. I'm going to go, New collection, Landing. It's going to be extremely helpful. We're now going to move this over. I'm going to say, I want three. I think this is not a big spacecraft, so we're going to do that. We're going to stick one here. We're gonna stick one up the front. Then, of course, we're going to duplicate one onto the other side, but we're going to do that in a second. For now, we're going to pose the landing gear. Now we have all the pieces. I'm not going to do all the constraint rigging, so don't worry. We are going to go rotate this board We're going to place it up. Oh. Oh, yeah. Probably a good idea to set this back to global with that oma key. I'm going to place this back up under here. We don't worry, we're going to add in another one of these things up here later. Gah not duplicate this. I'm gonna just move this up, and eyeball it into position there. I'm going to do the same thing with this, but I'm gonna make sure I select both of these at the same time. Also, if these are rotating funny, make sure your pivot point is set to median and not individual oranges or three Dcursor. You can achieve this by pressing this full stop key right here. We're going to do that a little bit of rotation. We might actually do a fair bit of rotation here this spaceship is going to be quite low. Now we're gonna grab both of these, and we're going to drag these up until they link up like that. Sweet. Uh, right. We are going to now add in some interesting things. Oh, yes, we have to move all of this over to lineup, by the way. Wait. Now, unfortunately, this landing gear is looking very flimsy. So let's add in a cylinder. Now, it's going to be back over here. We are going to Auto Smooth. Oh, God. We are going to go into Edibode. We're going to scale it down and to go E and then press S immediately to scale in, which is basically inset, but it does slightly difference just so you know, we are going to E to extrude upwards, E to extrude again. We're going to scale down slightly. We're going to use the inset now with I. We're going to extrude back down just in a little bit, inset a bit more, and then extrude back out. We're going to make this sort of piston effect. Okay, now we've got this at the end. We're going to do this again, extrude, scale back up, and then extrude again, just as a little end cap. Also, as you can see, unfortunately, our auto smooth. It's sharpening this edge, but it isn't sharpening these edges. So I'm going to introduce you to something called sharps. So if we go into Edge mode, this is only available in Edge mode, please press two if you didn't, just press two because that was an add on that I have. And Alt left click to loop select this edge. We're going to go right click and mark up. Now, there's a hot key here. This is a custom hot key that I have set because I use sharps a lot. You can you can add a hot key by clicking this here though for you, I'll say add hot key instead of change it, and then you can press in a hot key because I like to use this a whole lot. For me, it's Control ls. I don't say press B as well. My bad. And as you can see now, it has sharpened that edge. So we're going to go back up here. And we're going to do this as well. Now we're going to grab this. We're going to move it all the way over here. In fact, we're going to use shifts in our cursor object and cursor to selection and object to cursor options to put them together. We're going to scale this down so it fits add this in here, and we might grab the edge here and that one face right on the end and just drag it down a little bit more, trying to keep it straight, just like that. Then, of course, we're going to do the absolutely same thing. We're going to duplicate this with Shift D. We're going to press Alt R to clear the rotation real quick. And we're going to scale on the z axis, and we're going to scale on the shift z axis, so everything but the z axis so that we get a much thicker and stouter piston. We're going to do the same thing, but it's going to come out of the spaceship this time. You may want to after doing this, extend this. Now, if you want to extend this perfectly, go back into that normal mode and press Z, and it will go along the way the face is facing, which is exceedingly helpful. I'm going to use this again. I'm going to go to Z, and it's going to do that. Sweet. And there's our landing gear. Probably could look a little better. And now I'm thinking about it, that piston would probably be on this side. No, it wouldn't be. But still, we're going to leave it there for now. I might actually make this. This normal is very useful because now I can go Shift Z again and it will do it based on the Ooh. Okay, now we want to actually set it to local. The local will basically be the local XYZ x. How do I display this? If I go to Origins. You'll see how there's a option here that's like all of the separate Zaxs that's different to the actual physical world Zaxis. So now when I scale and go, Ooh, I turn that off. I scale on Z axis, it's going to be on the Z axis of the object. So I'm going to go back in here and I'm going to go Scale Shifts using the local transform. It's going to get bigger. So Alrighty. Um, I'm gonna come back next time for the rest of these because I have taken way too long as it is. So, yeah, I will be back in the next lesson, depending on how long you take to watch it to get to watching it. But, yeah, we're gonna continue with our Lanning year, and we are going to start positioning. But yeah, we're we're gonna have to do a little bit of lockout first. Right? We'll see you on the next one. 24. Landing Gear Detailing and Scene Readability Checks: Welcome back to Blender Gaia Master Class, procedural Ice worlds. And I know you're looking at my screen, and you're thinking, that's a hot lot of ice world right there. That there? That's some premium terrain. Well, I know it's a spaceship, but don't worry. We will be getting on with it. In our last lesson, we finished off the texting and we did some landing gear. Now, what we're going to do is we're going to grab all of these objects that comprise of our landing gear. We're actually going to not do that yet. We're going to go Shift S on this spaceship first. I forgot. And now we're going to select everything else. We are going to choose the three D cursor opting G. Just like with the lights and the thing, we're going to press Shift D. Yep. And then we're going to right click. That way we have our duplication selected, and it's exactly where it was. And then we're going to go Control M, and we're going to choose Y. And then we're going to press Enter or left click. This will allow us to place both of our things. Now I'm thinking right here. I actually want all of this to be further out, I think. He could do all of this with a mirror, and I could because hard Ops is special like that, I could just click here, and I could actually modify all of these in real time. Oops, that's not based on the global. But because you don't have hard ops, I'm assuming, we're going to do this manually. So for now, we are going to grab all of that. We're going to go at the back, and I'm going to place these out here, I think. Yeah. Remember, it's not going to be that important since you're probably going to look at it like that. So we're going to grab that. We're going to grab all of this. We're going to grab all of this again, and we're going to do it all over again. Make sure we're on three D cursor. Shift D, right click Control M Y. And there we go. We have our spaceships landing here at the back at least. Now, we're going to do the same thing at the front. But well, we're going to do the posing at least at the front. Now for the front one, I'm actually going to modify this. This is going to have a loop cut in the middle. Unfortunately, for me, this loop cut is not even. So I'm going to scale. Oh, I'm going to select the medium mode first with the full stop. I'm going to scale along the X axis zero. That's just going to make it nice flat. And then I'm going to scale along the Y axis to make this a little bigger. Just for a little bit of something interesting. We also might make this wider, and we're going to make these wider this way. Just a little bit, though. Not too much. We might make this circle a bit thinner. We want it to be just ever so slightly different from the back ones. Alright. Now, what we're going to do. Since we have our origin at the center, and it's perfectly, I hate that shading artifact. Don't worry. That's not going to show up later. The adaptive subdivision fixes that. I'm going to shift S and drag this all the way up. That way, it's perfectly in the center. Bring it back down. Now I'm going to do the Shift S cursor to selected because this is now in the center. Now I'm going to look at this from the side again. We're going to rotate s. I think we're, we're going to do it this way. I'm gonna place this here. Place that there. It's almost a bit like kit bashing. Gonna place this one here. Yeah, before we continue, something useful that we want to do is we want to can't remember if you can annotate line. You're probably going to want to do this with me. You're going to draw a straight line that's going to indicate where the ground level is. That way, both landing gear is going to Can I control and snap this? Or I can't press A, that's unfortunate. You can also use a plane. That looks pretty straight to me. Never mid it doesn't use this grid real quick. I'm going to turn off screen cast keys for a second just so that I can see this. Okay, so that's basically the second one up like that. So I'm using this line right here, and then it's two squares up. So that's pretty straight. Okay, I'm gonna pres W to go back again. Turn on screen cast key so that you can see what I'm doing. Rotate it and put it into position. I'm going to grab both of these. I'm going to stick these on the line lining up. Now, like before, we're going to grab all of these, and we're going, Oh, God. That's right. Don't forget to set this stew global. Otherwise, things will go sideways, quite literally, if you just saw. And we're gonna sip it around the middle. Now, I know you want to be like, Oh, but, you know, we got to be careful with making sure it's exactly the same. You're never gonna see it. You're never going to see it. I've seen too many people get stuck making their model like perfectly mirredOly for you to not see half of the model. So just be aware that perfection is great, but usually I only use the perfect if we're going to mirror it and I want it to be exactly on the other side. We're going to duplicate our pit again. We're going to go back into local mode, scale on the Z axis, and we're going to position it with the shifts back on the inside. That way, it's in the middle. And we're going to position it there. And we're going to do the same thing with this one. And we're going to place it over here. I'm going to actually place this one. It's going to be right down here. G scale on the Z axis quite a lot. This places all the way down there. Okay, now would be a really good time to make use of the shear tool again. So we're going to go into thing here. We're going to grab this, and we're going to share. Let's see which way is the correct arts this one here. And we're going to share it until it all disappears. Oh, God. There we go. Sweet. You're free to position the pistons as you want. Like, I'm looking at these. I'm thinking they're probably a little sketch, but, like, like I said before, you're never gonna see it. Really? You're gonna see a glimpse of it. Nobody's gonna be going. Oh, so that shouldn't be there. That's illegal, you know, no Nobody's policing your stuff, just so you're aware. I'm going to delete this line now since we don't need that. Alrighty. That's all of that done. Now we're going to get to do some blocking out. But the first thing we want to do is, though even though we have all this landing gear, what we're gonna do is we're going to select everything here, including this piece here. Gonna move it all to make sure we have all of it selected. We're going to press M, and we're gonna call this spaceship. Alright, and then we're just going to delete the landing gear. Sweet. And these over here, they're all we're actually going to go in here. We're gonna go right click and we're gonna go New collection. Even though it's greeble. Okay, that's unfortunate. We're gonna call this Grill. And we're going to drag this all the way out, please. We're going to drag this into the scene collection. So it's going to show up all the way down the bottom here. We go to close out spaceship. We're going to grab the antenna and hot control and click the greeble as well, so we both select it, and then we're going to just drag them into greebles. That way, they're both, you know, inside the greebles thing. So we can just like, you know, clean up a little bit. Sweet. We're going to bring back the scene now and hide the spaceship. Now, unfortunately, this is a rather large opaque box, which we can't see through. And this is going to be a problem. So we're going to go down here, and under Viewpoart display, we're going to set this displays from texted to bounds and we're going to do same with this thing in here. This is just going to make our fog objects, you know, we can select through them. They're all going to display perfectly fine. Don't worry. This does not affect anything else. It just affects your way of seeing it in the viewport. Now, if we press zero on your number pad, which is how we look at through our camera, you'll notice there probably isn't a whole lot of space to land a spaceship here, you know? It's all a bed turn the sub div back on. You'll see, it's just a little bit rocky, just a little bit. Um, yeah. So we're going to add in a little a little we're going to go back into Gaia, actually. We're gonna go in and we're going to add a little bit of, like, terrain right here that's going to be sort of like this as a foreground. Maybe like that. It's gonna be more like that. And my horrible shading. It's going to be a bit like that. Anyway, it might have some rocks over here on the side. But this is going to be like our depth scaling. So we're going to have the small scale here, and then we have the big scale in the background. And if you look it through the render view, you'll see that fog is creating some nice depth once this defined sides to load. You'll see you have that depth with the fog and the super bright background. Okay, I'm gonna have to we're gonna have to go and modify that in a bit, but that's a That's my favorite word. That's for later. Anyway, I know it's a short episode or lesson, but I'm going to end this one here since we're basically going to be going and doing something completely different now. You're gonna turn this back off. I might say this to four as well. And this to two. That way, it doesn't take so much to boot up. Yeah, I'm going to go and we're going to go back into Gaia and we're going to make a small scale terrain that fits right there. Alrighty. That's the end of this lesson. I will see you in the next month. 25. Realistic Foreground Terrain with Snow and Debris in Gaia: He Welcome back to Blender and Gaia Master Class, procedural Ice world. And in today's lesson, we're going to be adding a little bit more procedural ice world. Back in Gaia. As I said in our last lesson, we finished our learning gear. It was quite short. We are going to make ourselves some foreground for the scene so that we can place our spaceship. Alrighty. Start off, primitive extended dot noise. Again, we're going to be making ice spikes. They're just going to be a little different this time. We're going to make them very small, very small dots that are quite high. We probably actually don't want that many. All right. Now, what we want is we want sort of like what do we want? We want like a hill almost. Let's go with primitive gradient radial gradient. And if you have a look at this, this, Wa that's too big. We want less height. And we're going to click on Oh, this thing here, Toggle Gizmo, which will allow us to move move the gradient places. Personally, I want it over here. Decrease the height a little bit, too. It's just gonna be convenient like that. And I might add an effect node where you're going to use this to clip t in the tops flat. Don't worry, we'll fix this later. We are now going to fix it by combining it with an extended multifractal. Combine these together. For the multifractor, we want to drop it all the way to the floor. We want to decrease the scale a bit. Holy, that's tall. Relative feature scale down and the roughness down just a little bit. We're now going to stick this into an effect node because we want to mess with. We are going to lower the multiply so that when we stick this on screen, it's not too much. As you can see, it's too much. So we want to go back, as you can see. What's happening is on the multifractal, it's low on this side, but it's high on this side, which is canceling out our thing. So we're going to click on this one here, we're going to press F. Then we're going to go, and we're going to click through the noise seeds until we get that. So it's high up here and it's low over there. So I'm going to press F again to unlock that. We are now going to drop this to the floor. I already was. Never mind. Now, we get on. We are going to I think we're going to decrease the effects of this noise. Oh, God. That's a little little bit much. There we go. 'Cause it's small scale, we don't want it too crazy. But remember, we are going to do want it a little bit more cause we are going to erode it, so it's gonna to get rid of that line over here. So you do want it to be just a little bit more than what you think. Now we're going to combine it with the dot noise. We're going to add this one. We're gonna add 100% dot noise. Oops. Add at 100% dot noise. We Where do my dots go? Oh, that's blend. Sorry, add. There we go. I wondered where they went. But because I forgot effects a node over here. Another effector node, as you can see I like them. And we're going to shape of this so that they're spiky. We might actually I'm gonna press F to lock the preview, I'm going to increase the iteration, so we get a few more. There we go. Alright. Now we have these. We are going to add in a Come on. There we go. We are going to add in an erosion too. Now, remember this is supposed to be fairly small scale. This is going to be measured in meters as opposed to kilometers. Like, from this side over here to this side over here might be 80 meters. So it's not going to be super, super high scale. So we're going to increase the erosion scale. If we go really low, we get all of the lines. We don't want that. We want kind of like that. We don't really we want the lines, but only slightly. That's like that, that'll do. And we can increase the shape because snow does that. There we go. As you can see, it's eroded them away. Right, what are we going to do? Now, why is that? Line still there. Yeah, you're not going to see it. You're not going to see it from this angle. It doesn't matter, because we're going to basically going to be looking at our terrain, probably from right that lump right there. We're gonna probably be looking at it like that. Right. Now, it's windy in our theoretical world, we need to make the snow pile up on one side and not on the other. So we are going to add a snow load. This is going to be just good in general. And yes, the melt directional can work. No, it doesn't work in my opinion. At least not for what we want to do. We want a low model scale, and we want to Do you want to melt it slightly. Oh, that's a little much. Just want to just a little bit. Let's put it right there. All right. Now, this is great, but it's not exactly what we want because it's on all the sides. I'm assuming in our theoretical world, the wind's blowing across really fast, which is why the ice spikes are all sideways. So we're basically going to make it so that the side on the wind has been blown clean of ice, but behind in the wind shadow, there's, like, little bits of snow that's been piled up. So we're going to grab out of here, we're going to get a angle. Angle is exactly what you think. It basically does one side. It's like a points and arrow at the mesh and all of the sides of the mesh that are close to the arrow, the direction the arrows facing, they get shaded. White. I'm going to decrease to fall off a bit. Yep. Now I'm going to bring this out. I'm actually going to put this into a color erosion. Gonna be a bit interesting. But I do want to decrease this range to quite a bit. That way we don't. That's a bit bar. Oh, that's the wrong end of the range. Put them into a color erosion. This is a bit much. I don't want to transport that far, but I do want to colour hold all the way. And I'm going to plug this into the snow map. Plug that into the snow map. Yes, I did. And if I increase the intensity and all of this jazz here, you'll see it's basically like the snows piling up on one side, which is really helpful. I might increase the fall off on this. Let's preview the snow node real quick so that we can modify this to increase the fall off. So as you can see, it's like the winds blown this side clean and over here is kind of, you know, not. Now, I might control D, just duplicate this, plug it in again. I'm going to also do Control D on this one. Plug it in again. My bat. I was supposed to plug it into this one. And I'm going to preview unlock the preview, click on this one. I'm going to change the As Mth to 180, just go to flip sides. We're going to do all of this all over again. And we're going to plug this into the melt map. This is basically just going to smooth out these sort of harsh edges here, hopefully. We're going to melt this a bit. You might want to decrease the color hold on this and the sediment density. Was the blend. Sweet. That did nothing. It's unfortunate. I should be doing something. Might stick it there. Freeze a slip off angle. That way, it will pile up on side here. There you go. Now we're looking a little bit more real scale. Here we go. Alrighty. So there's our snow all pile up on the side. Feel free to screw around with all of these. Oh, that's much better. Okay. We're going to leave it right there. Feel free to screw around with all these values and on the color erosion, too. They're going to be useful. Anyway, we are going to go back to this again. We are now going to do a debris node. But this time, we're going to have probably about three times the debris. It's going to be quite a bit. We're going to have quite a lot of friction. And we're going to make the scale the size, sorry, the size 1-18. So basically quite big. We go to increase the debris amount because I'm not seeing any. Oh, too much friction. Sorry. My bad. Kind of want this to be everywhere. I was thinking. Decrease the debris amount like 10,000 1,000. And I'm going to increase the scale quite a bit. The size because we have bigger rocks now. I'm going to increase the amount multiplier so that we get a few more. There we go. Now, thinking about it, we would probably put this debris before all of this. This here is why we use checkpoint because now I'm going to have to select all of this. I'm going to have to put this in here and stick this into all of these outputs. Imagine doing this with, like, 20 nodes. That's why we do the checkpoint for the outputs. At least on the God, now this is doing something funny here. Et's maybe do that. Alright. We're gonna end up doing that like that. I'm gonna just remove this melt. I don't think it's doing anything. Just unfortunate. I think the transport distance is a little too high. Oh, there we go. Apparently, that's the only thing that's making out scene have snow on it. Huh. 26. Foreground Terrain Pass Snow Masking and Debris Detail: Welcome back to Blender and Gaia Master Class, procedural Ice world. Now we have our windswept rock. We are now going to go back to the debris and change it to sharp because I want sharp rocks. Okay. Now that's all done, we are going to output this into a checkpoint. I'm going to double click this to make it smaller, now we're going to do the colorization. So we are going to go and we are going to grab ourselves a texture base. Yep, I'm going to decrease the slope a bit. No flows for me. Soil and patches. I'm gonna decrease the soil a bit. This is going to be the rock, by the way, just here away. I'm gonna output this into it. Whoops, right there. Sat map. I'm going to choose a nice looking, banded one that showcases all of the detail without changing for that one. That one looks really good. Okay? Let's decrease the saturation. So it's gray, decrease the lightness because we're going to crank it up later. Wait, so there's our rock for now. We might actually want a different one. We want a lot of detail right here. That's like our outcome. That could be good. Yeah, I like that. And see, that's supposed to be green. Anyway, out of here. Another texted base. All of this jazz, no flows on this one. Definitely gonna have some chaos and a little bit of peaks. And we're going to output this into another set map. And we're going to choose one that look good on snow, so we want that detail everywhere. All that yellow one looks really nice. Yeah, that's going to be good. We're going to clamp this, the clamp Ah. Choose the mask option, please. Since for some reason, you can't see that guys being funny. Going to increase that. And then I'm going to mix these together. Oh. Don't forget, press G over here on this one. That way, we don't get any funny things. We're going to blend using the snow output. And we're going to blend 100%. Sweet. That clamp went a little bit bright, okay? Yeah, that's it. Okay. So now we've got our snow. We want our little ice peaks to be, you know, peaky. We want them to be ice. And we're going to grab. Let's see if we can do it with this. I know it didn't work before. But let's see if we can derive peaks. Yeah, I don't think so. I don't think so. We can try. We can try and clamp it. I'll clip my bad. Get this. Okay. Gonna have to do it the old fashioned way. We're going to come back to the snow. We're actually going to I think we're going to drive it from all the way back here. Once we do this, we're going to go height, which I spelt correctly. 100% correctly. We're going to. We're gonna have to do this separately. I'm going to unlock this real quick. I'm going to do the height range based off this real quick. Really quick. Don't forget that method we use. We're gonna use the warp, as well. Gonna do not a lot of strength and a little less size. Oh, a little bit more size, actually. I want the complexity. Roughness. That's it. Increase the roughness. Sweet. We're gonna export. And we're gonna export that. And we are going to export that. F three, in case you forgot. All right. Now we're going to go back to the builds. Gonna build this back at one K. I'm going to build snails and XR because I'm going to click on this and choose primary only. This is only going to output the height map. And now I'm going to go back over here. I'm going to go F two, and I'm going to call this color. Yes, I'm going to rename it. I'm going to go back over to the warp. Gonna press F two, and we're going to output Ice. Yes, I want to rename it. Now we've got that, and the color and the ice are going to be PNG 16. Got to look into PNG 64. Sound pretty good. Okay, save time. Make sure you're in the viewport. Sometimes it's funny like that. All righty. So I'm just going to preview this real quick, really quick, just to make sure it works. I'm going to output this into a SAT map. 90% sure it will work. We're gonna go blue. I'm gonna choose this blue color. We're gonna mix these with that. I'm actually just go to output a straight sat map from the snow. And I'm going to mix it with this. Pop inputs. Yeah. Okay. That's good. As you can see, okay. So you might want to decrease the height, the lower height because it seems to be it's bleeding onto the ground a bit, so I'm going to press F to lock that. I'm going to come back to the height. I'm going to increase the bottom range, just so it doesn't do strange things like that. I'm going to have to mess with this now, increase the roughness, decrease the strength a bit. There we go. Oh, I never figure out. So many programs like the size, the lower you get, the bigger it gets or higher you get, the bigger it gets. It's so annoying, but oh, well. I guess hire is more detailed. Alright, I'm going to set it right there. Yeah, we've got our little ice pieces, so we can delete this now and that as well. Se export time. You know, the drill. We're going to save again, and we're gonna click Export. We're gonna build it at one K. We're gonna Okay. Oh, yeah, Color erosion hasn't had the height connected my bad. I forgot I forgot about that. And we are going to click on the end one, do, do, build, start build, and we're going to save the cash built because it's already done. Sweet. Now we're going to hop back into Blender. We're going to turn off this gray mat cap because it's hurting my eyes, at least on this one. We're going to go back and do our camera view. We're going to shift right click and place the cursor right here. Then we're going to go Shift A, mesh plane, and then push the full stop button on your number pad to zoom in. Go up, you know, the drill, right click, subdivide, type in 100. You can't drag it, unfortunately. But yeah, I'm going to actually subdivide this one more time. Now I'm going to go and I'm going to go displace new and this button, open D. We're going to open up our file from Gaia. Builds Ice bikes. Ice course, foreground. And I'm going to grab the snow R. Okay. First order of business, back into Edit mode, vertices, deselect everything. Choose under select. You can go select by trait, non manifold, Brest delete, and then choose vertices. We're now going to go back out of Edit Mode. We're going to right click and Shade Smooth. And that's actually looking quite good. I'm going to on the modifier, I'm going to decrease the mid level all the way. And I'm now going to split my screen by holding up here in any of these top corners or actually in any of the corners anywhere in Blender, you'll see it forms this crosshair. You want to when that happens, you want to click and drag into the window you want to split. I'm going to lock it to the middle there and we now have two windows. This window on the right is going to be our viewport, and the one on the left is going to be our camera, which case, I'm going to press Shift Alt Z to disable all of the overlays. I'm also going to move screencast keys over. So that it's not in our weight. And actually I'm actually going to squish that over a bit. Alright. This is going to let us like I said, this is going to let us, do our positioning if I find my camera. Here's my camera there it is right there. Okay, we're going to grab this, slap it over, move it down. Do you remember? Where is the high point? Is the high points on this side, so we need to rotate at 90 degrees. Negative 90 degrees, sorry, -90. We're going to Z. I would advise against moving things on the Zadax only on the Zeaxs while on the top view, as it will usually move them very fast, which is unfortunate. I prefer doing it in the camera view, actually. Okay, this is a bit in the way. Let's have a look. Where do we want that spaceship lane? I want the spaceship to be, like, right here. So remember, we don't actually need this to be perfectly yeah, that looks good. It's a bit too all encompassing. It's all of the bottom. Want it to like. Yeah. Anyway, important thing to note, we haven't made it angle. So let's go back in. We're going to set the coordinates to UV and the direction to Z, and we are going to hover over and press Shift D to duplicate it. We are going to set this direction to Y. That is going to do our angle, and we are going to mess with it by rotating it until we find it correctly. Okay. There we go. Our spaceship is going to be right here on that little platform. A little bit. Okay, we might need to decrease the clip start on this, decrease the clip start. This will just allow us to get closer to the Oops, closer to the camera with our terrain. Don't really want it that close. Okay. Imagine how hard this would be with only one view. You'd be constantly flicking back and forth between them. There we go. You're gonna have that right there. Now I'm going to quickly let this back on. So we have our rule of Thirds here. I want the spaceship to be right on the rule of thirds. So it's going to end up right there. Wait. Alright, now time to work the magic. We're gonna go back into our shading tab. We're going to look at our lovely scene. Click and drag over both of these, hide both the fog objects. And I'm going to say, we're probably going to come back to this because I've probably talked for long enough again. Next time we're gonna come back. We're basically just going to recreate this ice material. We could probably copy most of it, so don't worry. It's not gonna be too hard. But, yeah, that's it for now. I will be back in the next one. 27. Snow Shading, Subsurface Scattering, and Ship Grounding: Alrighty. Welcome back to Linda and Gay mask class. Procedural I well. Now, in our last lesson, we went over and created Guy stuffing Guy. We created our four grand terrain. Yeah, so that's pretty good. It doesn't It actually turned out really well 'cause we have this lovely well, at least I did. I have this lovely little platform here to stick my spaceship on. And you can't even see that line that ended up in the train at the end. But, yeah, that's super satisfactory. That's really good. Now, what we're going to do? Now we're going to recreate our train material over here. So what we're going to do, we're going to go new. We don't really need to do too much for this one. We just need to go control add in that builds foreground the color out. As you can see, that's made our color out. Oh, let me just zoom in real quick. Yep. Hey, look at that. The colors even line up. The angle even lines up, all of the snows on the right side since the winds blowing from this direction over here, bring across that way. That's nice. I wasn't sure whether that would line up properly, but it does. That's pretty good. Alright. Now what we want to do is we want to add in our ice mask, which we're going to do by control shift D. This way we duplicate it with all of its other things, and we're going to choose the ice out, which as you can see, will shade all of our little peaks. White. We're gonna go over here. We're going to grab the ice shader from somewhere on the right material? Yes, I am. Where's my ice shader? Oh, it's down here. Okay. Oh, it's all of this. Okay. Why is that? Not together. Okay, we're going to select all this. We're going to go control seat. Grab it all. Gonna come down here and we're going to press Control V, paste it all. We are going to immediately stick this shader, this add shader into the volume, and we are going to control shift right click and mix principle and our mix shader from the ice down here, and we are going to mix it based on that mask. As you can see, we now have ice. Oh, that's a lot of volume. We now have ice over here as well. Sweet. That is super good, even though you can't really see any of it. Oh, well. Anyway, we are going to grab ourselves and Ise dexter real. No and a bump node. We're going to poke the bump in the color to the height distance to one, drop with left click so we can preview it. We're going to increase the detail. And we're going to plug this into the principal BSDF. Now, we might want to make a nice snow material. Since this is up and close, just a diffuse white. Probably won't work. I'm thank you. So I'm going to just finish this bump real quick. I'm gonna look at the bump. Now we're going to mask out on the snow, so it's only look at the rock. That actually doesn't look too bad to me. I'm gonna decrease it just slightly, though, just so that we don't have any shading errors later. Okay. We're going to go back into Guy because we never closed it. You should never don't you should know you shot shouldn't never close Guy. We're going to press F three on these again to unexport them. We're going to come back to the snow and we're going to choose the snow option as well. So this is and not the out. We're now going to set this to a PNG 16 because we're only exporting the snow mask. This will allow us to mask out basically like the ice. We're going to mask out the rock we're going to mask out the snow from the rock and the ice so that we can give the snow a different material just like we did with the ice. So I'm going to save this again, and I'm going to build. Save cash build, and we're done. Alright, now we're going to go tov D again. We are going to move this up here. We're going to open up that, go back up on wearing a new one and choose our snow mask. And as you can see, we've got our snow mask. Okay, we're going to ditch the snow mask right now. We're going to make ourselves an ice texture. I'm going to remove the volume as well, so it speaks up a bit. Now, ice is made using subsurface scattering or SSS. You can use, like, other things to do it, but, like, really, I would suggest using subsurface, it just looks the best. I'm going to Okay, now might be a good time to turn on your scene world. Holy. Very bright. Okay, now's a great time to go to our world settings and set the strength to, like, 0.5, because that's really bright. Yeah, why was that not like that before? I'm gonna run with 0.6. Okay. Let's set this back to object. It's a bit odd. Um, are we sure we haven't got, like, another light now seem? Because that is very, very bright. You know what we might do. We might go back to the world settings. We're gonna do one of my favorite things. We're gonna control shift D and we're gonna look at this. We're gonna mix it. We're gonna add in the light path. No, the most interesting node you'll ever see. I promise you, this is so much fun to use. Okay, what we're going to do now is we're going to chuck the I camera rate into the mix factor. Now, nothing changes. So basically what the ICamera rate is is as you can see, sort of it's actually this is one of the few times you can actually see it. The ICamera array basically tells Solink whether you're looking at it or not, whether you can see it in the camera. So let's say I had Let's actually demonstrate this. Let's say, Okay, so I've got two white backgrounds here. I'm going to set the strength of these both to one. I'm going to set the color of one to be brilliant red, hue, zero, red, and the other to be quite bright blue. And as you can see, because we got the 50%, you know, it's purple, but anyway. Oh, if we look at this, you can see that this is coloring all of our ice here white. And if we do it this way, red, sorry. And then if we do it all the way, this is blue. If I put the I camera ray in here to the mix, what's happening is we're seeing the sky, so it's shading it blue. But the bounce light is seeing the effects, all of the all you can see all the train is red tinge because the train is seeing the sky as being red. It's really fun. So the easiest way I can say is the camera array, basically, you can switch between what you see and what all of the light bouncers sees, which is really helpful. If I go all the way back here and reverse all of this back to where they're both 0.6, I stick this back into both. What I can do here is I can mess with this one. Okay. So as you can see, this is the one that controls the lighting. And this one here is the one that we see. So I want my sky to look like that. But I want my lighting to be a little bit darker. Just a little bit. As you can see, we still have quite a bit of lighting over here, especially if I crank up the subdivisions so we see it all. Yeah. Okay, I'm going to now go back to my object properties and wonder why my subset for scanning is not working properly. This is just pure white right now. Oh, you can see it's starting to work now. Now it's not blinding white. So I'm going to tinge this slightly blue. I'm going to add in this bump map into the normal. Actually, you can actually do this. We might actually do this on the subsurface in here. Do we have a look at this real quick. Oh. Okay, don't forget to turn the roughness up. I forgot about that. In here, we want to turn up the subsurface. But first, we're we're gonna we're going to do the subsurface for some, so we're just going to turn it all the way up for now. As you see, here we go. It's instantly looking like ice if I set all of these to one, so it's not red. In fact, I might set both of these first ones down a bit. This is RGB, by the way, I know it's a vector, but it's technically RGB, so this is red, green, and blue. So we're going to just decrease these slightly until we get that blue tinge in there. I'm actually going to increase the green a little bit, too, so it's more of a cien tinge. Okay, so we've got our ice now. It doesn't look too bad. I'm going to increase the scale, so it's oh, got to be careful here. That looks good. But as you can see, it's screwing with our rock. So what we're going to do is we're going to choose the snow out. So we've got the white is one and the black is zero, so it's going to turn on and off the subsurface based on it. We can plug that into the weight. If we look back here, we've now got that subsurface without the rock looking weird. Sweet. There's our snow and our ice. We're cooking. I'm going to grab that slug slap that back in there. Now I've got realistic snow. Pretty good. And even better. I actually decreased the normal because we increased the scale. It decreased the normal strength on it, basically. Subsurface is own thing. I could yap about it all day and probably tell you nothing, but, you know, I touch on it. It's useful in some situations for me, but not enough. But yeah, Okay, that's our done. Sweet. Now we can go back here, and we can position our spaceship now. That's the last thing we're going to do today. But yes. So we're gonna go here. We're gonna right click this, and we're gonna go select Objects. As you can see, under here somewhere is our spaceship. There it is. And we selected it all. We're going to bring it all Wa Okay. My bad global transform. We're going to bring it all the way over here. I'm going to click on the main body, Shift desk, selected, to move this over so you can see all my things. I'm going to go Shift A and go empty cube. Now I'm going to scale this up so it encompasses the whole spaceship. I'm going to select everything on the spaceship and make sure that this is the empty is the last thing selected and press Control P and to keep transform. This is basically going to lock everything to this object. So when I move it, everything else moves, but I can actually move everything individually inside of that, which is really useful. Alright, now I'm going to shift right click and click on where I want my spaceship to B. I'm going to scale this down quite a bit, and then I'm going to go Shift S and do selection to cursor, which is going to snap that over there. Unfortunately, I didn't scale it down enough, as you can see, quite a big spaceship. I'm going to scale it down quite like that. Now I get a position. I'm going to just look it here. Scale it down a little more. I'm going to bring it over here. I'm going to hide the camera for a sec, rotate it. This is the fun part. I know I've got an add on that does this really well. It's called Drop it, I believe. I'm not sure whether I could use that, though. I don't think that would actually work for this, which is unfortunate. Yeah, I'm going to position my spaceship down here. Actually, I'm going to be smart about this. I want the lines of the spaceship to point towards these things. So I'm gonna rotate my spaceship like that, and then rotate it upwards. I'm going to end up modifying the landing gear to fit on this better. I'm actually going to rotate this a little bit like that. But now, I'm not going to include a person, but you could in theory, right here, you could like if you have the add on enabled, I'm pretty sure this one actually comes with blender, and if it's not, it's in the it's in in the extension, sorry, lost my thoughts there. You can add in a human form. And you could, you know, go over here and you could add in a dude right at the end. You could be looking out, you know. Hey, what's that over there? You know, You know, you can do that. But I'm not. I don't like that. I actually don't like people in my renders. But yeah, we're going to have our spaceship here. Now, the important thing is our spaceships. Landing gear isn't landing properly. So we're going to go down here. We're going to switch this to medium point and local. And now we are going to adjust. Actually, we're going to switch these to this to Act development, which is the one over here. I'm going to rotate on the Xxis. This should be on Act Development, my guy. That is not working. My bad. Okay, we're gonna basically just position these. Yeah, we're gonna we're gonna use local. It's gonna Let's place this first. Let's see if we can stick this down. Want it to be slightly in on both sides. And I'm going to grab both of these, and rotate them along the y axis. These in. This one is way too far down. So I'm going to bring this back up, fit it to the surface. Now it would probably be a really great time to add a subdivision here, by the way. So let's press Control, too. Just go to add it down here and we're just going to drag it all the way up to the top. Sweet. Adonis is going to be a bit fiddly, I know, but unfortunately, that's the way the cookie crumbles. Also, if you didn't know, while you're in both global and local mode, you can press, if I press G Z twice, because I'm in local mode, it's going to use the local axis, but I press it again, it's going to use the Ooh. If I press Z again, it's gonna use the global axis. If I'm in global mode, if I press G and Z, it's going to use global access, but I press Z again, it's going to use the local axis, which is kind of useful. Useful to know. As you can see, that's there, that's there. And this one here is way far off the ground. Oh, no, it's actually nearly perfect. Damn. But and that one we don't need to modify at all. There we go. Our spaceships on the ground now, even if it looks a little weird sometimes, you'll be able to see it with the shadows later. Alrighty. And there's our spaceship, well, it's cool stuff, and it's sitting there. Yeah. This is nearly the scene set up, done. Yeah, nearly done people. We're nearly We are a few lessons away from ready to render. We've got a little bit of polishing to do and maybe some effects, and that's going to be about it. But yeah, Alrighty here ends this lesson, and I will see you in the next one. 28. Optimizing Subdivision and Atmospheric Fog Integration: Welcome back to Blender Angya mask class. Procedural ice well. Well, like I said, we're nearly done. Just some minor adjustments. And I remember from last time, we didn't actually texture or make a material for the landing gear. So we're gonna be doing that, if you have a look here. This loads in? Oh, yes, we're using a high subdivision version of this. Okay. For now, let's turn off the subdivision on the foreground. They'll just let us load in a little faster, maybe. Go. Anyway, so we're going to make a little bit of texture for the foreground, the landing gear. And then we're going to do some slight fog adjustments because right now, this little piece of even though this little piece of land is quite big, technically, it doesn't it doesn't get any of the fog, the atmospheric fog, which is really ee. Phone 3 minutes earlier. Oh. Oh. Oh. Okay. Oh, that's another good point. Since our spaceship is no longer flying, we don't need these lights in the engines to make it look like it's. Where are the lights in the engines? Yeah. Hey. Oh, useful to know. You can I'll click on something, select everything through it. So I'm just going to click Delete that one, delete that one. That one. That spaceship isn't really flying anymore. It doesn't need like Okay. I'm going to hide this for a bit. And these fogs hoops. That way, it's just a spaceship. Okay, am I going fast now? Oh. A sub tips back now. Okay. Let's go back in the shading 'cause this is Oh, my goodness. There we go. We probably want to crank up the scale of this displacement now so it displays on here a bit more. We can crank this up to like 0.4. So it's all easily visible from the camera. Lights. The base. I am going to duplicate this, by the way. If you didn't know that little number there. This little number I'm going to duplicate this using this little number here. Well, basically, I'll duplicate the material and give it a new name so that you can mess with it again. Like here, I'm going to increase the scale to one because this is the base part of the ship right here. That's what's taking for enter end. It's this adaptive subdivision. What sub div do we have it on? One. Okay. To. Adaptive is really annoying to work with. Oh, that's why. That one's really high. It was the wings. There we go. Now you can see you can Oh, God. You can move the I'm sure you can see what's going on here. What we did is basically we made it so they're separate so that the ships can have higher scale than these because for some reason, they're better. I don't know. It's something special like that. Also, let's Let's not touch that. Let's increase the scale on this. Let's remove the displacement temporarily and look at this increase this scale till we get a bit more detail like that and connect the displacement again. There we go. Now we can maybe drop it down to 0.5. There we go. Now it looks more uniform. The important thing is, this isn't quite working. Let's make sure there's only one of these is there. Alrighty. Well, what we're going to do now is we're going to mess with the AO so that it does only in the cracks instead of the whole thing. Okay, we want the distance to be low. Do the only local for now. Low, sometimes it gets better. Okay. Anyway, we zoom in here. We can modify. If we go over here, the outside starts to get emissive. Also, probably a good idea to add another black stop over on this side that way. Basblin has a tendency to leak its color all the way to the end of the ramp, which is not good if you need it for emission because emission will boost up even those really low levels of value all the way up. Oh, there right there. That's really good right there. Come back over here. And There we go. Now it looks like, oh, goodness. Okay, let's decrease this strength real quick. That's better. The intention was for this to end up like be flying. So all of this would be really bright and you wouldn't really see it that much. But now it's here. It's very close by. Red. Much red. Anyway, I think I can live with that. Would like the inside to be a little bit more varied, but I can't always have everything. Let's try increasing the distance again. Alright. I'm gonna roll with that for now. I really would like to improve that, that might come a little later. Right now we need to give these some material. Now, of course, we're probably just gonna use this material here because that's we want the ship base. Yep. Okay, now I'm going to go to layout. I'm going to un rendev that. I'm going to zoom in right here. I'm going to select all of the individual parts for this. Well, in fact, we can probably if I press this here. Go like that. We can just hold Control and deselect, D box select that, move those to make sure they're all the ones that I've got selected. And if I check here, that's got the ship base. We're going to go Control Link L to Link and M to link materials. Now if we go back to the shading They all have it. Sit. Let's go. Hey, that's a pretty cool shot. Anyway, yeah, so now we need to do a little bit of work, making sure that this Oh, that's right. I hit everything instead of where is the rest of my scene? If you have a look here like this, do it in the layout. If you ever look at the layout, you'll see that all this is this nice fog covering it, but this doesn't here. And we could adjust this by making we might adjust it, I think we're going to end up adjusting it by making both of these bigger because the fog works based on size. Let's do that for a second. Now remember how we linked all of these together. Splender stop scratching. We can now scale all of these up uniformly without having troubles, so we can just grab those and scale up. We're going to have to find that spot again, though. We're like there gonna move it over. Down, I've got it. This is a good time to make sure that you aren't using local, as I've just noticed. But if any of your transforms are not working, make sure that they're on global and it will probably fix it. But Alright, useful thing to know that you probably already know. If you press G and then shifts Z, it won't move it on the z axis, but it will move it on the X and Y axis. So when you press Shift before K or an axis, it will exclude that axis instead of doing that axis. I go over here. So you want this to be a bit bigger. Yeah, like that. Now, I'm kind of making this a moot point because it will automatically happen in orthographic top view. Okay, now we're back here. But all of this is now much larger scale. So hopefully, when we come over back over here and we render this, we'll open up the rendee. There we go. Now you can see that fog is starting to become it's starting to integrate part of here. Ah, okay. So we've got to go back and work on that. Joy. I just fix it. Oh, well But yeah, this looks much more integrated, at least to me. Like, before it was really sharp, the foreground terrain was really sharp, oops. And the background terrain had all of this lovely depth fog on it. But now it looks like, you know, it feels more integrated. Right along this edge, you can see it's starting to get some of the fog. Even up the top here, it's much darker than it was before, I'm pretty sure. Yeah. Right. We might add in some slight details to this. Yeah, we might we might add some details in here, but I think I'm going to do that. That's going to be next lesson. Excuse me. Yeah, that's gonna be the end of this lesson. We're gonna come back in the next one. We are going to make sure all the materials are absolutely perfect. We're going to add in a particle effect. This might be the next lesson after. We go to add in a particle effect. And I think we're going to do some compositing and render then in the next one after that. There's only three more to go, at least by my calculations. But, yeah. Alright. I will see you on the next one. M 29. Creating Realistic Snowfall with Particles and Volume Fog: And Welcome back to Blender and go mask class. S your ice well. In our last lesson, we did some polishing. We fixed the terrain scaling issue, and we added materials to the legs. In this lesson, we are going to hop over the shading tab, and we are going to fix some things in the shading. If I come back here and have a look through our camera, this ground here, it's looking a bit dull. So we're going to click on it, make sure that we've got the actual grounds the foreground selected. We're going to press the slash key to isolate. We're going to zoom in. We're going to use the camera view, and we're going to go over to this bumper node right here. This bump node, we're going to increase the strength and the distance until it doesn't. I was going to say two. Now we've just got a little bit more detail in our terrain and our snow and rock, and it just looks better, in my opinion. It looks more like rock. Yeah. I'm going to heft this and plug this into the vector. Review this, and I'm going to increase the detail and the scale on this right here. I'm going to oops. Gonna go back into the camera view. Then I'm going to plug in the shader. Whoa. Okay, this is a bad idea. All right, that's a bad idea. That usually makes a really nice rock texture, but okay. All right. Okay. All right, we're going to come back out with slash. We are going to then proceed to click on both of the engines and press slash against so we isolate them. We come back and we are going to fix this. Come down here. We're going to select both of these, and we're going to go 0.7 Alt, hold Alt, and then press Enter. Sort link that between both of these, so they both get 0.7. There we go. Okay, that seemed to be the only problem. Sweet. That's done. I'm actually going to set these back up to 1.5, hold Alt and press Enter. Oh, I guess you can see I didn't have this one selected. Oh. Never mind, apparently, I did. Anyway, that will just speed up our viewpoard a little bit. And I'm going to click on this train back here. The big terrain. We're gonna zoom in. We're going to look at it quite close up. Now is a good time to turn back on the subdivision so that we can see our nice and high detailed terrain. Oh, I love that. So crunchy. A look at our ice. Our ice is very smooth right now. I know it's a logical outcome for being wind blown, but it's just a little bit much. So we're going to add in a bump. We're going to press Control T so that we can add in an image. We're going to delete the image and replace it with noise because noise is way better. And we're going to get it from object, increase the size, so it's everywhere. G used to detail. And we're going to stick the color into the height, set the distance to one. I preview this. Okay, I'm going to increase the roughness slightly. Oh, that looks so trippy. Um, so it's a little more uniform, and I'm going to decrease the. I'm going to try and leave it there. Now I'm going and I'm going to connect that in here and look at the principle of BSDF. Great. Now I'm going to grab all of this, move it down here. I'm going to plug this into the normal on the subsurface and hope that this, this shows up like that. See that all of that looking like ice actually does kind of look pretty good. As you can see, it is there ever so slightly. I set this back to point like four, where it's really prominent. Have a look here. Yeah, I actually like that better. Let's leave it there. That looks really nice now. It's got, like all the little bit of imperfections where if I didn't have this new thing you can do that you probably didn't know before, hold control, lt and right click and drag, we'll basically just disable a node connection. It's called mute Links, apparently. It's like pressing M on something. As you can see, we've gone from this kind of super smooth to having, like, the little imperfections. I really like that. Sweet. Now we're gonna come back here and wonder why we did that because it's completely irrelevant nearly. Oh, actually, it does make quite a difference. Okay. Usually, you don't see that. Okay, we're going to disable subdivision again so that we don't lag everything out. We are now going to What did I say we're going to do? Oh, effects. That's right. We're going to add in a snow particle effect. Okay, we're going to completely ditch all of our terrain for a second. And we're gonna come over here. We're gonna go mash do I want to do this? Yes, I do. I'm gonna go mesh circle. We're gonna set it from nothing to endgon and then we're gonna drag it all the way out over here. And then we are going to do something really interesting. We are going to open up our we're going to open up our add ons menu. And you're going to search for one called Copy. It's called Copy Attributes Menu. Now, this is also very useful. I would suggest just having this on all the time. It's just helpful like that. Is what we're gonna do. This is going to allow us to select our circle. Make sure you've done that. We might actually modify the circle first. Okay, we're gonna put this back in camera view, and we're going to you Like that. Okay. We're gonna have a look at our circle real quick. We're going to make it ever so slightly oblong. And we are going to we're going to apply scale. Okay. Now, make sure you've got that selected, and we're gonna zoom in. We're gonna find a claimer and we're going to shift, click our camera so that's still selected. And we are going to press Control C, which is the copy attributes menu, and we're going to copy rotation. What this is going to do is it's going to copy the rotation of the camera onto the rotation of the flat thing. So this is now facing the exact same way as the camera. That's relevant in a bit. Anyway, we're going to switch back to the shading tab. Now, since we have our circle selected still, we're going to press slash to isolate it. Well, okay, we're going to have to press it twice. My bad. We're going to go into Reneve. We're going to add new material. This is going to be called Snow Particle. This quite literally is just going to be actually, we might use the transparent the principle, are. We're going to decrease the Alpha just a little bit. And we are going to add a gradient texture. He put the color into the Alpha. Have a look at it. We're going to switch it to spherical, Breast control T to get our mapping slept object, and we're going to do scale on the YXspes. Yours might be different just so you're aware. We're going to put a color ramp in here and clamp out the white ever so slightly. And we're going to stick this into the Alpha and then have a look at it. Okay. So what I need to do is I need to set this to ease. Actually, let's set it to best Blaine, my favorite. I love best plane. We're going to do that. So now we have this sort of white particle. I'm going to give it a little bit of transmission. This is going to make it so that it can, like, reflect through. It won't be, like, really dark on this side. And yeah, you don't want you want it to have we might actually just give it 100% roughnes that way, that's much better. And we're gonna leave it as perfect white. Right, that's our snow. We are now going to come back over here. We're gonna go Shift A, mesh, cube. Excuse me. A, and it's perfectly on the camera. Let's scale it up. We probably want it to be pretty much the exact same size as the maybe not the exact same, but like it fits inside the foreground terrain. Alright, particle system time, we're going to go over here. We're going to click on the particle properties. We're going to p plus to add ourselves a particle system. We are going to immediately go down to the viewport and render options, and we are going to uncheck show emitter and both. Now, just so you're aware, you can't see it anymore, but if you click on it, it is still there. So you're aware of that. If you ever end up selecting the wrong thing, you may want to end up just hiding the particle system because it will cause issues. Anyway, if we play now, you'll see there's lots of little particles falling out, and they balling through the train, but we can fix that. What we're going to do is we are going to go under field weights and decrease gravity all the way down. This basically means when they get emitted out, they're just gonna keep going. Right, while we're here up to velocity, decrease normal all the way to zero. That way when they spawn in, they're just there. Lifetime we're going to set this to 500, so whatever something above your something above your maximum scene time. That way, they just stay there. Now, the one problem here is that they're all spawning on the surface. So we're going to go over to the source and switch it emit from faces from volume. We're going to go right back to the start and you'll see they're all emitting from volume now, insight. Sweet. That is exactly what we want. However, they're all coming in at a different frame. So we're going to set the start and end frame both to one. Now if we go back to the start, they all there already. Sweet. We actually might set this to frame 20, the end frame to 20. This is basically going to you'll see, and we're going to set the number to 2000 for now. We may tweak these later. Okay, we are now going to go and shift right click here to put our cursor over here so it's somewhere we can see really easily. And we are going to go shift A and add a force field turbulence. We're gonna move it up slightly. And it looks like an ED. The position of this does not really matter. Only thing that happens by changing the position, rotation, and scale of this is that you change the position, rotation and scale of the noise it creates. What I mean by that is if you have a look here, you can see it's emitting a noise force on this. If you ever use something like Houdini or Ambigen, this is a noise force. Now, we're going to increase the flow. Flow is basically airdrag. We're going to increase this to like five, I think. Actually, no. We don't want it to five. We want it to one, actually. And we're going to increase the strength to maybe six. This is definitely a lot of speculation here. We're also going to add wind, and we're going to rotate it along the Y axis 90 degrees that way. This way, it's going to, like, blow out particles across our screen. And we want it to be quite strong, actually, yeah. And now I'm thinking about it, we probably actually want the wind blowing the direction of the ice spike since that's how they form. Yeah, that looks pretty good. So we may want to end up moving our cube over here. Like that might make mine a little taller, as well. Alrighty. That's looking pretty good for me. As you can see, it's kind of blowing. It's like a blizzard almost, a mini blizzard. And once we get to about 40 where they've all spawned in, which is where we're gonna render, they'll all have motion blare all be great. Yeah. Okay, so we're going to switch back to the particle settings. And we're going to go from render to halo as render to object, we're going to go all the way over here to wherever our sphere circle is. We're going to click on the object, and we're gonna click on Circle. Now, they're all facing up right now. Remember how we rotated ours correctly to face the camera? Well, we can just go over here and click on this object rotation, and now they're all facing the camera. Also, scale randomness. Always, always, always do this. Okay. Now, as you can see, they're blowing by. We might want to make them a little bit smaller, though. I'm going to decrease my end frame to, like, here, 120. That way, it just loops back faster. I'm going to decrease the overall size so that they're more like smaller. Now I'm going to go and increase the amount to, like, 6,000 maybe. Yeah. Get behind that. I think I have a feeling frame 50 is going to be it. Alright, let's have a look at this in the rendered view. See, we've got that lovely thing we might actually add in. We might sneakily turn this back on real quick. I'm just going to show this in the viewport just to check if this will work. We might sneakily add in. On this object, I'm going to add in material. I'm going to add in a volume scatter, very, very sneakily add in an MI scatter. See if this works and make it slightly blue. I'm gonna have a huge diameter. Actually, no, we're not. So basically give us a little halo around the sun, almost. We're gonna call this MIE scatter. Because MIE scattering is actually a thing that happens in real life. Well, yeah, we're gonna leave that we might leave. We're gonna leave that at 0.007 for now. Anyway, we're gonna leave that for now. That's our ice. Hopefully, we're just going to leave that there. 30. Snowfall and Fog Polish Motion, Density, and Final Shading: Welcome back to Blender and Gaia Master Class. Procedural Ice World. Yeah, we're just going to leave that there. And now, I believe that is Let's do a preview render. I can tell this already this is already at 15 minutes now. So we're going to spend the next probably going to go to 20 minutes, and we're going to spend that last five. Rendering. Okay. Start off. Render preview. We're going to set the noise threshold 0.5, set excuse me, M samples to 128, the time limit to 30 seconds with the denoise of open image, accurate, albedo and normal high and use GPU, which for some reason, should be on. Okay, so this is going to basically render out a low quality preview. Of our image. All of these settings are relevant to your computer's computing power or GPU processing power. This works for me. I have a 30 70, so I have a decently high end computer. It's not definitely need an upgrade sometime soon, but still it can handle itself. So if you have a lower spec PC, feel free to decrease both the samples and increase the noise threshold. The higher the noise threshold, so the closer to one it gets, the lower the quality, the lower the sample MX samples is, the lower the quality. So I'm gonna press F 12 now and open up my render. This is gonna go. Do do do. It's gonna compute in. Oh, I probably should have decreased the subdivision on some of these 'cause this is gonna take a little while to bake in now. Ono. There we go. Oh, that looks suspiciously smooth over there. What is that? Oh, dear. Check what that is. I'm not entirely sure what this is here. As you can see, that's looking quite nice. I'm a big fan of that. As you can see, our ice in the middle is kind of taking it. Yeah, what is this? I wonder if we've intersected with the terrain, and I've just been too stupid to see it. We might have to crank up our volume fog Mometric fog. Ah, I think we have. Yeah, we have. Okay, we're going to grab the spaceship spaceship box, the little terrain and the snow, we're gonna move it up. Oh, and the camera. We need to select the camera as well. Don't forget. Let's just make sure that we've got that camera selected that we do. And we're gonna move everything up. Out of the train. I'm going to come back to the train, and I'm going to turn on the subdivision. It's just going to make sure that everything is in place. I'm going to crank this back down to two so that it doesn't go too high. And we press F 11 and look at this again. Okay, so we want the density on the volumetrics fog to go a bit up on all accounts. All right. Oh, that's the wrong one. This one here. We're going to look at this. We are going to leave that there, and we're going to go into the shading menu. So that's a little far. Now, we are going to click on our distance fog, and we are going to increase the density by increasing this multiplier value. So we're going to go to 0.5. And I'm going to grab the ground fog, come over here to the density here and set the tubes, you know, go back up to 0.1. And then at some point, I'm going to dear, what it out. Where did all of our new objects go? What is this? It's still on the scene. That's nice. Let's just name this snow system. Yeah. Sweet. And now we can click on that. We can come back here and we can make this 0.001. And, now we've got all of that. Let's press F 11. Let's press number two, and let's press F 12 again. So basically, what this is going to do is this gonna let us compare if we press one and two now, it's going to compare our current render to our previous render. See that has a lot more fog in it now. That's much better. I mean, if you like this lack of fog over here, feel free to not change anything. But, for me, yeah, it's gonna gonna have some changes. As you can see the height, there's a bit of height difference. But, yeah, I like that fog way better. Damn it. I wish 'cause now we can see past the horizon, it's really annoying. To high up. Okay. So we need to select this, this, our camera and our box. And we need to Let's try having this scale down again. Move it forward and put it down in this divot here. Let's use the Y frame that way, we're looking at it. Erect. Rotate everything up. I'm pressing RR twice here that way. I can tilt everything at once. It's going to look a little weird later, but hopefully if I look at this now. That's how it renders. Renders properly. At that Ah, but now it's in the way of the sun. Okay, we might go over to our shading and switch this to world, and we might rotate our world slightly. Let's turn off the fog, though. Turn off the fog. That's going to speed up the render time considerably. There we go. Okay, let's give this a crack. Let's go F 11. Oh, I accidentally press F 12. My bad. Anyway, same principle, we're just gonna let that render out. It's slightly better. Or if this didn't take up as much of the foreground as it does. Y. Oh. I guess that's just the way it is. Um, I do really wish that perhaps perhaps we can tilt down and have that. I don't really like the fact that that's gonna end up out at the top of the screen, but feeling that's the snow go. Oh, the snow system has been hidden. That's why. We're gonna grab that. We're gonna grab all of these again, and we're gonna try and tilt them down. You know what? We might go for the Hail Mary. We're going to move this really close into the divot. I'm actually going to come out of here. I'm going to look at it from a three D perspective real quick. We're gonna come out of here. We're gonna go right into the divot. Scale down. Move all the way down. We're going to come back in the camera for this to make sure that we don't clip in. Do. We are going to move to the side. Rotate slightly. Now we're going to look at it in Y frame. That's all there. Let's grab our camera and decrease the focal length and pan it up a little bit, like that. Et's see how this looks. A. That works. Now, if we pull our fog back, A, and it even integrates, that's nice. This is really nice. We're gonna go back, and we're gonna rotate our piece re just a little bit more that's intersecting, and that's not a great idea. I'm told I like it. We're gonna have it. I like it sort of leeching into that piece of ce. Okay, now we're going to go back to the object. We're going to click until we get out of terrain. I get to see, what happens if I increase the strength on this? Okay, it starts to look weird. Except this back to one. And I'm going to come over here. I'm going to disconnect both of these just so that we have our volume. I'm going to increase the density of the volume slightly and increase the power on the noise texture to like 200. Sorry, the emission, the emission volume. I'm going to link this back in. I go to say it's an improvement. Alright. Now, I've gone probably about 5 minutes over schedule here, so we're going to leave it here, and we're going to be back in a little bit to start pretty sure. We're nearly about to start compositing, which is pretty good. Anyway, I will see you in the next m 31. Compositing Snow Scenes with Motion Blur and Glare Effects: He Welcome back to Blender Angyamss class, procedural ice world. In our last lesson, we finished polishing. We reframed slightly, and, yeah, we tweak the materials bit. But now we've got to get onto our snow. Right now, it looks a little bit goofy. So yeah, I'm going to grab our snow object. I'm going to decrease the scale of this down 2.005. It's going to make it really, really, really small. Okay. Now I am going to go up in my particle settings. I'm going to go up to the cache option. I'm going to click Bake. Now, be aware this could take a while. It is going to completely lock blender while you do it. And you'll get a little progress bar down the bottom here saying baking point cache. Now, mine goes very fast, but yours might not go so fast, just so you're aware. What this will do is this will basically write down to memory where all of the particles go so that if you've ever used a simulation, you know you can't scrub backwards, unless you have it baked. So we now have it baked, so we've got it. Okay, sweet. Now, the important thing to make all this snow look really good is we're going to scroll down in our let just close all this up real quick. Scroll down in our render properties to motion blurt. We're going to check it, and we're gonna leave it on one for now. Going to make our snow go past. Right. I think we are about to start compositing. That's the go right now. So I'm going to press F 11. I'm going to switch over to here. I'm going to press F 12. I'm going to render. Alright. Now you can see the snow is a little bit better. However, it's only centering around the camera. Now, I know this does actually occur in real life, but we probably want ours to show up a little more predominantly. I've got a Okay, we're going to have to tweak that material, that rock texture. It's looking a little weird. I'm going to come over here. I'm going to go to this. I'm going to delete my bake. Going to increase the number to 10,000. I'm actually going to go 12 13,000. I'm going to increase the scale to 0.08 008. I'm going to go to the shading table and I'm gonna look and I'm going to click on my circle. I go roughness, bit down. I'm going to decrease the transmission weight just a little bit. But we can see it, but hopefully this means that we will be able to see the rest of it as well. Yeah. I might just add a little bit of emission to these just so that we can see them as being white. Right. We're going to hide this for a sec. We're going to go back to our foreground terrain. Now I want better rock right now. I'm going to turn on the subdivision for this object. So we got nice high resolution. And I'm going to attempt to build. I've tried to do this before, but hopefully it's going to work this time. I'm going to stick this into here. I'm going to increase the detail here. Increase the distortion slightly and the scale. Now I'm going to look at the principal BSDF. Decrease the roughness on some of these. Really? Really? Sort of volcanic rock. Othing I've got to get better at is building noise textures, things like this. Yeah, let's try that. Let's leave it there. I like that sort of rock sort of twisted like lava. That is, like, the idea of what this planet is made of. Anyway, stop thinking about what it could be This should be named for four TMAsh today. Or grand Terrain. Oh, my goodness. Okay, we're going to save the most important step. You should be doing this without me even telling you. And we are going to look at this again. And I think, yeah, I think we're ready to start depositing. I might actually decrease the strength on the big terrains bump because it is quite quite messing with that. If you like this sort of really detached actually, that looks fine once I'm going to decrease it slightly. That's just going to make sort of the inflections in it a little bit more prominent. Right, we're going to do compositing now because I'm not doing this anymore. We are going to press F 12, and we're going to render four the last time before we render full quality, and we're going to switch over to the compositing tab. Now, check use nodes if you haven't already and create this setup right here. Yeah, what we want to do is we want to add in a glenode. We're also going to add in a color balance, a lens extortion, which we're going to end right at the end. And we are going to add a Oh, yes. A ellipse mask. A blur node. Do this all while we wait for our render. Blur node, what else do we need? We probably do There we go. There's our render. Why is it not? Why do we not bake the cache? Am I just special like that? I think I forgot to bake it. Oh, yeah. My dad baked the cache. Frame 50. Make sure you have that motion blur enabled, and the things quite high. I should have done that before. Damn it. We're going to render out. Again. Well, that means we can get back our compositing tab. We are going to add in a mix multiplayer We're going to build this real quick because we can probably look at this without it. Okay, so we see the circle, make the cir called nice and big. You want it to basically be from the edge of the screen, the edge of the screen, and then grab both of them at the same time and make it a bit bigger. It should be a bit bigger. Anyway, we're going to plug this into the image, and we're going to look at this image. We're going to make the size something like 256. We're going to plug this into the multiply, and we're going to plug the multiply in the top here. Yeah, I think we might do it. We might actually place it after the glare. But yeah. So what this is going to do is this is going to add us. Actually, let's put this to 512 and decrease the size a bit like that. Now we're going to come up here and as you can see, this is a vignette efect now. We don't want it all the way, but I have to focus our image, our attention in the middle. We are going to increase it a bit more because I want it only on the edges. That way we can increase it here. Okay, so we've got about to Gaich. We've got a color beans, and we've got all of that nice snow seems to be absent down here. I might have to move it slightly. We are going to just open this up so that you can see really easy. Make sure it's on lift gamma gain. We're going to decrease the lift a bit. Lift is the shadows. We're going to make these a little bit more blue. We are going to decrease the gamma slightly and increase the gain a bit. Definitely, you want to play around with these until, you know, it looks interesting. I generally don't mess with the colors that much. That's just personal preference. Anyway, we're going to do that. We're going to add in a hue saturation value node. I wish I had their vibrance built into this. We're going to increase the saturation slightly, just slightly. As you can see, it's not a big difference. We're going to have that. Then we've got our image. We're going to preview the glare the highlight, sorry. Make sure this is set to bloom and high. You open up all of these. We are going to increase the highlights decrease the threshold until like a good portion of the scene. You don't want a lot, but you want the engine, you want the sun, and you want the edges. And we are going to toggle off clamp, and we're going to increase we're going to click back to the glare to increase the size and decrease the strength. That's very bright. Gonna look back over here. We might tint this blue. Look at that. M 32. Final Compositor Pass Motion Blur, Glare, and Output: Welcome back to Blender and Gaia Master Class, procedural Ice World. All right. We don't really need that much bloom on this image, to be honest. Like, if I remove that we have a look at our highlights, we'd probably get more. But anyway, we are going to now, we're going to actually add another one of these just because it's in the ice. There's something interesting that occurs in the ice. I'm going to disable this real quick. Go back to the highlights. I'm going to increase the threshold so it's just the sun. Probably go quite high here. And I'm going to switch this from bloom to streaks. I'm going to preview the glare. We're going to make six streaks. We're going to expand this out. We're going to increase the fade, or, sorry, decrease the fade a bit. No color modulation and increase iterations to like seven, maybe. And we're going to set this to medium. We're going to change the angle of the streaks ever so slightly, and we are going to decrease the strength. Just like that. Now if we ever look at this again, oops. I'd have to increase the strength now because we can't see it. You'll get this effect that you've sometimes seen, if I put this back on, we need we might set this to low now. Some reason the glare length changes depending on the the quality, which is really annoying, I'm going to set my to medium, see if I can get this fade all the way up. Now if we look at the image again, there we go. Now if we decrease the strength, even more. Let's set it to it. Let's type it in, actually. Let's go zero, zero, 01. Nope. Okay, let's go. Up now, zero, one. There we go. I want halfway, so I'm going to go zero, five, just like that. Sweet. Now we're going to go to the lens distortion, and we're going to click fit, and we're going to click on dispersion and go 0.01. That's not enough. Let's go 0.05. As you can see, Oh, that's a little bit much now, my bad. Let's do two. Two is enough. Okay. So as you can see, we've got this at the edge. So funny things going on with the snow up here, per se. Anyway, and there's our final composite. As you can see, we definitely upgraded it. Well, at least in my opinion, we did. I'm going to come back here and we're going to What's going on with that snow. I think we might need to increase the amount of time the snow is emitted for, so we might actually delete this bake crank this up to 25,000 and change this to 50. What this is gonna do now? Actually, I don't want it to be that high. I'm gonna go 15,000. This is just gonna. And then on frame 50, we're going to bake it. The bake doesn't really matter. I'm going to go on frame 50, and we're gonna render this again. Because for some reason, these are going sideways. Oh, yeah, also. I'm gonna B there's nothing over here. It's concerning. Anyway, I'm now going to press F 11. I'm going to switch to number two, and I'm going to press F two and render again. Also, save. Always good to save. A, and there we go. As you can see, the snow is still drping out. What the hell? Okay, we might I shouldn't be doing funny things. Try rolling back here. Okay, pro tip, if you press Control B, you'll get the box select. Now, this box select works in the camera view only. Oops, Alt B. Lb my bat works in the camera view. Later select part of your image to only render. So I'm only rendering this top section right now. So I was really good for checking if this is happening again. I wonder if it's just because that's the direction that it's coming from. Let's increase the wind speed and decrease the turbulence effectiveness. Increase this to three and increase the wind to six. Okay, now let's go grab our particles, delete bake and bake again. You can see this is more linear flow now. De. Let's try it again. There we go. As you can see, it's now more linear. Must have been what was happening is that the turbulence was pushing it back and forth, and it was just not happy. All right. Now if we go control Alt B. Oops. Roll S two. Troll Alt B. Josh ******* it. Alt, Alt B. Okay, that used to be Control O B. Ot B, we can now get the sort back, and we can press F 12 and render again. Hey, and now we're done. That looks way better. Um, yeah. I think we are done. I'm thinking we're done. Okay, so now is a good time to go through and crank up all of the settings on all of these and press render. This is it. That's it. We're done, I think. Um, I'm happy with this. This looks quite nice. Definitely a little different from my previous render, but I like it. We might decrease the amount of the strength on that that's looking very dark there. So we might hop over to here, back out of that. Here, find this and decrease the scale like point. Two. And do it over here as well. Two. Right. Yeah, I'm going to go crank up all of the subdivision levels on this. Four. Well, probably should not have done that in the viewport, though. As you can see, it's slowed down a whole lot. Let's set this back to two. Okay, that's better. And we're going to set this back up to four, two. Feel free to set this as high as you want. I not suggest going past five, especially with only one K image. I'm going to crank that up. I'm going to go in, and I'm going to crank up these sub dip on here. I'm going to set these to one for now because they're not really I think none of these are really very close. I'm going to set this to one, hold Alt so that we can multi do it. Oh, I forgot to turn on. Anyway, and I'm going to press render. I'll get back to you. I'll leave the recording on so that you can watch the render go. I'm actually going to Okay, final render settings. This since this is the final lesson, here's the final render settings. We are going to I'm going to open up my perfect one. We are going to roll with open image D noise, accurate, high, GPU, albedo and normal. I'm going to run 0.03. I've discovered it's actually better 0.03 with two k samples and no time limit. Now, to make all of this work much better, I'm going to go down to volumes, and I'm going to decrease the max steps to 64, and I'm going to decrease the step rate for both of these 0.01. This is going to make the volumes look better, and this is going to make the volumes render like about 20 times faster. I'm going to keep scrolling down now to where I get to the performance. Compositor already said GPU. I've using tiling, 256, curves and persistent data. Persistent data only matters if you've animated something. I'm probably going to animate this ever so slightly, just a pen, maybe something really basic, so it looks amusing. And, yeah. So yeah. We're done. That's everything. Um, feel free to set this to film. Filmic basically makes it look different. It makes the colors. It makes the computer interpret the colors differently. So if I look at all this real quick, and I set this from AJXTFlmic. You'll notice they get a little bit brighter and a bit more saturated, where AGX is a little less, and as you can see stand, it's even worse. I like AGX. I'm going to go punchy. That's grayscale. Or very high contrast. Let's try punchy for now. Idiom. No, I'm gonna leave it right there. I'm going to leave it right there. And that is my scene, minus the fog, of course, unfortunately. Um, I'm going to turn those back on. As you can see, it's taking forever to render out because I've cranked all of the settings up. Thank you for sticking with me all the way to the end of Blender and Gaia master class, procedural Ice World. I hope you have enjoyed building this frozen environment, and now you feel much more confident using both Gaia and Blender together in your own projects. If you have a moment, please consider leaving a review or some feedback, and it would help me make better future content, which would be good, too. Also love to see what you create. So please please do share your renders and experiments and thoughts. Uh, and thanks again for joining me on this, slightly long journey. Um, yeah. Thanks. And happy boat building.