Cinema 4D: Model, Texture and Animate Motion to Sound

1. Introduction: Hi there. My name is Niko Koch. I'm a three D artist, online educator, and a passionate storyteller. In this course, we will create an engaging pro jeck featuring an audio speaker. Here's a glimpse of what you'll be able to achieve. In this course, you'll master the complete end to end workflow to create both stunning still images and a dynamic motion graphic video of an audio speaker, which we'll model and texture using Cinema four D. The course covers the entire process of modeling the speaker and assembling the animation as demonstrated here. We'll harness Cinema four D's powerful animation tools, including the Mgraph sound effector to synchronize object movement with sound in a simple yet effective way. Additionally, we incorporate voiceovers using 11 labs and utilizing Polyhaven for realistic background. To enhance the atmosphere and depth of the scene, we'll source royalty free music from Pixel Bay for audio background. Journey begins by importing reference materials for the speaker, followed by modeling, texturing and lighting to produce stunning still images, as shown. With over 4 hours of detailed footage and comprehensive supporting material, this course is designed to help you succeed. So whether you're a passionate, three D artist, a complete beginner or a seasoned professional, there's something for everyone in this course. So join me, Nika Couch and let's unlock your creative potential together. Five for now. 2. Cinema 4D Introduction: WhatIsWhereandWhereIsWhat: Hi, everyone. Welcome back. Now, this is what you're going to see first in Cinema four D is a view that looks something like this. So what I'm going to do is just show you where is what and what is where. The main screen is called the viewport. This is where you can see what you're working on and you can subdivide it into different options such as the top view, the front view, et cetera. And I'll show that a little bit later on. The top part of the screen, this is called your menu editor view. That's what that is. You can look at the cameras, change your display type, wireframe or box, different type of options. You can use that there, filters. We're not going to go through all of these. There's a lot to learn here. Obviously, redshift, you can activate the IPR from here. This is your menu item, which is the menu for your editor view. This is your view port. It's a very, very powerful view port. You can do a lot with it. Now, if you go ahead and click F five, you can see the top view, front view, and the right view. A different way to do that is clicking the Middle Mouse button. So if I go ahead and click the middle mouse button and highlight any particular view I wish and click the Middle Mouse button again, I'm inside that particular view. So if I hit the middle mouse button again, back in the four view view, and now I can go straight to the perspective view here on the left hand side. So that's the viewport. On the right hand side, this is the object manager. So all our objects, as we create them appear here, and they get stacked in a in a folder style stack. So from top to bottom, and you can move them around, and you can see what's impacting what? And you can also see the materials that get applied. So this is what you use a lot when you're managing the objects on your screen. Now here, this is called the command groups. So you've got different types of things that you can initiate, such as creating primitives, getting text blinds on the screen. You can do subdivisions and a lot of other actions. So you can apply cloth, you can extrude. You can create arrays, which is very powerful, create symmetry. Bollins is also very powerful. You can add thickness to your geometry as well. So there's a lot of things you can use from this particular icon. Volume builder, again, as it suggests, it can increase the volume of the particular objects and do a lot of things. Another one that's very, very important is the cloner. So you can clone your objects. You can fracture objects down here and do a lot of amazing things with it. It's very, very powerful. Here, you can twist, bend, collide, do a lot of really, really cool stuff here. Some of the things that I use a lot are the bevels or the bending. I sometimes use explosion as well, explosion effaxs if I want those type of effet. And yeah, so you can use a lot of these particular commands, and so they located here. Now, on the bottom right hand corner, this is where your attributes manages. So any object that you select up here, you're going to see their particular attributes in the bottom right hand corner. Now here on the bottom is your animation tool bar. Now this is where you can see all the animations and basically manage them using the keyframes that you select. So you can activate your keys and just basically move objects around. And what that will do is it will just create a keyframe and you can then basically manage it from here. Now, this is a very easy one. Another keyframe option is actually to go up here and animation, and you got the timeline, which is a little bit more comprehensive. There's a lot more involved. Or you can just stick with the really simple keyframe that you have here. Okay, so there are a couple of different options, so if you're going to remove that for now that you can basically manage your animations with. On the left hand side, and here at the top level, you have your command palettes. So you can add more commands, and these command palettes are particularly useful when you are moving objects around creating extrudes or doing spline creations. So this is what you use. So here you can create your objects, bend them and manipulate them, but this is sort of another level of detail on the left hand side using the command palettes up here. So in essence, this is basically your main areas or your main zones of management within the Cinema four D environment. Lastly, at the very very top, this is where you see your main menu items. You can have all the creates, the modes. Again, some of these points here, you can see in Cinema four D, you can do things in many different ways. You can do it for using the menu, or you can do them using this particular port here. So you can see here the modes are there. Points, edges and polygons are also there. So you can select your tools. See your tools are here. But they're also here on the left hand side. So you can use the menu options at the very top to help you navigate through it, or you can use some of these options. All of this is customizable. Now, I'm going to show you how to customize it for red shift. As stated previously, we used shift. We're going to use red shift as your main renderer. So you should see every I'm highlighting here on the left hand side, which is file all the way up to red shift. Everything on the right hand side of Redshift is things that I've imported, myself, like insidium for particles management, corona and other renderer, grayscale Gorilla is great asset management and material management platform. So I've imported that there, and also have octane, which is the third render engine that I like to have here as well. But we're not going to go through all of that. Main thing is that these are the sort of menu items you have in the very top now here up here, these are your layouts. So you can click different types of layouts. It's going to change the layouts of where everything's out. You normally start with a standard. Now, where you're going to find later on, I'm going to introduce you to the red shift layout, and I've got one here, and this is my red shift layout where I can see what I'm rendering while I'm actually working on the actual objects and the right hand side, you can see all the lights and things like that. So I'll introduce that a little bit later. For now, let's stick with standard. So that's your quick introduction of where is what and what is where. Okay, see you in the next one. Bye bye right now. 3. Cinema 4D Introduction: Navigation & Primitives: Hi, everyone. So now that you know where is what and what is where in a very, very brief, broad brush manner, what is important right now is to know how you navigate the view port. So you've got this green axis, blue axis and red axis. So green is up, and you can see here a little miniature version of it. So that's the white axis. Z axis is blue, and the red axis is your plane. Now, if you hold the old key or the options key on the mac and you just click the left mouse button and move left and right, you're going to get this type of movement. Holding the old key again, you can hold the middle mouse button and pan left and pan right. Hold the old key again and the right mouse button, now you can zoom in and out just by moving the mouse up or down or left and right. Okay. So that's your basic navigation in Cinema four D. Just a little tip or trick to know is that when you have multiple objects to orbit around those objects, it can be rather difficult if you don't select anything. So what I'm going to do is add a couple of cubes here, control and just drag the arrow Now here, if I'm going to do an orbit by holding the old key and the left mouse button, it's orbiting around this axis, the one that's been selected. So now, if I'm trying to work on this one over here, now, and you're over here on the left hand side, you can't actually get it in the middle. So a good thing to do is just to pan it in the middle. And now you're orbiting around the middle object. So always make sure that you select the object that you want to pan around or orbit around before you do so. So here you can see, it's like as if it's finding a middle axis here and just orbiting around that axis, rather than trying to do it always from the middle of the screen. So whatever object you select, you will basically orbit around that object. So, in essence, when you are wanting to orbit around something and see it from a different angle, make sure you highlight it, select it, pad it in the middle of the screen. You can zoom in if you like, and then you can rotate around that object up or down and all the way around. Thank you very much. I'll see you later. 4. Cinema 4D Introduction: Basics you will need Part1: Okay, so just continuing on. Now that we've added some cubes here, and I did that very, very quickly, what I'm going to do is I'm just going to select that all. So if I go on the right hand side, I can select all the cubes and hit delete and you'll just disappear. Now, one thing that I think that is very, very useful is to know that you can do incremental saves. So if you hit Control Alt S, it will just basically increment a number on top of the naming convention that you already provided. And that way you can go back to an earlier point in time if you get stuck or if you I make mistakes or what have you, or if you want to go back in time for some reason or any reason, you can just go back by making sure that you got incremental saves all along the way. So very, very powerful thing. I use incremental saves all the time. So now, now that we've introduced the viewport, we introduced the navigation capabilities, so I'm rotating around, panning left and right, zooming in and out. Now, let's just add some primters. So the primitives are located here on the right hand side. So go ahead and click the cube. You can do any primitive that you want. So if you want to add a plane, is a plane. And say, for example, we want to increase the size of the plane. We can do that using the coordinates so the attributes, make sure the plane is selected, go down to coordinates, and now you can increase the size of the plane by moving the S. S stands for scale. So you can scale it out and push it out, being a plane, it's not going to scale on the y axis. So this is completely redundant. So you can just leave that as zero. Don't like it, go back to tools and reset transform and come back to what it was before. Way to scale is by dragging these yellow dots. So if you highlight the yellow dot, just move it out. That's another way of doing a scale or scaling. So that's very important. So what we're going to do is we'll just add this plane. What I'm going to do now is add a primitive. The way you do that is just simply go here to the primitive again and just add a cube. So the cube are right here. It is located inside the plane. So if I just lt and left mouse button, you can see that it's kind of half half, it's half, half down. What we want to do is basically lift it up and place it on the plane itself. Now, a way to do that is by going over here on the left hand side to make sure that it actually coincides with the plane is by clicking this button here. And now the hitting place, right, it's going to give you this particular view here. So now, as I move it around, it moves it on the plane. So it's no longer disappearing underneath. It's actually on the plane itself. All so if you scroll your eyes to the right hand side, you can see here that it's telling you, Okay, well, you want to do it or move the object, and the Y axis is up, so it's up there, and you want to basically move it around, and the offset is zero, zero. So if you and you want to sort of drag in a little bit deeper, you can drop it down. So therefore, it's deeper inside the actual Y axis. So what I'm going to do is just move it around. So move to the middle of the plane. Now you can basically move objects all around on the plane. So if I go ahead and add another cube, I'm going to just do another cube here. Okay, I'm going to make it smaller. And now, what I want to do is I want to drag this cube on top of the surface of my other cube very easy. Just go over here to the place tool. I'm going to drag it. And now you can see that it's dragging itself all across the surface of the other cube. Okay. So that's pretty cool, right? But notice how it's offset it a little bit. So what I need to do is remove the offset, so I'm going to go zero. So now, as I move it around, there is no offset. So if you want to offset it or if you're placing plants on a field or anything like that, you don't want to be perfectly aligned with the actual field itself because the plant has roots. You can basically offset it a little bit. And what's going to happen from then on, it's going to basically move it around with a little bit of offset there. So for now, let's go zero. Okay, so I'm just going to offset this, and I'm going to place it here. You can add more objects. I'll grab a sphere, for example, and I'll increase the size of the sphere, and I'll move it a little bit. So I'm clicking the move buttons or the operations here on the left hand side. And again, same thing. I don't like it to be dug into the actual object. So what I'm going to do is I'm going to hit the sphere, and I'm going to go and hit the place button here on the left hand side. Now it's moving on top of all my objects. You can see here. I'm going to place it right here on top of the a big cube, and I'm going to reduce the size. So if I hit sphere and go to the object, I can reduce the radius of the object. Now it's basically reduced it in respect of the object itself. So what I want to do is push it down and just grab it and place it anywhere I wish. So now I've got perfect placement, and the sphere is on the cube, as well. Fantastic. Now, next thing to introduce is as we're adding these primitives, we are also adding this tree structure here on the right hand side. As you can see, all of it is green, green buttons. Now, if I go ahead and click that, it removes the object from the screen, so I don't see it anymore. And as you can see here, you can do that as you see fit. So if you're working on an object and you want to isolate it, you can simply just left mouse button and just drag down and you'll just remove everything or left mouse button drag up, you'll highlight everything back again. So you can do it in that way. So instead of clicking one by one, you can just drag the left mouse button up and down, and you'll basically do the same. You do have these LED lights as well. So if you do that, it's what it's going to do, it's going to remove it from the viewport, but it's still going to render it, right? So this is the rendering, right? So if you do both reds, that means it's not going to be invisible in the viewport and it's not going to be visible in the render. So let's just undo that. So those are ways that you can change your visibility and your objects or primitive or geometry inclusion or exclusion from the renderer and from the viewport, okay? So now, that's very simple, but the thing is, how can you manipulate this sphere or this cube, other than moving it back and around, but what if I want to change things on it? Now, if you look at the actual cube itself, let's have a look at that a little bit closer. You're going to see here that it only has one segment, one segment. So therefore, what if I increase the segments. What that means is you should see the edges, two more edges being applied on the X and Y axis. Now, I can't see them. The reason why is because I'm I'm not in the viewport to allow me to see that. So if I hold the key, now, I've got different options for view. Now, if you hold key and move the left mouse button or move the mouse at all, it's going to disappear. So if you go ahead and click N, now, if you hit B, you're going to see all the edges that make that geometry up. You can see all the edges in the viewpoints. Now, what I'm going to do is I'm going to add more edges, more segments. So if I go ahead and drag this, I'm adding more segments, more geometry to my primitive. That means I can do more with it. I can manipulate these polygons and these edges and these points. Now, you can't do anything to this object unless it's editable. Now, the way you're going to make it editable is by going to this button here, and you're going to click it or hit C. Now it's editable. Now I also notice that the cube has changed from this view where my mouse button is. You can see it or the cursor, sorry. The cube is not a cube anymore. It's this object. That means it's an editable poly or it's an editable object, geometry. So now that enables these modes. So if I go ahead and click that while I've got the cube selected, now you can see the points. If I grab any point, I can move that point around. Now if I go to edge, I can grab any edge and move that edge around. If I grab that one there, which is a polygon, I can grab polygon, let me grab that one, for example, and move that polygon around. You can see you can now start deforming the primitive and the object, however you wish. And the way you achieve that is to make sure that you hit the editable button here on the right hand side where my cursor is or hit C, and that will change the cube into an editable geometry. Now from here, I can do a lot of things. Some of them, I can actually. So if I want to add more edges to this particular geometry, I can do that by going over here on the left hand side and looking for the knife or the line cut icon. Now, if you don't have that, you might end up having the loop path cut icon, which is the same. So go ahead and click the loop path. And now what I can do is I can add more edges to my geometry. So now on the right hand side, as soon as I did that, you saw here number of cuts, so I can increase that geometry. So it's going to find between the original geometries, it's going to start adding more lines in proportion of the gap between the original edge, top edge, and bottom edge. So So there goes you can now increase the number of different edges between the top one and the bottom one. So we can add edges on the side. We can add edges to the top. So I just go ahead and do that one there and this edge add more edges. Now, another cool tool is the symmetry cut. So if I go ahead and ke symmetry cut, what it's going to do is going to cut it in a symmetrical way. Between this edge and that edge, it's going to find the optimal symmetry. So that way, I don't have to cut it down the bottom at the top, it's just going to give me a nice symmetry, and it's usually only two. So it's only two cuts for symmetry. So if I antisymmetry, I can just add as many cuts I want. I just add the first cut, say from here, there, and then I can just increase the cut numbers, et cetera. So that way, I can add more geometry and manipulate each and every one of these polygons as I'm going through. So now that I've added more edges, that means I've added more polygons. Now what I can do is going to go to the polygon mode, go to the brush. Now, if every time you want to get out of a mode, you can just hit nine. Now that's when we're going to bring up the brush. So now I've got the ability to manipulate or change the polygons. Notice how my selection circle is pretty wide, and I'm selecting two at a time. I don't want to do that. I want to select one. You can change that by going here on the right hand side and changing the size. You can do that by using the middle mouse button and scrolling by pointing outwards, but it's much easier to just go here and just change the size. So now my little circle where my cursor is is smaller, so I can select an individual polygon and just move it out. Now, to extrude without bringing the other edges, you just simply highlight the polygon. Hold the Control key find the axis, you want to drag it in and just pull it out. Now, if you don't want to go down axis, but you want to go down a certain plane, you can do the same thing. Just highlight the plane in between. So basically the red and the blue. If I highlight the green in here and hold the control, I can now drag it in these axis. So it doesn't have to be controlled by the by the plane or the X and Y axis. I can now move it around however I wish. Okay. So that's one way to be able to sort of manipulate your objects. Again, holding the control key and selecting a polygon, right, like I've done here, hold the control key. I can just extrude outward upwards or sideways. If I don't hold the control key and I do the same thing, I start moving edges around that polygon at the same time. So that's very, very key, very very important to note. So that's how you go ahead and do some extrusions, how you divide and subdivide how you select various geometry attributes such as edges, points and edges, points and polygons. Another very, very strong, very powerful tool is the bevel. So if I go ahead and go to my edge here and go ahead and hover over the bevel icon, which is M and S on your keyboard, right? Now, if I because I've already got this edge selected icon, then left mouse button click in any location and just drag it out or inward. So now what that's doing is creating a bevel. Now notice that the bevel has only zero subdivisions. So if I go ahead and do a Control Z, and I increase the subdivision, say to four, now if I do the same thing, that's going to add four lines and make it much, much smoother. So that's what you're going to get if you use the bevel. So that gives you that nice curved look around the edges. So the more subdivisions you place, the better the outcome is, and you can basically add more curvature as you add more subdivisions using the bevel. So, folks, that's it. That's the basics or the foundations. Again, this course isn't about a comprehensive basic introduction of all the aspects of Cinema four D, but I'm just highlighting some things that you will need for this course. As you're going through the lectures and the individual lessons, you will come across some of these things that I just mentioned. Just to basically summarize everything, all your primitives are on the right hand side. They all get stacked in a tree structure. To view them with the edges, et cetera, you can hold the end button and click A, B, sorry, for the lines or A to remove the lines. I'm going to har A now. So that's how it looks without the lines, and I'm going to hit B. Now, that's how it looks with the lines. Okay? So you can sort of toggle between those two options, and you'll be able to see all the geometry the way you need to see it. 5. Cinema 4D Introduction: Basics you will need Part 2: Hi, everyone. Welcome back. Okay, so we left it off here. Now, in this lesson, I'm going to show you how to add materials to objects. And the way you go about doing that is going to the material manager, which is located here in the top right hand corner where Marcosa is. Go ahead and click that, and next, you're going to hit the X or the solar plus button and down to materials and go for a material option here. So if you hit that, you're going to get RS material that stands for red shift material. And the way you're going to make sure that you are in red shift is to basically go to the render menu. If you don't see that, you go to the render menu, go down to render settings and make sure that your renderer is set to redshift. Okay? So that's the first thing you do. Now, once you do that, that means you've told Cinem four D that your main render renderer is going to be Redshift. Now I've got many others here. So don't get confused. You might just only have standard physical and viewport render. But yeah, just make sure you highlight the red shift one and just click that. Now, as you go ahead and add materials, you have RS material, one, two, and three, and so forth. Let's go ahead and click the first one. Now on the right hand side, straightaway in the attributes area, you can see some basic components of the object or the material that you've selected. Now, you can do a lot here. Or if you go ahead and double click, you're going to see the node editor, which gives you a different window from where you can start working on your materials. So if you click the output, now here you can say, okay, you can change various things very similar to what you just saw. So if I just move this to the side, so you can see that it's almost one to one of what you see here in the node editor view. So I'm just going to move this here. So if I go here, now you can see everything that you can see here as well. Okay? So you can manipulate it using the node editor, which we will be doing to some level of sophistication a little bit later on. But I'm just going to close this for now, so I don't want to confuse you all. So we're just going to use this one here for the time being. Now, what I can do is I have some presets. I can sort of say, Okay, well, I want this to be copper, right? And now you're going to get a copper material. So you can use the presets and adjust the presets and what it does is just basically changes a lot of these options down the bottom to give you that look, okay? And now, how do I apply this material to the object? Let's apply this material to the sphere. Notice that the sphere is here. So what I'm going to do is I'm going to grab this RS material. Mouse button and drag it over the sphere ward. Now you're going to see this down arrow. That means it's going to be applied to the sphere. So if I let go, now PCC on the right hand side, that means that this material is applied to that sphere. Notice how the sphere changes color as well. So I'm going to do the same. But this time, I'm going to go to the other material, and I'm going to add, say, I'm not going to actually add any presets. I'm just going to change it myself. So if you go to diffuse and I want this to be, say, a red color, And now, what I can do is I can grab this material and apply it to the object immediately as so. And now I can start changing the settings here and you'll start changing it here as well at the same time. So what I can do is I'll go back to my material. And I'm going to increase the roughness and I'm going to decrease the reflection so that when you go to weight and you change it, that's how you decrease or increase the reflection. So I'm going to decrease the reflection because I don't want it to be super shiny, and I'm going to increase the roughness a little bit, and refraction is zero, so that's okay. I'm okay with that. I might change the color to be a little bit more orange. That suits me fine. So it looks like that. So you can see in the viewport here little sort of square view of what it might look like. So that's that. Now, the fact that in the cube, I have highlighted another so I've got one cube here. I've got the second cube here, so I'm just going to pull that cube out, so it's away from this. So I've got two cubes and this deformed version. So now I'm just going to keep on adding a couple more materials. So it's going to go here, and this one, I'm going to change the color to something like green. And this one I'm going to make super shiny. So I'm just going to leave it as it is. So the reflection is high, roughness is low, so it's going to be super shiny. So I'm just going to grab that and drop it onto the cube number two. Now, to rename all these objects, which is a good idea, you can just basically double click and just add any name you like, like cube green, and you can change that to sphere, underscore, bronze. And I'm going to call this underscore Black, mate. Okay. And, yeah. So and can change plane to plain, underscore floor. Okay. So now I'm going to give color to all of these objects. So let me just highlight which one is this? So if I go to object. Now, if you want to select an object, just make sure that you go to the object mode up here. Now when I click it, I select it. So any highlights it on the right hand side. So you can see it's orange highlight. It means that's the one I'm looking at. So I'm going to add another material, and let's go with something. Now, I'm calling it a black mat, so let's go black. Roughness high, reflection low. So it's not going to be super reflective and reflection reflection is fine. Refraction. Now refraction is going to give you a little bit more of a glassy look. So we can add a little bit of refraction to this. So you can see now it's kind of like a bit of a dark glassy look there. So let's see what that looks like. So's going to put that there. And that's how it looks like in the viewport. Now. What I would like to do is also add a different texture to the floor. So I'm just going to go to the material RS materials. It's gonna remove that one. And I'm going to add something like let's add paper, and that should be fine. So just a white floor. So that will be the plane. Okay, great. Now, how do I see this once it's rendered? How do I get the red shift render working for me? Okay, the easiest way is just simply go to Redshift and RenderV. And there it is. Now, to activate it, you need to hit the play button and you'll start rendering. And there it is. Okay? So now, holding Alt and left mouse button, you can move it around. You obviously cannot manipulate the view angle. That's because you have to do it over here. So if I click over here, I can start moving my view angle. Okay. And now, how do I go ahead and add some lights? So let me go back to the main screen here. I'm going to minimize that one. To add lights, you go to redshift lights, and you can add area light and it appears here, and you can see in the port, it's right there where the arrows are. So I'm going to grab it, raise it, and I'm going to give it an angle, so I'm going to hit the rotate button, move the red line, and I'm also going to increase the size. There we go. So now it's there. So now if I go to the render view, red shift, RSV render. There it is. So now you can see how much shine there is on those objects. To decrease the light intensity, I just highlight the light on the right hand side. Down the bottom, we're going to find this intensity attribute. I'm just going to drop it down to give me a bit of a shadow. There we go. And there you have it. Okay. So I've got this nice, very, very simple lighting mechanism going to increase the light a bit. Raise it up a bit. And now, if I want to zoom in, I just basically highlight the viewport area, and I can zoom in around Now, if I don't what if I want to add a RS camera? It's very simple again. So let's go to Redshift. I go to objects. I go to camera, sorry, standard, and now I've got an RS camera. Now I can change the view port from the perspective view to the camera view. So now I can see RS camera has appeared here, which is the same here. So if I rename the camera word, I'm going to create this I'm going to rename this to NK. That's my NK camera. And it should be updated here. Now I'm looking at this particular image through the lens of the camera. That means I can now change how the optics of the lenses work. If I go to the right hand side, I can change the optics, say, I can adjust the EV, make it dark, make it lighter. Let's go back to zero, or I can go to filmic, and that means I can adjust now the Io sensitivity, make it really, really lightweight, or I can change now also the shutter speed, make it say, 1,000. It's going to super dark or 500, more like 100. That's better. So now I'm using the camera to manipulate what I'm seeing here in the render rather than the default perspective view of Cinema four D. So if I switch over back to the perspective view, this is what the perspective view is giving me. If I go back to the camera, this is the camera view, what the camera view is giving me. Okay, so that's all, folks. I will see you later. Thank you for now. 6. Modeling: Prepare for Modeling: Hi, everyone. Welcome back. What we're looking at here is the Maxon app. Now, we're going to use this to launch Cinema four D. We can go directly to the desktop icon and launch it from there, but this is just another way of doing that, making sure that we have all our applications updated. Now, as you can see here, I've got a couple of licenses. I'm using 2025 dot one dot one, which is the latest version as of the moment of this recording. So I'm going to hit Launch. Okay, here it is. Okay, first things first, what we're going to see here is the main screen, the default camera view. We choose just one view. Now if we go ahead and hit F five, we're going to see the perspective view, the top view, the front view, and the right hand view. Okay. So now what we need to do is first import our images into the top view and the front view so that way we can have some perspective as to what we're building here. Now, we do know that the size of the speaker is 16.8 centimeters. So what we're going to do is go ahead and add a cube to the perspective view. By hitting the middle mouse button, you basically end up looking at the perspective view only or whichever view you're on at the time. So if I'm over here in the top view and I hit the middle mouse button, I get the bigger view of the top view, another way of doing that is hitting this icon here at the top right hand corner. Now going back to the perspective view, middle mouse button. Okay, now, notice how the cubs always lands in the middle of the world. Uh, it's on X zero, zero, zero axis. So your axis icons are here, Y Z and X. So what we're going to do is size this cube so that it is the size of the son of speaker. Now, we do know that the sides of the speaker are 6 centimeters, so we're just going to go ahead and put sex. And 16.8 is the height and six cabs. So it's quite small. It's right there. So that is the size of the speaker. So we're going to hit the middle mouse button again. And if we go to the front view, here it is. Okay. So what we're going to do now is going to go ahead and import the image of the speaker. So we do that by clicking the view, going down to configure, click Configure, and go ahead and hit the back tab. Now you're going to see this thing here called image. And what we're going to do is just open the folder and look for the image of the front view. Or actually it's the back view, but it's more interesting because we do have a few buttons here that we might want to add to our model. So now, it lands dead bang in the middle of the screen. So what we're going to need to do is see our little cube here. That's our little cube. That's a little cube over here, see how much bigger the image. So we need to resize the image to fit into that little cube. Now the image is proportionate to the size of the actual speaker, so all we have to do is just decrease the size. So we're going to go ahead onto the size Z entry and just drag a mouse button from right to left, and it should start decreasing. Another way to do that is obviously by clicking or by typing. Now, I prefer swiping because it gives me a bit more control over what's going on, so I'm just going to zoom in by using the middle mouse button. Now, to shift the image around, just click OT and the middle mouse one, and you should be able to reposition it in the middle. So we're going to do that again, size it back down and scrolling by rolling the middle mouse wheel and old middle mouse and reposition it again. Now what we want to achieve here is we need to resize the image to fit inside the perimeters of the of the object that we just created, which is here in the top left hand corner. You can see it here in the front view. So you can see the sides there in bold black. So we're going to do that by scrolling either the z or the Y. So let's just go with the Y axis. So what we can do is just click and drag to the left, and that will basically scroll the image. So let's just see if we can position it. So it's almost around the same. Let's go into the bigger view here. So there we go. And when you get really close, you can just use the arrows. There and that's about right, actually. So it's not too bad. It doesn't have to be super accurate. We're not doing a CAT here. We are basically merely creating a three D model for advertisement and such. So here you can see that it's a little bit to the left the image and the cube, the actual object is right in the middle. Now just use the offset. Now the offset is just jumping 0-1. You can see how wide that is. So let's just go and give it a 0.5. Look at in the middle. No. Okay. Let's give it a 0.25. That's about right. 125. That's okay. And again, let's have a look at the sizing. So Alt and the middle mouse but, drag it up. Okay. So you can see that the actual object is a little bit thinner than the image. So that means that we need to go back to the object. We have six, so it might be just a little bit bigger than six. So let's go 6.5. No, let's go 6.3. Okay, that's about right. Or we can go back to our dimensions of the actual object itself and be a bit more accurate if you wish. So I'm going to do that right now. Okay, so according to the dimensions, it's 6.2. So let's just change that to 6.2, and that's it. Okay, so let's just go back to the image. So top left hand, view, configure, and here in the offset, we can see the image is slightly to the right. So let's just go to 0.22. That's closer. 0.21 might be Okay. There we go. Okay. So now the image is approximately in the middle, though these buttons are a little bit off. So let's see if we can change that. 0.1, that's not good. 0.15. There we go. Okay, now if I scroll in, see the on button. It's slightly to the left. It can be a little bit micy if you will, but no one's going to notice that. That should be enough. Okay. So let's go back to all the other images. Now, here in the top, we need the top image, so we're going to go ahead and go to view, configure it to the same thing, go back, find the top image. Or what we can do is get the bottom image and just use that as a sizing tool. Now we notice that the image of the object that we created here on the left hand side is right there, and you can see how much bigger the actual image is. So we're going to do is just do the same like we did before. We are going to scale it down, drag left mouse button, holding the left mouse button, just dragging it to the left. So we're going to go here. I size Z, sorry, size Y, click and drag. Okay. Oh, I think we just snailed it. So holding old middle mouse button and just pull it to the left, that should be about right, actually. Fantastic. Good. So now that we've got the image from the top you, approximately correct. The image in bottom is sized correctly. What we want to do is place the object on the bottom on the actual X Z plane. So the way we're going to do that is go ahead and click cube, make sure that the object is selected, make sure move is selected, and it over to the front view. And just move it up. There we go. So we're going to undo this snap a little bit because we're close enough and just eyeball a little bit there. Now we're going to do the same thing with the image. So we're going to go ahead and go to configure, find the image, and using the Y, select and scroll it up. I went really fast. So let's just eyeball this a little bit. So it's 8.23, I believe, maybe 8.4. That's it. Okay, great. So now middle class but again, here we are. So now what we have is the top view. We have the front view, and we have our object here. 7. Modeling: Basic Shape Model: What we want to do is you want to bring this edge and this edge so that they join right here approximately in the middle. The way we can do that is by making sure that our snaps also allow for middle point, right? So what we're going to do is we are going to go ahead and turn this into an editable object. So we click cube, and there's this little icon here with all these edges and a pencil. So we go ahead and click that. Now that becomes a different type of icon, right? So it's a polygon object icon. That's what that icon looks like. That means now we can select the edges, the points, and also the polygons as well. So if we go ahead and top left hand corner and expand that and if we go ahead and click this side, so you can see how everything is now clickable and selectable. So now what we're going to do is we're going to go ahead and hit the points menu item. Now what we can do is go ahead and select all the edges here and now move them inside. Oops. Hang on. Now we've got this enable access selected, so we have to make sure it's not selected, so make sure that's all there, so that means we can actually move the edges now. So as we move the edges, the top edges move together, and we will find the middle approximately there. There we go. It's snapped in the middle. So what we now need to do is get these other edges. So just move the object to the side, select all these and do the same. There we go. So now we have a triangular object that's 16.8 centimeters in height and around about 6 centimeters in length and width. However, once we've connected these two points, right, if I go ahead and select that one there, for example, that should be just one point. But there's actually two points because, remember, we had two sides that we're joining together, so we're just going to weld that so we don't have any problems after that. So the way we do that is by clicking the world button on the left hand side. So let's try that again.'s reverse. So go ahead and click Rectangle, click all the points. I should have two points here. Now, click the weld button, and it's just to ask where do you want to weld it? Well, we want to weld it in the same spot. So just click that spot again. Notice how the points have gone out 2-1, right? Now, I know you can't actually see this very well because we actually snapped it on top of each other. So those two points are actually sitting one on top of the other. That's why you can't actually see it very well. So let's do the same thing again, rectangle selection. We have two points. We go to world and world into one point. Okay. So now that we've done that, we need to get these curved edges so that the shape looks something like that. The way we're going to do that is using the bevel tool. Now, prior to that, let's just position it so that the actual triangle edges are just a little bit above these particular angled edges here of the actual picture. So what we're going to do is kind of select the whole thing by clicking this button here. The model itself and select the move and go into top view and just move it down there. Okay. So you can sort of eyeball this. The amount the area here and here and here should be approximately the same. So now we're going to do select the edges. So we're not going to select the top edges. We're going to select the side edges. The way we're going to do that is just simply by going here, it's like the brush selection. That's the easiest way, I guess. And move away from the model to the edges right here, right? So that's that icon here. It gonna click that one, click that one, and alt left mouse but, turn around and click Shift and click that. So I had to shift, shift, shift, click all these. Now you see all the edges highlighted what we next now need to do is looking at the top view. So right mouse so middle mouse button, click on top of the top view, we should see this. Go ahead and click Bevel. Now, you don't see it, but those edges are still selected. So now what we want to do is increase the subdivisions, so maybe to about six, right? And left mouse button, click anywhere on the screen and pull in hoops. Something went horribly wrong. Let's have another look. Oh, okay. Let's try that again. And left mouse button click and drag up. You should start getting this particular view. Now you can move around with that a little bit until you get it just about right. You can use the offset on the right hand side to help you with that or gauge it. But this looks about right as far as the shape that we're after. So we're just looking for the shape, not necessarily the scale. We'll scale it out a little bit later. Before now, we can sit the shape, but notice how the edge is a little bit sharp, so let's increase the subdivisions, right? And right. Okay. That looks approximately what we're looking for. So now, let me just change the view a little bit, make it a little bit more transparent. Okay. So that's the background picture, so it's not so glary. But that's about right that's sort of the shape that we're after, right? Now, now that we've got the right shape, what we now need to do is select the model, go over here to scale and just scale it to fit the image. Now, it's a little bit off center, so we're just going to grab the whole thing and drag it down a little bit and continue with the scaling. I think the top scales are fine, but now let's just try to scale outwards a little bit. Okay. And I think that should be about right. So we've got the edges overlapping perfectly. So if we hit the left middle mouse but again, that is the shape that we've just achieved by doing that exercise. So let's have a look at a little bit closer, middle mouse button on the perspective you Alt left mouse button, and move mouse around. And there we go, Ladies and gentlemen, this is your speaker. Okay? So, great. Now, 8. Modeling: Add lights and Viewport Configuration: Okay. Hi, everyone. Welcome back. Okay. So in this session, what we're going to do is we're going to prepare a interface so that it accommodates both the rendering and the further modeling requirements that we will be facing as we move forward. So the first thing first is we're going to be rendering this speaker in red shift. Red shift comes naturally with Max on. So once you purchase Maxon Cinema four D, you also get redshift. So we do have other options. We can go with octane or we can go with Isidiums cycles four D. But for the purpose or corona or Vira, Cinema four D supports all those other render engines. But instead of that, we'll just use the one that comes with Cinema four D itself, which is redshift. Now, if you look at the menu, Redshift is located right here. And if you scroll down, there's a lot of things that come with red shift, sorry, here. So you've got the objects, you got lights, you got cameras, and you have materials. The moment you install the Cinema 40 application, all the materials that you will find by clicking this icon here, which is the material manager, all of the materials that you create here are actual red shift materials. Okay. So you can pretty much go here and click any of these and you will get the red shift materials. So if you go ahead and click material, you get RS right in front of it, which indicates it's a red shift material. Okay, so let's remove that material for the time being. Okay, now, what's the best way to set up a working environment, our workbench? First of all, let's ensure that we actually have some view to the render, right? So the way we're going to do that is simply just by going over here, we can click the rendeve here. And once we do so, you will see the rendezve appear right in the middle of the screen. Now what we want to do is we want to make sure that it's actually inside our view port. And the way we can go about doing that is simply by clicking the Rendeve and grabbing the Hamburger icon on the left hand side, dragging it. And as you drag it, various parts of the actual screen highlight. Now, let me move this particular screen so you can actually see a little bit better. So if you grab that hamburger icon and move it here just between the viewport and the material manager, it will appear right there, which is kind of convenient because you can scale it up and down and still has some visibility of what you're rendering as you're going about rendering. And on the right hand side, you can see your material manager is right here, which is fine because you're going to have a lot of material, so it's okay to have it vertically located there. But also, you want your lights located somewhere. So if you go over here and you click lights, and if you grab the two dotted lines, see the horizontal lines that are there, if you grab that, can drag it and move it to the right. Now, I like to have my lights located right where the objects are. So I like to have them right here. So as I'm adding lights, I can see what I want to add and just plug it in there. So it's quite handy to have it there. Let me just remove that light for the time being, and that's it. So now, so you have your render view here. So if you go to your four view, you got all your four views here. It's a little bit cramped. The real estate is very, very small. Now, the bigger the screen you have, obviously, the better it is. But yeah, if you don't want to see any of your screens, you can always remove it and you expand back. But this is a viewport that I like to work from, and I encourage you to create your own if you like. Now, the way you go about saving this viewport is once you've found the viewport that you wish to work off, you just go here on the top right hand corner and there's an option here that says, save layout as. So once you click that, you can save the layout anywhere you wish. So if I go ahead and save this one, I can call this the course Layout. Click Okay. Now I've got the course layout. So I've got different versions of layouts. I've got an octane layout. I've got a cycles four D layout. I've got red shift layout with materials. So I've got various different layouts. Now, this is the octane one. This is the red shift one. And you can always go back to your standard, right? So the one that we just did a course layout, which is this one here, which is the same as my red shift layout. So I don't particularly need this one anymore. So I can remove that one a little bit later. But for now, I've got that one and this one. So now if I am working from the standard model layout like this, if I want to see what's happening with the renders, I can just go to my new course layout and you'll lay it out like this, and then I can have a look at the view port and make sure that I'm rendering everything correctly. Now, how do you go about rendering? Okay, so now let me just open this. Let me just move this to the side. Okay, here we go and expand this window. So now if you hold Olt in middle mouse but, you can move your render view which way you like. So if you go ahead and click the play but, this will start and stop the IPR, which is your render engine. So this is what redshift is rendering at the moment. There are no materials, there's no lights, but it's giving you a little bit of a view as to what it is that we are looking at at the moment. So the first things first is to put a plane in there and put something that we want to basically have the objects sit on. So if we go over here to the right hand side and we click plane, it would add a plane like that, nothing sophisticated, nothing fantastic. And you can change the width of the plane, length of the plane, and so forth. So we'll leave it at 400, why not? And you can change your segments of it and so forth. Now, let's give the plane some sort of material. So let's just go over here. Let's go to the red shift material, and simply grab the material drag and drop it onto the plane. So now you should have the plane there, and you can see that the red shift is rendering at the moment. And that's the plane that red shift has rendered. So it's not sitting there in a dark place. It's actually got some sort of texture on it. Now, the other thing is that let's add a little bit of light. So let's go ahead and hit area light. So now we've got a light that's really intense, and it's located right here in the middle of the plane. So zero, 00 XYZ. So we're going to grab the Y axis arrow, move it up, grab the Z axis, pull it back. And you can see there's quite a lot of intense light happening. So let's put it right back. Alt left mouse button. And what we can do is shift around and have a look at the size of the light. As you can see here, it's quite big. So let's just reduce the intensity first. Run a dirty should be fine. And you can see the little object is right there and also rise it up so it's not touching the plane and angle it. So hit R for rotate or rotate it down a little bit. So it's looking down on the speaker. So let's just go in a little bit old left mouse button, scroll in, and you can see here how it looks there on the render, right. Looks okay. Right now, we haven't added any textures. It's not that exciting at the minute, but it does give you a little bit of a view. Now, this is what we're going to call the key light. And then what we're going to add is a fill light, right? So what we're going to do is we're going to add another area light. Okay. They're very large at the moment. So hit for up e move and move the object up. We are going to scale this a little bit, so it's not so big, so we're just going to scale it down and maybe make it. Yeah, we'll scal it down. That's fine. We'll just keep it at that and rotate, and we're going to turn it all the way around. Let's go to mode, object, coordinates, and 180 was what we moved it to. So it's nice and linear. So now what we're going to do is bring the light down and push it out a little bit. Give it a little bit of a back light so that now, we're going to do first to phyllite. That's right. First to phyllite. So let's just rotate it a little bit and position it there. So let's just go back and have a look how that looks. Okay. So it's quite a lot of light going on here. Let's go back to the lighting system, and let's name them. So the RS area light, let's give that a name first. We're just going to add dot key And here, we're just going to add dot fill. Okay. And let me just see what kind of shadow I'm getting from this one. Yeah. Okay, that's okay. That's good. And let me look at the intensity of this light. It's 100, so let's reduce that down a little bit, as well. So it's not so heavy. So it gives a bit more dramatic look for the lighting. Now, the fill lite, I believe, was about 30. So the key light was 30. The fill light is 1.7. Let's give it something like a ten. And what we're going to do next is add another light. And this is going to be our back light. Now, the purpose of the back light is just to basically give the object that we're shining to basically have a little bit of shape as well. So it's not sitting there, and you're not quite sure whether or not the particular edges finish or not. So you want to be able to have something at the back. Okay. Let's go back to mode, object, coordinates, and minus 180. So let's also reduce the size. So it's not so big. Okay. And do do. Okay, I got my scale on. So let's just scale it back down. Okay. And the move, there we go. So now we should technically be in a good place. Let me see. Oh. There we go. Alright. That's good. Now, that's the rear of of the object. So what we can do is probably turn everything around. But for now, that's okay. We can still use this as the front, as well. So it's not too bad because we've got a lot of light happening from all angles, which is excellent. So that's what that's doing at the moment. So let me just move the screen. So that's it. Now, let me go back to the key light object. It's 30 acceptable, fill, ten, and the backlight is 100. Let's drop that down to maybe ten. Okay. That should be good for us for the time being. Now, we're going to come back and revisit lighting. This is just to basically give it a little bit more of light. So as we are working on it, we can cross check how things are looking in the viewport. So it's an iterative process. Modeling usually is if you do just modeling and you don't see what's happening in the viewport, then by the time you finish modeling and you make some key decisions on your models, you want to avoid going back, especially if you break the non destructive pattern, it's much, much harder to go back. So it's always good to have a perspective of what you're building by looking at the viewport once in a while. So as you add things onto the model, you go to the viewport and check it and so forth. If you don't want this viewport, you can always just go back to standard and reset it, and then just go in and out of the model view and the viewport. So now the only other thing that we need to do is also add a camera. So if you go to Redshift, we also have objects. So we have cameras. So if you got the camera one, we can just grab this and move it also. Right there or anywhere really, we can sort of decide where we want to move it. I like to sort of have it close to my lights. I've got all the different cameras, and I also have the lights here. So that's it, folks. So now, next, it's all about adding some details to the model and continuing with our efforts as we're moving forward in making our speaker. 9. Modeling: Indentations and Chamfers on Top and Bottom: Hi, everyone. So welcome back. Okay, so last time we were placing lights and cameras in a plane to get a little bit of perspective as to what we are building and modeling. And it's always a good idea to have a few lights and a camera and a plane in the scene so that you can actually look at what you're building. As you are building it, you can see how it works with the textures and things like that. So we've done that, and this is the red shift view that we currently have. So what we want to do is we want to continue modeling. We'll keep the red shift view here. But for now, let's just go back to the standard layout, which is up here. So I'm just going to hit standard. So now this is the layout that we currently have. Now, for us right now at the minute, what we're going to do is we will be going back to the red shift view, but I'm going to remove the plane for the time being, so I'm just going to remove that. So I'm just going to hit that button there and just see on and off. So that's how that works. Here on the right hand side, it's a bit of a mess at the minute. So let's just order ourselves a little bit. So what I'm going to do is going to select the camera and the lights together and hit Alt G. This is going to group them into a null group. I'm going to give it a name, and I'm going to call this null group dot composition. Just call it compo for the time beam. I like to sort of keep a shorthand. So null dot compo. Now, this cube is on a cube. It's actually a speaker now. That's what we've built. So I'm just going to call this the speaker speaker. And I'll just leave it as that for the time beam. So now we've closed the plane. And also, I don't want to see these lights and cameras here because they do get in the way, so I'm just going to switch that off. Just cohere on the right hand side and click the top button there, which would just basically remove it from the viewport. Now we've got a clean model back again, and that's fine. Now, if we're going to go back to redshift layout, we can always go back to the redshift layout and have a look. So that's what it looks like at the minute. So now what we're going to do go back to the standard model. And what we are going to do is we're going to introduce the subsurface division, and I will describe what that means. Now, subsurface division, you can find that here on the right hand side. Just go here and select that. Now, what does subsurface division do? Actually, it does exactly what the name says. It divides the surface into multiple bits and pieces. So it subdivides the surface. So it makes the model a little bit more organic, a little bit smoother. If you're coming out of the three dx Max world, it's called turbo smooth. So if you're familiar with TDS Max, that's what this is. Turbo smooth equals subdivision surface here in cinema four D world. Okay, so now, what happens? So what I'm going to do is I'm going to grab the speaker raise it and dump it right under the subdivision surface and see what happens. Yeah. Okay, so that's not a speaker that we would like to have. So I'm just going to switch off the subdivision service for the time being. Come back here. So what we got to do is we're going to have to create some chamfers or some lines at the top and at the bottom so that we retain the shape. So what I'm going to do is I'm just going to go back here and I'm going to zoom in a little bit, and I'm going to select the line option. And one way to do this is to basically grab the top line, copy it and place it down the bottom or simply go to the left hand side and find your let me just change this view. Brush selection view, go to the knife if the knifes already is not there, but you can go to the loop loop cut, right? So now, as you're moving the loop cut up and down these verticals, you're going to see a horizontal line up here. So you can go ahead and click anywhere you like for the time beam. So it's just going to click there for the time beam. So now what happens if we go back to subdivision surface, see how it's sort of made it a little bit smoother now. Now, if you compare it to what's happening at the bottom, Oh, because we've got the symmetry on symmetrical cut, you did the bottom one as well. So let me remove that for the time being so that we can see what's actually going on. So let's try that again. So if I go at the top, and I'm going to hit subdivision surface. See, the top ones a little bit smoother, but the bottom one is still a mess. Okay? So what we're going to do is we're going to hit the symmetrical cut once more. Going to do a Control Z, right. And we're going to basically keep the subdivision surface on so we can actually see what's going on. And now we're going to do the top and the bottom at the same time. So we're going to basically move the cursor up and down one of the verticals until we are happy with where we want to land. So let us do this for the time being and notice how straightaway we're getting this nice curved line here happening at the top. It's much, much better than it was there before. So now let's have a look how that looks through the render view. So let's just go to the render layout, and let's have a look. Zoom in. Oh, okay. So we always have to press play here. Now, it doesn't look all that great because it's still a little bit rough, right? So we're still not getting that clean surface view here at the top. Let us just reduce the light a little bit. I think the key lights a little bit strong there, so we can actually see a little bit more what's happening with the surfaces here. Okay, so you can see how it's like a little bit broken up. What we got to do is we're going to still work a little bit more on the speaker. But this time, we're going to basically remove the subsurface option here, and I'm going to add a line on the top end. So now, the way I'm going to do that, we can do that in many different ways. One way I like to do it is basically by going here to the surface. So we're going to select the polygon mode. So we're going to select that. We're going to go over here. We're going to make sure the brush selection is on, and we're going to highlight the top. Once we highlight the top, on the left hand side, we are going to get this inset option. So again, this is one way of doing it. You can do it in many different ways, but this is one way. So I like doing it this way. So we're going to go here. And now with this option selected, we can point at any point around the selection and just left mouse button and drag it in. As we drag it in, you're going to notice how the top is now coming in and out, see, like that. So we're creating another version of the top, if that makes sense. So now, if I go over here, and I'm just going to leave it there for the time being. I'm going to move my mouse cursor all the way to the subdivision surface, and I'm going to turn it on and have a look at what's going on. So notice how in the viewpoint of the render, if I can expand that out a little bit more, the viewpoint of the render is giving me this nice smooth edge. Now, if I don't feel like that's exactly the edge that I want, I can basically move the bottom line up and down. So, for example, I'm going to go ahead and select edge. So I'm going to go to edge mode, select the edge, hit UL, and that's going to give me the edge there, the one that we just created before. And I'm just going to move it a little bit higher up to get a bit more of a sharper edge at the top, right? So if I go all the way up, it's going to be super sharp. If I go a little bit down, it's going to give me that nice sort of curved look there. Okay. So that's kind of what I want. Now, the other option also is if we go to the top end. So let me just clean the model a little bit. Let me just remove the subsurface division subdivision surface option there. So now another way of doing it is by selecting this new inner circle that we already have. So if we click one of the edges, go UL, and it's clicker. There. And if I go to the scale option, I can scale it out or in. So now I'm scaling it back out a little bit closer to the edge. I'm going to click the subdivision surface. And the way I like to play this, and I know it looks a little bit messy is I like to keep my render option here happening while I'm actually trying to scale the edge to get it right how I like it and how I want it. Now, here, I'll it's a little bit too sharp, so I'm just going to bring it in a little bit. Maybe I'm going to drop the bottom one a little bit, so I'm going to click the bottom loop, and I'm just going to drag it down a little bit. Or maybe let's go up there. Okay. Now, I'm just going to move the render view a little bit so I can have more fresh look at what's going on. It's a little bit still too sharp for my liking, so I'm just going to grab that loop and drop it a little bit further down. And also the inner edge. I'm just going to pull that, pinch that in a little bit as well. So let me just click one of the items, UL, highlight it, scale tool, and bring it in a little bit. No, not too much. And I don't want the model to be deformed too much, so I want to keep it nice and clean as well. Yes so you find I usually like to find a particular angle and just use that as my reference point so I can get that nice curved look at the top. So you can see how it's curved a little bit at the top, so it's not super sharp. And that works for us for the time being, and we're just going to leave that for the minute. We're going to do the same thing down the bottom. I believe the bottom part is still pinched to the extreme. So I'm going to go do the same thing and, again, highlight the polygon, click it, and do the inset. And just pull it in a little bit there until I get that nice curved look done. Okay. So that's that. Next, what I would like to do is also, if I go back to my F five and go back to standard view, notice how here on the model, there's this like indentation, a little indentation happening. So what we want to do is we want to basically replicate that. And what we're going to do is we're going to basically create a line that's coming across horizontal and then pinch it inwards to create the view of an indented piece. So let me just demonstrate that. So what I'm going to do is going to go back to my perspective view. And I'm going to create another line that's coming across. Let me do that right now. So here is let me remove symmetry. Okay. And I believe it's somewhere there, not 100% certain, but it seems to be somewhere here. Okay. Okay, let me remove my snap on because it seems to be snapping everywhere. So I think it's somewhere in between here somewhere. Let us do that for the time beam. And now I'm just going to remove subdivision surface for the time beam, and going to go back to Five and zoom in a little bit. So you can see the new line here is in orange. So what I want to do is I want to go to the move tool, highlighted UL, which is there, and just drop it a little bit so that we can line it up perfectly. So let's find where the move icon is. Here it is, and just move it until we find the right location and just leave it there. Okay, so now what we're going to do is we're going to turn on the subdivision surface again there and have a look at the model and see how that looks for the time being. That looks really good. So now what we need to do is we need to create a bevel. So let me just remove subdivision surface because it's too many lines. And let's go to perspective view. It's much easier to see from this perspective. So this is our new line. So what we're going to do is create two lines, one on either side of this line, and then we're going to move this line inwards to create that indentation. So let's so it's highlighted already. So let's go straight to Bevel and just create. Now, there's eight subdivisions here, so there's a lot of subdivisions. So Control Z. Let's go back. Let's reduce this down to one. Right. And now let's just create a nice little bevel here, scroll in a bit. So there we go. So we've got this little indentation. So we're going to grab this inner line and then we're going to pull it inwards. And that's going to create the view as if there's an indentation happening there. Now, it's 0.16 centime, so we're just going to just remember that for the time being. And what we're going to do is we're going to go straight in the innermost line, which is here. Control L, highlight it. And now we are going to pull it inwards. So let me zoom out so you can see what I'm doing. So go to the scale tool and highlight this arrow, the green arrow. The green arrow is going to be your Z and X axis plane. So these two, right? So don't go for this one or the blue one. Go for the green one here, and then just pull it in. Now, if we pull it out, it's going to jump out. We we want is we want to pull it in. So as we pull it in, it's going to go right inwards into the speaker itself. Okay, so let's do something like that. Okay. So now let's have a look at how that looks once sub subdivision surface gets plugged in. Now notice how it's very rounded. We don't want it to be so rounded. So we're going to go and remove subdivision surface for the sec, and we're going to create another chamfer on this slide and on this line. That way we can have a more sharper edge as you get closer to this indentation. So let's go ahead, click one of the lines, UL. There it is. And what we're going to do now is just simple, one way to do that is like that where you copy and paste and just drag it up and down. Another way is to go over here on the left hand side, do a loop path cut, and just go ever so close to the orange line and just select. Do the same thing with a top one. There. Now, if you go hit subdivision surface, it's a little bit sharper, right? So you don't have that super smooth angle here. It's a little bit sharper. Now, I think, if I remove the lines, like that. Now, this is how it looks at the minute. Okay? Right? Now, I think it's a little bit too wide. So what we're going to do is we're going to adjust it. So let's go back to click NB to get the lines. Let's remove subdivision surface so it's much cleaner so we can see what we're doing here, see how wide that gap is. So we're going to narrow that gap. And the way we're going to do that is simply by clicking edge mode, goes straight to the brass selection. Click Op. We need to click the speaker first. So the model so cinema ford need to know what you're trying to do. The fact that we already have the bottom one highlighted already, what we can do is just use that time save and just drag it up a little bit. We can do the same thing for the top one and drag it down a little bit. So select one of the edges UL, Make sure you click it before you move, and make sure it's all highlighted. You can fly around the model to make sure that he actually is. And then just highlight the green arrow, maybe zoom in a little bit so you can see what you're doing, and just drag it down a little bit there. Okay, now let's hit subdivision surface once more and see what's happening. Now, a good thing to do is that once you know what your models what your models doing, and the light blue edges here is actually the model without the subdivision surface switched on. So if you can visually separate that with your eyes, you can basically keep subdivision surface on while you're modeling it. So now if I keep my subsurface on, I can actually scroll it down and get it closer to the edge, right? And I can do the same thing for the bottom part as well. So I can do the same thing, get it up a little bit there. Okay. So now, if I remove all the lines, so NA and click anywhere on the right hand side. Okay, that's way, way better. That's a lot lot better. Now we've got something that resembles that indentation line that we're after. So let's go back to F five. Right? So that indentation line was right there, and we've kind of got really, really close. I think we've nailed it. So what we have to do is do the same thing for the top part. So let's go ahead and middle mouse button clay go straight to the top. Oop, Alt, remember, and do the same thing for the top part. So first things various, let's go straight to the speaker. We're going to select the speaker. So we've got this and B to get our lines back, remove the subsurface division, so we don't need that anymore. Let's go straight to F five, and this is the front view. Now, the picture of the back is really bright. So let's decrease the brightness of the back image. Let's go to configure, view, configure. And what we're going to do now is go to back and increase the transparency. So it's not so in your face, if that makes sense. So let's go straight at the top. There's that line, the indentation line. It's right there. So what we're going to do is we're going to go here and go to the line cut tool here, Path cut, and we're going to align the new line right on top of that one and click. Once we've done that, we can stain this view. We've done the bottomline in the perspective view. Here, we can stain this view for a bit, and we could do it from the front view. So let's go ahead. Now that it's already selected, we can go hit bevel. Remember, the bevel was 0.160 0.016 is still there. So what we can do is just simply add another line. Notice how it got unselected, so let's just make sure they selected again. Okay, UL Click and selection. Hit the bevel. And anywhere on the screen, just left mouse button and drag, and you should get 1.8 is close. 1.6 is what we wanted. Let's try to hit 1.6, 1.9. That's very, very tricky, tricky, tricky, tricky. Okay, let's go down a little bit. Oh. There there. Let's leave it there for the time being. Okay, 0.16. So, you know, remember that we're able to adjust it as well afterwards. So this gives us that indentation that the beginnings of the indentation that we need. So next thing is we want to go really close and hit the middle line. So let's remove ourselves from the bevel. So let's just go straight to the brush selection. Select the middle line, UL. Okay, and click. Move your mouse away. If the orange is there, that means you've selected it. Okay? So once you've done that, let's get out of the side view so you can see what's going on. Let's go straight to perspective view. And just move it up a little bit, go to the scale. And now remember we are scaling inwards. So that means we're going to stay on the ZX plane, and we are going to basically grab the green arrow, green angle, and just pull it in. Now, now when we pull it out, you can see what's happening. If you pull it in, it's cutting it a little bit. So it's cutting inside, right? So now let's have a closer look at that. What's happening. Okay, let's turn subdivision surface on. Again, the same thing happened here as it happened down there down the bottom part. You're getting this super curvature happening. So what we can do is you can basically grab one of these edges. If you double click it, you should be able to highlight the entire edge. And you can bring it in closer or you can also add another line here to basically level it up, which is what I'm going to do right at the minute. So I'm going to go ahead and grab the cut tool and I'm going to get it nice and close there. So that's going to give me that smoothened bit there. And also the same time here. Now, I'm focusing on the blue lines. I know it might be a little bit difficult for you to see, but after a little while, you're going to get used to it, where the black lines are the actual lines of the subdivision surfacing, whereas the blue line is the actual model itself without the subdivision surfacing. So let me just show you that. These are the blue lines, the original blue lines. They're going to stay there. Once you hit subdivision surface, you're going to get the black lines. They're a bit overwhelming, but you can sort of see here that you're getting the line very close to the original here. So it's just going to go just a little bit underneath there. Now you've smoothened this out. It's much, much straighter, but it's still really, really wide. So what we're going to do is we're going to go grab the top line here, L. Okay. So we've got that line selected. We're going to go to the move tool, and we're just going to bring it down a little bit slightly there. So I'm going to narrow the gap. And we're going to do the same thing for the bottom line here. So remember, there's two lines here, remove the subdivision surface. So there's two lines. There's that edge and that edge. So we're going to grab the innermost edge. Double click. You should be able to highlight it. If you don't just hit UL and then click it, you should highlight it. So try that. So if I click any of the edges, UL, and then I click Move mouse away, it should show you that orange line. So I'm going to go straight into the move tool and bring it up ever so slightly until I create that Itel happy with that gap. Now I'm going to go to subdivision surface and have another look at this. Great. Now, let me have a look at how that looks like in the render. So I'm going to go straight to the red shift render and let me press play. There we go. So notice how I've got this indentation now happening here. And if I go down the bottom, I have that one down the bottom, as well. There it is. And the top one is there. Now, I believe the top ones a little bit wider than the bottom one, so we need to basically make sure they're about the same. So the bottom ones already selected, right? So let me just remove the subdivision surfacing. The bottom one's already selected, so I'm going to grab it and pull it up a little bit more. There. And let me hit subdivision surface. It's still too wide. So let me try to narrow the gap a little bit more. There. Okay. I'm happy with that level of indentation. Now, we can always change that later because we are working in a non destructive mode, so we can always go back and modify that. Okay, so that's that part. Okay. Next, what we're going to do is we're going to do the back of the model. So let's go to F five again and let's go back to staded layout. Now, notice how in the picture, we have this hole here for the charger. We also have this button here. So what we're gonna do is we're going to model this button and also this hole, as well. Okay? So that's coming up in the next lesson. Thank you for now and see you later. Bye, bye. 10. Modeling: USB Plug and On Botton: Hi, everyone. Welcome back. Okay. So just to recap, I'm going to hit the red shift layout. So what we've done now is we've got the basic model. So what we need to do next is make these buttons, these two buttons on the back. Okay, so let's go ahead and do that. So I'm just going to hit F five, just to get a bit of perspective as to where everything's at. So I'm just going to go into the front view, zoom right in. So we want to create this hole and this button. The way we're going to do that is we're going to create a square or rectangle around this hole, the same thing with the button and then we're going to bevel in the corners of that rectangle. So let me explain that by doing it. Okay? So let's go ahead and now I'm just going to create a line, the bottom part of that hole, and I'm going to do right above it, as well. I'm going to do the same thing for the button, and there Excellent. Okay, so let me remove the subdivision surface so I can see what's going on here a little bit clearer. Okay, great. We also got a line here that's very close, but it isn't quite lining up with the edges of the hole in the button. So what we're gonna do is we're going to create another line. So right next to it as such. Excellent. Okay, great. Now, what I'm going to do is I'm going to highlight the points that define the edges of the hole. So we're going to focus on the hole here. So what I'm going to do is I'm just going to highlight them like so, right? So we should have four selected, and I'm just going to hit visible only. So we're not highlighting any points at the back. So let me just get out of this view and make sure that I'm not highlighting anything but these four points. Okay, so we can see that from this angle. So we've got the four points highlighted. Excellent. Right? And let's go to F five. So you can see from the top angle that we are dead bang in the middle, and there's only four points highlighted. So let's go back to the front view. It's very important that you know if you're going to highlight points that your visibility only or visibility only off or on is correct. Otherwise, you end up collecting more points than you want, and then you end up ruining the model, and then only afterwards, you find out that, oh, you've actually pulled in the wrong point and it's to form the model. So just keep tabs on that. So you've got four points here. And visibility only is on at the moment. So now what I'm going to do is I'm going to go to the Bevel tool, whilst my points are highlighted and just click and drag left mouse button, which will help define that particular hole. You can see how it's kind of defining the shape a little bit, which is great. Next to what I want to do is I want to go to the bras selection and also to the polygons mode, and I'm going to click it like such. So, and now I'm going to basically do a inset for this particular bit. So I'm just going to create another line around this existing line. That's going to help me give me that nice smooth edge. So I'm just going to left mouse button click and just pull it in. Do it once, and then I'm going to do it the second time. So let me zoom in so you can see what I'm doing. So that was the original edge. This was the second one, and this is the third one. So we've got three of them right now here. Okay, great. So now I'm going to click the subdivision surface Model, and that's what we've just done. Let me go to the perspective view. Okay. And let's go in to the model. Okay, let's press Play. Okay, so there's nothing happening here just yet. So what I want to do is remove the subdivision surface for the time being, click polygon, and just keeping the Control button on, pull it into the model. Now you can see here how it's created this gap. I'm going to hit subdivision surface to see what happens. Okay, it's still good. Okay, great. But what we need to do now is make sure that this goes all the way in, so it gives you that dark look as if it's going into the body of the speaker. So let me just remove the subdivision surface. And let's undo that. Okay. And what I'm going to do is I'm going to do another inset for this one. So let me do another inset. And this one's going to be really narrow. Okay. I'll explain that in a little bit. So now I'm going to hit the brush. I'm going to select everything. Like so. So all the inner ones, including the one at the back. And I'm going to basically drag that inwards. Oops, Let's try that again. Okay. It's done on an angle, so we definitely don't want that. Let me try that again. Okay. Like so. Okay, great. And now I'm also going to turn on the subdivision so you can see what's going on here. And now I'm going to grab turn it off again and grab only the inner one, the one that we just created, and I'm going to pull it inwards. So keep the control button on and just pull it inwards, like so. So that's going to give you that little insert. So that's where when you put the USB inside, you're going to have that little little nudge there. Okay. Now, because there's so much light, it looks like that. But what I'm going to do is also I'm going to remove the surface sublution surface, and I'm going to grab these outer ones, and I'm going to pull them out behind a little bit more. Okay, let's try that again. Okay. And I'm just gonna drag that further behind. Like so. Okay. Now, subdivision surface goes off, and so there you go. Okay. So now I should have the hole that we're after. Okay, and that should be good enough. Excellent. Okay, so next, it's about the button at the top. So let's go to the front view again. There it is. And there's the button at the top, so let me move the subdivision surface from that one. Now, let's click all the buttons that are associated with the corners of this one here like that. So visibility only selected, so we should only have four selected. So let's go to F one, check points four selected. That's good. Let's go back to F four, which is the front view. And now we're going to go back to the bevel and do the same thing as we did previously. Excellent. Go straight to polygon. Click the item in the middle, and we're going to now do the inset for this part. So click anywhere and just drag it in. So let's do one and do a second one. Okay, so now if I zoom in, I should actually have that's the front view. Let me go back to the perspective view. Okay. Excellent. So now you can see I've got two bevels happening all at the same time. So now what I'm going to do is I'm going to just go to the brass selection, grab the blue line, and keep the control button on, and just extrude outwards a little bit. Not too much. Hit the subdivision surface and have a look how that looks like. It's a little bit too smooth, so we want to basically round the edges up a little bit. So whilst I still got that edge selected, right? I'm going to go and select it again, UL. There we go. So selected, I'm going to keep the subdivision surface on so I can actually see by how much I'm actually going to be straightening the edge out. I'm going to go to the move button, and I'm going to keep the Control button on while I'm pulling inwards, the blue arrow. That way, I'm creating a second edge. So notice how it's coming across like that. So it's really sharp. But that's exactly what we want right now. Excellent. So now that's how that looks like. However, it looks like as if it's a piece of geometry on top of another piece of geometry, it doesn't look like a button. So all we need to do is create an insert or an indentation around the button. And we can achieve that by first removing the subdivision surface so we can see the edges. And what we're going to do is we are going to create another edge around this using Bevel again. So let's go back to Bevel and create another one. Excellent. And now what we're going to do is we're going to select the inner one, do a UL and move that inner one into the actual model itself. So let's just grab that and just pull it in. Ooh. The click subdivision surface and let's have a look how that looks like. Okay. Subdivision on. So we've got a bit of shadow there, which gives it the look as if there's actually a button you can press. We might want to be able to maybe do it a little bit more so that it looks a little bit more obvious that it is actually a button. So we can do that by selecting another one of those lines right next to it. Select move button and drag it in a little bit. There we go. Subdivision is on. Okay, let's have a look. Now, notice how it's deforming the bits and pieces around it, right? And it's creating this shadow at the top, right? So that's not right. So we need to basically back out of that. Control Z. Okay? So we don't want to break that line, see that line was being broken. So we want to keep that line there. Oop. Right. And not touch the top line, but actually go a little bit inner inner. So let's just go with that line because we created two bevels really close to one another, which was not a good idea, but we can still work with that. So let's just grab that for the time being and then just drag it in. There we go. And Excellent. So now we haven't deformed the top part at all, so the top part stayed there where it is, and the bottom part seems to be fine. Everything's fine there. So now what we can do is clean up the model a little bit by removing some of these points, right? So that would basically remove some of this chatter that we've got here, right? So we can do that now, so what we want to do is all the points that we don't use, we're just going to basically weld them together. So go to the rectangle, say, click the points. Visibility only on is good. So we want to basically maybe grab these three points and maybe this one, weld them together. So they're all into say that one. So we've got that nice line there, and we can do the same thing over here. So we've got these three points and that one, and we're going to weld it into that one. Okay. Let's make sure that we're not breaking the model as we're doing this. Good. So it's removed some of the chatter, right? And what we can do is do the same thing on the other side. Okay. Now we've got two points here that we don't need. Let's just grab them and just holding shift, delete. We've got one point here for no reason whatsoever, remove that point. That could be as a consequence of some of the residue. So we've got some points again up here that we do not need control shift, and there let's turn on subdivision, making sure that we're not breaking anything in the process. Okay, good. And that can remain the way it is. And then we're just going to go over here for the button as well. So we're just going to select some of these points and weld them together. Okay. Notice how also, we've got a bit of a lip happening here at the top and at the bottom. So the best way to do that is basically create a cut across to redefine and reinforce that edge. So let's go ahead and do that. So we can do that by simply selecting the knife or the line cut tool, like so, and click a point here on the left, drag it and click a point here on the right, hit a scape, and we can do the same thing down the bottom here as well. S. Now, let's just make sure the integrity of our points is correct. We should get one point here, two points if I stretch it out. One point here. Good. Now let's have a look. Yeah, so that lip is gone now, so we don't have that lip anymore. And also, this button here is a little bit less busy, which is what we're after and what we want. So there's no bendage of geometry. The geometry is still very good. So zooming out a little bit, see on the right hand side, you can see that the models start to look good. So we're just going to back out a little bit more and just do a bit of a recap. So we've got the top part here. As you can see here, it's nicely edged. We got the indentation. Down the bottom, we've got the hole, and we have the button as well. And down the bottom here, again, the same things is to create the top buttons here. I've promised that before in the previous lecture, but we need to do that now. So now that we've done this part, we'll do that. And next and after that, we'll add the mesh, which is this part here. See on the speaker. So we're going to try to go for that look, and then we're going to add letters and a few other holes here to basically add some lights, et cetera. But we're getting there. We're getting there by now. 11. Modeling: Top Button using Displacement/Bump Map and UV Editing Layout: Hi, everyone. Hello, hello. Okay, so we're going to start working on the top part of the speaker. And the way we're going to achieve that is by applying a displacement map on top of the speaker polygons. So firstly, let me just save an incremental version of this. Here we go. Okay, so what we're first going to do is get out of the subdivision surface, highlight the polygon section that we want to apply the UV map on. So let's just do that now, which is there. Next, what we want to do is we want to split away from the rest of the object. Why would we want to do that? Well, when you apply the subsurface action on the speaker, it would creep into the actual displacement map itself and you will deform it. So we want to make sure that it doesn't do that. So the way to ensure that doesn't happen is by ensuring that the surface where we're going to apply the displacement map is separate from the rest of the speaker geometry. So what we're going to do here now is write about the clique and we're going to do a split. You're going to see on the right hand side, this is your original speaker. This is all the speaker everywhere else, and this is just the polygons at the very top. So let's just rename this so we don't forget what this is. And I'm just going to call this the top, right? Okay, great. Now that we've done that, we can move to the next part. The next part is doing some UV editing. So we can access UV Editing through the layouts at the top, so we've got script standard model UV edit. So if we go ahead, we can click that and access this screen. You can do that also by going to Windows and go to texture Editor map. For now, we're going to just follow the layouts that are there in front of us. Next, what we're going to do is we're going to select the actual speaker dot top object that we just created. So this particular polygon object that we've just created, speaker dottop. So make sure that's clicked. Make sure that you're in the polygon mode and ensure that your brush selections on. So you click it here on the right hand side. This is the UV map. What we're going to do is we are going to unwrap the UV map by clicking this button. Now that we've done that, that's great. Next, what we need to do is make sure that we fit it to the canvas. So this is the canvas that we're going to basically utilize. And it's at a specific resolution that we need to basically overlay and map our buttons, our icons on top of. Now, what do those icons look like? Now, I've attached it to the resources for this session, and this is how it looks like. This is the actual bump map that we are going to use. So what I did is I traced this. It's a little bit rough, but it works. Unless you get really, really close, and you can actually see how horrible how horrible of a job I've done. But at the end of the day, it's enough to give us the displays and map that we need that we need to basically overlay on top of our speaker. So this is the butt map. It's in your resources, and you can access this from there. Now let's move on. So we're going to overlay that on top of this. So the first thing we need to now do is create a texture, right? So what we're going to do is not hit this file, but hit this one here. So when we hit this, we go to create new texture. Once we do that, we're just going to basically give it a texture name. Let's call this texture 01. And we are going to save it let's call it 01-01, and it should be at this width, which is 101024, ten, 24, and we're just going to basically hit Okay. Once we've done that, it's created a texture map. Now what we need to do is create a UV mesh layer, which is going to basically give us this. Now, what's important here is to know that where these lines are converging, you can see them here on the right hand side. And this is how you can orientate yourself when you're actually placing this item on top, you can basically see where you need to orientate that. Now, if I go to the top view, let me scroll right in. See this is where we want to have the plus and the minus and fast and the play and the pause, and you want to have the microphone icon over here. So that means that everything on this side this is where you want to have your plus and your minus and your microphone and your microphone icon here. So that's a good way to just make sure that you can orientate your map in the correct direction. So these lines helped us a little bit in identifying that. So next what we need to do is make sure we create a a layer mash, which we did. And now what we want to do is we want to save the texture as a PSD file, which is a photoshot file. Click Okay, and then we can basically save it anywhere we wish. There we go. And now we're going to do what we're going to do is we're going to open it up in Photoshop. So we're going to open our bump map in Photoshop, and we're going to also open the new texture map here. So this is our texture map, and this is our bump asset that we just created. So I'm just going to basically control a copy. Let me undo that. I'm going to copy that and bring it across here. Now, remember this is where our front is, and this is where we want the macrope. So we're just going to spin this around. We are going to stretch it out a bit, cold shift so you keep the proportion right. And that looks about right. Might need to level it up a little bit. The bring a bit closer. Okay. You can use the edges here and here to see if they're parallel. Yeah. I mean, there's many ways to do this. This is one of them, probably not the best way, but it is, but it works. You can get really clever with this, as well. But yeah, it's all about timing. Okay. And just click Okay. And next, what we're going to do is we're going to remove everything except the actual final review, which is layer one, which is what we've put the asset on top of. So next what we're going to do is we're going to flatten the image, so we're going to flatten it. So it's black and white, and we are going to export it as a PNG. And now back in Cinema four D, we're going to go back to the standard layout. And from here, we are going to access the material manager, and we're going to create a new materials, material, and we should have RS material here. Now, if you didn't have one before, it was just increments one, two, three, and so forth. So it doesn't matter which one you select. Click that one. And now this is the view that you're going to get. Let me just expand that window, move things here to the right. Now what we're going to do is we're going to add a texture. Okay, so let's go ahead and do that. Click the plus button, texture. And here we're going to basically add the path to the new texture map that we just created. Okay. Now, this is going to feed into the but map of this particular material. But we also need to give this Well, we can keep the same color, but we could also feed it another texture, which we will later on anyhow. For now, I'm just going to keep it the way it is, and I'm just going to feed this texture into the but map of the RS material which is here, okay? Let me just make sure I did that correctly and here to the bump map. Okay, so if you expand this, there it is. So now you can actually see that there's a little bump map happening here against this particular image. So now I can close this, and I'm going to drag this on top of the speaker dot top, and it should overlay on top of it straight away. It's not quite centered, so we could probably shift a little bit to the left or to the right. But for now, let's just have a look at what it's done. So let's just go back to perspective view. And there it is. Okay. So we've applied the texture and the displacement map to the actual top of the speaker. So let's have a look at how that looks like in the render. Press play, and here it is. Now, the reason why we're getting these lines it's because of the reflections of the material that we've applied here, which isn't right, right? So these are the textures that we're getting, right? So what we should do is go back to the material. Right. And from here, right, we need to also ensure that we are using a bump map, not feeding just the texture into the bump map of the material, but we need to convert this texture into a bump map. And the way we're going to do that is by bringing in a bump map Node. Okay, so this is the bump map node. So we're going to double click. Now we're going to feed the output of the texture butmap which you created into the input of the bump map node and the output of the bump node into the bump map of the RS texture. So notice how that's made a huge significant change. So now let's close this and have a look at, oh, so you can see straight away now how the bump map works, okay? So it's definitely doing what it's supposed to be doing. Okay. Now, I don't really like this reflective texture, so I'm going to basically go back into the RS material, and I am going to reduce just by clicking the ARS material, I'm just going to reduce the reflection, so it's a little bit less reflective, so it's not bouncing all the light. So here it is. So there it is. So that's the bump map that we've just applied. Now, as I said, it's not quite centered, right? So we could probably do some more work around that. But for what we're trying to achieve here, it's sufficient, and it works. Okay? So now the next thing what we need to do is feed this a proper material. So for now, given the fact that we've just used this material for everything, what we can do is essentially duplicate this material. As such, remove the butt maps, close it, and just apply it to the rest of the speaker, so it looks uniform. There we go. Now, sure the subdivision is on, and there we have it. Okay, so this is the speaker the way it is at the moment. Let me just expand this window. So it's more clear as to what that looks like. There it is. Okay, so now you can see the buttmp is on the top. We've got the indentation down the bottom, the indentation at the top. We've got the buttons there. And all that's left is now for the grid here. Let me just show you again. So we need to basically apply this grid and then the signage, a few little bumps here for the stand, and we are almost there, and then we're going to go ahead with the lights, et cetera. Okay, guys, well, that's how you add a displacement map to simulate the buttons on top of the speaker. Thank you. Bye for now. 12. Modeling: Speaker Grid using Displacement Map: Hi, everyone. So welcome back. Now, just a quick recap. What have we done so far? Okay, so what we've done is we've created the shape of the speaker. We've added a USB insert here and also the on button. We have also added a but map on top of the speaker to give us the controls. So we have the microphone, the plus button, the negative button, the play, and the pause button. So all of those buttons are here now on the top. What we need to do is we need to focus on applying the grid. So the first thing we need to do before we can apply the grid, what we're going to do is we will be preparing the material for the displacement map. So the method that we're going to use is apply a displacement map to provide us the grid, which is slightly curved all the way around. Saved us a lot of time in creating the actual geometry for the curvature. So it's a much, much quicker way and way more powerful way to do the speaker grid, which is going to be located here where my cursor is. So without further ado, let's start with preparing the material. Before we go ahead, let's first clean up some of the materials that we already have here. So if we look at this one here, this is I believe the displacement map for the top speaker. So what I'm going to do is I'm going to basically give it a name. So that we can organize ourselves a little bit better. So top material. So let's call it SP,spfspeaker dot top. And this one here is for the body of the speaker. So let's just call that SP, right? For speaker. Now, we're not using this material at all, so we can actually remove that one. So now we've got two materials, one for the body and one for the top of the speaker. So the next thing what we need to do is add the grid material. So let's go ahead and add a random material, so material, and just an empty one that would do. Just to match the rest of the materials, what I'm going to do is going to decrease the reflection. So reflection goes back down to zero. So it matches the body of the material. I'm going to give this a name as well. I'm going to call this thes dot grid. Okay. All right. Double click, and this is what we should end up with. Let's just grab that, move it to the side. Now, what we need to do is we need to provide a normal map, opacity map, a displacement map, et cetera. So let's start with the normal map. Now, one way to do this is to basically go to your folder, wherever that may be. One way is to actually just go ahead and add the texture and then add the link. A quicker way is just simply grab and drop. So that's what we're going to do here. So this is the normal map. I'm going to go further. I'm going to add the opacity. And displacement. And what else do we have? We have the roughness. Yeah. Okay, so this is what I'm going to do here. It's very simple, straightforward. Now, for the normal map for the but map, which is basically what the normal map here is supposed to be doing, what we're going to do is we're going to have to translate that into an RS butt map. So the way to go about doing that is to add a node. So we're just going to add a bump map node here. Excellent. We're going to attach the out color to the input of the bump map and the out of the bump map into. And if you just hold it above the RS material, you should actually get the bump map appearing. So if you hold it says overall, and it will basically show the children parameters of the overall parent of the RS material. So just going to link it to the there. Now opacity goes straight to opacity, so we're going to grab the out color of the opacity, hover above the RS material, and we're just going to link it as such. Displacement map, we need a displacement map converter. So what we're going to do is we're going to type in displacement map. And there it is. We're going to link the displacement map to the displacement map node, and we are going to go straight out of the displacement map over into the output of the displacement map. Notice how it's actually changed shape even prior to the displacement. So I remove the displacer map, notice how the bump map has already created the displacement that we want. Okay? This adds another layer of displacement, and it gives us more control in the control panels as to what the displacement should look like. Now, another thing is that we need to attach the roughness, so we can do that. We can change these textures and make it rough and add more things like we can bring it into Adobe's substance and add scratches et cetera. But given this is a product demo, usually the products are pristine and nice and glossy and that's not what we if we're going to do ultra realistic real world type of scenario, you might want to work on the roughness and add some different textures and so forth. But for the time being, we don't need to do that. So this is the actual textures mapped to the materials, which will give us the RS materialsp dot Grid. So what we're going to do is just close so we've done that. Excellent. So now, just to see how that works, if I'm just going to grab a little cube, okay, it's a very large cube because obviously, we've got a very small 16.8 centimeter speaker here. So it's going to grab that, decrease the height. So it's nice and small. Move it a little bit closer to the speaker. I'm just going to zoom in. And I'm just going to grab this grid, and I'm just going to apply it. So you can see how that works, okay? So the grid just basically works as a material, and you can apply it to any object you wish. So what we're going to do is we're going to do this exact same thing, and we are going to apply it on the speaker. So let's go ahead and remove the cube. Don't need that anymore. And let's save so that we don't lose our work. Particularly when we change geometry, when we start changing geometry, I really recommend you always do an incremental save. So you go to file and do a save incremental. Okay, now, let's go ahead and think about where we're going to place the speaker. We're going to place the speaker right here. Okay? Now, in order to do that, we need to make sure that we are placing it in the correct place. So let's have a look at what the actual speaker should look like. So if we look at the speaker sizing, we can see that the top lip is there, so we got that. Then we've got this bottom right? And the speaker the grid should be right here, and we need to basically we can eyeball this or be super accurate and apply proper measurement. So what I'm going to do is I'm going to grab this line and match the distance between the very top to the indention here, and I'm just going to raise this one a little bit higher up. And basically, all I'm going to do is make sure that my distance from the very top edge, very similar to what we see here to the indented part is the same. So from here to here, we're going to basically grab this line and make this distance equal to that distance. So let's go ahead and do that. So what I'm going to do is I'm going to make sure my speaker is selected, make sure that I'm in the edge mode. Make sure my brush selection is there, select any of the edges, hit UL and click. Now, when I've got click, remember, always, you're looking for orange, right? So once I've got that there, I'm just going to do a quick spin around to make sure there's nothing else might be affected. Nope. So what I'm going to do is just going to simply grab the move option and just move it up a little bit, and I'm just going to eyeball this. The distance from here to here should be the same as the distance from here to here. So just eyeball it. That should be enough. What we're going to do is we're going to do the same thing and we're going to do the same thing down the bottom here. Okay, so we already have a line here, and it actually looks pretty accurate. The distance from here to here and there is actually pretty much the same. So what we can do is we can leave that line exactly where it is. So next, how do we select where the grid should be? So the easiest way to do this is go to the polygon mode, go to rectangle selection. And instead of doing on the side, what we can do is simply go straight to the top view. So if I go to F one, F two is the top view, OT. Now, this is the top view here, and this is the part of the grid that we want to select. So I'm currently in the rectangular selection mode. So I'm just going to drag across everything. Now, it says here visible only. That means all I'm going to do is tag only the visible polygons. If I go back to my F one mode, that's all I've tagged. Now, that's not what I want. I want to make sure that all my surfaces underneath here are actually tagged or selected. So I'm going to remove visible only, go back to F two and do that again. Now, if I go back to F one, notice how all my polygon surfaces are selected, which is exactly what I want to do. Next, I want to remove These two areas, this one and this one. So the way I go about doing that is simply holding my Control key while I still am in the rectangle selection mode and just dragging across from left to right, using the left mouse button, and there we go. Okay. So now I've basically removed these two top layers. So I'm just going to lt and drag down again and do the exact same thing down the bottom here. Oop. Remember, holding control and moving the left mouse button. Okay, so zooming out, let's have a look. Okay, great. So now let's do another save incremental, make sure that we're good. And next, what I want to do is I want to essentially split this from the remainder of the geometry. So the same way we did the speaker at the top, part of the speaker, we split it from the geometry. So now this is an object in its own right. This is going to become a third object. So we've got the speaker, we've got the top of the speaker, and this is going to become the speaker dot grid. So what we're going to do is we're going to write button clack go to split, and we are going to rename this to grid. Okay, so now we've got the grid, which is here. And we've got the main speaker and obviously, we've got the top of the speaker as well. So next, let's hit subsurface and have a look at what's going on here. But notice how the moment we've done that, we also have this geometric change and impact, and that's happening, which is going to definitely affect how the grids going to be applied. So what we want to do is make sure that these lines are as close as possible to where our speaker grid starts. So the way we're going to do that is highlight speaker. We will be placing a few lines, a few cuts to pull that in. So I'm going to keep the subdivision surface on as I apply the cuts on the blue grid lines. So what we're going to do now is simply go into the edge mode. We are going to the loop path cut, and we are going to place a cut here and notice how it pulled that line straight in. And now we're going to go down, and we're going to do the same here. There we go. So next, what we want to do is we want to go and do the same thing on the other side there and down the bottom. Okay, so that should provide us a nice square or a nice angle there, right. Now if you want to get super, super tight, you can grab this line, bring it a little bit higher up, which is what I might want to do right now. So I'm just gonna click this. Double click. No, that doesn't bring the loop. Let me go to UL and highlight that line. Am I in the line? No, I'm in the polygon selection. Let's change to the edge mode, and there we go. So now orange, it's clicked. So I'm just going to get the move option selected, and I'm just going to bring it up there. Okay. Let's make sure nothing else in my geometry is broken or changed in any way, shape, or form. My buttons are still exactly where they need to be, so that hasn't been impacted. Okay, great. Excellent. So this loops all the way around, so I'm assuming it would have done it here as well. Oh, okay. Now we can see that there's been a slight impact. So let's undo that and have a closer look at this. Okay, so what it's done is it's picked up another edge here. So you've got to be careful with these kind of thing. So we're going to hold Control, click that, click that, that or just select the rectangle and select all these ones here. Okay. And now what we can do is redo that. So you got to be careful. When you actually do a loop selection, just make sure that the actual loop does not interfere with any other part of the geometry. So now we're going to go and select this edge Mm hmm Okay, UL highlight it. Spin around. Let's have a look at this. Oh, you can see now it's actually grabbed this particular edge, which would have been a complete disaster for us. So what we want to do is remove that edge, and the way we're going to do that is simply go to rectangle selection, hold down the Control button and highlight that area that we do not want that particular edge to transform. We do want it to end here. So let's go ahead and do a shift select. Change to brush selection, and there. Okay. Now, we're just going to bring that one up a little bit higher to get that angle a little bit sharper. So now let's have a quick look around, make sure we have not made any further damages to geometry that the geometry is still good and valid. Yeah. Okay. So let's do a NA, so we can actually look at the geometry from a different perspective. Good, and highlight another place. Okay, great. Now what we want to do is apply the grid material. So the way you do that is simply grab the RS material, drag it, and drop it onto the speaker grid. Remove the original material, and there you have it. So now you've applied the grid material to the speaker and everything looks great. Problem is the scaling. The scaling is all wrong. Okay? So what we got to do is we got to start thinking about how we're going to shrink scaling. The best way to do that either from the inside of the RS manager. You can do it from here, or the quickest and easiest way is simply go to the actual material itself on the grid and notice how it changes down the bottom. Now, what I do recommend is start working on the tiling. So if I start increasing the tiling, you can see that the grid holes are getting smaller. I want them to be super small, so they need to really reflect or be similar to these holes. So now, these holes are currently very very large, so I'm just going to keep on going until I find the size or the vertical size that I want, and then I work on the horizontal sizing there. Now, that's still very, very Let me try to be closer so you can actually see Okay. Now, the best time the best time it's the best time right now to bring the red shift materials view in so you can actually see how it's rendering. And that could also help you with evaluating the holes that you need here. Okay, so now let's hit Play. Okay. And now notice how also our material is deformed in the in the render view. Look at that. It looks very, very horrible. Does not look like what's here in the viewplane. So it's rendering it out very, very differently. And that's what happens when you use the displacement maps. So what I want to do right now is let me get the sizing of the holes right, and then I'll work on applying the correct material or the correct material type on this particular speaker. So now, what I'm going to do is just drop, go back to my materials and keep on decreasing the hole sizes until I feel that I'm getting closer to what I want. And now let me have a look at how I'm supposed to fix this. So now I notice how the projection of the material is using UVW mapping. Now, that's really, really good when you're applying it on rocks, stones, things of that nature. But when you're doing it on a curved cylindrical object, might want to think about projecting it on something else. So notice how you got spherical, cylindrical, flat, cubic, et cetera, et cetera, what you can do if you don't have tripolar here, which we don't, and that's a completely different course. What we can do is we can just go straight to cylindrical and notice how straightaway it's made it a lo lot better and a lot smoother, which is fantastic, but it still has these kinks. And also at the same time, the tiling has completely changed. So what we got to do now is have a look at our displacement map. So if I go ahead into my materials, and have a look at what the displacement map settings are. So if I go to the output, I'm going to have a look at what the displacement scale is. So you can see here we have an option here to increase the displacement or decrease the displacement. Now, what I want to do is let me just move this to the side. Is I want to decrease the displacement because it's really making a lot of chaos here for us. So let's just have a broader view as to what's going on. So you can see here on the right hand side, it's completely doing a whole lot of displacements that we really do not need. So what we're going to do is going to bring down the scaling of the displacement. And notice how that's starting to work for us. So if you go on one extreme, a lot of displacement, bring it down, bring it down, and bring it further down. Now it's bringing the displacement in, and we want the displacement to basically coincide with the rest of the geometry. So let me just decrease the sizing of the grid. So again, we're going to go back to the object view, and we're going to click the material tag of the grid, and we're going to start increasing this furthermore. Again, that's way too large. We're getting there. So let me just type in 100. That's more accurate. And let me increase the U tiles to say ten. So that's 110, so it's 100 for the tile used, and tiles, it's 100. That's actually pretty close. Let me just get out of this view and let me get in a little bit closer. Notice how the displacement as well has pulled it right into the body of the geometry. So what we've got to do is we'll do some more work on that scaling. So we'll come back to that later. Okay, I'm just doing a bit of a survey to see where everything is. Okay. Yeah, we can see that the displacements are not quite aligned with the rest of the body. So let's go back to the RS grid material. And displacements are always going to be seen on render. So that's one thing that you need to know is that during the viewport view, it could look absolutely fantastic. But actually, during the render, which is where the actual displacement is going to occur, that's where you're going to start seeing problem. So let's go back to displacement, and let's have a look at if we go to the left, yeah, it's getting closer to what we need. However, it starts deforming. So if you go here, have a look at that. Starts to deform a little bit, change shape. We don't want that. This is where the displacement starts kicking in. See how that kink is happening. So we want to basically go closer to zero. So we don't want the displacement map to be impacting us too much. So let's go there. Okay. That's much, much better and much cleaner. So if we go down, excellent, I think we might want to go with this displacement setting and scale. So if I hit scale down to zero, so displacement is zero. So basically, there is no scaling that's happening, no displacement scaling is happening at all. So basically, it should be aligned to the original object as much as possible. Okay, that's pretty good. We're going to keep it at zero, 'cause we want it to be aligned very, very well with the original. So that's the grid. Now, I still feel that the holes of the grid are a little bit too too big. So what we're gonna do is going to continue decreasing them. So let's go to 15 and 150. Yep, that seems a lot lot more reasonable and a lot better. Okay, great. I think we're close to finishing this. Now, another thing that we need to do. Notice how it's very transparent. So what we got to do is we're going to create a clone of the speaker grid, and we are going to remove the displacement grid and just make it black or dark. So therefore, that's going to make sure that when you come close into the product, you're not going to end up seeing the back of the holes here or anything like that, especially when you apply at a bit of light. So we want to avoid that. So if I go ahead and apply a bit of light here, you're going to end up actually seeing what's in the inside on the other side of the speaker. We don't want that. You can actually see how dark it is here. That's because the background here is dark. But if we had another object, you actually end up seeing part of the object through the grid. What we want to do is we want to put another clone just behind this particular grid, and that's going to disguise the fact that we don't have any electronics inside, but it's going to provide us that bit of cover that we need. So the way we're going to do is hold the left mouse button on the speaker grid and hold Alt, so control, and then click the speaker grid and just drag it underneath. We are going to call this grid and clone. Right? So that's the inside of the actual object. Now what we need to do is actually highlight it. We will be scaling it so that this highlight the object mode. So in the object node, we've got scale selected, and we're just going to scale it inwards a little bit on the X Z axis, but we're going to keep the Y axis the same. So scale it in now if we scale it out, that's how that looks. If we scale it in, we know that it's maybe a few a few tens of millimeters behind the front of the screen. And now what we're going to do is if you actually look at it here, you can actually see how the yellow bits inside. So what we're going to do is now instead of giving that material, we are going to swap the displacement materials. So we're going to remove that, and we're going to replace that with a darker material. So we're going to grab the body of the speaker. Hold out. So I hold control and just drag it down, and we're going to basically make this a darker material to give it a nice dark shade inside, move it across, and there we go. Now we've got a dark shader inside the grid material, and that gives us that view as if there's something inside the actual sanos application. So I sons speaker. Now notice, again, I still feel that the actual grid size isn't or is a little bit too large. So I think what we're going to do is just go one more layer or one more level down. So we're going to go to say 180 and 18 18, 180. Okay. And also the grid clone, let's also bring that a little bit closer to the edge. Okay, great. Now let's have a look how that looks on the right hand side. Do a incremental save. Okay. So we've done the top. We've done the grid. And what's left to do is essentially we're going to put the Sonos logo here, and we are also going to put a few lights. So we know that we have a light here here and also on the top of the speaker right here. So that will be the next challenge. And yeah, I'll see you in the next lecture. Thank you, guys. Bye bye. 13. Modeling: LED Lights: Okay. Hi, everyone. Welcome back. Okay. So just to recap, what we've done is we added a grill the grill, so the grid. And we've got two grids. We've got one on the outside and one on the inside, we called it a grid clone. Speaker is essentially this geometry, the geometry of everything other than the top part here, which is essentially just a bump map displacement of the buttons here, and also this here, which is the grid, and also behind it is a clone of the grid to give it a black backdrop. So to give that shadow look. Okay, so that's what we've done so far. And obviously, we've round up the edges, and there's probably a little bit more that we need to do, but we've got the buttons at the back and the power hole in there as well. So next, what we need to do is add a light here, a light here, and a light on top. So the way we're going to do that is essentially, we're going to use the point light, and we are also going to place it inside a cylinder. So let's go ahead and create the cylinder first. So let's go ahead. Here it is. Okay, it's very large. So we're going to go down to 1 centimeter, 1 centimeter, and we're going to have just one height segment. So let's go down there, and let's pull it out. Okay. Now, it's facing the other way. Let's face in the Z axis. It's still too large. Let's go down to radius of 125. That might be a little bit too small. 0.25, that should be fine. And also the centimeters we'll go with half a centimeter. Okay, so let's leave that there for the time being. Next, what we'd like to do is just position it right? So it's already on the correct Z axis, so we're just going to position it. So we're going to work on the bottom one first. So we want to make sure is that we're not hitting the see how it's crossing over onto the clone grid. So we don't want to do that because the light's going to get trapped between this segment and that. And what we can do is do a boolean subtraction, which will basically cut it out. But there's no point. It's not a major component there. So what we're going to do is just drop the size. So that so there, make sure that it doesn't pop out. Doesn't step out there. So we're just going to keep it there for the time being, and I think that should be enough. Okay. Alright. And I still think it things a little bit too big, so we're just going to drop it to there a little bit more. Okay, great. Excellent. So now what we're going to do is we are going to turn off everything except the cylinder. So switch that off, and this is it. So this is the cylinder we're looking at. Now, what we want to do is select the cylinder and make it editable, and we will be selecting this particular face of the cylinder and deleting it. So therefore, we're going to make it a hollow cylinder with just one side closed. So let's go ahead and do that, select all the objects. That's all we've selected and go ahead and delete. Now we've got the back of the cylinder. We're just going to add it a little bit of thickness, good practice. So thickness is 10 centimeters. We're going to drop it down 2.25 and drop the cylinder under thickness. So there we go. So now we've got all this thickness around the cylinder, and that should be good. What I like to do as well is also ensure that the cylinder is sealed well. So what I like to do is just grab the cylinder itself, make a copy hoops. Notice how when I click the cylinder, the thickness, the actual arrows, the gizmo appears here. So what we got to do is control Z that is move the gizmo so the gizmo is right aligned with the actual entire objects. So to do that, you go to the axis here. Click that. When you click that, you can then move it without moving the objects. So it doesn't move the obj. Just moves the gizmo, raise it and place it. Now, let me see if it's placed in the correct. Okay, that was really good. So it's in the correct location. There it is. So let me just make sure it's positioned. Well, there we go. And then undo it, and now you can basically move it around. Now, what I like to do is basically make a clone of that, select the object, and then just cap it down the bottom. Like so. Okay. So now let's introduce the light. So now you can put a square here. You don't have to be as surgical as I was just to do that. I just like to do that just because sometimes I get a light leaking in the back, so I like to basically double seal it. But nonetheless, let's go to the point light. And here's a point light. It's very bright. We're going to place it right in the cylinder itself. So it's in the middle. So let's do the front view. Okay, so it's right there. That works from the front view Okay, that's good. So let's raise it so it's in the middle of the hole. Excellent. So this is where it is. Now, you can actually see here on the right hand side how that looks. So what we want to do is we want to decrease the light. The light's way too bright. So let's just go down to something like four. And the exposure level, let's decrease that as well. So we don't want to do shine Oshine too much, as well. Let's just drop it down to say negative four. And that should be fine. Now, the only other thing is that the object from which is submitting is actually going through the objects and highlighting the objects. So we don't want that. So what we want to also do is make sure that the actual light itself is coming through but not say here, right now, the light's subdued because it's inside an object. So let's just pull it out a little bit. There we go. All we need. Now, the object itself, right? So what we want to do is to basically reduce the size of it. So it's not so big. So what we want to do is go back to the original cylinder and reduce the radius. There. And the thickness. That should be it. Okay, great. So now let's just Okay. All right. So now let's adjust the lighting. So now the color of the light, let's make that red. And let's grab that color and bring it out a bit. So it shines through a little bit more, and that's it. Okay, let's have a look. Okay? That looks really good. And adjust that to red. So there we go. So now the intensity for the exposure is minus four if we can increase the exposure, fine, but the more you increase it goes whiter. So we want to basically keep it at that same red color level. So now so that's the red one. Now what we need to do is essentially group these. So we're going to group all this together and Alt G. And we're going to call this the bottom Bottom light. Right. Okay. And let's call this one top Okay. So what we're going to do is just grab this one and just lift it all the way up. Let's find out where. So we're just going to undo the subdivision surface so we can actually see where it's going to land. Let's move out, zoom in a little bit. And you can see how it's going up up up. So all the way up to the very top and place it right there. So we're going to do is make this a blue light. So we can actually have a blue light. So we're going to call this one the RS light dot red. R slight dot blue, and we'll turn off the red one, so we can turn the red or the blue, whichever one we want later on. So we're just going to make this one a blue one. Okay. And we are also going to do the same up here as well. So where's the bottom light. So this is the top light, the bottom light, we'll do the same thing and just change the color. So this would be red. Blue and make turn that one off for a moment so we can actually see that it's blue. Yep. Excellent. So now we're going to continue with Business gonna switch that around. So we got it. So we've got a couple of different colours. So we've got red down the bottom, blue at the top. And now what we're going to do is we're going to make a hole in here and also add a light there. So let's go ahead and do that now. Let's make an incremental save Okay. And let's go to our subdivision surface, and let's go to the top. Let's select all the polygons and the points that we see here. And let me remove this view, this red Shevi and go to standard view. So we're going to do a bit of modeling here. And I'm going to make a cut here to here, escape there to there, scape. And then I'm going to make a cut from here to here, scape here, here, scope. And move that slightly to the right. Oh. There we go. Okay. So now I want to be able to make a little cross here. So let me go ahead and make another cut here to here, and in the middle. Now I want to select the innermost point, hit the bevel tool, and just expand outwards. And not too much. We're going to the hole is going to be around about that size. Let me just back out a little bit. Maybe a little bit bigger. Oops, undo, undo, undo, and just increase it to there. Okay. Oop. There. Mm. Every time I move my hand off the mouse, it just tends to jump There. Okay. Now I'm going to go and select the polygons right there, and I am going to extrude it inwards. So I'm going to select the move option. Am I in the front view? I thought I was in now I'm in the perspective view good. So now I'm going to zoom out, hold control, and just slide downwards. Okay. Excellent. So now I've created this little hole here, so now I want to be able to fill it with the light. So what I'm going to do now is introduce one of the lights that we already have, which you say this one here, and I'm just going to make a clone of it, and I'm going to put it right here. And I'm going to find it now and lift it all the way up to the surface. Now I'm going to introduce my red shift material viewer. There we go. Okay, I was doing a subsurface division, so it was tucked under subsurface division. So like that. So we had to basically pull it out of the subsurface division and bring it into a different layer of the hierarchy. And now you can see there's a light. Okay. Now, let me have a look at how the light looks from a distance. Okay? It's exactly what you want. So now we've built the lights in. So we've got the bottom light. We've got blue and red. We've got blue and red at the top, and we've got red at the top, as well, so which we can change at any point in time. Okay, guys, well, that's the lighting done. Okay. Thank you. Bye bye. 14. Modeling: Clean Up Model and add the Speaker Logo: Hi, everyone. Welcome back. Okay, so what do we have right now here at the moment? We have lights at the top and there, and here as well down the bottom. So that's fantastic. So we've done that. We've added the grid the grid and using bump maps and a bit of displacement, we also have added a bump map here at the top that gave us the indentation here. So again, so we're using in a normal sense, it's really just a but map with some nodes that we added using red shift. So really, that's it. So we do that up the top and we did that to the side. Next, what we got to do is we've got to add an indentation on either side of the grid. So if we look at the image of the actual Sonos device, you will see that I'm just going to bring it up here, you will see that there's a little bit of indentation here on the left, right? So we want to basically mimic that. So all we have to do is very similar to what we've done here with the very top where we had an indentation at the very top, and we just pulled it in so we're going to do the same thing. So it's going to meet up to the top part and come all the way down to the bottom, right? So all the way down here and we have to do it on either side. Okay, so now first things first, let's go back to the model. So if you haven't done so yet, what I would like you to do is press N and B, that will give you the view. Remove the subdivision surface. So here the subdivision surface on, and we're going to switch it off. Next thing, let's remove the red shift render view. So we'll go back to standard view, and now we're set to go. Okay, first things first is we're going to basically move to the edge mode, ensure that you have brass selection on. Go down to the cut tool. Let's go to the loop path cut. Here, now what we can do is simply apply the cut wherever we like. Now, if you don't do that, if you don't see this cut, it's okay. You can basically cut it a few times. The main point is to make sure that the cut goes all the way from the very top here, all the way down to the bottom over here. Okay? So let's go ahead and do that. So we're going to just basically apply a little cut, make sure that the distance between the grid and the top part is about the same distance between the grid here and to the left, right? So we're going to eyeball a little bit and see if we can get it approximately right. Okay, that's that one. And we're going to do the same thing on the other side as well. Now, let's have a quick look. And down the bottom, yeah, that's fine. That's perfectly fine. Okay, next, what we're going to do is we're going to basically, make sure that the brush selection is on. We are going to select just the parts that we want. So to bevel. So we're going to go to bevel later, but we just need to select everything. So let's go ahead and select that, select Okay. Shift and select, select, select. Let's unselect this one. Okay, and unselect that one. So we should have this one big long line all the way from the top down to the bottom. Okay, now let's go back to the bevel again. Okay, so once you've selected the line, what we're going to do is apply the bevel tool. Now, we don't want it to be too wide. So what we need to do is we need to make sure that this value is going to be something like less than this. So we don't want it to be 0.13. So what we want to do is we want to bring it down. So this is one. So we're going to bring it down to something like, let me just zoom in a little bit. So less than that. So we want it to be not zero. So maybe 0.01. Okay. That might be. Okay, let's go from 0008. Okay, so it's very, very, very thin. Okay, so now that we've done that, we need to go ahead and select the inner line of that bevel. So we're going to basically go to the brass selection and zoom in slightly until we can select the inner line. So we're going to basically pull this inner line inwards in towards the center of the speaker. Hold shift. Don't forget to hold shift. Otherwise, you have to start again. Now, let's decrease the size of the selection tool. There we go. Much better. Okay, I believe we selected everything, so just a quick survey. Yeah. Okay, now what we have to do is eyeballing the right hand side and just make sure that we have agency on both ends so that we can see what we're doing. So you notice how that's a little bit. That's probably about right. So we don't want it to be too deep. Otherwise, you're going to get that gashing hole, and we don't want it to be outwards, so it has to be sort of just a little bit in, and that should be about right. So just eyeball it and you should be fine. Okay, now let's just zoom out, have a look. Yep. So just zooming into the yeah. And up, yep that looks perfect. Okay. So now what we have to do is exactly the same thing on the other side. So we've got this line, so we're going to basically select it from top to bottom and add a bevel. So let's go ahead and do that. So remember, the bevel was 0.0 188, 0.008, right? So it was a very, very small bevel size. All right, so let's go ahead and add the bevel. And there it is. So we're going to basically Oh, there. So as soon as you've done that, it would have done that for you, and that's the bevel. So next, we need to just select the inner line of the bevel. Now, if we go ahead and click UL, what it will do is just connect all our lines. So I've got UL now, so it's going to select lines that we really don't want. Now, you could click that and then just unselect the other lines you don't want to click. So we can now go here and say hit rectangle and control and keep the control button. And therefore, what that's going to do is just going to remove the lines that we don't need, remove visibility so that we are selecting everything. So you can do it this way, right? There's nothing wrong with this way, either. It's just sometimes if you want to be precise, you got to basically select all the lines. Now here as well, we can see that we have selection. So let's just select all these lines cold and Control. And that's it. So that's another way much faster. The other way is obviously very, very long, but it's a little bit more precise. It takes a little bit of patience, but you can do it that way as well. So this is another way of doing it. So we opted for this way, which is fine. Now what I want to do is using the right hand side, I want to be able to gauge how close I'm getting in when I start pulling the inner line. So here it is. I'm just going to start pulling it in, and I should be seeing an intadation. So here's on the right hand side, nothing. And then that's a little bit too deep, so we're just going to basically try to do it a little bit, not too much, just to create a bit of an indentation there. Okay, and let go. Now let's zoom in a little bit. That's still a bit too deep. So what I'm going to do is scrab that line and pull it outwards and try it again. There. That's much better. Okay. Fantastic. Okay, so that's one thing done. So I'm just gonna zoom out. Okay, so we've done that And next, all we need to do now is simply add the Sonos sign on the side of the speaker. So the way we're going to do that is simply by going to the text button. So we're going to add the textbline. So go ahead and click that. So as soon as you do that, you should be getting a very, very large text appearing on your screen like that. So just go to the text Bline and just go to the text Bline object properties and type in Sonos. All right. Now, you could leave this font for now and we can change it later. But the main point right now is to basically scale it so that it's going to fit on the speaker. So the speaker is really, really small. It's right over here. So we're just basically going to reduce it, reduce the size. Until we think it's about right. So now what we're gonna do is just pull it out here and we're going to spin it around Oop. Not that way. We're going to spin it around like that and use the object properties coordinate and just be very precise with. So we want to spin it a 90. We then need to flatten it down. So what we want to do is spin it. Around the Z axis, and over here, it was minus 909. I think that should be -90. And then we need to stand it up like that. So that would be zero. Okay. And now we're just going to basically raise it up to around about here. Bring it into the speaker and then just eyeball it in respect of where it needs to be. So what I'm going to do is I'm going to go to the top view. So now I can see where my speaker is. And I can. So the gizmo here shows you where the text is. So I'm just going to move it a little bit. Let's go back to the front view so I can see what's going on. Yeah. Okay, so the actual text begins at the bottom of the writing. So I can move that to the middle, but it's okay. I think we should be fine. I'm going to now scale this again, so I'm going to hit T for scale, bring it down even smaller there, move it to the side. There. And let's see now if it's okay. And I'm going to place it so it's on the actual speaker, so I'm going to go back to the top view. So here you can see from the top view, if you're placing it on the speaker or not. So let's just leave it there for the time being. Now what I'm going to do is I'm going to go back to the text spline. I'm going to go to the object. And notice on the right hand side, I'm not seeing the letters yet. That's because we haven't applied any texture on it. Let me just fix that. So I'm just going to put some texture on it. It's going to add an extrude function on top. So you just go here and hit Extrude, and you should have this right now at the moment. Notice how it's just popped out a lot. So what we need to do is decrease the extrude from 100 centimeters down to one. It's going to bring the extrude narrow down there. So we're going to basically now be able to see the writing and let's just decrease the extrude down to say 0.1. Okay. And that should be it, essentially. But notice how the Sonos letters are very, very closely. So we're going to go back to text, and you got this horizontal spacing. So just going to increase the spacing. That's a little bit too much. Let's go something like 25. That's much better. Okay, so now we've got the sons writing in place. We have also completed the model. Let's have a quick spin around and see if everything is in order. Oh, notice that how here, we got everything's a little bit deformed. That could impact the texturing a little bit later. So let's have a quick look at this. Okay, I see. We might have to add another horizontal line above the button that will basically stop this from happening. So let's go ahead and click the speaker body again. Yeah. So if I do a simple cut, right. Now it's cleaned it up. So now I've got a much cleaner bit above, and now I don't have that indentation. There's a little bit of a slight indentation happening here, but that's way, way better. Okay, excellent. Okay, so that's about it. There's nothing else that we need to do to the model. I think the model is ready to go. We can ship it out. The only thing that I'll recommend is potentially when you're eyeballing this thing, just make sure that that we're not excessively going inwards, so standing out too much. So you want a bit of a very subtle indentation rather than a very thick one. And that's just going to require a little bit of patience just to get it right. So you're not overdoing it, and you're also not underdoing it. Okay. All right. And I think we're there. Okay. Alright, guys. So this is our Sona speaker. Next, it's all going to be about placing the correct text textures on this model. So what we're going to do is we're going to go to website where we can download some free textures. So there is a website called three d textures dot me. We will grab a plastic texture and apply it to the model. Okay, thank you, folks. See you later. Bye bye. 15. Texturing: Final Texturing: Hi, everyone. So welcome back. Okay, so we've added the logo. We've corrected a couple of things on the model. All that's missing right now is a little bit of texturing. So now you can get textures from anywhere, really. There's a lot of websites out there just to give you guys a little bit of an insight. A website that I know about is the three D textures website or The textures M. So if you go here, you can download a lot of these textures. And a lot of them are for free. And you can read the license for these. So all textures on this are licensed as a CCO. So that gives you creative rights to it, so you can use it for creative purposes. But also at the same time, you can go to the substance three D assets. So substance three D assets has a list of free assets. So these are all the free ones. So you can pick and choose any of these textures and materials that you like. And obviously, there's also the polyhaven everybody knows about this site, particularly for their HDRIs, but they also have a lot of interesting materials and assets. So there's three of them there that you can go and choose the particular texture that you like. For this project, what we want to do is we want to try to match this color to this particular item. And the way we're going to do that is essentially, we're not going to apply any materials from other websites, but we're going to build our own. So first things first, let's go into the body of a speaker. So we're going to double click that and as you can see here, right, we have a color, but there's nothing coming into there. So there's no color as such. So if you go ahead and hit color, you can add a color node, and feed that into the color IRS material, which is basically the same one. So you're just feeding a color into it. So now here from here, you can just basically select any color you like. If we go back to our speaker and if we hit this particular icon, and then we click on the actual speaker itself, you're going to get approximately the same color coming through. Now, it's not exactly correct, so we can always adjust that which is fine. So what we're going to do is we're just going to basically try to find or match it as close as possible to this. So we're just going to look at trying to change the settings here to make sure that we're getting it as close as possible to what it is that we're after. So it takes a little bit of effort. What you can do is you can grab the wheel as well and just move it around a little bit. So as you can see, as you're moving it, you can adjust it as you wish. But yeah, let me try to nail it or get as close as possible. So by using this, I'm getting it as close as possible to what it is on the screen. So it's picking up the screen colors. But yeah, so I think I've got it really close. Not quite right, but it's close to what it is that I want. So I can sort of adjust a little bit more, a little bit more darker, for example, yeah, until I feel that I've got it right where I need it. So yeah, so this is how you can sort of adjust the color. That's a bit too pink. That's probably closer to what I want. And now just close that window, and there you have it. So if I bring the other speaker, so it's very close to what it is that the colors that I need. So there's the material there, the body of the material. Now what I want to do is I want to go to the top material. Now, I notice how in the top material, we don't have a color at all, so I'm just going to add a color node. And I'm going to feed it into the color of the RS material. I left that deliberately open so that we can actually do this exercise. So now what I want to do is I want to collect the color from here, which is here. So what I'm going to do is, I'm just going to double click. And I'm just basically going to get these settings that are right here. And just transfer them across so so that I can reuse them. Okay. So let me go ahead and do that. Or I can simply use the little pencil thing and shine it above or on the actual screen itself. So let's go over here. Oh, let's bring the screen down a little bit. And again, very close. So the point of it is that you don't want it to be mismatching, so you want it to be extremely exact. So what we're gonna do is I'm just going to type in these HSV numbers across, and I believe that that should help it. Or you can go straight to the hash and pick up the hash value. So what I'm going to do is I'm going to go back to the material. Go to the hash value, copy that, go to the other material, go to the hash value, and paste it. Okay, so now, they're the same. So they do the same thing for the grid as well, so it's going to go to the grid. Notice there's no color node, so I'm going to give it a color node. You don't need to give it a color. You can go straight in and just adjust it here, but I like to have it as a separate item in case I wish to change it later on. So I go here. I still have it in my cache, so I should be able to color it like that. And there you have it. Now, the sauna sign is there. So what I'm going to do is I'm going to basically add another well, we can add another material, but what I would like to do is apply the signage, the same signage. But what I want to do is do a copy of this one because I'm going to give it a bit more of a gloss. So I'm just going to rename this logo, and I'm going to go into the properties of this material. And I'm going to give a bit of reflection. So there. Okay. Now, I don't want to go super extreme on this side. It's just a little bit of a reflection. So it distinguishes itself from the rest of the body of the speaker. So I'm just going to go grab this, find my my text. Let's just delete that. So the extrude is where you want to place it, right? So you want to place the glossy one. So let me remove that one there. So now you can see that it's a little bit different than the rest of the body. Now you can adjust it with a few more light things, like, actually, just give it a bit more reflection until you feel that you have let me just make sure that I'm actually adjusting the correct one. So I'm adjusting this one, yes. Okay, great. And the roughness is zero. And there. Okay. So that should be enough. We can play around with some of these other settings as well if you wish to. But essentially, the key here is I want it to be differentiating itself from the rest of the body. So that's it. So that's enough of the textures. What you can do now is you can create many different versions of this, create three of them or four of them, and add them in a row and work your way through it. But for now, let's also add the plane where is it? There it is. Okay. Alright, guys. I've got a bit of shadow happening here, and all the lights are there. So we are almost done with modeling the Sonos speaker. C we zoom in a little bit. There we have it. Okay, folks, I'll catch you in the next one. Bye. 16. Still Image Composition: Part1 - Lights, Camera: Okay, so welcome back, everyone. Okay, so we've got this speaker. It's ready to go, and we have given it a peach looking color in the previous lesson. So what we're going to do now is we are going to set it up for a few still images. The easiest and quickest way to do that is probably to provide a backdrop, and you do that by going over here and just scrolling all the way down until you see backdrop. So let's go ahead and click that. Okay. Soon as we do that, we should get a backdrop. So let's go to the left side. We can keep the render open so you can actually see how it looks like while you're doing this. So hold old and left mouse button and move it around a little bit. And you can see the backdrops there. Now, that gives us this gray backdrop behind, which is great. So the cool thing about it is that it's not just a flat color, like a black or white. It gives a little bit of texture, a little bit of depth, which is what you want for still image in a photograph. So if we just back out a little bit, let's have a look how that looks like from a distance. That's what that is. Just one big backdrop. Now, we've got a plane here that's super imposing. So why don't we just reach out to that plane and just switch it off. So here it is. This is our plane. I'm just going to turn it off for the time being, so just have the backdrop. Now, the backdrop is gray. It's white. We can change the color of the backdrop. So if we go ahead and and change it, say to a different color. So we can go over here, add material, go to material here, and now we've got this gray material. So if we go ahead and change it to something like paper, so it's a little bit less glossy and we can go ahead and change the color to something a little bit more interesting, maybe a yellow, something like that. Hang on. Let's try it again. Something like a yellow color might be nice to look at. Now we've got this yellow material, so I'm just going to reach out, grab it and dump it onto the backdrop, so you can see how the down arrow appears. That just means that you're going to basically apply the material to that object, and here we go. See now if I go a little bit closer up, so if I zoom in a little bit. So I'm just doing this not through the camera. I'm doing this through just the perspective view. The objects actually the other way around, but it does give you this nice yellow backdrop. It might be a little bit too intense and provide too much contrast with the objects, so we can probably change it up a little bit. So let's see what we can do to make it a little bit less a little bit more forgiving on the eyes. So let's go ahead and maybe soften that up a little bit. There we go. So it's just there. Okay. That works for me. Now what we can do is also group everything to do with this speaker into a group. If I look on the right hand side, I have extras. I've got the text. I can change that from Sonos to Tonos to Banos, whatever I want. I have the subdivision. These are the main objects, and I also have this null dot compo. These are my lights and everything, so we don't want to collect that. But here on the bottom lights, we've got all these lights here. And the top lass. So we've got all these groups here. So they're all under a null object. And we also have some extrude and subdivisions up here. So if I go ahead and move this up one, so it's there and move that also up one there. So all my main parts there or up here and not down here. So I've got a point light red. I don't know what that's doing there. Let me see. Oh, that's on top of the actual mic itself, so that's that light here. Okay. So it's kind of in no man's land. He's just sitting there, so I'm just going to go grab that and just place it here, as well. There. That should not impact anything much. Let me just There we go. Okay. So now what I'm going to do is I'm going to grab all of these items, all of them like that, and I'm going to go and hit Alt G. That should put it under all one group here, like that. So I'm going to rename that as well. So a little bit of housekeeping. I'm going to rename this to peach speaker. That means that's my speaker, which is of that color. So that's all that is. And also at the same time, now that I have my pitch speaker here, I'm going to rotate it around, so it's facing me. I could rotate the actual the backdrop, as well, rather than the speaker. But actually, I might do that because my lights and my cameras are all placed in the position to basically highlight the speaker, but we can change that later on. It's not a big deal, what you rotate, either the backdrop or the the speaker itself. So what I'm going to do is I'm going to grab the backdrop and I'm just going to turn it around. There. Okay. Now I'm going to go to my camera and have a look at what my cameras looking at. If I go here to the render, I've got one camera. It's the RS camera. Okay. It's really really close, and it's looking at that. So now what I'm going to do is I'm going to basically change this to my RS camera. So now, as I move around, my camera is also moving around. So this is my camera right now at the minute. So you can see on the right hand side, it's the RS camera and left hand side, I've selected here. So my view port is actually my camera as well. So if I zoom out a little bit, you can see now, I've got the speaker in line. Now, a good thing to do is always have it in the middle or photography is a subject in its own right, and there's a lot of things you can do good and a lot of things you can do bad. Like, for example, if I wanted to take this picture and it's in the corner here, I'm cutting it off. I'm not actually seeing it, or if it's like that. Again, I've got a big gauging hole here. There's nothing here to see. So the best thing to do is just position it here. Now, if I want a hero shot, I can do a bit of a Superman hero shot from down below, or straight up. This is what it is. And I'm going to have a couple of different shots. And now, what you don't want to do because we only have one speak, you don't want to isolate it too much. So there's a lot of space here. You want to come in right nice close, maybe even get a few focus point focus light focuses on the actual light itself. So you've got a light down here, light at the top. We also have this light up here. So you can have a couple of photos up here, side hero shot. Okay, now, the one thing I've noticed is my light is actually behind. So if I go back to my right hand side here, I'm going to just highlight all the lights and see which light is my key light. So let's just back out a bit. Here's my My key light is over here, and it's kind of touching the actual the backdrop plane. So I'm just going to move that in a little bit. There we go. And notice how it's sort of cracks in this light shadow on the backdrop, so we don't want that. Firstly, the key light is facing the wrong way. So what I'm going to do is I'm going to grab it and place it elsewhere. So the best way to do that is to do that using the top view. So if I go to F five and here's my top view, I'm just going to zoom out here. Now, where is my kilte the yellow arrow? So if you're zooming out and you've already highlighted your kilt on the right hand side, there's a little yellow yellow arrow that tells you the object that you'll after is sort of right there, and there it is, okay? So this is where my kilte is. Now, I know that that's the front, right? So I'm going to go ahead and push it out that way. And I'm also going to rotate it. So it's facing that direction. Okay, so it's facing the actual speaker. But I don't want it to be to front. I want it to be on a bit of an angle. So now I'm going to get out of this view, go back to F one. I'm still in the RS camera view mode, so I'm just going to zoom right in. And where is it? Okay, I can see that my key light has dropped down below, so I'm just going to reach it and place it up higher. There it is. Back it out a little bit more and go even higher. Oops. And rotate it down. There. Okay, now let's have a look. Yep. Okay, so there's a lot of intense light happening on this speaker at the minute. We can change that a little bit. So if I just drop it here. I'm currently in the key light selection on the right hand side. So I'm looking at the attributes. So if we go down to intensity, we can drop a little bit, and there that's actually a good place to be. So that's fine. Okay, so now we've got that. And now we've got the fill light and the backlight, we can call the rim light. So what we're going to do is we're going to back out a little bit. And now, because I actually like the shot, this one here. So if I go back to where I was before here, I actually like that shot. A bit of angle shows a little bit of a little bit of a volume of the speaker. So if I just back out here, I can see that I'm sort of getting a little bit of that. I don't want that in the picture, so I'm just going to move the camera around a little bit. And zoom in. I'm still catching that corner. So what I can do is I can just highlight the edge of the backdrop, if I highlight the backdrop at the back end there, I can then technically just expand it out. So I'm just going to or I can actually here on the right hand side, change the length, width, et cetera. So this is the height, this is the width, and this is the depth. So I can probably go a bit deeper and don't need to go that much higher and just expand it out. Okay. So now if I go back to my key shot here, there it is. I can see the sons speaker right in front of me. So now, I can just zoom out again so you can see the sonus speaker is kind of to the right. So if I go here to cameras and I go to safe frames, this actually shows me the frame, how it looks like how it would look like on the right hand side of the render. So what I need to do now is just line it up so that on the right hand side, I can see how the picture is going to look like. And just come in a little bit closer, and that's it. Now I can change the width and the height of the picture and play around with the settings as well and then just pretty much render it out. So now, I've got this one picture. What I can do is add different lights and play with those different lights and introduce HDRIs and gobos and all sorts of other things to basically get the right image. So what I'm going to do right now is simply render this out and you can see here it's working, and it's finished. So now, if I go and have a look at what it's done, now, another thing that you need to do is make sure that when you are rendering, if you go down to the render settings, right, make sure that you're on redshift output, right? The output is going to tell you what resolution you're basically outputting this image to. Save tells you, Well, I want to save it in a specific folder in a specific file. So you want to basically make sure that you are saving the right location. Here's a little hint. So if you actually go to a specific location that you want to save it in. So if I go here, for example, and I wish to save it in a specific location, I can do something like this and find a location I wish to save it in. It's create directory. Now, you can just type in anything you like here, for example, pitch speaker one. And it's going to reflect here in the file location. Now, on the right hand side, if you go to the end of that file, and if you click this down arrow, you're going to get information like presets about what you want to name your image as. So you can say, Okay, well, I want my image to have the name of the file fine. So let's remove that. So it's the name of the file. Next, you want to also have, say, the camera, the name of the camera, okay? Then you want to maybe also have the year with two numbers showing, and you might want to also say, Well, also, I want to save the render settings, right? So there we go. Now you format is very important. So you either want to go to TIF or JPEG or EXR, which is very good if you want more information and do more things with it. But what we're going to do for now, we're just going to render out as a JPEG, and that should be it. So when you do this, it saves it under my render settings, and it's going to pick those render settings up once you start rendering. Now, if you go here to red shift, we can also nominate what kind of quality we want. We want low, medium, high. This being a still image, you can go very high, and that's fine. So what that does is going to change the denoising a lot. So if you go to advance, you notice how now your threshold is 0.001. If you decrease that and if you go say here back to basics and go to low, go back to advance, you're going to see it's now higher number, 0.2 means that you're allowing for more errors, less processing. Let's call it that. So I'd rather just stick with the basics for now go very high and go back to here. And now you know where it's going to save the image, and we are going to basically close this window again. And now, if you go back up here, you got render to picture viewer. So if you go ahead and click that. Now this is going to render whatever those settings you've applied too. So basically, it's going to render according to those settings. Now, the fact that we gave it the information that we're using the red shift render, it's going to use that. It's going to use those other settings as well. And it's very quick. It's just a very simple image. So 17. Still Image Composition: Part2 - Rendering Options: Quick. It's just a very simple image, so it's rendered that very, very fast. So now, this is just the picture viewer. So if I go ahead and open it in the location where I've saved it, I should see it there, and I'll just see if I can find it. And here it is. Here's my image, the way it was saved. Fantastic. Okay, so now what we can do is we can do a few more images. We can place the camera in different locations. We can play with the lighting. Now, one important thing to understand with the lighting is that you have three lights. You got the key light, you got the the rim light or back light, and you got the fill light, right? So these different lights, they basically work together to give you the best outcome on your product. Usually the key light is something that you want to focus in on, and the backlight is there to basically show the edges or to give you more definition about it's happening on the sides. Given the fact that we have a very colorful backdrop, the back light doesn't have to perform a significant function here. You got the fill light is there to basically highlight spots or areas that are a bit darker. Again, given that we have a pretty strong key light and a very highlighted backdrop we don't need that at this point in time. We'll be doing another course on photography and how to utilize cameras and lights to get the best outcome. But for now, these are all the things that you need to know. Basically, we can have a key light, a fill light, and a backlight, or sometimes they call it key fill and rim. So these are the three lights that you normally use, and you hear a lot about those the three lighting system that a lot of artists use. And now we just use one camera only. You can add more cameras around, have hero shots and do those kind of things. So just to recap, backdrop gives you that nice curve backdrop. You can change the render settings. So if you go to render, you go to render settings. And here you have the output, which gives you the resolution, so we can up the resolution however we want. Right? So we can choose one of these resolutions. Save it will tell you where to save it. And if you go back up here, go to render and leave it as basic. You basically can nominate What settings do you want? Do you want a low resolution or low quality render settings medium, high or very high. Now, all of that changes this particular value, which is the threshold. So that gets smaller and smaller and smaller, the higher quality you want. So, in essence, the small this value is, the better quality you have. And once you're done with that, you can close that, go back to render and just hit Render to picture viewer, and you should be able to see the outcome of what you've achieved once the render is complete. Now, another thing what we can do is, like I said, we can go to the left hand side. So let's just leave this camera here. Let's go back to default camera, and we can have a different camera. So we can place a camera over here on a bit of an angle, there like top angle. And once you find the position, you can then simply go over to Redshift, cameras, standard camera, and you'll just place a camera exactly where you are at that time. Now, here on the right hand side, I'm just going to hit play again and change the view to camera one. So this is the first camera. This is the second camera. Good ideas to basically name them. But for now, we'll just leave it as it is. So if just zoom in now, I'm going to go to Camera two. So now my view port is in camera two. So this is going to zoom in a little bit. So now I've got this view here. So it's a bit more of a side view, but you can use this to showcase the top part of it. It's okay to cut it a little bit if you want, or if you like to just catch the whole thing from top to bottom, you can do that like this, right? Or you can do it on this side. So it's up to you however you want to do that. So we can keep it like this for the time being. And they have it. Okay, guys. And what I'm going to do here now is also player in a little bit around with the camera settings. So now if you go here on the right hand side, the cameras up here. I'm going to go grab it and drag it into the null dot combo or composition group. So I'm just going to dump it in here. Now, on the right hand side, let's have a look at some of the camera settings. So what we have here is we have the focal length, and one important factor that I like to change or things that I like to change around when I'm dealing with cameras is to make sure that my IO settings and my shutter speeds are correct. Now, normally, what you're going to have when you go to the optical settings, it gives you this EV only setting, which means that all of it red shift does all the changes. All you have to do is just change this EV setting, right? I particularly don't like to do that. I like to go to filmic view, and from here, I can adjust the eyes settings and also the shutter speed. Now, the shutter speed is 60. So if I go and up this up, right? So if you go to say 100, right, it's going to get it's going to get dimmer and dimmer, right? So the higher this value, the less light is being captured, right? Now, if I go up to the ISO and I can change the ISO say to 200 s. So now I've got control over the ISO, but I also can change the exposure using EV. So it gives you a little bit more functionality, more degrees of freedom to change things that you feel like you need to change. Can also add now, if we're using depth of field, et cetera, we can basically use this. So what we now need to do in order to fix this, if we go to depth of field, we basically can now select an object to be the depth of field focus. So if I go ahead and click this eye drop, icon, and I can just basically place it on, say, the text, right? Notice how that's changed straight away. So now what's happening is it's focusing on the text part of this particular model. So I can then change the aspect ratio of the depth and make a few additional changes here. So basically that gives you that depth of field look by changing by using this bouquet or Boca option. Now, if you don't want to use that, don't want to play with that, turn it off and you're back here again. So, this gives you that depth of field option. So if I go back here, right? Now, wherever this camera goes, it's always going to focus on the text spline, which is basically your Sonos logo, which is that. Right, so you can move that around, and it's always going to track that, and everything else is kind of blurry, right? So that's a good thing and good option to know about. Okay, so once I'm done and I'm happy with what I've got here, I'm just going to zoom a bit out again. I can then just simply reach out again to the render settings, make sure they're still where I want them to be, go to save, and this time change the location or change the name. But the fact that I've included the camera name here, I don't have to. It's not going to override the previous one because I'm using a different camera now. So if I go back here, and make sure that all my settings are exactly how I want them. I can then simply, everything's fine. I can simply now go here in RS Camera 1.1. So therefore, it's going to basically use the RS Camera one as the focus, and then I can just simply go ahead and click Render. Okay. So now it's rendering that scene, and it's saving it to the location that I have specified. And there it is. Now, if I go to my directory where I'm saving it, I'm just going to open up quickly. And here it is. Okay? So now I've got two images. I've got that one, and I've got that one ready to go. And now I'm going to show you another trick what you can do with these rendering. So if I close this window and say, Okay, you know what? I really want to render in bulk, and I just want to click the button and come back and it's going to render all my cameras. You go to render, you go to add Render Q. Now, let me just delete some of these old ones. Yeah, so I'm just going to remove these render cues because that's from my previous project. And what I'm going to do now is I'm just going to basically add Render, add Render. Right now, you click each and every one of these, and now here you can specify which camera. So cameras the first camera and the second one will be the second camera. So now, here you can see which rendering is allocated what? Now here now don't ignore this status error because I stopped an earlier render queue, so it's not going to matter. So now what I can do is I can basically specify the output file, et cetera. Now, the fact is that I'm using the same camera numbers. It's going to override my my particular images that I used before. So what I can do is just give it a different name and render it in that way. So this is a different way. Now, once you're happy with the render cute, you can go ahead and click this button, and it will basically do the rendering. So what I'm going to do for now is for the first one, I am going to give it a different number. I'm going to call it underscore one and the second one, I'm going to call that underscore two, and I'm going to hit the run. Once I do this, it's going to start working on the first file, and then once it's done, you're going to get an update status here and then it's going to move straight away onto the next one. So we can now, you're not going to see the visuals of this. It's not going to show you that, right? But it's working in the background, and it will show you when it's completed. Like, the first one is completed now, and now it's working on the second one, and that's in progress. Let's just wait until it's completed. Yeah. Now they're both finished. So now I can go to my directory and have a look at them. And here are my four renders the first batch, and this is the second batch. Done. So that's the way that you can do. Like, if you've got five or six cameras, you can do it all in one go. Render them all and they'll run beautifully, and you can just come back and just verify that they've all been completed. Things to watch out on is things like these particular settings. So each and every one of these should have a different camera, right. And also, you should know exactly where you're saving your items here through the output file. And you'll be collecting all the information, all the settings from the render settings. So I'll be collecting all this information. So you can add different types of settings here. So you can add a different one, say, a new one, et cetera, and modify have a low grade one, high quality four K, et cetera. And you can do those changes quickly just through the output section, output tab and modify them and just give them all sorts of names. And then you can come back up here to the render and to the render queue and just make sure that you're pointing to the correct render settings that uppear here. That's how you can do things in bulk. I'm just going to go ahead and clear my rendic the other thing is that the rendices get saved. So they get saved and they're with you. You can always re run any jobs even after you close your Cinema four D, you can come back and your rendic still going to be there, so you can heat it up again and you just continue doing it that way. Right, guys. Thank you very much. So that is how you can make changes to your lights, how you can position your speaker and your cameras so you can create these still images. So what we've done so far is we made this image here, and we also have this image. Okay, so this is something you can give it to your clients or show up on your Bhans or art station and showcase your work. Thank you very much, and we'll see in the next one. Bye for now. 18. Animation: Part 1 - Adding a Cloner and Helix: Hi, everyone. So welcome back. Now, this lesson is going to be quite exciting. We're going to be doing a little bit of animation. So the idea here is to have objects floating around the son of speaker and vibrating to the sound that's coming out of the speaker. So first things first, let's get out of the red shift layout materials. But before we do, just make sure that we have all our lights lit up on the speaker. So you should be able to see the light here down the bottom. So the light at the top here and also at the very top there. Now, if you don't, that's probably because you haven't layered them correctly. So just make sure that the null bottom light is an immediate child of the parent. And also the top light one is also immediate child to the parent, which is the peach speaker, which is the group. And also the red light is outside of these two. It's also immediately under the null red speaker. So just check on that just to make sure that the layering is correct. I do recommend a better naming convention than what I've got here, but it will work in any scenario. So the main thing is to grab the entire speaker and place it under a group because we will be rotating the son of speaker as the particles are circling around the speaker. Now, first things first, let's create a cloner. So we're going to basically have an object, and we're going to clone it. So let's just go over here and add a cloner. There we go. Now what we want to do is we want to place an object under the cloner. So let's assume that it's going to be a sphere to keep it nice and simple. Okay. So a sphere. Now if you hold shift, you go straight under the cloner. Now we've got the cloner here, and it's Oh, okay, the sphere is so large that we actually ended up inside the sphere. So let's back out. Now I'm going to switch the red ship material over to standard. So I'm just going to switch the standard viewport, so that we just see the speaker. I notice that the sphere is here and it's cloning in a grid format, there's three by three, so one, two, three by three here. So that's what's happening here, and that's why everything went dark for a second. So we're going to reduce the size of the sphere. So we're going to drop this down to say half a centimeter. So now we've got those spheres, and they're still here, but they're tiny. They're much, much smaller. So let's go back. How come they're 0.5? Then we go to 0.5. There we go. Now they're much, much smaller. They're on a grid. So we don't want them on a grid. We want it in a circular spiral form. So what we're going to do is we're just basically going to go over here to the helix, we're going to add the helix, and we're going to just rename it helix, dot sphere underscore path. That's your did I put dot or I think I placed a comma, not a dot. So let's just go dot. There we go. Okay, so now we are going to tell the coiner to follow the helix path. Now, where's the helix path. We're back out again. It's massive. It's huge. So let's just turn it to its side first. So we're going to have it like that. And now let's manipulate this via the helix down. So we're going to reduce and make it much, much, much smaller. So let me just I'm going to remove the backdrop because it's in the way. So we can just see the little spheres here. Oops. You can see the little spheres here, and we can see the helix. So we want to place these spheres on the helix. So first of all, let's size the helix to make sure that it's nice and compact and start radius. We want to to be bigger than the son of speaker. We also want to reduce the height. We also want to reduce the radius at the end. So it's nice and tight. Let us go in a little bit. There we go. So that's what we have at the moment. Let's drop the height a little bit more. Okay. I like that. It's looking good. Yeah, that's the height that we want. We don't want to necessarily to cross the entire sono speaker, so we want to keep it sort of nice and tight there. So what we're going to do now is, I think the height is okay. The end radius can be less. So it's closer to that's a little bit too much. I think that's it. Okay. Now the helix is done, so I believe that should be good. So the particle should be around like that. Now what we got to do is actually, I wouldn't mind having the the height a bit more or maybe it's okay. We can keep it like that. Um we could maybe no, no, let's just keep we could do uniform or we could do on a bit of a spiral. So I'm just thinking, it's really up to you guys how you do you want it to sort of sort of start small and expand up high or keep it like that? So it's up to you guys. The end angle, it's where does it finish kind of thing. So do we want it to finish at 7:20 or do we want it to go further around so we can go around, round round round, round round like that? So we're adding a few more spirals. Let's just finish it here. So now the thing is, if we have too many spirals, it's going to block the son of speaker. So let's just keep it like that, right? For now. Okay? Again, these are some settings that we can change in time. For now, we need to basically place those spheres which are here, here and here, the tiny little dots, right? So what we'll go to do is place them on the helix. The way we're going to do that, you simply go to the coiner we are going to say the mode is not grid, it's going to be object, follow the object. And we're going to tell what object to follow. If we go over to the object entry, we're going to select the eyedropper and point it to the helix. There we go. Straight away, all your spheres are on the helix. So let's have a closer look at that. Okay, great. Now, I think we need to add a few more cloners, so we need a few more spheres on this. It looks a little bit sporadic. So let's go down to the count. It's right now ten. We are going to increase it. Like so. Okay. Now, we can also change the number of counts in the animation. So you can start with 65 and finish with, say, 145, for example. Now, if you want to, because when we put the music on, the frame rate is maybe 2120. I don't know what your frame rate is over there, but you can change the frame to say 800 or 10000 however long you want the animation to go for. Now, the longer you have it, obviously, the longer render time is going to take. And so it's up to you guys, but I'm going to keep it at 800 frames for the time being. 19. Animation: Part 2 - Mograph, Sound Effector, Royalty Free Music, Config: So next once we've got the spheres on here, how do we make them move? How do we make them vibrate? So here's the thing. We have something called Mgraphefector, and sound effector, so we're just going to place that. The sound effector functions on the coiner. So it's going to pick up the coiner and start moving the coiner. Now, if you click the sound effector, if we go to effector tab, we're going to see here that we don't have any track whatsoever. So one thing that I recommend that is if you do have rights to a music track, you can use it here and dump it here, or you could go to Pixel Bay, which I normally go to. So if you go to this website, here, you're going to find a lot of different type of music. Now, there is a license requirement for some of this music, and you basically need to just have a quick read that, you know, if you could use it, et cetera, et cetera. So some of this stuff you can download and it's free. So you just have to choose the right one, the right one with the beat. Okay, this one, you can see, has nice strong beats. There's one strong beat here afterwards and so forth. So this one might actually work out really well for me. Again, it's subject to you, but you notice on the right hand side, you got this little robot face. What that means is that this was artificial AI generated. Um, and so what we're going to do is I'm just going to grab this one and download it. And here you have the donate button, so I'm just going to use it for free for now, but I have donated it before to this website. So it is available for hire. Load the sound. And there it is. So the sounds in there now. So if we go and hit Play, it's going to impact the spheres almost immediately. And it does that quite aggressively. So we now need to control what it does and how does it do it. So I'm just going to lower that, stop that for a moment. So now, notice that it's only using this particular probe for the whole thing. By adding more probes, you'll be basically segregating which part of this spiral you will be impacting. Now, if I go ahead and just keep on adding more of them, you're going to see now all the spheres vibrate and change in different ways, subject to which particular frequency the sound is playing on. So let me explain that a little bit further. So this particular probe here is working on the very first part of these spheres. And then the second one, so it divides it evenly and uniformly and says, Okay, I've got five probes. I'm going to divide this into five sections, and in each frequency is going to work on that particular allocated section. I hope that will make sense. Um, so what we don't want to do is we want to remove all the probes, and we just want one big probe across the whole thing. We want them all to move in unison, and at the same time, we don't want them to be going nuts, so we basically want to control it a little bit more. So let's decrease the strength. There we go. So I'm just going to lower the volume here on my side so it's not interfering. Okay. So now you can see how the actual spheres are impacted by the sound. Now notice how it's going below, quite a lot below and quite a bit higher up from where it started. And that's all happening because of the perimeter settings are 50 centimeters. So it's actually going 50 centimeters up and down. So that's the position changes according to the frequency changes of the sound. So we're going to reduce this and drop it down to say um, 5 centimeters. So that means that it's going to vibrate within 5 centimeters up and down. So the Y axis, so it's here, so it's going to go up and down, you know, plus five minus five. So let's play that again so you can see it. Okay. So that's much more controlled, and you can see how it's controlling that. Okay. So we can obviously increase the effector. So we can go from 20 to say a little bit more so you can actually see it. There we go. So it's much more impactful. So if we go over Okay. So that's one way to do it. Now, so notice that all the spheres are basically static and they're sitting in their positions, which is fine. We're going to change that a little bit later on. But let's first now give the spheres a little bit of a texture and also change a shape, maybe not go with spheres, but with something else. So we're just going to go straight into the sphere object here. We're going to reduce the segments. And if we keep on reducing them, we can change it to something like this or even a maybe, yeah, something like that, like a little diamond. So now what we can do is add a material to these spheres. So what I'm going to do is go ahead and create a material I created this one before. It's just basically a gold material style, so I'm just going to remove it and do it again. So let me just delete that one. So if we go to create material like so here on the right hand side, you have presets. We're going to go ahead and hit gold or copper. Let's go copper. Yeah. And I'm just going to drag it on top of the sphere. And now I have copper spheres copper. They're no longer spheres, are they? Copper objects all the way around. Okay? Now, if I play it again, it's the same thing, but this time, just different objects. Now, what I want to do is I want to play with the cloner so that I can adjust how these objects are on the spine on the spine and what's happening there. So if I go back to the cloner and what I'm going to do now is I'm going to look at changing the rate, right? So if I move this rate variance, See how if I move left to right, it starts changing, giving you that delusion that it's actually moving apart. So what's actually happening is that I'm getting, if I move it slightly to the right, I have one extra one at the beginning and one at the very top drops off. So that's all that's happening here. It's like first in first out, it's coming around like that. And it's giving you that sort of spiral emotion. So what I'm going to do is I'm going to go ahead and go back to my first frame, and I'm going to select this particular button here and I'm going to tell it, record that, okay? Then I'm going to go all the way to the end let me go back here and click that. Now, I should actually have 100% at the end of my frame rate. And as I go down down down down, it decreases uniformly until it hits zero. So now I've got this happening, okay? So everything's moving around in a circle and Yeah, and it's vibrating to the music. Perfect. Okay. So, the other thing that I might want to do as well, is start changing the count. So maybe I might start at, say 20, and by the time I finish, it'll be way more, and you'll just increase up to whatever I want. So I'm going to go ahead and click count is 20, so I'm going to make sure that I select that 20. And then at the end, I want my count to be 164. Yeah, 155, and I'm going to click that. So now, as I go down, there's going to be less, less, less and more more more later. So I'm just going to click Play and see how that looks. And notice how there's more and more density on the on the spiral on the helix. Giving you that interesting and dramatic look. So I'm just going to go and pause that. Okay, so the way I did that once more, just to recap is I've hit rate this button here at the beginning of the frame rate, and then I moved all the way to the end and I changed how much I want here, and I hit it again, and that gave me that uniformity across here. Now, if you want to really see what's actually going on, you can also go to Windows and go to the animation dropset, right? And here, if you go to Cloner, You can now see the rate and the count. These are the two ones that we've just changed. The count is 154. You can see now they appear here. And you can actually if you open them up, you can actually see how they're changing. None it's uniform. I can change that. I can basically start increasing it like that. So its basically aggressive increases or give it a bit more of a slope. Okay? So there's a couple of options that we can have. What I can do right now is if I select them all, and if I hit this line, it will be just a straight line from left to right. Now, I do the same thing with rate. I'm going to basically have it uniform, so there is none of that, but it's all just uniform, so I'm just going to go straight into here, select all that. Yep. Highlight them first, select the points. Line. There we go. Okay, so now it's going to be very linear. So if I go back at the beginning, you can do a ease in ease out. But given what I'm doing here, I'd rather it just be straight out, hardcore from the very beginning and all the way to the end and stop. Okay. So now, if I don't want this window anymore, I can just simply just go back up to windows and remove it. Okay? And there we go. We're back where we started. So the other thing, how else can you control these objects to sound? So if you actually go to the sound emitter, the sound effector, that is, you can then from here, you can go to perimeter and say, look, I don't mind you changing the position of the objects according to the sound, but I also would like you to do a bit of a rotation so you can change your rotation as well. So they all rotate in some ways every time there's sounds. So if I go back to the beginning, now they're also rotating. Okay. Wait for the sound. Okay, so I'm just going to leave it with relative and effector for now. But yes, you can play with this. You can also introduce colo modes. And if you combine your colo modes with the effectors and add different probes, you can allocate a specific color to a specific frequency, as well. We can play a lot with some of these options. The main thing is to have the sound effector and the cloner. The sound effector is always going to affect the cloner. And once you have the loner, you can allocate the object and then allocate how you want to clone. Do you want to clone it on a helix or do you want to clone it in a grid, et cetera. So that's all that we've done. Now, if you don't like the song and you want to change it, you can just simply go to the effector, go to the soundtrack and change it here, and that would make the adequate change, and then you basically see the impact of these objects against that sound. Well, this is the first part of the animation, and yeah, I hope you enjoyed that, but it's very, very easy. It's straightforward. Cinema four D is very good that way. So just to recap, we've added a sound effector. The sound effector is functioning on top of the cloner and the cloner is just basically cloning these particular objects. It was a sphere, but we reduced the size of it. So it's now become this particular type of object, which gives it a little bit more interesting look, I guess. And then what you've done what we've done is we added a soundtrack. We went to Pixi Bay to collect one, and we also changed how the rate of the cloners against the spine are working. So we changed the rate here, and we also changed the count and we animated that. So now it's zipping around the sona speaker, which is great. Okay? All right. Bye for now. 20. Animation: Part 3 - Adding HDRI, Camera Animation and Speaker Animation: Okay, so welcome back. Now what we're going to do is we're going to put a HGRI in the background. So I'm looking more for something like space or spacing with stars, et cetera. So we can put anything in the background, and I do encourage you to experiment with a couple of options here. But what we're going to do is we are going to go to Ply haven once again. And here we can find many, many different options. So there's all these categories here. So we're going to go for the night category, and we are going to go for something with with the view to the stars like that. So we've got the Milky Way right here. So if I go ahead and click this, I should be able to see that. So what we're going to do is we're going to grab this one and download it. Okay, someone's going to hit Download. Okay, now that we've downloaded the HDI, we need to load it into the scene. So the way we're going to go about doing that is if we go back to the red shift layout materials, we have all these lights. So if we go and click Dome Light, that's there. By default, it just goes white. So what we want to do is we want to add a texture. So we're just going to add the path to the downloaded, I think it was called Roll and clear night from Poly haven. Okay, great. So now I've got the correct HDRI in place. However, now let me go back to the standard view. However, as you can see, the skies lit a lot. There's a lot of light coming from there, but also at the same time, I can see all these rocks. So what I want to do is I want to go into the dome light, and I want to rotate the dome so that all I see in the background are stars. So all I have to do is just grab this wheel, make sure I've got the dome light selected, and the rotation is on, and just grab that wheel and move it like that. Maybe look for something a little bit more interesting. Let me see. Let me cancel that undo, undo, undo. And let's see if I can find the milky way somewhere here. All right. There, I think it's right there. Okay, so let me rotate this upwards. There we go. Okay, that's more interesting. There. Now obviously, it's highly lit in the background. So what I'm going to do is reduce the intensity. It's a lot darker. There we go, and there we have it. Okay, now let's go to the red shift layout materials view and have a look at how that looks like here in the screen. Alright, so that's how it looks like. So I can decrease it a little bit more to give it a bit more of a mysterious feel and look. There we go. Excellent. So I still have the key light happening. So I've got all my lights still around, so that's shining on onto the speaker. So what I'm going to do now is adjust my default camera a little bit so that I can view it from different angles. Okay, good. So it got to be careful. When I move around, I don't want to hit the landscape, okay? Alright. Okay, so now let me zoom in. Let me zoom in a little bit. There we go. Now, if I hit play, it's gonna try to render and play at the same time so that might Okay, let me decrease the volume a little bit. And here. And I'm just going to pause it and see how that looks like from close in. Yeah, that looks pretty good. Okay, so now I'm just gonna move it around here at the front. Okay, great. Alright. Now the next thing I need to do is move the actual sauna speaker. So I want it to go around in a circle. So now that I've put everything inside one group, I can just move the whole group around in one go. So but before I do that, let me just experiment very quickly to see how the lights are affecting the sona speaker. Let me go to the compo backlight and the fill light aren't really impacting much, but the front light is. So we got lit the little lights here at the front. Which is quite interesting because it gives you that dramatic look. So what we can do is we can start the scene with just that and then light it up slowly and using the key light and then just light it all the way up. So that's one thing what we can do and maybe even put a sound effect once the light comes in. So you can play with this a lot. So what we can do now is have the intensity as 7.8 and maybe we can switch the intensity on and have it. Let's see if I increase intensity, it's a bit too much. Last time you're 7.8, let's go to ten. Ten looks reasonable. So I'm just going to have ten at that point in time. So at 150 frames, it's going to switch on to in ten. Prior to that, it's going to be zero. We're going to start from zero. And click that. So now let's have a look. It goes up, up, up, up, up, up bang, right? So now you're there. So there's a lot of movement happening. There's things moving around, and as it's moving around, the sona speaker becomes visible, and then we just basically continue on with the beats, et cetera, et cetera. Now, also, I want to do what I want to do is move the sauna speaker around. So I wanted to start at some point behind and then allow it to move. So first things furs, always save incrementally as you go forward. So now that I've got the horse speaker selected, I am going to have it like this and have it turning around. So I'm going to start a little bit more on an angle. So I actually like this camera angle, so I'm going to actually also add a camera right here. Actually, let me move it a little bit more like so here, okay. And like that. Okay, and just have the camera come up slowly. So very slow pain upwards. So let me find red shift camera at a stating camera. I'm going to give this a name. I'm going to call this two dot motion. Okay. And we're going to start from this angle, go to increase that a little bit. Oh. A Okay, in the middle. And let's lock in. This. So now we've got all these points here selected. Now we're going to go over to the end and we're going to move the camera a little bit a little bit higher up now, modify that try to get these positions, right. It's a bit of a challenge. M. Okay. And there. I want to select the object so you can pan around it much easier. If you don't have anything selected, Cinema 40 doesn't know what you want to do or achieve, so you need to just keep an eye on that. Okay, here, we want to basically come up here. We don't want the edge of the mountain, so we want it to be round about here, maybe upwards as well, maybe out. Now we want to come in. We want to come in nice and close. Okay, and do a bit of a hero shot you. With the galaxy at the back, something like this. And just hit record active objects, and let's have a look now. So if we scroll backwards, you can see that the camera movement is now moving, the sons speakers changing positions, and we're there. Now, the sons camera changed position up until there, but it kind of got there pretty quick initially, so it wanted to be a little bit slower. And the way you're going to do that is simply go to windows Coordinate manager. No coordinate manager, sorry, animation. And here, if you increase this screen, you're going to see the camera motion tree item here, and you're going to have all these positions set. Notice how this white lines right there in the middle. We want to move it to the end. So we're just going to grab and highlight that white line, and we're just going to drag it to the end there. So now, if we look at if we come across here, now we can actually see the cameras still moving, moving, moving, moving, moving until we're here. Okay? So from the beginning, it's right here. So it starts dark. Only the LED lights are switched on, and then the lights up. All the objects are turning around, spinning spinning, spinning. And notice how it's cut at the top a little bit, but then it comes back into screen. We can fix that as well. Okay. And now, click the camera. And click the record. See, now it's working. So the coordination between selecting the object, moving the camera and ensuring the camera is selected, all of that and then needs to happen in unison. Okay. Great. All right. So now let's see how we just have to play the music and see how that sounds with sound and do a bit of a render a test render to see how all that looks like. So if I stop and pause at any point in time, I want to be able to see all my particles zipping around. Good. Okay, excellent. So now the only other thing to do is to bring in some narrative voiceover, and we can do that using 11 labs, and we can also use Chat GPT to write a little narrative for us. And then just superimpose that in Adobe Premiere Pro and render it out. So that's it, folks. This is essentially the animation. So we've got a couple of things moving. We've got particles moving to sound. We've got the sona speaker also moving. We've moved the camera around, as well. So we've done that. And essentially, that's it. So all we have to do right now is to render it out and see how that looks like. 21. Post Production: Part 1 - Test Render + Voice Over Narrative: Now to do a test render, what we do is we go to the render menu, we go to the render settings. We are going to do a test render. So my suggestion is that this is this is very high. So we're going to rename this to still underscore image, underscore high res, right? Image, not still mage. Okay. And then this one here, we're going to use this as motion, underscore test, underscore low s. Okay. So now what we're going to do is we're just basically going to get the lowest or lowest slution on the red shift. The output, we don't need it to be this high, so we could change that to something a lot less like say 640 by 480, right, just to get the image out. And red shift is very low, so that's okay. And all we have to do is save it in an appropriate directory. Now, a good thing to do is to call it a test render folder in somewhere and then basically use that test underscore render as a means to sort of see how the whole thing looks like at the end of it. Now, all you're going to end up rendering is the so if I go here, let me just do this properly. You can render with an MP four and see how that looks like or what you can do is render with JPEG and then just bring it as a sequence and overlay the music on top. There's a couple of ways around this. So what I'm going to recommend is to basically for this time around, just render it as a JPEG and we'll bring it in as a sequence in Adobe Premiere Pro, or if you're running a different editing software, you can bring it in there. Just make sure you bring it in as a sequence. I'll show you how I do that in Adobe Premiere Pro. I'm just going to save this now and it's going to go into the render folder, and it's going to be called render underscore. No, it's okay. We basically just add a number at the end by itself. So I'm just going to highlight my low res. So it's all coordinated through here and I'm going to decrease the quality. What is important is that when you are doing these render settings, that your final render the actual width and everything. So it's basically if you're going to be doing a say a 1080 25, that that ratio is the same. So you lock in the ratio is the same moving forward. So because that way you can see whether or not you're clipping anything on the sides. So if you render a really low resolution and it's more square, and then you want to do your final resolution render, and the ratio is different between the width and the height, you end up catching things that you did not see before. So just make sure that your ratios are correct. And also, at the same time, make sure that your frame range is from zero to say, we don't need the whole thing for now, so we can probably just go get away with half, 800 frames. So 400 frames out of 800. And let's just confirm miss JPEG. Oops I just closed it before I did that. Yeah, it's JPEG and motion. Okay. So now we're going to go ahead and hit Render. Hi, everyone, and welcome back. Okay. So now, my render finished. I only rendered up to 400 frames. I don't need to render the rest. That will give me a good idea as to how it looks like. So next, what I want to do is I want to import all the JPEG sequences. So the way I do that I can do that through any tool. They all do the same thing more or less. I can just go to Import Media. Okay. All right. So this is my test render. It looks like that. So here on the left hand side, you got this image sequence. You go ahead and click with that. It will basically automatically identify the prefix, which is test underscore render, and all the numbers afterwards just running numbers, and you'll basically keep on collecting all the sequences until all of them are collected with that prefix called test under Scar render. So I'm going to hit Open, and it should appear here on the left hand side. I'm just going to drag and drop that. And now here it is. So now I can hit play and see how that looks like. Okay, that looks pretty good. So next what I can do is add my music to it. So I'm on each. There it is. So I'm just going to bring it right there and see how that works with the music. Excellent. So now that works really well. So if I keep on going and hit 800 frames, I should end up here. So notice how there's this big sound here, which is the highlight lights the Cronus up. Maybe I can do a different camera angle run about here. A different camera angle there. So there's one, two, three, four, five highlights. And then finish. Yeah. Okay, so that's kind of the mapping it out just basically. Usually, I would normally write this down and draw a couple of pictures and frames, do a bit of a storytell before I complete it all. But essentially, that's it. So what I'm going to do is I'm going to render this out now and I'm also going to add a couple more camera frames. So now that we're back here, can see these objects. They're all spinning around, which is fine. So I'm just going to back out of that for a bit. I'm actually in my camera, so I'm just going to do Control Z on that one, go back to my default camera and have a look at everything. Okay, so I've got a camera already. So maybe I want to do a top down look as well, like that. Okay. So if that's the case, I need to turn my dome around again. But what I can do is I can just manipulate it like that. Let me have another look at the cameras. Safe frame, that's fine. And what I'm going to do is add a new camera. Red shift camera standard. Okay. And I'll basically go inside the camera camera motion. So this is the new one. Okay. That's the new camera. And I'm just gonna bring it like that. I do need to pull the dome down a little bit more, and there. Okay, and a little bit more. Now, if I go back to my first camera, just to be sure that I haven't changed anything, let me go back there. So I haven't ruined anything. No, that's all good. So go back to Camera two. And change this back to camera too, the new one. Okay. So that's the view that I want. I want to have that kind of spiraling look and make sure that my set frames is on there. So I want to have that kind of view. Okay. Alright, so this is a good camera angle. So I'm just going to keep this camera angle. So I'm just going to make sure my camera is highlighted. I'm in the camera view, I want to be able to have this camera angle from here. So I want to have that camera angle there. So it's going to save that there, and I want to have it continue just all the way through, which is fine, which is here. Okay. So I might want to move it slightly. There. And I'll just save that. Okay, so the camera angle is very, very subtle. It's not doing much movement at all. So that's another view that I want to basically render out. Okay. And I could add another camera angle. So let me give this one a proper name camera motion camera two, call this motion top down. So I'm looking from top down. Okay. Now let me call this one motion, underscore. This onside side view. Right. And let me think about another location. So let me go Defog camera. Let me see if I if there's any point in looking down down and upwards. I can do a pan out, which is essentially I start from here and just keep on going up like that, right? So what I'm going to do is I'm going to line it all up first. The, okay. Add a camera, red shift camera standard, and I'm going to give this one a name. Motion, underscore, down two up. Okay. And I'm going to make sure the new camera is selected. I did not spell that correctly because I have the microphone in my face down to up. Okay. There we go. So let's start from zero, which is essentially let me just get a bit of context here. So I'm going to start from here, save that camera angle. And as we go up and as we complete that cycle, I'll be just panning up, panning up and then looking out at and pana there and click Record. And there we go. Okay, so that's my camera three or my third camera. So I've got camera two motion, side view, camera two motion top down, and camera motion down to top. So I've got three different camera angles, which I can vary and move around with as the music changes. So I've got I believe three or four highlights in the music. So I can use the music in that way and just vary the different views. And the next thing to do is simply to render it out. But before we go ahead and do that, how I normally do my voiceovers is I use a site called 11 Labs. So I'm going to go there now and show you guys how I normally do this. Levelabs dot IO. Okay, so just go to this website. And you can hit Get Started for free. And since I'm already logged in, I believe that it will just go straight to my last entry. So you can see here a narrative that I put together. You can use Chat GBT or any other application, or you can just make it up yourself. And I'm using this voice Thomas voice. So all I have to do now is it generate speech, and basically it generates a wayfle reading out these particular words. Of the cosmos. One sound defines the void. The Sonos Rome, unmatched sound anywhere you roam, portable, durable, and ready for every adventure, even the ones beyond this world. Because great sound doesn't stop at Earth, Sonos Rome. Sound, out of this world. Ex. If. So you can use this to create voiceover. There's many different voices you can choose from. I chose Thomas this time. I've chosen many others. But the main thing is that if you are going to use it for professional work, you need to buy a license for education purposes, that's fine. But this is a really good website where you can generate voice over voices. I don't know about most of you, but if you do have a wonderful voice, you can use your own. I prefer to use other voices, professional voices that make more sense for me, anyway. But yeah, this is a great website. I do recommend this. And then what you can do is once you get this voiceover you can layer it on top of your video. And what you can do then is cut bits and pieces out that you don't like and just overlay them as the music is playing and the motion graphic is occurring. You basically lay them out altogether and with the voiceover as well. So what I'm going to do next is I'm going to render this out for the three cameras, and then I'm going to place it all on the Premiere Pro. So I'm going to put the voice down here and I'll somehow try to panel beat the animation together. So it's a very basic animation. You can add so much more to this. Cinema four D is so much more powerful than what I'm showing you right now, but it does give you a good big interview as to how all of this works together. And, yeah, I'll see you in the next session. Bye for now. 22. Post Production: Part 2 - Final Renders + Video Editing: Hi, everyone. So welcome back. After we initiated the final render, we got all the render files ready. So next thing, it's all about doing a little bit of work with Adobe Premiere or Da inci Resolve or Cap Cut or whatever your tool of choice is for video editing. So what I've got here is the previous version that I showed earlier. So this is our soundtrack. So what I'm going to do is I'm going to bring in some additional files. I'm going to bring in the the voiceovers. I've captured a couple of different versions of voiceovers. So it's good to sort of use a couple of different voices just to see how that blends in with the theme of what you're presenting. So I'm just gonna bring them over right now. Okay, so I've got a couple of different versions. So what I'm gonna do just grab one of them, just give it a bit of a play. The infinite expanse of the cosmos. One sound defines the void. No, that doesn't work for me. Let me try another one. Infinite expanse of the cosmos. One sound defines the void. Nope, too soft. Infinite expanse of the cosmos. What? No. So so whoever you got here, we had a couple of different versions. So we had Serena, Charlotte, Mimi, Serena, Charlotte, Mimi. I think we've got Thomas, as well. Let's see if I can work in Thomas' voice. In the infinite expanse of the cosmos. One sound. Okay, we're gonna give him a go. We'll try We can try all of them in any of them. Just go to play the music now. Expanse of the cosmos. One sound defines the void. The Sonos room. Finished anywhere you roll. Okay. That's pretty cool. So I'm just going to remove the old render, and I'm going to bring in the new renders in. So let me do that now. Okay, so this is camera two down to up motion. So I'm just going to place that there. So let me have a look at this. One sound defines the void. The Sonos room. Anywhere. Portable. Durable. Okay, that looks pretty good. So I'm just going to remove that for now, and I'm going to get rid of the test render. So I've got all the files I need. This is the music. So it's going to give that a different color. Give it maybe a purple. Okay? So that's the music. That's the sound, so I'm going to give this one a warm color as well. Label. Let's go Rose. Okay, and all the cold numbers, the cold labels like blues and greens, I'm just going to give that to the footage. So I'll close this for now, so I don't need that. Okay? This is one of the files that have come through, so that goes blue. Let me go ahead and import more of these. So I'm just going to import the rest of them. So let me grab that one. Okay, so this is down to top, top to down. Okay, so that's how that image looks like. Now let me import. So you just find the first file. So down to top. So I had three of them. So down to top, um top to down. And also, I think we had one side view. Okay. So let's find the 00 file side view. And then what happens. If you click that file and hit sequence, just going to get that file. So what you want to do is find the first number in the sequence. So go all the way down until you find 00. There it is. And just click that. Then Adobe knows what to do with that. So we just go side view. Let me have a look at that one. Okay. And that's most likely the one that we're going to start with. So I'm just going to color these or label all these with a blue color. So blue means footage, so it's good to sort of visually have that. All the warm colors, music or sound. Okay. So this one here we don't need anymore because we're going to go with this particular sound from Thomas. So now the next thing is all about editing and making sure that everything flows. So what we're going to do is we're going to start off with the side view. Like so, so let's have a look. Expand of the cosmos. One sound defines the voice. See, the voice starts a little bit too early. So let the music carry first. And then what we do is we'll blend in the voice over. So let's go. Internet expanse of the cosmos. One sound. Okay. Let's give that a little bit of a little bit of a transition. Internet expanse of the cosmos. One sound defines the voice. SoeelUnmatched sound Okay. Good. All right. So that's that footage, so we can sort of snip back and forward. So what I want to do is I want to do once this hits here, the second one, I want to be able to switch over to a different camera view. So if you double click, say, the top one, and what you can do is find a snapshot that you want to include. So we've done the dark to light, so we don't need to go back there again. What we can do is select, say this to this and just grab that sequence and bring that over. So as soon as that high beat kicks in, it will switch over to this next scene. One sound defines the void. The Sonos Roam. Unmatched sound anywhere you roam. Portable. Okay, so now we have the choice of going back to the previous one. Or what we can do is look at how the top down view might look like. So we just can start here. So you got a choice of going, Okay, this is my entry. The infinite expanse of the cosmos. One sound defines the void. So in the infinite expand of the cosmos, we could probably add more of a pause there. So what we can do is scrab that, chop it, and then grab another sequence. It's good when you have voiceovers with these gaps, so you can spread the words across so you don't have to squash them in the same way the voiceovers reading them out. So let me hear what he's got to say next. One sound defines the voice. And that's it, right? So I can just move that in there and cut it there. So now what I have here is in the infant expanse of the cosmos. One sound. Now, increase the volume a little bit to match the previous. So that's 8.2 decibels. What have you got here. 8.2, 8.2. Let's go from the top. The infinite expanse of the cosmos. One sound defines the void. Okay. So let's get the sound making that pronouncement rather than the voice. Cosmos. One sound defines the void. Boom. Or you can grab this and do it right after like, so here we go. The infinite expanse of the cosmos. And bring it in right here. One sound defines the void. Now, you're back here, and the sonyss is still turning slowly. So what we can do now is bring in the next footage, which is the top down, down to up. That's the one. That's the one up here. So let's just go. Let's grab it from this bottom edge. To hear and bring that on the second high beat. So we've got the main high beat, which is a switching the light on. Expanse of the cosmos. One sound defines the void. And now it will be good to add more of the narrative. So let's bring in the rest of this and see what else we have. So we have what else do we have in the?nos anywhere. Okay, so let's now just focus on the music and see how the music basically allows us to introduce more narrative. So I'm just going to mute this going to put it down, add another track. Yep, and drop it there. I'm going to mute that track and just listen in. So here, what we can do is have a scale happening. So if I click this, I can go straight into affax. Let me see where is effax hangefts. Effex control should be somewhere here. Fats. That's there. Okay, affects control. Nope. Yeah, there it is. Affec control. So let me just highlight that one. So what I want to do is as this one's coming up, I also want to zoom out. So if I go all the way to the end, I want to first zoom in. Now this is why it's important to have high quality images. So let me just bring this up like that. And add a keyframe there and all the way to the end and zoom out back to 100. So by the time it finishes this bit here between the two highlights. Let me just bring this there. So bang. Now I notice how it's overlapping, so we got to be careful with that. Okay. So let's go back here to the first keyframe. I want to zoom in a little bit more. And there what I want to do is I want to go back out. But this time also move it into this frame. And that's the position that I want. So the starting position is there, but I do want it to be a little bit there. Okay, so I'm going to so that's been key frame. So let me just scrub that. Yeah, that works. So it gives a little bit more of a movement. So let me try here, have a look at that. So here, what we can do is do zoom in. So what I'm going to do is I'm going to go over here, go to the beginning of the frame, and I'm going to scale that. The end of the frame, I want to zoom in. Okay, now let's have a look how that looks there. Zooming out and back to the main track. Now, we're running out of track on the main track. So let's go from the beginning and listen in. Expanse of the cosmos. One sound defines the void. 23. Post Production: Part 3 - Final Video Editing: Okay. Great. Okay, so we're running out of music because this whole track or this render here is based around the actual music. So if you start introducing different tracks, and start making different types of beats. So you got to be careful with that. So if I actually raise this up and expand it out, technically, this should start here, right? But because I'm trying to snap in and out of scenes, let me just stretch that out. Okay. So what I'm doing here is I should be coming from here. Now, I can't change the music because the actual vibration of these particles here is based around the actual beat. So you might find a different beat that you want that's a little bit more pronounced, which is great. So this one over here as well. I I stretch it out, Okay. Let me do that. Anymore? Okay. So what I'm gonna do is I'm just gonna bring that into here. And there. So see these two slopes, this slope, and that slope, so I'm going to be transitioning and then back to the original track. Okay. Now, I need to do something with the narrative very soon. Now, back to the scaling because let me just see what's happened here. Okay, so this is the 100. So we want to be zooming in. That works. And this one over here, Okay. Let me see what's happening here. Okay, that's because this level is down. Okay? So what we're going to do is add transitions in a second. But first of all, let me get the Zoom happening here back to how it was before. So the first it was zooming out, I believe. So let's go let's zoom in. Okay. That would work. And here, it's already gone by then. So we just got we just don't have anything here. So we're gonna have to move this one a bit more here. So we actually have some footage. Let me just make sure. Yeah, so he definitely disappears there. So let me just, uh, measure that. Okay, so out, and then going down. Okay, let me find. Okay, so that's that one. Okay, so that's the next keyframe, so we are going to grab that keyframe. So we've got two keyframes here, so we're just going to grab these two, move them across, grab this one, move that one there. So let's have a look now. Good. And then comes back to the main scene. And then what we can do is a fade out. So now let's bring this down into the main file. So now we're going to do a transition, and we have multiple transition types that we can use. So let's find one here on the left hand side. I've got the transitions. I've got the facts. Now also have Red Giant, which you may or may not have. But basically, you can use any of the transitions you like. But since I got Red Giant, I'll just use that just to give you guys a bit of an idea. I will just do the bouquet one here. That's video fats. Oops. Let me. So that's that kind of impact you're gonna get. Okay. But in the transition, we need to have a transition happening. So let me get the right transition. The Bouquet transition is here. That's what I want. So as you go from left to right, one sound define. Okay, so here, I'm going to the effect, I'm going to modify the effect slightly so that so the bouquet is here. So I'm just gonna reduce or I could even so from here, I can make it a little bit clearer. So from the first From here around about here, that's 300, and then I can clear it down to run about. So it's 300 there. So I'm just going to key lock that. And then run about here, I'll reduce the blurriness down to zero. So it's a long transition. So from here, we got this type of transition working the cosmos. There. One sound defines the void. And I can do another transition effect. So if I go down again to I can do compound blurring. We can do a lot of other things. Let me see what Is this a transition effect? Let me just make sure it's a transition effect. Now, this is a video effect. We don't want that. We want a transition effect. Car sil transition, clock wipe, nope. We don't want diamonds. We don't want any of those 1980s types transitions. Slides. We can just keep it simple and possibly just work with the Boca transitions. So we just do that. So here we go. One sound defines the void. And then I'll do a Zoom effect on the last bit. Okay, so this transition works as well. That works. That works. So now here, as it's going down, I want to zoom in to the sons logo on the last bit. So I'm just going to go over here. I'm going to look for the first frame and bring that in, and then I'm going to look for the last frame and scale that up. And let's see how does that look like, and I'm going to bring it down as well there. Too much. And the first frame, I need to scale that back to normal. Okay. So now, this is going to be the last frame, and Sonos is zooming in, and then there'll be a blackout. And then basically the sound will come down. Now, as far as the narrative, we want to basically listen in and see what else we can use from this narrative. Now, it's very short piece. It's only 20 seconds. Even the ones beyond this Because great sound doesn't sound Sons room. Sound. Okay. Let me just hear the voice. So I'm just mute at the music. Anywhere you roam. Portable, durable. We don't need that. For every adventure. Even the ones beyond this world. Because great sound doesn't stop at her. Sonos Rome sound out of this world. Now, I like this bit here. Great sound doesn't stop on Earth. Thats great sound doesn't stop at her. Let's hear that again? Thats great sound doesn't stop at her. The ones beyond this world. Because Great Sound doesn't stop it. Okay, I like that. So I'm just gonna grab this, and we're gonna finish the scene with that. So let me just braise it up to 8.2, I believe that was 8.2. So just to match the rest of the way there it is. So let's listen in Oh. Great sound doesn't stop at her Sonos Rome. Let's try again. Now adding the music? Because great sound doesn't stop at her Sonos Rome. Sound out of this world. Okay, so now I want to have an effect here as well to kick in. So what I can do now is to another transition. Pre exposure below that's gonna glitch transition. That might work. Let me see how that works. Out of this form. Sometimes when you do glitchy transitions, people actually think there's actually something wrong with the video. So you got to be very careful when you use that. I like using it. I mean, I like the effect, but sometimes it doesn't work. Turbulence transition. Let's see what that's about. Out of this form. Out of this form. Yeah, that's simple. That would work. So here, what I want to do is I want to introduce a video effect, something with blurrness. Oh, let's go to Boca again. But this time, we are going to blur it 300 at the beginning, and then run about here, we will start transitioning. So let's go to the first frame, lock that in, and then let's go to run about here and let's drop this down. Zero. Okay. So now the video is gonna start something like this. In the infinite expanse of the cosmos. One sound defines the void. Be Great sound doesn't stop at our Sonos Rome. Sound out of this world. And then you can have pretty much a trailer or what as I call it just the credits happening. So you can add that now. Let me just look at the graphics templates. So you can have film credits. And there we have it and simply change the names in the texts here, and we're good for the editing. So we can just change a title, say course video test featuring. You can have featuring Speaker music B, and I usually name the name of the artists, et cetera. So you can just simply say, Pixa Bay and let me go to media browser, or library. Unseen danger. FSS. So you can have something of that director. You can put your name in there. For now, I just put nothing in there. Story by, and you can put your name in there as well. But I'll just leave that blank. What I will do is, I'll say tools used, and that would be Cinema four D, Adobe Premiere Pro. And that should do it. Then when you basically finish that off, there we go. And that just disappears. Now what you can do as well with this if you go to effet Controls and go here to the first frame. So as it appears once it appears there. So this is you can then start you lock that position and then go here and you can raise it. Like that. So therefore, when it kicks in, it starts moving upwards and then fades away, and we're done. And now the music, we need to fade the music away, so we're just going to reach out to the very end, bring it right in and zoom in. And it's not good to sort of just finish it right at the end there. So it's like you give it a little bit of a trail, and bang. There. So infinite expanse of the cosmos. One sound defines the void. That's gonna listen in, give it a word. Good. Okay, so let's have fit to the screen and let's play it again. Okay, so we've got a bit of effects happening here. Cosmos. One sound defines the void. Because great sound doesn't stop at Earth. Sonos Rome. Sound out of this world. Now, I really liked how it was bouncing up and down right towards the end, so you can expand that and get more frames in. And yes, so right, everyone, so that is the post production. So we've included footage. So we've done the final renders. Over here. We've got the narrative on top. We've got the music happening as well, and we've mixed it all up. We've added a few transitions and a few effects. And then, basically, this is your first cut, and you can send it in and get some reviews and feedback and just modify, modify, modify until you get something that you really, really like. I'll post an example of one that I've done earlier as well. But yeah, you can play around with so much here. You can change these objects, make them bigger, make them large. You can scale them to the music as well. So there's a lot of things you can do to this footage to make it really, really good or say, make it pop. But I don't really like that statement. But anyway, that's what you can do. But that's the process, essentially. That's how you go about making a video. You edit it, put music, put narrative, and mix it all up and send it back, and you get some reviews, or if you work in a team, somebody will be responsible for the transition effects, and will be responsible for music. But in this case, we're doing it all at all, we're doing it all, but that's okay. It's all part of the practice. Okay, well, thank you very much. I really hope you enjoyed this course. And I hope to get your feedback and write to me, send me your links. I would love to see your work, and hopefully I'll see you around the Cinema four D corridors with all of your creativity, there is a lot to learn, a lot that you can use, a lot of things that obviously I did not have time to show. But, in essence, we were able to model an item. We were able to texture it. We were able to take some still images of it. Then we're able to create some video footage of it, and we're doing some post production here in Adobe Premiere Pro. Again, you don't have to use. You can use anything else. But this just gives you the full view of the full cycle from beginning, all the way to the end using Cinema four D. Thank you, everyone. Bye for now. 24. SAMPLE : VIDEO OUTCOME: In the infinite expanse of the cosmos. One sound defines the void. Be great sound doesn't stop at Earth. Sonos Rome, sound out of this world.