Transcripts
1. Part 0 Intro(Join): In this course, I
will take a shot from the Docker movie and turn
it into a scene in blender. We will then add a c and apply the cinematic and
moody lighting and atmospheric mode from the
movie into our scene. To bring it to life, I will turn the scene into a clip from the movie and track the camera
to its cinematic movement.
2. Part 1 Making the Dunkirk Scene: I will go to the front
view to idea camera, as we are working
with non en films, the sensor will
be 65 millimeters as the film size of IMAX, and the focal length
is 50 millimeter. In a three D view port, grab the camera backward
and at a plane, I will make it bigger and make it 60 centimeter
below the camera. Now I want to make
it bigger to fit the viewport of the
Dunkirk landscape. The next step, I want to make it wider to fit all
the camera field. Before I extrude it higher, actually, I want to make the shape of a
landscape geometry. Add a subdivision surface to it, and then add a couple of cuts. To be able to see the image, add a background image to the camera and set it
to Dunkirk screenshot. A available in the
download folder. Now we want to fit the vertices we have here to our image. Make the vertices higher
and on the left also. The subdivision modifier will
make it smoother for sure. The middle one, I
want it to be lower. Now I see that it fits nicely. But the sides are now curved, so we'll use the mean crease and make it one
to fix the issue. Add more subdivision in
the subdivision modifier. Yes, this looks cool for now. Add a cover of subdivision near the camera position for the
UV mapping to be better, and then vertical
also here and here. Right now extrude the last line higher to cover all the
camera perspective. As subdivision modifier, then
add a UV project modifier. Let's fix this mean
crease issue again. In the UV project, select
the camera and select the UV map and set the aspect ratio as
your original limage. Now we want to go
to rendering mode. So we'll go create a material
and add our texture, which will be the same texture that we used in the camera. Here, you can see that
most of division we add, the better mapping we will have. I think the six will
be very good for it. Here, that's great. Let's add subdivision service. And now we will go to the word
tab to change the AjRImp. The AzureImp will be included
in the download fold. I wanted to have the
cinematic colors. There is a dark Dunkin film. So we'll add a color
map and change the dark and light tones to
the tones from the movie. I will use the material preview to have a good color pick. For this light tone, we will
be using the yellowish tone. Now, if you go to
the rendering mode, you will see that you have more dramatic and cinematic lighting. You will use the Bespine to have more information
yet a contrast the look. I will still play
with the higher and lower tones to
make sure I have the right balance.
Maybe a bit more. Yes. I think that it looks good, but I want to try to
remake the picker again maybe or change
the saturation. Now, we'll play
with the exposure here and the color management. I want to break
the specular down. I want to bring the
specular down to have a more natural look to have
a more neutural image. You know what? I'm
going to remake the color picker again
here in this image. I will set the
exposure back to zero, and now I will repeat it again. This will give you maybe
a more cinematic look. Yes, I think that this
will work better. We'll bring the exposure up, then the higher tone
will be much brighter. Then bring the exposure down. This will balance the log. I think this is better
than what we had at first. So I think that we cut a
great result. Let's move on.
3. Part 2 Add the car and change the color: In this lecture, we
will add the car. The car we will be using it from the great store called
Lion Sharp Studios. This is the Ruston
car that we'll use. It's free to download
and a great model. Now we will import the GLB. Let's grab this here and
go to a three D view port. Click Shift S to move the
car to center of the wall. Now, I will add an apt object, which will group the whole parts of the
car to go into it. Click Control P to
create a parent. Let's delete this plane, and we will now adjust just the position of the
car to fit in our C. Let's rotate to the
left of the screen like this. We need to move it down. Now, I'll start playing with all the rotation
axis like X and Y, and Z to make sure the car
is in its right position. I want to change the color of the car to fit the ankark style. I did grab this screenshot
from Dunker movie. I will make it not
affected by any light. Then I want to grab the
color from the helmets. Set the collar to
filmic maybe and now we will add the color
to the body of the car. Let's try to grab a neutral
from a oral lever from their hands like this
greenish cyan color. I think we can now
go back to GX. Yeah, I think that
we did a great job. Small adjustment in here, and I think we can move on.
4. Part 3 Cinematic lighting from the movie clip: In this lecture, I want to make the shader of the warplane. And in bean occlusion, then a color ramp to
make dark shadows. We will mix it
using mixed color. I want to change
the color map to make a black shade
under the color. This will help bring
more contrast to this image. I think
this looks good. We will plug this
into the filter fat. I think this color looks good.
I think this looks good. We will plug this into the We'll block this into
the filter fact node. Remember, the white shade
will select the V node. The black shade will select
the Anode. We can mix it now. Making a higher gamma will
make it more contrasty. And more dark, we can change the selection
in here as we like. I made the black gray to
select less of the anode. Now we will add the color ramp to make the speckle levels. I want to make it mostly black. Go to the chef to select
to see how it looks. Be fly to bring it as much
information as possible. I want to make it dark in general with a
slight light shades. I think this looks
very good now. We will make the bump.
We will add a bump node, then plug it in the normal node. This is too much, so I'll make it smaller
and less powerful. Yes, I think
something like this. Great. Now I will move on
and make small adjustment to the size and replacement of the car to make
sure it looks good. I want to make some adjustments also to the word type lighting. I think this looks great now. I will make the
volumetric of the scene. I will add a big cube and
add a material for it. For this, we will use principle volume shader
to the volume node. Make it much smaller than this. Turn it off for a second to select the color from the scene. I want it to be this
yellowish, greenish color. This is great. I want it to be 0.07 or something
like 0.08 maybe. Change the color to make
it lighter and that affect the scene a lot. I
think this looks great. I'll height it for now.
5. Part 4 Bring it to life by making it a real movie: And this video will bring
this scene to life by changing the background to
a video clip from Lancok. I will add this clip from
Dunkin film to our scene. I know this is I know
this is a 116 frames. I will plug it in here. We can now make this in 116 frames, and you can see that
this is updated on each frame using
the fresh option. Now, add the movie in here. I want to tag the camera
to the movement of the scene to make the car
follow everything in here. Oh we must prefetch, normalize and set the collar
management into standard. We will use a high pattern
size and a high sur size. Click Control and
start selecting any placed that is contrasty. The sensory is 65 millimeters, as you remember, and 50
millimeter for the lens. This is how the
real one was done. Alt S to see the sur size, make it bigger and
start selecting every contraste and
static part in the image. H. Now, we will click Control T to
track every one of them. You can see that
some of the nodes we made didn't follow anything,
so we'll delete it. You see that you can
see that some of the points are making
too much problems, so we can delete them. Our we will now solve the camera. We can see that the
error is very low, but we can delete all these
that are making spikes. Now, select two nodes and set the scale to meters
as we can expect. Let's say it's 2 meters
from here to here. Now we can go and grab
the camera backwards to fit as we did the
camera in the first place. You see, now, when we
play with the camera, it is taking any movement from
the initial film footage. We are done. It's great for now. We move to the final part.
6. Part 5 Final wizard touches: This is the final
lecture of the class. I will now unhide
the volumetric. I want to make it more cyan, more bluish tone than
green for the volumetric, for the volumetric, and
for the color of the car. I think this is good
for the volumetric. Now, I will go to the
coat and body of the car and make it more
bluish, more teal. The con looks great.
Now in the word tab, I want to make a
small adjustment in here also to make
it more bluish. This is great. I want to go over some settings
and max samples. And you can see how I am using
a balance of good quality, but it takes less power because we are doing
an animation here. Make sure motion
blur is selected. Select persistent data so we get the data from each
frame to the next. AJX color management,
I will now play with exposure and the gamma of the scene to make the
contrast at its best. This is great. I think I want
to make it specular darker. I will unhide the volumetric. I want to make sure that we set the frame rate to 23.98 frames. Then I want to add
an empty object that I will use for
the depth of field. I want to set it slightly
in front of the car. This makes most of the
car and slight out of focus to remove the
perfection of a rinder. I think this is great. We did a great job in here. So we'll go now to the Auto.
7. Part 6 Outro: Thanks for taking
this course with me. We have made a lot
and gone through cinematic lighting at
footage to our bendicin. I hope that you got
something useful out of it and see you next time.
Ali Sayed Ali, aliartist3d
