Blender: Product rendering for beginners

1. Course introduction: The importance of Light is a measurable in blender. This course is specifically made for people who want to show off their 3D models in a professional and efficient way. The first three sections of this course who will explain what light is, what kinds of light we have and can use a blender and some handy tips and tricks using different light sources. In section four, you will learn the rendering pipeline for most products, you will be able to download all the 3D models needed for the last sections where multiple exercises are created for you. Thanks for considering this course and I hope to see you render soon. 2. 1.1 What is light: What is light? Light is not just the visible light, what we can see. Light can be broken up in different types, and we call the whole spectrum the electromagnetic spectrum. If you look at the top right, you can see that light can be created by making an electron oscillate. This creates an oscillating magnetic field and an oscillating electric field. This is what we call an electromagnetic wave, or light. Light gets presented as a wave. Light has a wavelength, frequency, and speed. Different frequencies of electromagnetic waves produce different kinds of light. If the light is visible, these frequencies will correspond with different colors. As you can see on the bottom right, frequencies greater than the visible light will exist of ultraviolet x-rays and gamma rays. And frequencies less than this will qualify as infrared or microwave or radio waves. Light has a speed of 300 million meters per second. 3. 1.2 Reflection + refraction: So now that we know what light is, we can also see how light reacts. And if we look at the mirror reflection, we can see that the light ray comes in and touches the surface, which is the incidence rate. It comes in at a certain angle. This angle is called the angle of incidence, and then it reflects. And this is called the angle of reflection, which is then just the reflected ray. So why is this? Why do we even need a notice? Well, you can see that we have a specular reflection, which is just, you know, which you can just see as a very smooth object, very glossy. But we also have a diffuse reflection. You can see that in the diffuse reflection, the surface is quite bumpy. And this also causes a different kind of light. And this also causes the light to be perceived a bit different. And I can show you right now with some water. If you look at these two images, you can clearly see a difference in the reflection. So on the left we have a reflection which is very much mirror-like. This is a specular reflection and you can see on the surface that is not very bumpy right? On the right though, you can see that the surface where the reflection gets reflected upon is very bumpy. And you can clearly see that the reflection is not as clear as on the left image. This is the difference between specular and diffuse reflections. This might not seem important, but the way that you lied a scene or an object can have major differences if it is specular or diffuse. So you want to keep this in mind and we will go over this in later parts of course. And now that we've talked about reflection, I also want to go quickly over refraction. It is not that important in this particular course, but the way that a light enters an object and then change the direction, that is called refraction. And it is different for each material, let's say. So what are would change different than glass, for instance? And here you can see it happening in real time. You can see that the light enters this, it's probably glass, and then change direction and then exits the glass again. The surface of an object determines which color gets reflected from the object. And that color ends up in our eyes and gets detected by the cones. What we talked about before, right? White light is off the course combined. So you can see that all the caller's gets reflected and that is perceived as white light. But on a black surface, you can see that none of the callers are being reflected and the object kinda soldier came out. And that is also why you probably should not wear anything black during a sunny day because it gets warmer. And with colors, you can see only the color that gets reflected. So here we have a red apple, white light shines on the apple and only the red light essentially reflects. And that is what we pick up. 4. 1.3 How we see color: How do humans see light? The retina of the human eye is covered in light-sensitive cells. Some are shaped like rods, and others are shaped like cones. The rods transcript mostly black and white information. While the cones transmit color information. We have three kinds of cone-shaped cells. Each is sensitive to long, medium or short wavelengths of the light, which also just means red, green, and blue. The cells will send information to the brain, then our brain can interpret them as colors. So essentially, our eyes can only see red, green, and blue like the main gars, RGB, and all the other colors are a mixture of these wavelengths and yet our brain kinda makes those up himself to how does ray tracing or Bender cycles work? It's quite funny because it's almost the opposite of what we see. So what happens of humans is we have a light, then the light bounces upon an object, and then the color's gets reflected and that is what you see, right? But with Blender cycles or any other rate racing rendering engine, you go from the camera and that shoots out array. And then that ray determines what color the pixel will be essentially. 5. 2.1 The lights available in blender: If you start a blender, you will start with this scene. This is essentially a camera, a cube, and a light. So we already have a light hair, which is very nice. This slide is a point light. But let's first look at what the slide actually does. So here you can go to the render properties and I'll change my render engine from E v two cycles. Now, I'd like to also activate my few ports shading. So this essentially is our view port shading and we can move our light and you can see the effects, the lighting in the scene. What is this slide? This is a point light. And we can chains of these options, but let me first edit skewed a little bit. So we can actually see these options in real time and just made it black so we can actually see the light. And what we can see here is the point light and how it works. So essentially the point light emits light in all directions. So if our rotated you can see it doesn't matter because it emitted in all directions. You can move it around. Of course, you can change the position, but rotation will not really matter. Four, What is this handy? Why should we use this kind of light? It is very handy for small sources of light. So maybe a light in a room or a candle. You can also eliminate one side of the scene and then change the other side of another kind of color. And you can of course, combine it with a lot of other light settings. It is one of the most basic and useful lights that is insert blender and you can use it for almost everything. So I also use it for products or even characters or creatures. But let's look at the options that we have for this light. This is a point light. We can change this as well to a sun spot or area lamp. I will go over these very soon. Let's stick to the point right now. We can change the color. As you can see. We can change the power, which essentially makes the lamp more or less powerful, admits more light. We have the size of the light itself, so it can make the size bigger. You can see that it's changing the size dramatically changes the way that it reflects here. And I will go for that later on. But it can be handy to make the lamp size bigger or smaller, depending on which kind of Shadows or how you want to illuminate your scene. And we have Max balances, which you normally don't really touch. We also have notes. So if you select nodes, you can see that we have some extra options here. These options were also show in your note editor here down below. So activating those nodes also activates this. You can see that we have an emission node color strength, and here is exactly the same. So if I move this around, you can see that this node also changes. This opens up a lot of creativity because you can, of course, add extra notes to this. Let's look at the sunlight. So here we have the sunlight and you can see that if you just expat sunlight, it's all the way wide, right? It's just way too strong. So let's put the strength a bit down. Here we can see that I create this area. It's literally just some displacement on top of hair. So we have kind of an environment and the Sun, it doesn't really matter where the position is because the sun reacts from within the whole 3D space. This essentially just shows where the sun rays will go. Because if I put it underneath here, you can see that it's still it doesn't matter where I put it. The lights will stay the same. If I rotate this though, you will see that there is a difference. Let me first rotated a little bit more like this, so we get some more shadows. And the shadow now goes this way, right? So we can see that the Sun is somewhere here and the rays go this direction. We can rotate this during the zed axis. And you can see that now the whole environment gets lit differently because the sun just rotated. In the sunlight. You can change the color, of course, you can change the strength angle as well as the next bounces. You can also use some notes, but this is essentially how the sun works. So what do you use a sunlight for? Well, it's very handy for environments, as you can see, which automatically also makes it applicable for exterior architecture renders. So archivists and even some nice volume metrics, indoor lighting. So yeah, you can also use this kind of light with multiple lights at the same time. Let's now focus on our spotlight. So this is the spotlight, as you can see, this what it does, it kind of looks like the Mr. Bean intro. And yeah, it does exactly what you can see here. We can change the power color, size, which essentially you gotta remember the sizes, the sizes, the lamp, okay, so it's this here. It will make it more soft the bigger it is. And we will go over that in another part again. But we can also change the spot shape. So now you can see that this cone that we have here is this shape. And then we can make it bigger or smaller. And this changes the shape of the cone. And we can also blended a bit more. So you have an extra middle. You can see it here. Let me put this up a bit so you can see it better. You can see that we have a circle inside. What do we use the spotlight for? Well, you can choose multiple things as always. But one very handy thing you've got to keep in mind is that this light actually emits light in the direction you choose. So it's the best use in scenes where you want to light up a specific parts or object of the scene, but don't want the light off anything near it. And you can, of course also use it to create some cool volumetric lighting. And the last option in this light section is the area light. And we can change the color Bauer shape. So normally it's a rectangle and we can change the size of it. But we can also choose a square, rectangle, disk or ellipse. We can change the size of these and of course also the bounces. So where do we use this light four? Well, the light's setting is very broad. You can use it as almost all of them in a lot of ways. And that is why I don't really have anything specific. It's kind of like a mix between the point and spotlights. But the spotlight that has a quite harsh light, that's like a hard shadow, but, and this light seems to be way more soft. And in the next part, I'm going to talk about other ways to light up your scene inset blender, which do not have to do with adding lights into the scene. See you guys there. 6. 2.2 Mesh as light: Make it lights from objects or meshes. This is one of my favorite ways to actually start lighting a scene. I most of time just to its fifth plains. So I use a plane instead of a cube, then go into shading. And I actually want to make sure I get rid of this material. So I created a new material, but I get rid of this principle shader that away. And I add an emission shader and the emission goes into the surface. And here we have a light. So I am going to cycles for right now, go into the shade editor and you can see that here we have our light. If we want to see if it works, we're just going to create another cube which is not lit. And I'm also going to create a plane so we can see some shadows. And I'm going to delete the light that is already already in blender. So here you can see that we have our light. Very, very nice and nice thing about this is, well, we can of course change it to whatever we want, but also we can see them in our scene, okay, so it's not that they are almost invisible because sometimes I feel like if you use a light, like an area light, it's kinda hard to see where we are in the scene. It's not, of course all the possible, but yeah, I prefer these to an area lamp. Another thing that I want to show you guys is that if your light inside your camera view, you can of course see it also in the renders. You do not want that and you can get rid of it very easily. Sometimes you can just put it out, but if the lighting is good, you do not want to move it again, right? So what you do is you select the lights, go into your object data properties, and go into feasibility here. Now you can turn a ray-finned stability of four camera. The light was still work, but we cannot see it anymore in a camera. A few, very, very cool. This slide of course looks good. But in a lot of photographs, you can see that they use a soft box. And a soft box is not just one plane of emission. It actually has a little bit of a fall off. It is brighter in the middle and then falls off towards the end. We can also recreate it very easily if some extra nodes. So here we have our material nodes and we can literally just put a gradient direction here. Oligos into color. And the normal gradient is linear. I'd like to put this ad spherical, but the sphere is not really in the middle. You just need to add a texture coordination node here and do object to factor. You can even put UV to factor, but then you gotta change it a little bit with the mapping note, it depends on which kind of model you are using because now you still have to change the location a little bit and try to move it in the middle and even scale it up or down. So let's just do the object for right now and forget about the mapping. If you want to edit this spherical gradient, then use click on convert a and add a color ramp. Put it in-between the gradient texture and the emission node. And here we have a color ramp. So you can move the scholar stops around and you can see that it changes the gradient texture. So essentially, you make it sharper or less sharp. And you can even add extra color stops are removed them. So this could be very handy. And normally I like to put this instead of linear two B spline. Not necessarily because it's chases the scholar, but more because the falloff between two of these columns stops, is a little bit more graduate and it looks a little bit better. So, yeah, you want to move this one to the left and round head looks quite a ride. You can change this color and maybe make it even a little bit brighter. So this is kind of how you create a more softer light for these emission planes. I hope you guys learned from this and I'll see you guys in the next part. 7. 2.3 IES light: Ies light. So what is an IES light essentially is just used as kind of a spotlight, but it has a changed distribution profile for the light. So if we look at a normal spotlight, i'm going to show you, or even a normal light. You will see that we have this result. So I just created a very simple background. You can see that the light is up against here. And I can change this led to a spotlight because this is kind of the light that is similar to the ones that we're going to use in the IES. And I have to put the strength way higher, otherwise we can't even see it. So this is what we can see right now. This is just a normal spotlight, but you can see that it does not look really realistic if we look at lights that might happen inside an interior. So if you look at your lights at your home or one of these pictures that I'm showing now, you can see that the light doesn't distribute the way that our spotlight does, right? You have some parts go a bit darker, so Ango brighter. And if we look at these profiles, you can see that we can actually have a lot of different profiles for this, which is very cool. So the only thing you have to do if you have to create an extra node. So shift a and you look for IES. And this only works for cycles. By the way, I'm not sure if the already referred for EV. It can just put the FAQ and to the strength. I can see that now a change. I'm going to put this, of course, a bit down. And you can see the difference that it makes, right? So here you can just open them and I'll just create a new one star point. You can see that it changes totally, right? It is not even the same anymore and looks way more realistic. So if you're going into interior or maybe even any outside scene where man-made lights are. You want to use this kind of lied, please do because it will make a huge difference. So where can you get these? You can get them from multiple sources. I got mine from terrible squids, but you can also go at the, I guess Leo moon. Just look up IES light download. 8. 2.4 HDRI: So what is an HGRI? And HGRI is a panoramic photo which conference all angles from a single point. You can use these to illuminate a CGC. And you can see here HGRI Haven has a lot of free HGRI Sergei like loads, as you can see here, for more than 400. You can also make your own, but I'll just start off hair and then just look what it does to your scenes. As you can see, there are lots of them here, which is great. And you can just download them. So you just click on one and then you can go here. It can download them as big as you want. And that's how it goes through two k, we're just normally not needed. I think I most of the time use 4K and maybe if it's really necessary, then I go to the eighth Gay. Let's go inside blender. And here I am inside cycles. I just have a sphere here. This is a glossy sphere and I have only this lighting hair. You can see that yep. Looks quite okay. But doesn't look very realistic. I don't think so. And you can go to shading, change this from object to world. You can see that our backgrounds always already has some live. And I love people don't really notice because if you delete this lamp, you can see that it's not totally dark. If you actually put the scholar to black. Now we can see that we have literary 0 lighting, but instead of changing this color hair from dark to light, we can also add an environment note in here. So environment, texture, color goes into the colour. And what you do here is you just want to add, so open and add an ID to this note. So here you can see that I have downloaded some Asia's rise and they are all from the texture haven. So just got them from there. And yeah, let's do this one reading room for right now. It will take a while. And now you can see that we have some lighting in here. Very, very cool. So literally this whole room will reflect on top of this little ball here, right? Very goal. So we can also change it to run. So maybe this one. Okay, Luay interior here. Let me delete this plane underneath and let's just focus on both the sliding. So as you can see, we can get some really realistic reflections. It's just because we have a HGRI, which illuminates the whole scene. And this creates a very realistic reflections as you can see. You can, of course, use this as a stand-alone lighting to really remake a really realistic scene. But you can also load a strength and a little bit and use multiple lighting techniques in combination with the HGRI. 9. 3.1 Main/Keylight: The key light. What is a key light? Your key light as your main light. You can also just call it main light. But for right now we just keep calling it key light because it has been mentioned like that in a lot of books. It is a light that sets the tone of the render. The key light gifts the most, the key that gives the object most of its dimension. It is essentially the most important light of your scene. So it doesn't matter if it is the light in front that shows off the detail here. But maybe you want a more of a dramatic scene here, or we can only see the profile that will also be the key light. It is just the way that you want to light your model. And then the most important light in that case. And you also base your exposure are grounds the key light. So now that you know that key, that is just the main light, it's just your main lining in the scene. Now we can go over and talk a little bit about exposure. So exposure is the amount of light which reaches your camera. It is a crucial part of how bright or dark your picture appears. Luckily, we are to the artist and we don't really have to think about shutter speed, aperture and all that stuff with photographs have to think about. And we have some tools to actually edit our exposure. So how do we expose an image properly? You are looking for the ideal brightness for your scene. This includes high levels of detail in both the shadows and the highlights. So let's look at the way how to do this inside blender. So here we are inset blender. And I want to show you we have one light in here, which is our key light. And I'm going to hide off all the other stuff so we can just focus upon our render. And dv do not really know if the exposure is good. So we go here into our render properties and somewhere you will find column management. I remember in some earlier parts or bread of rendered was a little bit lower. Just look for column Management and you'll be able to do this. So we have our few transform, which is filmic and filmmakers good. You should always render in filmic. But right now, we want to change this to false color. You can see that we have a very weird looking ukulele right now, and this is what the false color does. So there is a little chart with all the colors that we have. And you can see that if I select my light and I've put this power up, see that the colors start to change. So if we look a little bit at the colors, it goes from black, purple, blue, cyan, green, gray green, yellow, red, white. So if you overexposed something which will be in the why'd you will lose a lot of the saturation. So you just don't see any difference between the colors anymore in those, in the white areas. If you go lower than black, you of course also then see anything. So we want to stay at the 0 EV, which is gray. So it's your job to make sure your main light has a nice exposure and you want to look at some gray values in here. I always like to keep it a little bit higher than gray, just almost to the yellow, but that's a personal preference. So now if we go back into our filmic grammar, you can see that now we have a nice exposure, good exposure. There is one thing though that sometimes this is looks kinda blend. This has to do with multiple things. Of course, we only have one light in here right now, so it doesn't really pope, as you can say. But we can also change something here, which is called the look. Right now it is set to none. But you can put the contrast a little bit higher. You can see that if I put on high contrast, that the colors and the saturation changes a lot of this ukulele. So you can always try to go in here and change some of this to make your image, yeah, I guess a little bit more, make those scholars spoke out. So this is the key light and that is the exposure which we set by our key light or other lights will be a lower power than our key slides. And this is why you only have to really do it with the key light because the other ones are going to be lower and yeah, we will not lose too much information with those lights. I see you guys in the next part where we are going to talk about the fill light. 10. 3.2 Fill light: The fill light. Why do we use this fill light? What is the fill light? Well, it essentially already sensed in the name. It fills up shadows that we have created with our key lights are main light. So the fill light essentially is quite important because let's look here and now. What can we see in this image? Hair can even make it a bit bigger, to be honest. Here. We can see very nice sliding. We already fixed the exposure. We have a nice light on here, which is our main light, but it's quite dark down here, so we cannot see any shape here and it's just, it mixes with the background that we have. So I already create a fill light here and you can see what this does, right? We fill up these shadows. So how do we create the fill light? It's super, super easy. He just duplicate the key light, move it over to the side so I can do it again here. And make sure you put this power down though it has to be less than the main light, right? So I'm gonna put this, I'd like 20. Then if we go lower, actually ten. And this is really just to fill up the shadow that we have created before. And what I also want to show you is that every light that you create has to have a reason. You cannot just create lights because I do it, right? It has to have reason in your scene as well. So what you should do is turn off your key light and turn on just the light that you have created. It doesn't matter which side it is. Just turn it on and see what it actually does. So you can obviously see that we have created this sliding and that makes sense, right? So together they both make sense. And we can go on with the next slide inner seen. Do we need the next slide? Do we not? That is also always up to you, but there is another line that I want to talk about, the kind of two lights, and we'll talk about it in the next part. I see you guys there. 11. 3.3 Background + rimlight: The background light or a rim light, they're not really the same. But what you essentially want to do is you want to create some separation between the object and the background. So right now, I've created a studio which is black. And we already created a fill light around here. And you can see that it filled up this shadow, right? So we already have a separation between our model or our subject and the background here. But if we zoom a little bit in it, sometimes it's hard to see the difference between this part, the background. It can also be here. And you can also use the background or rim light to brighten up some edges just to make it more interesting and create some extra contrast. So I've already created one, bam, I put it in the back. And what you want to see with this one, let me actually show you where I put it. I put it here in the back, made it a little bit bigger. You don't really have to make it bigger than. It's just one thing that I did. But you want to make it less strong than the key light, okay. Make it less strong than a main light in your scene. And what I want you to see here, the separation between the model and the background is even more visible. You can see it very clearly when I turn it on and off. So here we create this very nice rim. The background light does not have to be just one light. You can put multiple on there and that's just all up to you. But as I said before, every light has to make sense. Don't just put in there. So if you hide the key light and the fill light, we can see that the rim light that we created actually does make sense, right? We create some light here and recreated a separation between the object. Awesome. So now you know the main lights in the scene and you can now start playing around with them. 12. 3.4 The position of the light: Lighting to me was always just some guesswork. I just did what I saw someone else do and I didn't really understand what lighting was. And this is also why I created this because I know a lot of people do this. You just have your key light on the left, you have a fill light on the ride, and then you have a rim light in a bag. And this is cool and all. But if you don't know what you are doing, you really not showing off your model, your prop or whatever you're creating, because you're just following someone else without the knowledge of what they're doing. I am not saying it is bad to follow other people's techniques, but if you don't understand the technique, then you know, it just doesn't work. So if you're actually going to look at the slide that we have here and the model. We can see that right now, this lighting position is down at the model. And the model is just looks like a black shape, right? It's due, looks very, very simple. Let me actually put this slide in the right position here. So now we can see that maybe our model looks very different than we had expected. And you can see that we have put some time. It's not a lot of this case, but sometime in our model to actually create the shapes. So even if you guys created amazing looking models, you still have to show that off if the lighting, right. So I see a lot of people that created just amazing models. And you might already think like, dude, I like my mother creation is just on par, right? It's just the randomness, just don't look like what other people do. And that has to do with the lighting. So here you can see that with just changing the position of your light, you can get more details. And remember that this is applicable to a lot of different rendering methods, right? So we have product renders. You want to show off your shapes, but you also might think of showing off certain features. If you have an on and off button, you want to show that. And that has to be done with positioning the light in the right way. If you have a creature and it has like a weird 2v or a scar that you want to show off. You have to show that with the right position of the light. And I can go on and on about this, but the position of light is important. And let's go on to the next part. 13. 3.5 Hard and soft lighting: When I want to explain something, I often want to have a image or something official to explain it because in my experience, I learned way better when I can actually see something or even touch. And the fun thing with teaching blender and TDI is that we are already working with some official, right. It is not something that I have to explain. If just numbers or whatever, I can actually show you what I'm doing. In this case. I want you to understand hard light and soft light. And we're first going over a few images that I found on this website. You can also go in the link, I will just put it in description down below. And what does essentially is, is it explains what hard and soft light is. And then I'll go into blend there and show you that all the things that we've talked about right now, which is in the real-world, will also work inside blender because it's a ray tracing random, right? So what is the difference between hard and soft light? It is quite simple. If you look at the image on the left, we can see that the transfer from the shadow to the light, It's essentially quite abrupt. This transferase called the shadow edge transfer. And if it's abrupt or if it's very small, the fall off, then it is a hard light. If you look at the rise, you can see a soft light and you can see that the lighting from the shadow to the light is very smooth. This is called smooth lighting. The shadow edge transfer is very smooth, as you can see and has a longer follow. If look at this image here, we can see a sun or a light, a shadow caster and the ground. So this will be the object and on the ground we will project the light and the shadow. If we look down here, you can see that we draw a line from the outer side of the light and draw it towards the shadow catcher. This area will be fully shadowed. But where does our light go? Well, we just draw a line from this outer sides all the way towards the shadow catcher and then this area will be fully lit. So you might already know that in-between here we have our partially shadowed area, which essentially shows the shadow edge transfer. In this case, this is a soft edge, as you can see, it goes very smoothly from the shadow till the lit area. This fall off is quite smooth, which creates a soft light. Now if we look a bit down, we can see that the shadow capture has been put lower. And this also creates a sharp edge here, which you will probably know that now this will be way more abrupt than here. So this will essentially be a hard light because this shadow x transfer is very abrupt. Okay? So how do we actually create a heart or a soft light? As you can see, the distance between the light and the shadow catcher means a lot. If it is closer to the model, we can see that we get a very big shadow edge transfer. If it is very far away, we can see that it is quite small. Distance is not the only thing that matters, because the size of the lamp also matters. Here you can see that a very big light can create soft shadow edges. And a very small light can create a very harsh shadow edge. You might think now, but a son is huge. It's so many times more bigger than the Earth. That is true. And it should create a soft shadow, right? But you can see that the sun creates a very hard lighting. This is because the song is very far away from the earth, so size and the distance is relative to the object that you are lighting. Keep that in mind. Let's go into Bender and we're just going to look at if this is also true for our shadows inside blender. So here we are inside blender with a very simple setup. We have a little light here, which essentially is just a sphere with an admission node. And then we have a cylinder and that plane where we cast our shadows upon. So what we've talked about is the smaller we make a light, you can see that the shadow gets more and more sharp, right? So I have to put a strength bid up. Otherwise it's a bit hard to see. But you can see that this shadow edge here is quite abrupt. If I make this lamp bigger, you will see that now we'll get away more smooth shadow edge. I will also put the strength that down because it's hard to see. You can see that now the transition between the shadow and the lit areas are way smooth for as you can see. So if you have a smaller lines, you can see that we get great some hard lighting. Create a bigger light. We get some soft lighting. Does this also matter for how far our lamp is a way? Right now we have quite smooth lighting. So if I put this away, you will see that we now of course need to put this up again, get a heart shadow x transfer again. So you can see that the distance and the size of the light meters, this creates hard or soft shadows. 14. 3.6 The uses of hard and soft light: Right now you know how to create hard and soft light and you know what they are. But what are the uses of them? The Hard Light has a very abrupt shadow edge transfer. It gives us a lot of definition between light and dark. Heartlands creates Violet's, they're very bright and usually fairly defined. And also shadows that are sharply defined. In product photography, it's used to exaggerate small details and to make certain textures more apparent. But if look at photographic for humans, it's most of the time to get a more of an edgy and contrast in your images. So it could be a male athlete. Sometimes it's of course, also used for women. But then you want to have a result with a bit more drama and contrast because it exaggerates small details. So it also exaggerates skin texture, wrinkles and acne. And this is why the most of the time you use soft light for female or for soft forums because you don't want those very, I guess, old looking details on top of the female model. But if we look at some outdoor scenes where you might have some rocks, then you of course want to exaggerate those small details. So hard light is very, very nice for that kind of stuff. So what do we use soft light for? So with soft light, it's easier to create feathering images. And it doesn't, it does kinda the opposite of what the hardware does. It doesn't point out the small little wrinkles or details. That is why a lot of people work with soft light and especially in photographic 40 humans or even if you look at creatures, right? But if you look at creature design, there are some creatures that you really want to use, some hard light width because she wanted to show the scales or the wrinkles on top of the 4k. But if you want a beautiful female character, you will probably use a more soft lighting setting. And also one thing you gotta remember is that light and shadow are both very, very important. You cannot have good lighting without shadows. So keep that in mind. 15. 3.7 Inverse square law: The inverse square law. So let me actually make a little light hair. Bam, I'm very bad at drawing as you can see, but this is a light. Well, this is a light way better. And we actually have some light ray shooting off of here. So now if we take a distance which will just be one, so from here to here, we have a distance of one. And this one, it doesn't really matter if it's one meter, if it's 60 centimeters, if it's like a food, it doesn't matter. The only thing matters that if you take the next one here, that this will be two of these. And we can even go 2345, doesn't matter. But let's imagine we put a screen here. So here we have a1 square and all of this light, which essentially just go straight, but it goes in different directions, right? It goes straight, but different directions will be cast on top of the square. But you will also be able to see that if you put a square here, to be able to cast all of these rays, we need to have a bigger square. So this square actually fits four of the small ones in here. And you can also calculate that. So 2x squared, 2x is 4x. Four of these fit in there. And you can imagine that if all of this light, which has been guessed and hair has to be a guest. On top of this one, you can see that the surface is way bigger and the light will be less strong, right? It will be less illuminated because the area is so much bigger. So let's look at three. So three squared is nine. Bam, bam, this is even bigger and this will be nine of these smallest squares. And you can see that now it even has more area surface to be little bomb. So then the light will be dimmer again. So let's go a little bit deeper into this inset blender. You can see that I just put a lamp here and then we have a certain fall off. So I have rendered this so we can just look at it in Photoshop. So here's our light. And then we have this Fall of hair from the light. So let's actually put a number at all of these stops. So here we have 12345, 678. And as the name already suggests, we have to square them the inverse square law. So to so every grab our Reagan machining or a calculator, whatever you want. What you can do is you can square all of these. So you can also do it out of your head. But if you're lazy, just one. And then you can see this square and the square of one is one, okay? So we don't really have to do anything. So here we have one divided by one. Here it will be one divided by four. And now if you calculate this, you get a percentage. So if we do one divided by one, we already know this is 11 out of one is a 100, 101% divided by four is 0.25. so if you want to, of course, make the percent that she do times a 100 is twenty-five percent. So the 3a1, number 12, we will lose 75% of our light actually have less of a difference. So between a 125 years, a huge difference right, between light fall off. But if we look at 78, it is like almost diminish evil. So why do we actually need to notice? Well, depending on where you put your light in the scene, you will have a different fall off of your light. And this can have paramedical changes in certain aspects of your scene. So let me show you some practical implications of the inverse square law inside blender. The first thing that I want to show you guys is this background. I want you to focus upon the studio here. If we look at this wall, we can see that here it's almost yellowish and here it gets darker and darker to almost orange. This has to do with the light. If you remember, if you put a light close to a subject, the follow-up will be very noticeable. So if we want this more of an endless background, instead of you being able to see this fall off here, then we put it backwards. We of course have to put a strength up and you can even play around with the size of the lamp itself. This of course, will also change the shadows. So you've got to just play around with that and see what works for you. Okay? So right now you can see that the difference is way less than before. And you can put it even further back and increase the strength more. So let's go to the next part. So here you can see a scene with multiple subjects. Right now, it's lit quite ok. That is because our light is quite far away. It could be further to be honest, but we have Skype with the same exposure on every one of these. Let's put a closer here. So if you look now, we can see that in this can hear the exposure looks quite OK. It's maybe even a bit overexposed. But if we look at this outer ones, you can clearly see that there are exposed and they don't have enough light to actually show off their colors. None of this is actually bad, but you have to be able to know why and how you do it. Because if you want to make a scary scene and don't want to make everything feasible. You might want to, you know, put your light closer so you can hide off stuff in the back. But if you want to show off all of these objects at the same time, then you probably want to move your light back a little bit and make it stronger. And the lesson that I would like to show you is the hardness of the live. So right now you can see that there is quite a contrast between the light and the shadow. And this of course, could be a choice to do. But if you move it a bit more Beck, and of course, with a power a little bit up, you will be able to see that now we see more of the face and the light is waste software. And this is the inverse square law. 16. 3.8 Rough and specular surfaces: The surface of the object also has a lot to do with how you should live your object. So right now we can see that we have a Christmas ornament or a Christmas ball. And the only thing in our scene is essentially a spherical light. This does not really look pleasing to the eye. And why is this? Well, that's actually changed the sphere. So I have instead of the sphere, output a plane here. And what it did is it just a plain and it has a emission chaos. So in photograph three, this would be a lightbox. And what we can see now is that this looks way flattering, way more flattering than our other shape. Why is this? Well, it's sometimes hard to say why it is, but I think it has a lot to do with the nice highlight that we get. Plus the highlight follows the shape of the bulb. So we really can see what the shape is. But does this also work if our model is not that shiny, right? If it's more rough, so we can more diffused light. Well, let's look at it. I'm going to put this roughness up 0.4, that this changes the whole lighting as well. Write the surface has now all kind of bumps on it. And what we get is a more diffused light. It looks okay. But let's actually change it back to the sphere that we had before. So here, plane light goes off. And we're gonna put a sphere light on. And here, after it has been loaded a little bit, you can see that this looks better than the shape from before. Okay? So what I also have here as something extra, which is called a white card or a wide-field card. It's just to create some extra highlights on top of your model. So this got, they used a lot in photograph. What you can do is you could give it an emission. But if you don't really want to light up your scene anymore, then you can just keep it white as I have here. I only have a diffuse, put it too wide a, you can see that it reflects on top of our shape here. If we put this back, like totally shiny, you can see that it creates some very, very nice and cool highlights. The thing that you should take away with this bark is that you should try to look at your model and really think also about the highlights and the shapes of the highlights. So you want amorphous square shape, which is very, very handy for maybe cars, you can see it a lot. Or is it a bit more diffused and D01, some more rounded, rounded shape lights. There is nothing good or bad, but you could see what the difference can be at certain parts. So play around with it and have fun. 17. 3.9 Separate objects with light: The separation between objects. In the last part, I already showed a background light or rim light to create some extra separation between the object and the background. But sometimes we also work with multiple objects. And how do you create a separation between them that looks also pleasing to the eyes? Well, right here you see three balls. And the light that we have here, carriages goes perpendicular in front of it. So we do not really get a lot of detail of the shapes that they have, but also how far they are away from each other. Plus the separation is quite minimal as you can see, there's just a little line here. If I actually show you the scene from the top, you can see that you might have not thought that it would have looked like this from a top, right. So what can you do in this case? Well, from the front that looks like this. I kind of made a little animation, so it moves towards the side. So reframe t10. It is at a 90 degrees angle a. You can see that we have a way better separation between all of these balls. But now we can't miss separation between this part and the background, right? So around here, I actually just brightened up the background to create also a separation between that and the ball itself. So you can see that our multiple techniques to actually make the separation between models a little bit more pleasing. Plus, you can change multiple things to create also a separation between the subject and the background, right? So lighting has to do a lot with this. If you change the position of your lights, we can already create more depth and separation between models. And you could lighten up your background or change the background to another color to actually separate it from the models themself. Because if I select the studio back here is create a new material and make it red. You can see that there is obviously now a huge difference between death and this, right? So that also creates separation. So now you've learned some cool techniques to create some separation between objects and the background. 18. 4.1 Introduction: In this section, I want to explain to you guys the whole workflow. From putting the camera in the right way to finishing all the way to a nice render. I don't think this is talked about enough. And that is why of course we are doing it where it is quite simple. And the nice thing about this part of the section is that you guys can actually start working with me. I know before this, there was a lot of just listening to me, just rambling about blah, blah, blah. But now all of the knowledge that you've gained before will be used in this practice and off the practices F, this will also have this workflow in mind. So the first thing that I'd like to do make actually a different collection for my studio, which includes the camera, lights and the studio, the background, let's say, and the studio. So right-click new collection, just rename it to studio. So if you start a blend that you can see that you already have a light and a camera. I put these two in my studio section. Why do I do this? Well, to be honest, sometimes the studio gets a bit full and if you want to edit something in your model, you can just hide the whole collection instead of having to turn off every single part of it. It's just very handy. It's easy and I am hang-ups and share. Did you guys use this? So in the next section we're going to talk about the camera. If it becomes 0, you're actually in your camera few. So you guys can already do this and I'll see you guys in the next part. 19. 4.2 Camera: Let's talk about the camera. So as you already know, when you click 0, you can go in or out your camera few. But how do we actually move our camera around? Well, you can just select the karma if you want to, and you can move around with G. You can also go up here and actually change the location, rotation or skill manually. But one of the best ways I know and I like to use is click on 0, go into view and put on lock camera too few. So now this line is here dotted. So what does this dotted line mean? Well, if we now just move around, you can see that our camera actually moves with our view. So I can show you like this as well. If we look here at the camera and I'm going to move around in this scene, you can see that the carma just moves with us, right? With a few. Very, very cool. So that is my, yeah, my favorite way to actually move my camera around. If you select your camera, you can go into the object data properties of the camera. And when putting down your camera, you obviously also want to know the composition of a camera, right? So here in a few per display, you can actually put on some composition guides if you want to. If you want something to be in the centre, now you have a dotted line here and here, and here is the center. You can use the thirds, which has been used a lot in movies and just normal photographs as well. And you can use any of these. And if these intersection points for your camera, very, very cool. Let's put it here for right now. Ok. It turns off if you don't want to see it. But let's talk a bit about these other options that we have here. So we have a lens and we have a type normally, et cetera, perspective with a focal length of 50. Perspective is mostly used because you have the option to go to orthographic or two panoramic, which actually only works in cycles, panoramic. But normally just use perspective. We have a focal length and you can change the focal length if you would like to. If you put in higher number, you can see that we zoom in. If you put a lower number, you can see that the B zoom out. Portraits we normally use around 50. That seems to be a good number. If you have products, maybe Jewry between 6070 might be good. And lower numbers are very good to actually show more on you see, so if you have a landscape, you might want to show more. So you might want to zoom a little bit out. So use a lower focal length. This also works for architectural remnants, or even if there are a lot of objects quite close to the camera and you want to show them all, then you can also use a focal length that is lower. Please don't feel constrained about any of these numbers. You can always just try out some new stuff, but this is kind of something to keep in your head. Then we have a shift. Let me actually go back to focal length of 50 and show you the shift. The first thing that you see here or that you might think, isn't this just rotation? It's not really. Let's look at this little gap between the cube and the camera line. You can see that this gap is quite narrow. Let me put back the shift at 0 and actually rotate this. So rotate z. You can see that now this gap is way broader. So essentially keeps these parallel lines a bit more like the should be at shifts the camera, it doesn't rotate it. So keep that in mind. It can be very handy. We also have eclipse starts and ends. What does this mean? Well, let me put the Crips out a bit higher. And you can see that we are now starting to clip through our model. This is not really nice and you can just change the eclipse starts, but at lower, or you can put the clip and a higher. There's also an option. This sometimes also happens in your few boards. So this clip start and end only has to do with the camera. If you feel bored, you have it in few, as you can see here, clips dot and clip n. We can even change our camera. You have some nice presets here as you can see. And normally we don't really touch any of these nicer. One thing that I do want to show you though, is the depth of field. For the depth of field work, let's grab, I'm actually gonna duplicate another cube, moved through the back. And I want to show you how this depth of field works. I'm going to focus on our first cube and I'm actually going into are few but shading, so we're rendering. Now, if you put this f-stop lower, you can see that this Q pair is out of focus and this cube is infos. It starts to blur out. These options below actually changed the shape a little bit of the blur. But the F-stop is the most important because Lowe reported the more blur you get. So you can of course, put a nice number which fits for your scene. So I could even create an empty, moves the bit out here so you can see it. Select our camera and do the folks object as an empty. So now we focus upon this empty. And what we can do is we can move this empty around. I can move it here. And now you can see that the focus is around hair and this will be blurred and the folks will be more on this empty. So this will be less blurred. So these are the basics of the camera. But why do we actually start with the camera? Well, I want you to put your camera in position before you start writing a scene. You know why? Well, let me show you. What if you want to render this part, you can see that it's totally LET wrong, right? This is just shadows. So that is why you first put your camera up and then you start to light your scene. 20. 4.3 Studio: So let's create our studio. It could be that you just want one floor. Maybe you have already a landscape you want to render then of course you don't really need to create this, but I want to show you if you have a product may be or just a object that you want to run there. We need to create kind of a studio, right? So I am going to click on shift C, just do, just so our 3D curses in a middle, grade a mesh, a plane and scale this bit up. So you can move this down. And at this point your camera should already be in place, right? So I think our cameras should be around here. And what you want to do here, you want to make sure that the that the studio or floor you're creating conference everything inside here. You could also render it without and create a transparent background, but that'll be in the extra, Okay, so right now you just want to select this edge here, actually upwards. And then you want to select this edge in the middle. Okay, go, gone for B and create some extra baffles. So if you click on for B, you can see that it's just, you can just slide it in and out. But if you scroll up or down, you can change the amount of edge loops that are going to be added. I'm going to put my hair. And then we can still see some of these edges. If you can just click on w and shades move, those edges will be gone. Goal. So now if we look from our camera view, you can see that this is not big enough. So you could do two things. You could rotate this or you could scale it up around the x axis. Both are good. It's up for you and what you really wanted to create in the end. So this is one way of creating a kind of a studio or a floor. And you can do lots of things here. You can give this a color, right? We can go in here, go to our shading, select RStudio, click on New and we can change the color. Maybe will keep it like bright, but then go a bit darker, so it's going to be black. And then let's look in our few ports shading, you can see what this does. So we could change the roughness or a little bit. And you can really play around with the floor underneath. You can either give it textures, maybe it's like a wooden planks could also look very cool. So now that we've created a floor or studio, so we're going to rename this to studio. And we have a camera sets right now in the next part we can start lining our model and we're just gonna do the three-point lighting as we did before because you guys already know a little bit what that looks like. I see you guys there. 21. 4.4 Lighting setup: So we can start lighting are seen in the first slide that we have, which is already active, is going to be our key light or main light. I'm going to rename it. And what I want to do is I want to illuminate this front face. So you could put it here and really emphasize only the front. But you can of course, also put it a little bit more back. And then you have also a little bit of light on top. So I'm okay if this, this is good. So the key light is set. But now of course we need to make sure that the exposure is actually good. When we put the key light, we want our exposure to be good as well. So let's change our exposure. Go here. Column management from filmic to false color. And I want a bit more contrast. So instead of a non, i'm gonna put this to high contrast. You have to put the contrast before you're actually going to change the exposure because you can see that it changed a lot if I have high or non, You can see that a change is quite much Awesome. So we are going for the grayish kind, right? So we want to grey, grey, grey. And what you want to do is go here to your lamp or light and then change the power so we get our gray light. Here, we have Gray. And I wanted to keep it a bit high. Integrate. Awesome. So this is what we are focused upon and this is kind of greyish a little bit higher, which I like. And now we can put our few transform back to filmic. And here is our exposure. Awesome. So now we can start to add our other lights here. I'm gonna duplicate it, moves here because I want to light up this shadow, right? If we hide this, you can see that there is a bit too much shadow for my liking. This is going to be the fill light. Click on 0 and the fill light has to be less strong, right? So I'm going to put this to 200. Awesome. Now, I'm going to check if I feel that actually does something. So I'm going to hide my key light and you can see that it nicely brightens up this face. These to work great together. The only thing that I want now is some back ground lighting. Here. I just duplicated monkey-like again, moved through the back and this going to be the background lighting. You can see that these shells here are quite harsh. I don't want that, so I'm going to make my size way bigger and I'm gonna put the power down as well. In this case, I'm going to put it at like a 150. Let's look if it actually does something high to fill and a key, you can see that it nicely lightens up this part. So if a cube is of course a bit hard to really get some cool renders going. We might want to put it a bit more hair, so it brightens up this part. But later on we of course go render some other models and then we can have so more emphasis on the rim light, AM Yes. So also rename this background or rim light. And here is our lining setup. In the next part, I'm going to talk a bit about rendering this. I see you guys there. 22. 4.5 Render settings: Rendering our model. Okay? So I want to talk a little bit about cycles and how it works. So cycles kinda renders in tiles. So right now I'm randomly with cycles are devices, the CPU we are rendering at a 128 samples and the few port at this moment is 32. So what does all this mean? So essentially, the higher you put the samples, the higher quality you have. And a few Port means whatever we see now in a few boards at 32 right now. And the render, if you click on F 12 or click on Render, render image, you will see a 128 samples. It doesn't matter where I am actually looking. If you click on F 12, it will start rendering from the selected camera. So if I click on F 12 right now, you can see that it starts rendering. And these little squares here, these orange squares are essentially the tiles that we are talking about. So how to speed this up? Because sometimes it just takes weights along. There are multiple ways to do this, and there are also multiple ways to create a nicer looking image. So let's look. If we put this render ads, I know ten, we'll probably get a very shady result. As you can see, where we get a quite bad result. So what's implies a bad result? If you look here, you can see that it's quite grainy. We have a lot of noise. So if I put this 200th, we will see a huge difference. I'll stop it right here because we cannot see any noise, right? So that is one way to get the quality up. You can also go to light paths and you can change the bounces per specific thing. So if you want the glossy to look better, you can go up. If you want your transparency shade us to be better, you go up with this. You can create more quality, but keep in mind that the higher you put any of this, also the samples it will take longer to actually render. So you need to kind of find the sweet spot. And the sweet spot just depends on any Render you're doing. So you have to play a little bit around with it. So let's talk a little bit about speeding up the process. There are multiple things you can do. You can change the defies. So in my computer might GPU is better than a CPU. If your GPU is also better than a CPU, you can go to Edit Preferences, Click on system, and then you can choose your GPU. So it will be queued up for mine. And IFG force GTEx is 770, it's quite old. Budget works better than my CPU. So when you are rendering with a GPU instead of a CPU, also, the tiles should change, okay, if we go here to performance, you can see that we have a tiles. So first we have threats, which my, I put two outer decked. But you can also do it a fixed and you can do more or less threads if you want to do suffering in-between, or if you just want to have it rendered like form. So let's look at the tiles. At this point I have 64 by 64. If you look at this little chart, you can see that 64 by 64 works quite well for a CPU, but 16 by 16 would work even better. You can see that the rendered times increase or decrease dramatically with the size of tau three US. So right now I am going to look at the left part of this graph and as our tile size for the GPU. So I want to have the top one which is 256 by 256. If I would run them now it will go way, way quicker. And that is one of the things that you should really keep in mind. So also a thing that is quite new, and there are multiple ones of these available, but there is something called de-noise her. So let's look at it. It is here in the few layer properties, de-noising. You can select it and you can also change some options. But even if you just keep it at this, if we can see that, let's render again at ten. Do you remember that we had that noise if I now run this F2. So what you can see now is that even with a lower amount of samples, we can still create a great looking render. So these are two grades, great ways to speed up the process and get nice results. So of course, this render kinda looks movie, but this is all the basics that you need to know. And now we can start rendering some nice images. So get your GPU or CPU ready. And we're going to make some awesome renders. So I'll see you guys there. 23. 5.1 Glass - exercise - on white background: Rendering glass, it can be quite hard and difficult, but the awesome cool ways to actually make it look good and in an easy and simple way. So here you can see what we're going to create. Its quite simple actually, the lighting is going to be the background. We just have the world as a light. In this case, I also put a light in here. It's not really necessary to be honest. But we have these blackouts and those are very, very important because let's delete them for a second. Look what we end up with. We just see almost nothing, right? So in rendering, just pure glass, you really should try to get some contrast going. And as already told you before, shadows are as important as light. So in this case, we need to create some shadows or some black reflections. So you can start blender and we're just gonna go over this whole project, okay, so you can join me with this. And the first thing that I do is delete cube and I'm going to import our OBJ, which is the glass. Right now it is huge. Sometimes this happens when you download it from our programs or whatever. You can just scale it down and just make it. Normally I would like to do with a real world scale. But sometimes Blender has a bit of problems when you use two small objects, right? So I'm just going to do something that looks okay right now. But normally you want to try to get the derived scale. How do you do that? Here? If you go to transform, you can see the dimensions, okay? So they'll probably be like, I don't know, 15 centimeters. So something like this. It just totally depends on the model that you make and all that shebang, awesome. So we have this here. And the first thing that I want to do is get some extra modifiers in here. Bam. And now we have a nice wine glass. Okay, so what's the first thing that we do after we have a model? We are going to create a collection and put a light and camera in there. So let's go to a camera. And what we want to do is we want to make sure we look in the right direction, right? We want to see the model. So we are going to go here into few, lock karma too few. And I'm going to go here. So I kinda want to have a front view. And when you just move it like this, you can see that all of your location and rotations are like off with as few or millimeters or degrees. So the ones that are very close now to 0, you can put the 0, this X1 is very close to 90. So that's putting the 90 and this 10 and the Y and the X actually show us yeah, this right, if it's like higher or lower. So we of course, also have a lot of empty space here. In this case, I will change the resolution of my camera. So you can go here into your output properties and then you can change the resolution, the X and the Y axis. I'll put it at 960 by 1200. So now we can zoom in a little bit more. And I'm actually also not very happy with the focal length. I already told you guys are probably go a little bit higher with the focal length around maybe 70. Maybe I even want to try a 100 with products. And then we have to go back to the y-axis. And what I'd also like to do here is I'm going to rotate it a little bit just so I can see the top rim. This rim here. It just has to do with the shadow that will give us later. I already tried this a few times out, so that is why I know. Okay, so let's say this is what we want. Awesome. Now we can start to create a floor. So we, before we ruin our camera, we just going to turn it off again. And now I can create a mesh and is going to do a plane, scale it up. And with this plane, I am just got an extruded. And we'd normally extra like this, right? And let's look what this actually does. It does create a line in here, which is not what we want. But first we need to check the material. So this is going to have a material which is just gonna be glass. So you can delete a principal shader is going to be glass, so just at a glass note in there. And then this one I wanted to make kind of specular. Okay, so create a new one. I'm going to just delete the principal shader and make it glossy. So just a glossy note. Dam and the glossiness is going to be all the way to the left. So let's go back again and we can actually look at what we have. Bam, you can see that we can't really see a lot. That is a problem. This is because we are inside EV and we should go to cycles. So cycle already works better. And now you can see that the bottles with graded actually creates a huge shadow, which I don't want to see at all. So what I want to do is I want to move this bar backwards just so we can see the shadow. You're always able to create some extra battles and hair if it helps to get rid of that shadow part. So now I don't have any of those belts anymore. So it's a little bit weird when you try to make a endless background. And this is, was just sort of Jesus have to play a little bit around. Most of the time you just put it up and you create some belts. Okay. This is one of the weird cases that it doesn't really work at that because our floor underneath has a mirror-like surface. Okay. So our lights I already told you guys that we're not really going to play around for flights. We're just gonna do what the background has. So the whole scene will get illuminated and gone to shading. And here we can go inside of objects, we can go to World. So let's go here to few port shading and you can see what this actually does. So if I put this color to way brighter, you can see that now we get a nice and bright color. Awesome. So front view, you can see that now we have, this. Looks great. We have a very cool reflection here, which I like. And we have our wine glass, which is in the middle of our camera. Gamma looks good and the light looks decent. But we can't really see it right. There are no shadows or lights to kinda separate this and set it apart. It just looks like we can see through certain stuff and we can't really see a difference between the glass and the back. How do we change this? Well, what we're gonna do is we're going to create some of those black planes to create those dark lines here. Awesome. So just create a plane, going to rotate it here. And we need to give it a new color. So here, go back to object, create a new color hair. And I'm really just going to use a diffuse or I'm going to delete the whole principle shader and just add a diffuse, the SDF. And then we make this black doesn't have to be all the way black. You kinda want to avoid all the way black or otherwise, but because that is not very realistic. So you can go a little bit higher. Ok. Now you can see that here we already get this nice shape in here. So you can move this part around, of course, rotated a little bit, and this changes the shape that this black part has. So when you're happy with it, just duplicated over. We wanted the same one here. And now you can see that we really can see our glass taking shape. The only part is here on the top. I want that to be a little bit more pronounced. So I'm going to duplicate this rotated bam. And then I am going to look for a way to make this look good. This one can be a little bit tricky, and you also don't want any of the reflections inside of your camera few. So make sure you fix that. And then now it is time to fix every little bit. So if you really want to move the camera now, it could still do it a little bit. I think I'm okay if it's maybe I wanted to have this a little bit more pronounced than I think I have to go a little bit more like this. It could also be the thickness of the glass itself so that sometimes you just gotta figure out, but I like this overall. I wanted a little bit more brighter. So into the world settings, I'm just going to put it a little bit brighter. And here we have a way better result. And I was really stuck through like this. You can also play around with the strength here. So maybe 1.2. And this will brighten up the scene as well. So if you're happier, if your end result, then you can start to render, right? So I'll put this to GPU. My Cycles Render at 128. I might put this a bit higher, maybe 250. And then I'm going to put the performance to 2562, 5-6, these tiles. Why do I do this? Well, where it talked about it before, this has to do because I choose a GPU. So let's say this is our render. Awesome. I want you guys to save it now. Okay? This do Save As and then as exercise glass or whatever. Because in our next part, we are going to change the whole scene and we're actually going to make a black background. It's going to be fairly cool and, uh, see you guys. There. 24. 5.2 Glass - exercise 2- bubbles: In this exercise, you will learn how to create something like this. So you remember we have the glass. So if we go and set Blender, we can already delete our main cube, go to File, Import OBJ, and import our glass. Now what we can see is we have some water in here and also some bubbles, right? So let's first create the water. It's going to be super simple. Just zoom in a little bit. We wanna go into top to go into edit mode, and you want to select a certain amount of vertices. So, yeah, just depends how full you want your glass to be. So I'm gonna make it something like this. Click on shift D, And then just right-click to make it snap back to its original position. But remember now it is duplicated. So now click on P to separate the selection. So now you can see that we have this part separated. Very nice. I'm going to select this extra root. Skill inverts, Extrude again, and then click on M two, merge its center. And I will create some extra edge loops in here, them. So this is essentially going to be the water, right? And we also want some bubbles, as you can see here. But let's make this water actually a little bit more sharp here on the edges. Something like this would work. Awesome. The next thing that we're gonna do is we are going to create some of these bubbles. How are we going to get the bubbles? Well, let's get our wine bottle again here. And we're going to select again. A few of these vertices. Runs. Here would be okay, doesn't have to be too specific. Now, do the same, duplicated and then separate it. And from the separation, we are going to a myth particles from here. And those particles are going to be our bubbles. So let's first create an object which is going to be the bubble. And what I will do is I would just add a mesh and I will do a ecosphere. But then in here, you can change it to sufficient level one. It doesn't have to be a very high subdivisions because we're going to give it a Shades move with W. And then it's essentially going to be super, super small. So it will essentially not see that it is not really circular. And yeah, so put this a little bit out of the way. I'm gonna put it a little bit lower as well. And we can rename this to bubble, bubble. And now we're going to select at this part here, this is going to a myth are bubbles. So here we are going to go into our particle properties and we're going to click on plus. So this is going to be our a meter. And instead of emitting these halos, which you can see right now, we want to emit the Ico spheres, right? So in here, in render, render s, We want to render as objects. Now you can select your object here into the object. The insert object is going to be our bubble. So now if we play it, we cannot really see anything. Why is this? This is because the scale just doesn't match. So you should look for a nice skill. What would resemble like the bubbles don't go too big. That keep them nice and small, but yeah, just tried to find a good size. And here you can see that if I play it, you can see these bubbles going. The problem is, yeah, they of course fall down because these particles follow the world settings inside blender and those kind of resemble what is happening in the real world. We have some gravity and I just want to turn this gravity off. So I'm going in here. Field waits for F d 20. And now you'll see that they don't fall down anymore because there's no gravity and they will go up. Awesome. Two things are happening here because they are getting emitted from the plains. Here, from the normal of the plains. You will see that they are going this way. It's kind of like an hourglass shape. And we don't really want that. So, so I'm going into philosophy and I'll change the normal to 0. Then I'm going here into the z axis. And I want to actually move the set X's and do maybe 0.3. So let's play it. Aoci dot my zed axis is not really a set, right? So the only thing I have to do is go through a and then apply rotation. So now we should have really the zed axis. It can see that these bubbles start to go up. Awesome. So this essentially all that we need, now we just need to set that the number of bubbles that we want, but also how high the bubbles go. So if you hide everything else, actually, I'm going to keep this only the water. Now we can see that the bubbles are go, going way too high, right? This should stay inside the water. So what we can do is we can just change the lifetime. So the Lifetime means how long these particles will be alive. So we want them to die off earlier. And let's do one more. Let's look how high that goes. Can see it still goes a little bit too high. Maybe 1515 seems to work perfectly awesome. If you do not have enough bubbles, you put this number up. If there are too many, put them down. And of course the scale you could chains hair. We also want to turn off Show emitter because we don't really want to see that a meter in our scene, we only want to see the bubbles. And the last thing that I want to do is I want to bake this. So if you go to the cash, you can see that you can bake this. I don't think you have to bake it for too long, maybe like 40 frames. So we can essentially put the end of this frames to like 50 or 40 and then we can bake it. So it's already done. It's very quick. Baked everything. And now we can essentially start with our materials. So I see you guys there. 25. 5.3 Glass - exercise 2- materials + studio: The materials that are going to be super, super simple. So let's just go into shading. And we have our glass, of course, which we already know just has to be a less material, less BSF goes into here. And that is essentially it. Can we see it's not really our change, our render engine two cycles. And now I am just going to put, yeah, very simple, a world northern hair with an HGRI, it's going to be very, very simple. It doesn't really matter which one you use. It's just to see a little bit what is happening is often a little bit easier when you use a HGRI. Okay. Then inside the glass, the thing is if you duplicate something, which we did and then keep it at the same place, we often get some of these overlapping vertices. We don't want them. So you want to scale this part just a little bit down. See what changes. Now we can actually see this inner part. Otherwise it is like, Yeah, inside of the glass, we don't want that. So that is essentially good. Go through this object. This is going to be of water, but it will also be from the glass modify. So we can essentially duplicate this glass modifier and just put the IR to points three, so 1.3, something like that. And then for the bubbles, it's going to be exactly the same as the water. So select your bubble, then we're gonna put the watermark fine here. So super, super simple, this textures are there. We can't really go any simpler, right? We have one node. That's kinda SO I think because the textures are so simple, we can instantly go to yeah, creating the environment. Okay. So I wanted to delete my environment node here that was just to check the materials. I'm going to create a plane. This is going to be our studio through this. And then I want to create some extra bells. And here I'm going to do it like this. B, then shade smooth, vertical. It's as easy as this. We did this before, right? And now I want to grab my camera, move my camera in the right position. So go to few look garments if you move it a bit around, somewhere around the hair. And sector camera 00, work words 9000. And we can see that we have a lot of empty space here. Plus, I probably want to change the focal length. So I'm going to change the focal length to a 100 or something like that. And the 100 seems to be okay. Now of course we need to move a little bit backwards. And I want to change the resolution as well because we have a lot of empty space and I don't think I'll do anything special with this. So I'm gonna change the resolution a little bit. So to change the resolution, go to output properties. And in my render, I made it at 1920 by 2400. I get moved this back. And those last I kinda wanna wrote data that bit more like this, maybe like 80 degrees and then just move it up. Yada, must look cool. Okay, awesome. So let's say this is what we want. Now, what we saw here in our image is that we have a very cool the five in here, right? And you can also see it in the water, but this is actually, it's being done automatically. We don't have to do anything special in here. Alright, so what I want to do is I want to select my studio contour R and create an extra edge loop hair just perfectly in the middle. And then I want to select this and go all the way over here. Bam, select all of these, are going to click on p and n selection. So this part is separated now. And what I'm going to do is I'm gonna make sure that this is a light source. So this is going to be an emission and this is just going to be a nice black and reflective surface. So go into shading. And then we can go back here and two objects going to select this and knew, we can rename this something like black floor or Black Studio, doesn't really matter. I will just put the base color at quite dark, so black kinda h. And then the roughness is going to be very smooth, as you can see here. And this is already cool, awesome. And then this part is going to have a new one, is going to be a mission studio or floor. Delete the principal shader and just add a emission notes. Now if look for our camera view. Here, we can see that almost everything is working except our water seems kinda weird. So I think, I actually think that the normals are kind of flipped. So you can check this if you go in here and look at Face Orientation, you can see that this is red and it's supposed to be blue. So as I already suspected, the normals are flipped. So you just go into top, select your whole model or everything that is read, at least go to Mesh normals and then recalculate outside. Okay, so now if we put this back to normal, like Turn off the face orientation, unhide everything, look into your render field. You can see that now there's finally working the way it's supposed to work. We do see that some parts are a little bit weird and laggy death is because water is still too big, so just make a little bit smaller. And here you can see that it just vanishes, right? Those weird spots just finished. So if you look now you can see that it looks actually quite good, right? So we can change certain stuff here, which is totally fine. We can make the bubbles smaller, as already told you, we can add some extra lights or even black guards, or black or white guards also. And the one thing that I would check now is if the exposure is still OK. So yes, so go into column management. Look if we have our false color hair. And I will play you a little bit around with the emission of this Beck life here. Yeah, that's the only real thing that I would try to play with. Because overall it just looks good the way it is. O because learn some from this. And as you can see that if you add small details, so like these bubbles, if it is like sparkly water or champagne, well, if it will be champagne, you also would change the color of the, of the liquid inside, of course. But the more small things you also add to your image animation, you can make it look more realistic or even more pleasing. And it also shows what the model actually is. So right now you will not think this will be still water, right? It would be sparkly water. So if you have a company that wants to sell sparkling water at soap bubbles or whatever. So please send me renders. If you're gonna render this doesn't take too long. And yeah, I'm looking forward to see them. And good luck guys. See you. 26. 6.1 Medical bottle - exercise 1 - medical bottle materials: Here we are ready to create our materials for the medical bottle. And the one thing that you have to do, just download the textures plus the OBJ of the model itself. And I will show you how we approach the materials. They are not hard at all. So let's just start here, go into File Import, and we're going to import our OBJ medical dropper. And that's going to be this one. I'm going to click upon input OBJ, and then they can kinda delete this one here. You can see that mine already has some materials. I'm just going to delete them and showed them from start. So it's going to be all the way, white way and this way, and how to approach this? Well, I like to be inside cycles are ready because we're going to make our most realistic images with cycles, right? So keep you. And here is our lighting. It is fairly simple. It is just what is basic insight vendor, right? When you start blender or lighting is already there. And I'm going to keep it at that for right now because I want some lights to actually show in our viewports shading. So let's start here with this bottle. Click on New, and this going to be a glass. Let's look at our principled shader. The first thing that we need is of course on transmission less transmissive. And we want to show this. So you can see that now it starts to get all the way black. This is kinda weird. If we look at our view port shading, you can see that there is an HGRI automatically behind it. And now we can kind of see through it. This just has to do with how the background on African reacts with the transmit stiffness. So if you also put this lamp behind here, you will be able to see that now we can kind of look through our model, right? So that is what you gotta keep in mind sometimes with materials, is that not every material reacts the same on the world around you. And one great way to just check your materials Quick is a very simple light setting. Maybe you want to create a little studio or you just going to add an HGRI that is also a great way. So you could essentially delete this one and Enter and environment texture in hair. So just open an HGRI. Well, we would see a ball, maybe this one. And here we can see what is happening. So that could be a great way to actually look at your model. Okay, don't overdo it. Don't think already too much about the lighting, but you do want some light through actually create your materials in a realistic way. So let's go back to our materials, and here we are at our glass material. The only thing that changed here is the color, which I actually took this hex code for. So if you wanted, it's just this one. And I changed the roughness to 0.4. So here we can see it's kind of a browner kind of glass. They also use this kind of glass for beer. You can use green or brown, And it's just, I think it keeps out UV light from changing any of the liquid that is inside of the bottle. So that is kind of body use these kinds of colors. And right now we're going to create the black plastic. But the black plastic is literally just a principle shader towards a more black color. Then we have a roughness, which I wanted a little bit more shiny. So I'm going to point at now I want to add a bump node. So what we're gonna do here, I'm going to add a bump nodes. So MAMP Bono goes into the normal and I'm going to add a noise texture. So what does this do? I can actually show you a very easily if I actually put this noise texture inside the color. So you can see that the color gives us a what kind of trippy pattern. If you do the FAQ, you actually get black and white. So that is what we want. So now I want to change some of these values, put this at 0, and now let's look at it in height. And now let's change this FAQ goes into the height. And if you go to your viewport shading, you can actually see some Haydn here. Very, very cool. So you can see that this is obviously way too big. So I did the skill at 250, and here you can see that it is smaller. So that's good. Strength is just a little bit too much. So I put the strength at 0.02. And here you can see it is very subtle, but this Sullivan has actually makes our material look way better. And then we have our rubber. So it's just a principle shader. And you want to put the color to a more of a black color. And now we're just going to play around with the roughness. I'll put that up because I wanted less shiny. Let's say, in my opinion, this proper does not seem very realistic. So what I did with the rubber is I created an image texture. And what that opened in here is a grunge map. So let's go to the crunch map. It is this one. It is just a grayscale map. The color into the roughness bound. Make sure you put the color space to non-color. This you normally do when you have a grayscale map, something like that. The problem here though, you can see here, and that is that our texture map is not being projected in the right way, as you can see here, but a line. So, so let's get a texture coordinate node and a mapping notes. You can just combine these together. So object goes into the factor and the factor of two mapping nodes that goes into the factor of the image texture. And if you want to check your texture, you can always put it inside the color of the principal shader. Create a colorRamp and put it in between the image texture and the principal shader. Now you can move around the little stops that you can see. And you can of course make it more or less subtle. I wanted very subtle, so just put it in the roughness map and then keep it as subtle as possible. So you want to do this, I really like what this effect does, but do not overdo it. When you are rendering products, you want to sell the products most of the time. And you do not want any Scratch or dirt on products that you sell. Even though scratches and dirt, as you might already know, do make your renders look more realistic. So you want to do the same techniques as making your model look realistic, but you want to make them very, very subtle. So this is not really a scratch on there because I will never do scratches on a product that I want to sell. But what I would like to do is make the material more realistic. So use reference images of water material action looks like. And a lot can be done with only roughness maps and then make it very subtle. So it still looks fairly new, Okay, so good, fairly subtle, but you can see that there's a huge difference if I use this and shading or this, right, it just looks more pleasing. So I like to use this. And as last we have here our little label. Only thing that did is create an image texture, color goes into the base, color them, and we open this texture. It's got to have a different name. It's going to be medical bottles, something like that. And then you have your little label on top. Amazing. So this is very simple as she already could see, and this models also super-simple. Like it's not even fully done yet to be honest. But we don't really need to write. We have like an exercise that we're going to do and you will see what the lighting dust to your scene. So in the next part, you will learn how to light the scene we're going to use to model. So it's going to be a little bit of a different camera. We're going to use two models, as you can see here. And we're going to play a little bit around the depth of field. And we have a different kind of background that we normally did. So yeah, you will learn a lot of stuff. And then the part F that you will learn even more because we're going to use the same model and create a whole different kind of scene. So this is kinda how you get to know multiple ways to render the same product and get a whole different outcome variable. And I'll see you guys in the next part. 27. 6.2 Medical bottle - exercise 1 - depth of field: So this is our exercise, we are going to make this. And what I want you guys to look for here is how to recreate this. So I know recreating sometimes feels like a little bit of cheating. But you should not feel like that at all, because you should actually do this more often. If you tried to recreate certain stuff from prose and maybe even from images or photography, then you can really up your work. Trust me on that one, because you can see some certain differences between your work and their work. Then once you get to know your own work and you can get to see what you are actually not that good in or where you maybe need to improve in or maybe some of your strong points, then you can build up on that. Also, what you start to see is how lighting works. So this course is all about lighting and the philosophy that I actually am talking about. Ghana works in everything in life. But with lining specifically, you can already start to see some of the lights that are being used in this scene. And what will also happen here is you will start to combine multiple of the lessons that we have talked about before. So here we have more of a rough surface area. And we already talked about a certain lights that work well with a rougher surface area, but you can see that this is way more shiny. So how can we combine these together? And sometimes you just have to make a choice and it will not work perfectly on each and every single part of a model, but overall it will look good. So sometimes you just have to pick and choose. What we also can see is that we have two of the same models, of course, but one is out-of-focus. It makes it look more interesting. What you also can see is that the background is also different than we have used before. We actually have a cholera in here now and a different kind of floor. It is still very, very basic as you can see, because it's just a wide floor and a pink background, right? But I think when we start with these simple lessons, we will start to build upon everything. And you will start to get to know how you should combine all the knowledge that you have learned before. Because now it's really starting to make some sense and you can shape your light essentially the way you want it to be. So let's go into Blender. Here we are. And the first thing that we're gonna do is just create a plane which is going to be the floor. We can scale this up. And I wanted to put my model. So it gets placed right on this plane here. So I'd like to go for the bottom a lot of times to just see how I am and around hair should be good. Awesome. Now, I would like to place my camera. So we talked about before. First you place your model, right, then you could or change your camera or expand a little bit upon your studio. But we're gonna do the studio later. So first it's the camera view log gamma too few. And I'd just like to go little bit to the front. Here. You guys already know a little technique. I like to do. Lock Kermit the few, then go back. Item and put this transforms aware they should be spin up. This is going to be a 9000. And here we are at a decent place. So it is a product I like to use a bigger focal length former products are going to put this as a 100 for right now. And then back here. What you can see here that we are not using the resolution that you can see here. Why not? Because there is a lot of empty space. Even if you zoom in, you will see that the empty space is quite enormous m. There's no need for that in my opinion in this case. So I'm going back. I have a focal length of a 100. But if we go in here into your output properties, you can change the resolution. So the resolution that I said is a 1080 by 1350. Here we can already see that we of course need to zoom in a little bit more. And what I talked about before is that we want to F2 of these models, right? So I'm going to grab all of these here, and I'm just going to duplicate it and pull them towards the back somewhere where you can always change this by the way, you can put it further back or less far and yeah. Just don't put it up or down. It has to stand on that floor. So now our karmas schema not in the right space. So what we're gonna do is I'm actually going to grab my camera here and I'm going to put on some of the composition guides. I like to do thirds. So here we have our thirst and move my camera to the right, so the thirds actually fit in both of these models. Bam, you can see that the third like this intersects, intersect on all of these places. So our positioning is quite right. So now I liked the way that this is positioned. I'll put the lock camera view off so I cannot move it by accident. And this is kind of what we are working with. Very, very cool. So that's we already talked about before. We have a floor plane and a blade in the back. So I'm just going to duplicate this, rotate it, move it to the back, scaled up. Don't be afraid to skill. But with these also scale, this one a little bit up. What you can see in my image here is that the floor actually goes to around here. So it's like if we look at this bottle, it will be more than half. So if you want to have the same, just scale it up and then move your background further away. Though it is in a place where you want it to be. I think I want to build my camera a little bit. So I'm going to tilt it around the x-axis just a little bit, then move it up. Maybe at 85 degrees. And then I'll move this one a little bit more back. At the beginning is just really figuring out what you like. Yara, this looks way better. Now I'm actually starting to like my scene. I'll put my camera a bit closer. You can see it's a lot of if gamma I'm still playing around with. Yeah, and then you can, of course, which preposition? God's own Again, if you think it might not be right. Yeah, I'm quite happy with this. I put it a bit more to the right, just so there are some less empty space here, like these two spaces are around the same. Select this. Awesome. Okay, let's build upon this. Now we can start with our lights, right? We have our floor, this floor here we have our two of our models. And then our cameras also said in the right position. But what about our lighting? Well, the first thing that we did in the last part is we actually created a environment light. And I don't want that at all in this part. So I'm just going to disconnected and I want to focus upon the lights at I'm going to put in the scene. So Let's add our first slide. It's just going to be a point light. Why a point-like you might ask? Well, you can also play around with a plane, but in my opinion, the reflections of the rougher areas work nicer if there is actually a point light. And you can see that even with the less rough areas are more reflective, more shiny areas. The reflections actually are nice and square if and with the point light. And we're going to recreate that and have these nice highlights which actually follow the shape, the shape of the model. Okay? So go into your camera view. And what you can do is you can move this around and you can actually change this whole area here, this whole step to 3D, few bought. So here we are. We have two different screens. And what I like to do in this case is chains, certain lights, or maybe even move models around in this screen and keep this one at the viewport shading. So here we can see what is actually happening. One little tip is if you use Control B, we get a little Bach selection. And if you just click and drag, you can select an area on your few boards. Now, If I release my mouse button, you can see that the only thing that will get rendered as inside of this selection, this is very handy because now Blender has to render way less of our whole viewport. If you're gonna get back to the original Control Alt B, we'll just return it back. But I'm gonna keep it here for right now. I'm also gonna put a few boards a little bit down so my screen will not get through laggy for you guys. Okay. So as I said, we have some lighting in here. And this is because if you go to the world settings in our shader editor, you can see that we still have our HGRI, right? This was to check our materials, but right now we don't need it anymore. So I'm just going to turn it off and everything is black. That's okay. I also put this color a little bit down because normally it's around here, but I wanted my blacks to be a little bit darker, so I just put this down. Now, what we want to do is we want to start adding lights. So I'm gonna click on shift C just so my 3D curses snaps back into the middle. And now I'm going to add with shift a point light. I will have a main light to be around here. This kinda on the left side of our camera. And it will be on the ride of our model, right? So if we look at it from our models perspective, it will be on the top right. For the camera will be top-left. So we are going in to our object hair and actually use some notes. And I want the strength to be way more up, right? I want to see our models. Very good. Here. We can see them and they look okay. The one thing that I do not really like hair, that is this sharp shadow edge transfer, right? We want more of a soft lighting. I want this to have a more of a feminine feel. You could also see it with the pink background, which we're also going to create. But let's first focus on our main light. If you guys remember correctly, we just have to select our lights and then make it bigger. I'm going to put it at four. You can see that the shadows are way, way software. But what we do not really have any nice highlights. I'm gonna put my strength a bit up to see if we can actually create some highlights. Sometimes you even have to put your model a bit closer or put it in a different position to create some of these highlights which I want. I'm not here seems nice to me. So now we have our main light, right? So Hair key light or main light, you can rename it to. Once we have our key light, we want to check our exposure. So what do we do? We go here into your render properties and then we're going to play around if the column management, I put the Look at very low contrast because I wanted to be very soft, more feminine. Now, in the few transform, we have filmic gonna put this to false color. And now we can see what's actually happening. You can also see that the false color works great, but it works different for each material. Why is that? Well, it has to do with the color of the material plus how reflective it is and all that shebang. So now we've gotta keep in mind, we'd want to light up arsine, but we don't want to overwrite or on the light any of these. We are looking for this grey line, as she already remember. I'm actually going to put my strength a little bit up. Maybe at the event, 300s or more. We are almost reaching rather than here, which will be too much. But we also are getting some great everywhere. And a gray. Yeah, it's good. Right. So we might want to put it a little bit higher. And I'm round here. I would think we are getting a little bit too high, but let's look at it in our filmic. And yeah, we can still read our text. That is very good. You don't want to overexposed so we can't read our text anymore. We have nice highlights. I like what light is doing. So as every light, if you turn it on and off, there is a difference. This slide has a purpose. Now, we want to put our second lights and other parts. We kinda talked about the fact that we first use a main light and then this may light actually creates some shadows. So we want to use a fill lights to light up these shadows bots. In this case, we cannot even see what material this glass is made out of. I'm saying OK glass because I know I am creating glass, but does it really look like it? It might as well be plastic for the viewers eye. So I want to first add a backlight and going in a top view, just duplicate, I mean, main light and put the backlight somewhere around here. Now you can see that it starts to make sense. This actually has a different color now, right? And I'm going to edit this backlight and a little bit, and also rename it. I wanted a little bit smaller, so maybe it's three. And what I also would like to do is maybe put strength had bid down. Okay? The position of the light is also very important. If I put it very close, you can see that we create some extra highlights or maybe even a rim light. The problem is if you create a too close, you might get too much attention on this model in the bank. And we want our eyes to focus on top of this model, not the one in the back. So this is why I put it quite far hair. But this is totally up for debate. Like, it's not something that is good or bad. It's just my thought by them behind this particular random. Okay? So let's look at what the difference is. If we have this line on or off. You might agree that this has a huge difference. And you of course, can play around with this as much as you want. But we can see that now the material has changed a lot. And we can actually think of this as a different material than just the plastic that we have here. So our glass actually feasible now, in this particular model, I do not see too many shadows to fill up. So our fill light might not be certainly a fill light, but we could add another light to actually brighter note up a little bit, but also to create more highlights. So I'm going to duplicate this, move it here. And for this particular one, I will make it, of course, a bit smaller. And the funny thing is that if you make this lot smaller, we also get a more defined or even a thinner highlights, as you can see here. And I will also put this strength a little bit down and we don't need that much light from this particular light. So 50 is too low. I want to see the highlight. So other round hundreds, maybe a 150 in my case, will be ok. And here we are ready getting a very, very nice scene. So the background and the floor, we actually did not change the kinda forgot that. So I'm gonna create a new material, get rid of the principles shader, and just use a nice diffused note in here. So the fuse diffuse goes in here. I am using this hex code. You can copy it if you want to afford a floor. I think if you just get a nice diffuse shading here as well, the fuse might already be good. Yeah, I kinda like this, so this is quite ok. You might want to make it a bit darker, so we have more of a separation between the floor and these bottles. That is also fine, of course, but that's totally up to you, whatever you want to create. The last thing that I want to show you is select the camera, go into depth of field and we're going to create a depth of field. So I put the focus object as this one here. You might want to put it at the part of the texts, actually text on it so we can read the text for sure. And then you have a certain f-stop. The lower you go, the more blurry background will become. So if I put it at 0.1, you can see that it gets very blurry. So around 0.5 worked well, but it depends of how far this model is from your focus object. I hope I explained why I put a light in a certain spot. And if something is not clear, please just ask down below because I want to make it clear to you guys gay and yeah, send me the renders. I want to see you maybe get some feedback. And I see you guys in the next part. 28. 6.3 Medical bottle - exercise 2 - models + materials: Welcome to this new exercise. So now we are going to create something like this. So we essentially have the same model as in the last exercise. We have a little variation on it and we have something in the background, something interesting. The thing is these are bomb, the thing is these are families. So coconuts growing palm leaves, so they have something to do with the coconuts. And then let's just solve smaller touch that I really liked. What we also have here is we have a different surface on top of our glass. So we might want to rethink our lighting. And I hope in this exercise, you will really learn a lot of different things and combined a thing that you have done in the last part. So let's just start and get into some of the materials. Here we have our scene and you already know that you can just download this one. You already made it in the last exercise, right? So just take that medical bottle. We only have to change one thing and that is put this roughness to 0.1. That's it. Now it's a more of a glossy surface. We have two other models here, which is going to be the medical top, which is the smaller little bottle and the plant. So for this is going to be fairly simple. This lit is going to be the black plastic that we have created before. And for this glass, we're just gonna put our glass material, right? So very, very simple. For this one though. I want to grab our label material, which is this. But you can see that it doesn't really fit on here. And I have created another label for you guys, for especially this little bottle. So just click on this duplication, then just renamed to medical DOP, medical top label. And we can change this. So here you can see where if a label medical top and that's a smaller one, as you can see here. This is the big one for the bottle and this is what, a little top. This one, BAM, and now this fits great. You can also see that I've put an empty on each one of these. Let me actually delete the EMT and show you how I did this. Because I don't want to move all of these pieces. I just want to move one empty around and have FFA attached to it. So if you just go through the middle of your model and click on shift a, you can add an empty plane axes. It is a bit small, so I'm going to scale it up. And now I'm going to select every single part of this model and then as less the empty. So the EMT is orange, as you can see, gone through P And now set parents to object. So now I can just move only this empty around an epithelial move with it. The last thing that we need to do here is actually create a material for this leaf. Replicate on new. And I'm going to add an image texture. Image texture. It goes into color. Color goes into base color, open. And we're going to open this bomb leaf down. And here is essentially our texture. I burned sleep with the roughness and little bit up just so I don't really have any reflections that's going to interfere with arsine. It totally depends. Normally they are of course, way more shiny and also we have some elusiveness. But in this case, I'll just put a bit up so it doesn't annoy us with lining are seen. So in the next part we're going to grab a camera, our backgrounds, and we're going to start rendering arsine. I see you guys there. 29. 6.4 Medical bottle - exercise 2- studio: Welcome, welcome, welcome. So we can start to create our scene essentially, right? The first thing that we're going to do is add a camera. Most of you already have a camera I kinda deleted mined by accident. So I need to put my camera right here. And you can see that these proportions are maybe different than yours. So if you go here into your outputs properties, you can see what the resolution of my camera is. 1080 by 1350. Now I got the camera, the view, and I want to just look at it from the top. Here. I'm going to put it into its place, 0, 0, and then the set X is, should be good. Now, I don't want any rotation on hair, so 000. Awesome. When I selected camera here and your object data properties can go down and we can actually put some competition guides in here. So I'd like to do thirds just so I know where to place my model. Now you can turn off vlog camera too few and we can just move it however we want to. Just 50, right? So just as in the last part, I like to make this also a 3D view port, just so I can work in here and then look at my render hair. We're going to create a nice floor and hair, so a plane, it's going to be big. And we can also already gives us a color. I'm just gonna do a new material on the delete the principal shader and just add a diffuse hair. I put it a little bit brighter. We'll look later how it actually looks. Are going to keep it at this right now because I want to see the size of all of my models when there are turns. So I'm gonna start with my medical bottles. Okay, so I'm first going to just hide all my medical top is going to start from a medical bottle and put it into place. So we all know that we want to read the text, right? So coconut oil should be on top. And then I'm going to put it somewhere high. The thing that I want the us to keep in mind is the leafs should be like low, right? And then the leaves should be lower, and then the bottles should be above them. I think our camera is a bit too close, so I'm going to click on g, z. Deaf them a bit smaller. So I'm going like this and then of course we need to scale up our backgrounds. And then, yeah, this starts to look good. Let's move our bottle a little bit around. And I want to want put like one bottle right here. And then one bottle at the other intersection of these thirds From the camera, right? So these are the competition guides thirds. I'm gonna put my other one there. So how do we duplicate this? You just select every single part of this model and then S last the empty. And now if you duplicate it, you can literally just keep moving this empty around. And all of these spots of this model will actually be parentage. Do only that empty. So that's good. And I'm going to put this one here. I'm going to rotate it at bits that. And this already looks very interesting, cool. So I think we are far enough away. Our karmas setup goods. And then we can put in our last little medical top. Here, rotate this a bit round. We actually want to see the text. Okay? I think they are a bit too close. A math 1a moved a little bit here and then make it a bit more interesting with some movement in it. Like this maybe. And yeah, you can always move them a little bit further away if you think they are too close to each other. But that's totally up to you. This should be kind of the feeling that we have. Okay? So from the sides you can see that they're quite high. It doesn't really matter too much, but they could go a little bit lower. I think, something like this. And then we can think about how many leaves we want the inherent, right? So if you just look at a camera, I personally had three MI render, but it doesn't really matter. You can do one, You can even don't do any of them, or you can just do two, which also can be cool. I would rotate it a little bit though. So maybe rotated around this axis here, just so that don't look too much like each other. Maybe make it a bit smaller. But all of this is up to you and I would really like to see some differences. And yeah, you can move them, try different leaves, whatever, just try some stuff out. Whatever you think looks cool. Okay? So I am going to make this a little bit bigger so we can actually see what is happening here. And now in the next part we can start with our lighting. So arsine is set up. This is what we wanted and now we can really start lining are seen right there from models. We have our studio, let's say our camera setup, right? And now we can start with a lining. I see you guys in the next part. 30. 6.5 Medical bottle - exercise 2 - lighting: Welcome to the last part of this exercise. And what we're gonna do here is we're going to add some lights to our scene. The surfaces that we have are very glossy. So I want to accentuate those shapes. And I'm gonna do it with planes. Because MIT already remember why we do it. A lot of times gifts, just better highlights. So we want to, of course, make sure this is going to be an emission. So we need to create an material. You can do light, delete the principal shader, and get an a missional in here. Emission goes into the surface. And now when we click on few port shading, we can see that we are rendering everything. It is still going to be quite black. It seems. So I'm going to put the strength to 200 just to, so we can see something. Now, I'm going to click on Control B to select only this part. I don't want to render all the other parts yet. And now I am also going to put my viewport down. You guys don't have to do that. I just need to do it because I need to record this, of course. So our lights, what are we going to do? Let's first look at the image. The first thing that you can see, I want nice highlights on here. And all of them actually. I want an infinite background which is just this wide. It's just infinitely the same colour, which I want. And of course we have these leaves here, which also need to be lit a little bit. But that's essentially what we're going for. So highlights and we wanted an infinite background. So let's rotate this little light here. And I think I put my main light on the left side, doesn't really matter too much. Whatever works for you, right? And we're already getting some highlights, as you can see here. I'm only getting highlights on this spot, so maybe I need to make it even bigger. You can see that moving it a little bit further away, making the highlights bigger. We're actually also project them on all of these models, but we are overriding our whole scene. So let's put this down to like 50. Now we can move our light again and start to find a place where it will look good. I think it should be even bigger. Now we're finally also getting some reflections and highlights on top of this model because those were missing. But we are too close, I'll put it a bit further away. And also here we need to play a little bit around the front light so it reflects on all of these models. We might even want to make it even bigger. And as you can see, but it is already so big that are like exposure is obviously wrong. Of course we're going to do the exposure later on, but right now I want to see what is happening. So may put it to ten. And this already looks way, way better. I'm actually kinda liking this. Creating a big model hair will of course, create these nice highlights. But why do we have to put it so far away from a models? Well, you might remember the inverse square law. We want this background to be kind of the same color of the wave. You can, of course see that we have some shadows from our models that are guessing on here on the leaves. But it is not that much of a difference. If we would've made this smaller, smaller, and closer, you can see that there is a huge difference between this brightness and hair, right? So this is also the reason why we create the light this far away and a little bit bigger for the highlights and for the infrastructure law. So it works in our favor. Now we want to set our exposure. So go here into the random properties, go down to our column management. And I put this at the medium low contrast. So not very low as we did the last time that this is going to be medium, low. And now put this to false color and we can see what's happening. So obviously we are going more towards the red, which is a bit too much. So now just put the strength of this down. If you look at three, we have some red here. It is not becoming wide yet. I am looking for Gradle and gray seems to be on this side, so I might put it the bid lower. Now we have a nice gray line here. So around two seems to work. Okay, let's look at a filmic and we can see that it is lived quite well. I would like it a little bit more brighter, but you can always do this also afterwards, or you can put a little bit higher. So May 0.3, but you don't want to overdo this lighting. And remember, now this is going to be our main light. So this pair, main light or key light. And we're going to use a nice fill lights here. And I want an extra light in here, and I'm gonna move it here. Why do I move this hair? Well, I moved here because I also want the reflection on the other side. I think it looks very, very cool. I'm gonna make this one a bit smaller though. Move with hair, rotates at and then look for the reflections in our bottles. And then round here we actually get some nice reflections. Of course, when I'm making my final render, as you could see here, I put some extra time into this and I really want to make it look good. But what you can see is that the lights are, lamps that we have here are actually doing a lot for our models. You can see that we have nice highlights. They follow the shape and it looks good. I would probably make this one a little bit smaller though. I think this highlights a bit too big. But overall, you get the sense of what we're trying to do here. I think it is just not bright enough. So I'm gonna put this even a bit more ops or maybe even three, just to have some brighter highlights. But overall, it looks very, very nice. The last thing that I will do here, I would select my camera, go into object data properties, and go to the depth of field, and select one of these bottles. I'm going to select the middle one. And I want some depth of field in here. So I'll put this a bit lower. Just Southerners less focused on top of these leaves in the BEC. So maybe 0.5. And this is kind of a random that we are trying to create. We want nice highlights. We want an infinite backgrounds which we created with a bigger light, but also put it quite far away, if you remember correctly. And we have something interesting happening here. We're using our composition guides and arsine. Yeah, looks fresh. It looks in fighting. We have font colors in the back. So all of it kinda comes together and creates a fun 5p and something interesting. I hope you guys learned from this. If there are any questions, please come down below and of course, send me your renders. I see you guys in the next one. 31. 7.1 perfume advertisement - exercise - model + materials: Welcome guys. So in this part, we are going to create this bottle. The text is a bit, of course. I just wanted to do something fun, but yet we're going to create some liquid F's in Blender. And as we can see here, we have a very cool floor which is actually not a texture, anything. It's literally like a simulation in Blender. And we're gonna do that in part two. But first we're going to focus upon this model. This model is already provided for you so you can just download it. And now we're going to do the textures as well. So go inside blender. We're going to delete the cube, go to File Import, and we're going to import an OBJ. It is of course going to be the perfume bottle. Here we can see that it's made out of a gap. We have a site metal. I just didn't know how to name this. We have a glass and inside we have some fluid because I want to keep the download file or low, I did remove some of the modifiers. So here you can apply a sub deficient modifier to each one of them. I like to do three and render and 200 viewport. But what you also can do is just create a sub deficient service on one of them. Then select all of the other parts here. Here, here. Select the one with the modifier as last, then click on Control L. And then we're going to make links to modifies. So every one of them will now have this self-sufficient modifier. Let's go to the materials shading. And here we can choose our material as you already know. And mine already has some materials, so I'm going to delete them of course, because we are going to start all the way from the bottom. So this is going to be the cap is gonna be a metal or a silver, but I'm just going to rename it to metal. And it's quite simple. Base callers already good. Metal's going to one and a roughness will be 0.1. The same material we need for this side's metal part. You can just select that part. Then click on here. Select the metal not a, both have the same material. Let's go to the glass. So for this material here, I'm just going to delete the principal shader and going to add a glass BSF. The VCF just goes into the surface and now we have glass. It is a little bit hard to see because we are inside EV go through cycles and we can see through it. The lining is not perfect, but we'll fix that later on. Now, I'll go back here into our material preview. And I want to look at the text that I want to put on top. The Texas very optional. You can also put a different text, but if you want some liquid s, You can add mine. Just add an image texture, open it and open the texture provided. Now, I of course want a different material for the text and for the glass itself. So I am going to add a principal shader. I want the material to be black, so I want text to be black. And then quite shiny, right? So 0.1. Now I need a mix shader in between here. Mix and output the principal shaded into one of the shader and the other glass into Radha shader inputs from the mix shader. Nother gets mixed. You have a percentage of the mix here, but we just want the text. And this is why this image structure comes in handy, put the color into the FAQ, and now we can see that we have a separation between this two materials. The problem is we need to flip them, but you can just flip the shaders and it's as easy as that. Now that text is black, It's essentially this principle note. And the other stuff is the glass note. Very, very cool. And is less we of course have the liquid. The liquid inside is a very easy, simple texture, is just going to be another glass shader. So glass goes in here and we're just gonna change the color. It is going to be this hex code. You don't have to copy it at all. You can just change your color, l, whatever. But this is the one that I chose. Then I'm going to click on enter, and that's it. So these are the textures. And what I personally like to do, I'd like to create a empty here in the middle. Skilled a bit up, then select each and every one of these models here. And as a last empty, then click on contrary to parent them to the object. So now if I move my empty around, you can see that I move everything at the same time. It's just super handy. That's why in the next part we're actually going to create a floor and light behind it. And then we can start with the lining after-death. So I see you guys there. 32. 7.2 perfume advertisement - exercise - water floor: Welcome back. So this is part two and we're going to create these wrinkles here that you can see these waves, you can create quite easily. The only thing that we need is a plane. I'm going to scale this up. So scale maybe ten could be bigger, but that's okay. Now I'm going to select it and click will shift h just to hide everything else off. As you can see here. This is going to be the area where we want our waves. If you look here, you can see that we have a physics properties. We want a dynamic paint. In a dynamic banes, You have two types. We have a canvas and a brush. This brain is going to be the canvas. Let's add a UV sphere, put it a little bit up. And this also will have a dynamic paints. This type though, is going to be the brush. You can add brush. And I think we forgot to actually add the canvas on here. Make sure you do that. Now, what you can do, if you look at the canvas, you can see that we have a service type. Right now it is paint, but we actually want waves. So if we play our animation and move our sphere, we should be able to create some waves. This does not happen. Why our Canvas does not actually have enough self-sufficient. So click on w and then subdivide, subdivide, subdivide. Let's do it a few times. Now. When you play it and you move your sphere around, you can see that we create some of these amazing waves. Very, very cool. These waves are of course a little bit too big. And what I'd like to do, I'd like to make this a little bit smaller, just like a little droplet and then put maybe three above each other. What I want to do is I want to make sure this fall, then they interact with the canvas. So if we also make each and every one of these a rigid body, it will actually go automatically. So now you'll see if I go play from frame 0, that they will start falling and they interact with the floor underneath. Very, very cool. The last thing that you want to do is you of course want to bake this. So let's first give this a shade smooth with W shades move. Then I would like to maybe create some extra subdivisions. Be careful how you boot this, the longer it will take to actually bake. And it will actually also slow your computer to beat down. But once you're happy with this, what you want to do, go into your canvas. Both end at hundreds. I like to keep waves go lower. And here you have cash. If this is all grayed out, make sure you save your file and then you can bake it. Now, if I bake this, all of the simulations, we'll be baked. So here we have our cool simulations. This is kind of how we create these waves. So let's check if they actually look good. What you want to do, you want to create another plane. We're going to rotate this as well, 90 degrees, scaled up and move it backwards. I'm gonna skilled up even bigger. And I'm going to keep it hair. Now into shading. We just want to give this a new material. And the only thing I want here is an emission node. So in emission, emission into the surface. And now if you look from the front view with a little bit off like this, go into few port shading. You will see that it doesn't really look like water yet because this material has not been created. So click on the canvas that we just created. New. Then we want to make the principal shader All the way black. Bam, little bit brighter and the roughness at 0. And here we can see some water. Very, very cool. So if you like what you're seeing, you can go onto the next part. If not, you might want to get some extra subdivisions here, or you can look at another frame in your timeline. Maybe the waves look better at that point. I see you guys in the next BAD, Where are we going to create all the other lights? 33. 7.3 perfume advertisement - exercise - light setup: So let's first put our model in the right position. And also a camera, Of course. I'll actually start with my camera, I think. So hair. And I think we just need to go here into few, Rob karma too few, and I'll move the hair. Now go to item 0. The resolution. I also want to change. So I got into output properties and then put the stool 1080. And this y-axis is going to be 1350. This is kind of an Instagram measurement. You don't have to do this, but it worked in my case, for the object of the properties of the camera, I actually put the focal length to a 100. And now we can play a little bit around with the location, but to make sure that we're actually putting everything in the right spot and like to select my empty and move the perfume bottle around. Something like this would work rate. Now just match your camera up. And then I also like to look into hair, contravene and focus only on this. I think. I'll put a think of what the rotational little bit down, maybe 84 or 83. And of course we need to go a little bit up. But they're not necessarily good or bad things here. Just play a little bit around to the front you can see and if you like your scene. So let's say this is what I want. Now we can actually start playing with our lights because our camera is set in the right place and we have our model also in the right place. I like to go into shading. Move this to the sides, create this as a few ports. And here I will go into my camera few and then just focus on that point. And I can move my flights around in this view, as you guys already know, and make it a bit bigger, but doesn't matter too much. I would like to delete the light that is already provided in a blender. And this slide actually looks very good. But I like to change a little bit. So you can see here we have only an emission note. And I would like to use some soft boxes. So how are we going to create a soft box? Well, let's actually look at this part here. I also have a whole section about this in the beginning of the course. But if you don't want to go back, I can show you here as well. Gradient texture goes into the emission. And here we have a gradient. I actually want a spherical gradients, promised that the sphere is not really in the middle. So what we're gonna do is we're going to add a mapping note and a texture coordinate notes. Objects goes into the factor. Factor, goes into the factor. And here it is not in the middle. So to actually change the size and also the color of this outside a little bit. I like to create an colorRamp and put it in between the gradient texture and the emission node. Now, I like to put this to be spline instead of linear and then we can move stuff around. So in this case, I would like maybe does. Let's look what it looks like in our rendered view. Because I would love a little bit of a gradient in here. This looks very cool. I like this. So this is essentially the backlight, so we can rename Lubeck light. But because this slide adds so much to our scene and S is probably the biggest light source, as you can see here. Like all of this reflection is all from this slide. This is probably our main light. And we want to check our exposure as well at this point. So let's go into our random properties column management and we can change from filmmakers to false color. So here we can see that we do see a gray line. It is a little bit on the lower end though, so we could maybe make this a little bit brighter. A bit through brides, 1.5, maybe 1.5 between 1.51 seems to work well for my case. I'd like to keep it at the higher end of the gray line. But yes. Let's now add all the other lights. So this the backlight. We're going to add a light hair. I like to make it a bit smaller. And what I would like to create with this slide, as you can see here, I want to create a national gradients on top of this little Q pair, the gap. So we talked about this kind of stuff before. And what we most of the time did with very glossy products. We created all of these sharper highlights as we can see here. And as you can see, this creates a very nice highlights, which I always recommend it. But I also want to show you that you don't always have to do it like this. Let's actually keep it at the more of a softer lighting hair with a lot of follow-up and gradient. And look how that looks, because this will create a very nice gradient. The thing though is that the black parts here also gets reflected on top of hair and that I don't really like. So what I would like to change, I will just move this all the way to the left. And that already, like solve the problem. Or you can also do is you can keep it there, but create an extra color stop, moved in front and just make it a little bit less bright. Let's play around 50 scholars a little bit. And yet that should also do the job as you can see. So we're happy with this, and we just want to move this into place, maybe make it a bit smaller. And then of course also rotated, moved around. But the reason of this particular light is this nice gradient that we get in here. So we can put a brighter if we want this highlighted BY a little bit more pronounced. And what I want to cover here is, I think I'll have a nice highlight down here. I have a very nice gradients are pair. If we hide our backlight, we can actually see what is happening. And yeah, you can see that we have a very nice highlight hair, even hair a little bit. And this gradient hair, which yet as was where we were going for, right? So it isn't sliding and we can just rename this skylight. We know it's not really Fergus, the backlight is way more important. But in this way we know the difference between them. So what do we want to do? I think this is a bit too dark, so I would like to add a fill light. I'm going to duplicate this. You should be very careful with just duplicating a model and then changing the material because then all of them will change as you can see. So what you should do is if you duplicate the model, let's say this one is good. Duplicate a model, then also duplicate the material which is just clicking on the three here. It could be a 23, doesn't matter, it's just duplication. Okay, to keep that in mind. Now, scale this up way bigger and we want a nice fill here. This fill is a bit, yeah, too much. I'm going to put the strength down to maybe one. And this one I want a little bit higher again because I moved it, of course. So around here it starts to look good. We can hide these two and see what's actually happening. It can see that we get a nice highlight hair and this gradient is the shadow got filled up so it is doing its job. That is what we wanted. As less i would light up this part here. It just looks a bit too dark in my opinion. So I'm just going to duplicate this model. Remember, also duplicate the material. And now I want to just put it in place. Let's look where it looks good. I of course, don't want to overdo it. So I'm just playing a little bit around it, the scale, moving it around. And then the strength of course, we can also change. So around here we get some lighting from that one. We can check it as well, so just hide all the other ones and we can see that it gets some highlights. It is not really what I want. Maybe I should make it a bit smaller and I put it closer. But it is better than before anyways. So this is kind of thought better. And what I did to create this kind of scene. I hope you guys like to see that we can also use different kind of lighting and you don't have to feel force when it is, let's say a very shiny objects to also really have very pronounced highlights on it. It doesn't always have to be like that. You can also get a very nice gradient. The only problem is it's quite hard to see what kind of roughness this material has. But that is fine for right now. It looks cool. So less than n I want to show you is Photoshop. So here we have this in Photoshop, and as you can see, I did some stuff. So this is the result that I rendered with and then this is the result of that I ended up with. Which has yeah, it's quite a difference, right? So let me show you what it actually did here. The first thing is changing this color inside. You can see that we of course could look through here, which is normal. But I wanted the focus to be totally on this model. And this made it stand out even more. Then I create some extra darker parts to make it look more like a real fluid. And what I also did Herr is scanner covered this up, right. So I don't want this very sharp detail on hair and this is water and then it goes to wide or not the color. I wanted it to be very blurry. So the folks is even more inherit and it all makes a bit more sense together. Then I like to create a little bit more of a gradient. And then as last, I bombed up some of the colors. And yeah, this is made it look a little bit more interesting to me. I hope you guys like this and I hope you guys learned from it. If you have questions or want to show me you work, just comment down below or going to Facebook. I see you guys in the next one.