Complete Blender Beginner Workflow For Cinematic Art

1. INTRODUCTION: Hello and welcome to annual tutorial. Searching Instagram, I found several popular profiles on the topic of cinematic photography. And I noticed that the composition of most of them is quite similar. Most of these artworks are nice scenes. Lot of fog and rain, reflective close with the main character in car in shadow, surrounded by lights to create a silhouette and most open in our teal and orange. Another thing that connects this works is that almost all of them that created in Blender. So I decided to try use my brand that experience to see how close I could get to this popular articles. In the pie hour-long tutorial, we will create this see, I recorded every step. So the tutorial is also intended for beginners. After finishing the tutorial, you will be able to create any of these artworks. A few examples I created using the same techniques. 2. CAMERA AND RENDER SETTINGS: Let's start creating scene. First. My recommendation is to create folder where you want to save all these files. For example, you can call this motel scene or something, but I already have folder. I will delete this and I will copy address, so this folder. And now we can start with Blender. And first thing I will do in Blender, I will love it file, Save As, and I will call this motel scene. Next I want do here is create a silhouette or base shape of this motel and place camera in C. They can use this default cube to create motel silhouette. But if you delete this, you can always go with Shift a and you can create new queue. And now I will press N to open this step here. Now we can enter dimensions of our motel. Last time I use these dimensions so you can just copy. I go with 18 m or x-axis, 6 m on y-axis. And by meters on z-axis. I will go with numpad one to front orthographic view. Or if you don't have numpad, you can go view, Viewport and front. And I will bring this on zero on x-axis. So this, you can see this red line. You don't need to be completely precise. But if you want to can type here 2.5, because we have 5 m. So z-axis and origin is in the middle. To create base shape of motel, we can just go to Edit mode. And we can select this edge select here. And we can add with control R1 on x-axis and y-axis. Now we can read holding Shift, select this edge here and this one. And now we can move this on Z axis. You can select this move tool or you can just go with G to grab and Z for Z-axis. Now we can set camera. I will go to object mode and I will select camera. And now you can press number zero to switch to camera view. Or you can go view cameras. No viewport and camera. But in this case, I liked split this window here. So when you see this gross, you can move on right. Now we have to same windows here. So this is 3D view port. I will now place mouse on left and I will on left press zero to switch to camera view, and I will press N to remove this tab. And now we can see what we do on left and we can work on right. Event change, resolution of or aspect ratio or this camera. Because I want create something for Instagram, I will go with this vertical aspect ratio and I will click here to output properties. And I will send this to 1280, 1,500. If you want to can always change aspect ratio and make this more vertical or maybe something more horizontal and cinematic. But for now I will go with 1010. Now we can set camera and I will put mouse on right, and I will go with number seven to top orthographic view. I will place this camera to about here. But one thing I want to do here, I want make this camera Lovasz. So I will bring this value down. First. I will set this x-axis to 90 degrees. And now I can bring this down. And last time I go with value of 1.4 to five. Now I will go to camera property step, and I will now set this focal length to 26 mm. So this is basically Zoom. If you go up, resume this motel and if we go down the zoom this out and I will go with very low for calling because I want catch more area. We see this motel and all this around. And I've unsaid these two panoramic because we will get this nice distortion on edges with this panoramic lens. And if you set these two panoramic and if you don't see this fisheye and another options, that means that you are in EV. So I will set this to cycles and let's back now to camera settings. And now we need make this lens to 26. And if you now press F 124 first render, or if you go to render, render image, we have first render. But you can see that this is very slow for this very simple scene. And reason for this is because we have some default settings here and we need to change this. First thing I will do here. I will set this to GPU because this is much faster and I will send these samples to maybe 100. And also these render settings 100. So this is viewport. Viewport is when we click here, we have here viewport render and you can see if we move this, this render go to 100. This is render previous. This is when we press F2 for final render. You can see how much is this faster now and next week have viewport the noise here, if you want to use this denoise, my recommendation is to use optics because optics is much faster in Newport. But I don't have problem with noise in New Paltz, so I will just uncheck this. But for I'll denoise, I will use this open image denoising because I think it's a little better than optics because I don't have strong computer. You can see my system here. So I have expenses 60 with 16 gb of RAM. So I need to care about optimization scene. And I think this is good for this tutorial. And I still can render this scene with volumetric send with lots of particles in maybe one or 2 min. So you don't need very strong computer to make a scene like this. 3. MODELING MOTEL BASE SHAPE: And now we can continue with modelling these motel. So first I will join this area here. So right-click here and join area and click on left to close this here. Last time I made this one part of this motel. You can see here. I just duplicate this four times and that's we will do now. So first I will go with lamps and one, and I will go with Shift a and with Q. And now you can copy these dimensions here. So I will go 4.5 m on x-axis and 2.4 on Z and Y axis. Now we have one part of this mode, because we will now work some time on modelling this part. I don't want share space with this big motel and this point lamp and camera because if you're rotating this, you can stick to some of these objects. So I want isolated this object. And you can do this with numpad slash key. Or you can go with Vue local view and toggle Local V0. And if you click this again, you're back to our scene. So I will isolate for now this object and we can start modelling this part. Because I know that this motel will not be so visible. If you look this render, you can see that this is basically just silhouette with Windows. And if you put just this base object, it will not be big difference. Because I want maybe use this next time and I use this motel in this scene, various more visible. I want for this practice, make this width little more details, but not too much. So I want also keep this low poly. And I also have tutorial similar with the modelling this cabin. And we put little more details on these cabin. And if you want to look for these tutorial, now we will make similar but little less detail than here. This is better example and you can see all these details here planks and this is better example and you can see all these details we made last time. But today we will make something more simple and much faster. This is reference image we will use for this motel. You can see that this is very low poly, but it will help a lot to make this modeling process easier. So now I will make to Blender and I will create new material here. I will call this model. And now I will go to shape the tab. And you can see that we have both of these objects here. So just press again numpad to slash key to bring this object here. Now I will bring this image to Blender. So just drag this here and you can bring this to Blender or can always go with Shift a and search for image texture. And you can select this, find this image and select. But now I will just block this base color. Now we need to unwrap this. So you can go to UV Editing tab and you can again mapper slash key and change these. You can select this material preview here and you can unwrap this here. But because I don't want all-time jump between these steps, I can just bring this UV Editing here, UV editor. So you can just select this UV editor. And when you go to Edit Mode, you will see this on left. Because I don't need this image here. I have one here. I will just join this area to make this simple. Before I unwrap this, I want check scale because scale is very important when you unwrapping objects. So I will press N and you can see that scale is not one. So Control a and applies K. Now this is one. And if we now go to Edit Mode than if you press you for unwrap and go with Q projection, you can see that this is unwrap, correct. Now I will select only this face we need, which is visible and I will now and left. If this is not selected, you can go with a to select this. And now you can press S to scale this. You can also grab this with G and you can move this maybe on z-axis leak. Because I don't want this window stick to this ceiling. You can see that this is not straight, but you can fix this if you want here. But I will not do this now because I will not get too much And I will now start modelling this window here. Okay, Let's modelling these scene layout tab. So just bring this material here and now we can start with model, and I will press N to close this tab. Now, I will go to Edit Mode. Then I will start modelling this window here. So I will go with Control R. And I will add one loop cut here and Control R and one about here and on here and one here. And now we can select this face select and we can go with E to extrude and Y. For Y axis, you can just press E and it will be stick on y-axis. And now I will go with it again. And instead one face here. And let's now external decent y-axis but inside. So NY. Let's press it again about here. And let's also move this extra this on via. Now we have a basic shape of this window. And I will go with Control R and advanced loop cut in the middle. And I will now move with control V to split this. If you have more Lucas here, just scroll mouse loan and make one loop cut here. And now I will also extra the sun y-axis. And now I will make two shaders tab because we will use UV editor and we have UV editor here. And we can now fix this. Later. You remap, so it's selected this object, this face I will go with S. You can go with high-stakes to scale this on x-axis and just place this on white color. I will also select this, and I will move this little G and X when X axis. So you can just scale this and place about here. And you can also maybe select these two vertices and just move this with GI side. And to fix this parts here, you can select these objects and holding shift, this face. And we can just go with you, unwrap or UQ projection. Now I will go with S and place these two white color and this one, you can select this face with this loose parts with L. And now we can go with the nitric to rotate this z-axis by 90 degrees. And this one also so L and the night 4. GLASS MATERIAL: Let's now create glass material. So we can go to material properties tab and we can add new material. And I will call this glass. And I will go to Edit Mode. With Face Selection and holding shift. I will select these two faces. So let's first fix also this unwrap weekly. So I will also, this one is good. Just move this on white and we need project this. Again. You can deselect face with holding Control and just click, drag and click. And I will again go with shift. And let's just quickly fix all this part with Ukiyo-e projection and just project this on white color, so it is in it and in it again and L to select this part. And now I will just bring this here with the G. Just move this on this whiteboard. Okay, now we can continue with glass material. So I will select these two faces. And I will assign this glass material here. You can see that we change material. Glass material. I will delete this principle, be SDF and I be worried. She, if they in glass. And I will mix. If you put this here, we have just glass, but I want to transparent glass, so I will mix this with transparent. And if you don't have enabled this node regular add-on, you just need to go to Edit Preferences and add-ons and search for node and enable this Node Wrangler. And now if you hold Control Shift and drag right mouse click, you can just connect these two shaders. Or if these don't work for you can always go with mux shaders and just plug one here and another here. Now we can improve this glass material with some roughness variation. And for this I usually use concrete texture. And I found this concrete texture on Pixabay. So this is, I will share this link with you. This is this link. And you can just download this for, but usually I found this my concrete texture on textures.com. You can just type clear concrete. You can find lots of concrete texture here on textures.com. And you can use any of these texture, or you can use this from pixabay.com. Racism, I now go with pigs. Amazing because you don't need profile to download this. And for textures.com you need just make three profile and then you can download every day. 15 these images. Last time when I suggest textures.com, few people send me that this texture is not available. But if you cannot find something I use in this tutorial, you can always find something similar. So if you use any texture similar like this, you will get very similar dissolved. So if for some reason this links don't work, you can download any similar texture. And you can also use NBS CG to find free textures. So you can type here concrete. You can download this also without registration any of this texture. When we have concrete texture, I will bring this, this here and I think I can program with my mouse. So you can again always go to Image Texture and you can import this image here. And I will now plug this to roughness. And if you go with Control Shift and click on this node, we can just isolate only this texture here. And if you want to can go to Edit Mode and you can scale this image here or another method is Control Shift. Select this node and control shift and T. Control T. You can also change this scale. For example, two, I will back this again to one and I will play with this in UV editor. Okay, and now when we see how this look, we can plug this roughness. So I will make this node with Control Shift and click here. And you can see that we get variation in roughness. And to control this, I will go with Shift a and color ramp. And now if we plug this here, we can make more contrast here. The one thing you need to know that this black color means value of zero and Y Carlos means the value of one. So white Carlos means so white collars now means roughness. All to one. So what colors mean completely rough end glycolosis means completely shy. So I want to make this window shining, not too much roof. So I will bring more blood, Carlos here. And I will also bring this white color to black to make this less intense. And we can also add some bump information here. So I will, for this movie, gribble texture and this procedural texture is similar like waves. So if you go with Control, Shift and click here, you can see how this look and you can change scale if you want. Something like this. And I will now move with the mom. And I will plug these two height and now this to normal. And this material with Control Shift and click here and you'll get this effect. And I will bring, bring this all down to make this effect less intense. But we have also some distortion in glass. And we can also back to this motel material. And I will go with image texture here and I will select this concrete texture. And let's plug also this to color them and to roughness to add some details also here. I don't want the shiny parts here, so I will bring this down and I will add more roughness here. Okay, so we get some details also here 5. DOOR AND PLANKS MATERIAL: And let's add some bevels here so we can always select this middle part. And with controlled non pet plus, we can expand selection. And if it's Control B, we can add some berries here. And I don't want, if you scroll mouse up, you add more vertices here, but I want keep this low poly so I will just add one level here. Okay? Now this is little more visible. And we can now back to Layout and we can continue modeling this door here. And if you go to solid mux, can see how this loop. And we have some geometry here. And let's now back to edit mode and to material preview. We can again with select this object and go with Control R. And we can start adding loop cuts here. And let's select these two faces and press. So I will now back to its control plus to select all this and I forget text through this. So E, right, talk through this on y-axis. And now we can, I will add one loop cut here down. So I want this stance, make this distance. So I will go Control R to about here. And now if you select this and I will bring this up. I have one problem. I stretch also this UV and if you go with double-tap G, you will now not stretching this. But you can also enable this in edit mode. You can enable this correct phase attributes, and now you will not stretch this UV. And we can place this in meter. Now I will select these two faces and if, and I'll press I, you get to this, but if you go with it twice. So I, instead these on individual origins, just bring this down and this one up. And we can also fix this too. I will fix this problem with just K. So if you press K and if you go with vertex select and with K, we can just connect this part here. So K stick to this vertex and just press Enter. And now we can extrude this in with E and why? We can also extrude this out if you want. Why? And I think we need also external this out. If you select one face and hold Control, Blender will select or connected parts here. So control. So if you hold Shift, you will just select one phase, but with controlled, lender will connect all these part. So I will now hold Control and click here to select all this. And now we can go with Y, or we can extrude this out. Let's see how this look. And now we can make to shade in temp and we can fix this UV if you need. So let's feel, don't see these tools here. You can middle mouse button and you can now move this one, select this edge, select here and just hit the G. Move this. Okay, I think this looks pretty good. Let's make now this glass material, but I also want keep this white color and this details here. So I will go with new material and I will now select this glass material. And I will click here to make a duplicate of this object. And I will call this glass And now I will assign this material here. I want make this color information here. So I will go with image texture. And I will select this motel material and I will delete this and I will plug these two color. You can see this texture from before, but I want also make this white. I want to mix this image texture with this shaders. But if you mix these two texture, you will get this problem. So this is just color and this is shader. So we cannot mix color shader. And we need to convert this also TO shader. I will make this. I will go with the fuels VS. the F, and I would just plug this to color and I will use also this roughness information for before. And now, if we go with Control Shift and right-click, you can miss this to shaders. And you can see what we get. If we go to left, we get only this shader. And if we go, All right, we get this shader here. And I will go maybe in middle to get some white color in this texture. And maybe we can increase this massive group bump to get more details. More distortion here. And I will also scale this up to get more tiny details. I don't like this green planks. So I download this image from textures.com and I will share this link to. But again, you can download this texture or you can just search here, right? Planks. Or you can also search on Google or maybe on Pixabay. And you can download any of these. So this is one use. Now, let's make to Blender and I will now create another material and I will call this, right. Let's also bring this. Let's now move it to this address and we can go with Shift a and self for image texture. And pay this other scared and just bring this and plug these two base color. And nothing happened because we need apply this material to this object. I will now go to Layout tab. And we can go to Edit mode and we can select faces where we want. Apply these techniques. You can go with holding Shift and you can select this part here, but you can also go with C. And you will get this brush here. So you can scale this up or down. And now you can start selecting these faces, which we want to, if you want to rotate to decide you need to go with escape to remove this brush. And now you can mood this to about here. And now we can go again with C and we can select all these face. And wanting, I like to do here. So I will go with escape. When I have selected this part. If I press something, I will use this selection and I can make this with Control Z. But later I will not be able to make the selection if you want to can save this. So if we go to Object Data Properties, you can add new vertex group and you can call this white links. And you can now assign this. And if you want for some reason, click. Now we don't need select all these spaces again, we can just click, select this right planks and click Select. And we can save it this vertex group. And now we can make the shading tab. And we can now assign this new material here. And we get to this problem here you can see that this scale of displaying keys bigger. So I will go again with you, your projection to unwrap this again. And now we can select this texture here and we can press S to scale this Okay, and we can make to object mode. And we can now play with this texture. So I will go again with the image texture and I will bring this concrete texture we used before to bake this roughness details. So color ramp and plug these two roughness so we get this roughness information here and I want more rough parts than shiny. So I will bring this more to white. And we can again use this mole support color information. And I will go with another color ramp. Let's plug this huge. Let's check scale on this. So I can move it Control D. And maybe I can make this smaller, so 0.5. And you can move this on y-axis, maybe 0.7. Okay? And now we can make these All Shift and click here and we can mixing these two texture with Control Shift and right-click. We get this mixed node. And if we go all to one, we get this concrete texture. If we go all to zero, we get this plain texts. But I want multiply these two texture so we will take only dark part of this texture. So I will set this to one. And I will choose this multiply. So now we take only black colors from this color ramp, keith. This is tense. Putting this on left. And let's play with this y-axis here if you can choose how much dirtiness you want here, I don't want too much. So I will bring this to about here is just to get some details. And you can use this link state should to get some bunk detail. Bump. Let's go again. Let's plug these two height, two color ramp and this to hide these two, not much. Now we get this bump details here and I would try inverted this gay and I will bring this 2.1 and this old now. But if you go to solid preview, you can see that we don't get no details here. So we will also create some real planks. He first I will add a bump also, not bump bevel also on these doors. So I will select these two faces. Or we can just select few of these edges here. And we can label this. With holding control. We can select this, connect parts and hold. Now we need hold Shift to skip to this part. And again, with control. Or if you're not sure with these control, you can always select this with Control. You can always go just with shipped shift. And you can select one by one. This is enough. And let's go with Control V to bevel this, this loop little better now 6. MODELING DETAILS: We can now add some real planks here. But I don't want too much because I want keep this slow, pull it. So we can go to Edit Mode and you can add with Control R. We can follow these lines here. And now, if you select these faces, we can go with E, Y to extrude this on y-axis and X to rotate this on x-axis. And we can, for example, only this slide here. So V control V. And you can see how the slope we get this plane here. And if you want to can remove it, select this edge here, for example, and go with Control V and scroll mouse to add one loop cut. And now with control numpad minus, we can subtract selection. So we have selected only this part. What do you can always go manually with shift and we can just move this to get this cut here. And we can add few more. Control. Are you here? And let's select this and go with E, Y. And you can rotate also this on y-axis. So why? To make some variation here? This is too much. And there, you can see that when we go with Lx, we get V result because we rotate this from this middle point here. And if we now go to individual origins, will now place in origin or in any of these part. So if an hour with X can see that now this works correct. And let's go with Control V to Adwan bevel. And you can see how this slope. And let's some details sorts of here. So E and in this case X for X axis and Y. Another method we can use here we can just go with pay selection and we can select one of these blank. And we can go with Shift D and P selection. And now this is separate objects, but we need to set origin to center of geometry here. And now you can go with a to select all 0s to extrude them. Next, to extrude this sum x-axis and why? You press L, you will select this plane here and you can always go with Shift D and move this may be here and X to rotate this. You can go with the heart to look class here and maybe we can now duplicate only this face. She, Li and falsy for Z-axis and extrude on x-axis. Rotate just to make some variation. Okay? Because this will be visible from this distance. I don't want to create a lot of geometry here. Maybe just a few on this part here. So I will make to edit mode and Let's explore this on y-axis. And let's add one loop cut here. So you can always also go with, if we go with control, our book cut through all these motel and I will now go, it turns us with K to add one plane here. Now we don't have this, a lot of geometry here, just this part and let's go E, Y and X and Control V Let's extrude this, this one, and let's bring this, maybe this edge here. And let's explore these two parts. So E, Y, X in control. And now because we don't use modifiers, we can easy enjoying this in one objects, because now we have objects here. We can just select all this and we can go with Control J. And now this is again only one called I like this may books and numbers from original reference image. And I will allow us, if we will call the Shift and right-click, you can place origin here. And now I will go with Shift a. Let's copy this address. Shift they image images as played. I will paste this here and let's select this image. And let's now go with Z. And I know I will go with the minus ninth day this, in this direction. Let's bring this here and let's press S to scale this. Now, I will go to Edit Mode and I will just get a knife, cut this mailbox and also these numbers here. So K in just cut this part. And we can also use this SAS nice detail. So just select these faces. We don't need delete basis. Let's now go to edit more than press L over this part and the selection. And now we have two objects. This is one and another one which same origin. So objects set origin to geometry and objects set origin to geometry. And now I will just make this more three-dimensional. I will press a to select all. And let's move this here. And E Dwight For y-axis. And I think this is because we can fix this. Select this in material preview. View ports. That face, I think. Yes. And now we can you cannot add a loop cut. Yes, we can add loop cut with Control R. But if you cannot add, you can always go it took knife and one here. And now we can, Let's bevel this, it's Control B. Now we can move this part to make dislike mailing books. Let's take this here. We can rotate this more next to line up this. And I will now again go with Control J to make this one option. I think this is enough details and information and is still low poly. So if we go to Edit Mode, we don't have too much vertices here. And I can now go with D to duplicate this, make instance of this objects. So all D and X and move this about here. Now, I will go with Shift R twice. So we shift our, we just repeat this step and we get this motel here. Because we use all the instance Shift D. If we make changes here, we will make changes on all these parts. But if you want to make changes only for this object, you can go with the and now you can do what to want. For example, we can make changes scene material or in mesh. But I will be told because I don't have planed to make any variation. And let's just quickly see how this look in render preview. So I will go to render preview and views cycles in Iran. Make this work. Here. We're properties more Blake, completely night and weekend Will it shift a and light? Maybe point lame. Let's see how this looks. So I will increase this flight maybe to one fronted. And I will go with shift, the hex and maybe we can put here only maybe 50. And I will bring maybe color to some reddish. And you can see that this looks pretty good from this class K. And if you put one, which is D, We can put one light inside this motel so we can see how this look like on inside. Let's go with number seven to talk orthographic. And you can see how this loop when we have light inside. And if you want to remove this visible light here, you can bring this radius down. You can just click this. Check this multiple importance. But I like this details, so I will just bring this radius like this detail here so we don't need keep these perfectly connected. So we will be to GY and let's move this here. Maybe we can need to Gy this little out. So we get this nice details here. Let's continue modelling this. So I will back to Viewport Shading, and I will now go with numpad slash key to back to our scene. So let's select this because we will same object data. You can always go with select linked object data and new will select all these objects. So this one, I use shift, the render will not select this. So let's write this manually and let's move to about HIV. If will go to material preview, we can see that we miss this part here. So let's just select all these phases and go with Shift D. And why? I will scan this on y-axis, it is not so important. So we get also this part here 7. ROOF TILES AND PORCH: Let's continue with modeling. So I will now add roof tiles. So I will isolate only this object. And let's now create one roof tile. Let's see how this look. So we need one part of this. And I will go with, maybe, I will go with Shift and click here to bring this origin here. And I will go with mesh plane. And I will now press N. And I think on x-axis I want maybe 15 cm centimeters and maybe on y-axis, 40 cm. I think this is about this dimension here. And now, let's isotonic this object again, double-tap number slash key. And now we have only this object here. And I will go with control a applies scale. And now we can go with Control R to add one loop cut here. We can bring this up. And now weed control be maybe two or three. Look, cuts to make one. Well, let's bring this little more rough and let's now go weed control V. And let's now unwrap this. So I will go with a new projection and later will be easier to unwrap this. And now I will go with E, Z to X, draw this on z-axis to add some thickness key. And now I will go with Shade Smooth, right-click Shade Smooth, but we get this weird shadows here. So I will enable this outer spooky to fix this. Okay? And now I will go with numpad one. And I will go with Shift D, X. And I will now go with why 108. Rotate this on y-axis by 180. And let's take this here. And let's add another one with Shift X to about here. And we need one more. Okay, Let's now create new material for this. So I will call this type. And before we go to shaders tab, just select all this. So we can easily pick number slash key. Bring this here. Let's try create a weekly this material here. So I will go with color ramp. I will add reddish color here. So let's first go with the image text. And I will again use these concrete texture. And let's see how this is project that this object. Let's check scale with Control D, maybe 2.5. Okay, this looks pretty good. And now I will plug these two color ramp and these two base color. And now we can play with color. So I will keep this dark color, but I will add few colors more here. I will add maybe reddish or yellowish color here. And I think this white color is also nice. So if you want more black, you can always move this. And you can play with these colors here. And we can also use this to add some roughness and normal information. So color ramp. Let's plug these two roughness. One thing I forgot to mention here is, is that I want make rainy atmosphere here. So that's mean that we need more glossy parts here because of rain. So I, I don't want to shiny parts, but I want lot of more black color scheme. And let's add the also bump They're scared. So plug these two height and to normal. And let's see how this looks. So bring this to 21 and this down. Okay, and let's now go with select all these three objects. And last selected object, this one, I will go with Control L to link materials. And now this objects will be same material. But if you don't work for you can always just drag and drop. Bring this material. Let's now make some variation in UV editor so we can just press a human scale this down. And you can also rotate this if you want. Let's say, and let's rotate this. Select all, I'm left with a and let's scale this also. And let's rotate this to make some variation. Now, I will make to layout and I will go select all these objects and I will go with Control J to make this one object. Now I will get NumPy slash key back to our scene. And I will say this object and I will go with X to rotate this to try and line up these wheat to this object. Now, if you try move this, this still work, but better solution for this is if you go to normal orientation. So now we can move this easily on this. If you want more this up, you can always use this y-axis on normal orientation or X or Z. So if you use this global orientation, you'll get these problems here. Okay, Let's make this to normal end. Let's now bring this up and let's now add a modifier. So I will place this to about here and let's increase this prompt. I want make this bigger than this roof here. So let's bring this to about here. And let's now add another array modifier, but not on the x-axis. I will set one on y-axis. So we can use this column to array this on y-axis. One thing we need to do, we need to go to object mode, to edit mode. And if we rotate this on x-axis, now we use this normal annotation. Let's select the global interests now, right? No. And let's rotate this to about here. And let's break back to normal. And let's scale this later on y-axis. And we get this roof tile. Here. Let's duplicate that. Let's back to global orientation, and let's duplicate this with the mod is on y-axis. And now I will just change this rotation two plus. So I'll just delete this minus. We get this one opposite the direction. And numpad three we can go to right orthographic and we can place this because this is not visible and we have all of geometry here. I will just bring discount, not in this one. Just bring, this may be to do. Now if you go to material preview, we have a lot of repeated texture here and let's try break this allele. So if you go to Shading, temp and We can now go with noise texture. If you go with Control Shift and glue here, we can see how this looks. So I want bring this value down or maybe to 0.1 to see how the slope now and we need more contrast here to see this little better. And I will, I'll just take this. And you can see how this looks. So we can now use this aspect of I will not will it mix RGB? Let's plug the one here and let's use this aspect. Let's go with Control Shift and click here. And you can see what we get solving. It might color varies, this light color here, but I don't want white color, so I will use this, ever been this to black. I will also multiply here. I want make darker variation of this. So I will plug again these two vector and I will now go, I will plug this here. And to make this part darker, I will go with hue saturation. And let's bring this down. Maybe 2.1. If we want to can make this, you can desaturate this part. You can see that we have darker parts here. And if it tweak the settings here, this color ramp, we can choose how much we want in this dark, can part of this light? If you want more details here, you can type here 0.05 or 0.2, for example. And we get more of this variation here, or 0.3. I think this is too much. And you can choose how much contrast you want here. I will bring this black color to white to make this less visible. What do you can just bring this value here? We can now back to lay out. And let's see how this loop. Let's now switch to render preview to see how this look. Okay, let's, we still have this main cube here, so I will delete this. And let's make to render previously. We can see disliking side. And let's add one point lame here on top. Let's increase this to maybe 300. Okay, I think this roof heel is too shiny so we can reclaim back to shade tab. And this go to roughness. So bring this more to white. And this one works. Okay, Now this is little less shiny, but two, because we want our drain in this scene. I think this is pretty good. And we need to fix this empty part here. I will go to numpad, three to side mux. And then let's duplicate all these basis Shift D and move this from z-axis to about here. Let's try cut this with knife tool. So I will go to x-ray mode in wireframe mode, and I will now go with K. And let's just make one cut here. So click here and enter. And again with K. And let's try cut this part here. So I think when we press, keep work night, when you press C to cut through. So key and see. And let's see. Now. If you press now see in edit mode, we get this brush. So we can, Let's now back to the North, this x-ray mode. And let's see if we can select this. Let's go to Face Selection and see. And let's see if we can select this part here. Escape and it control disliked this part. You don't need escape control to deselect this and let's delete these faces. It is not perfect, but we can exist. Let's delete this vertices and this carbon because we're not in X-Ray mode, so we cannot select what is behind. So delete vertices, this vertices, and let's again try with this part. Delete vertices and Okay, and let's turn off this x-ray mode. Let's see, we can select this right side, this face selection. Let's see. Okay, this worked pretty good. Now, delete basis. And let's knife got this part. And let's delete these vertices. Okay, I think this is pretty good. It's not. Importantly, we can just be sure to, maybe we can scale this part of to avoid these problems here. We are now in individual origin, just go to bake, just make these two bounding box and bullets get is a little hint. I think this is pretty good. Okay, this is refilled. Now this part here, and let's now again go to render preview. And let's add little more lights to see this better. So she'll DX. And I don't want too much lights here, maybe one more here. And you can see that this looks pretty good from a distance. And let's just put desktop one son-in-law. So because this is night I run Todd really slight to imitate moonlight. Okay. And you can see how this look. Okay, before we start with nouns, sign here, I want taught this porch here. So let's get back to Viewport Display and let's add the Shift right-click. Okay, I don't know if this overlays with Shift and right-click, we can add what did you hear? And I will go with sheep day. Maybe cube and scale this on z-axis. And let's scale this also on y-axis and also on x-axis. So as Z Sx. If you want to rotate this little more next, SY to scale this little more. And let's back to material preview. And we can add same this right planks textures if you want. And let's, let's apply scalar control, a applies scale. And now we can go with you queue projection. And we can go to UV editor. And with an ampere slash key, we can bring this object here and let's give this a lot. Okay, Let's come back to Layout. And we can now go with again, shift day and cube. Scale this down. With numpad seven, go to top orthographic view. And let's place one would part here. So I was scared this again down. And you can go to Edit Mode then with pay selection, we can just extrude this down I think this is big, so I will press S to scale. And now I will again bring this down to about here. And we can bring same material to this object. So apply scalar control a, a to select all you killed projection. And let's rotate this with a select all N Nike to rotate this Z axis by 90 degrees. Scale this. If you want, we can go with Shift D and I will rotate this. I will escape this all down. S to scale this z-axis. And SY to scale this on y-axis. And now we can go with 45, 45. No error, right? 45 to rotate this on y-axis by 45 degrees. And we can make this nice piece here. And now, if we, let's unwrap this again, do you Projection? And because we didn't apply scale, you can see how this looks. So just control a applies scale. And now you will use projection and just scale this and rotate the axis. Let's now go with Shift D. Move this on x-axis and just rotate this on minus, just add here minus. Select these three objects and we can go with Control J to make one object. And now we can hold Alt D X. And let's place one here. And we can now go with Shift R to repeat this process. And now we have this nice details here. Okay, I think I don't like this white part here. So let's see if we can use this roof tiles or so for this. So I will go with shield the Y. And let's just bring this array, maybe 24, and I will go with Y, X. And let's place this here. We can select both of these and X to rotate this little more on x-axis and bring this down. And we can also bring this down. Let's see how this look now in render and required. Now this slide here. So we can bring this down. And let's duplicate this light here. So I will bring this also in this room. So the X. This week, this is what we care for now. And later we will add neon sign on this roof. 8. NEON SIGN: Let's now make now sign. I will go to solid preview and I will shift and right-click place origin about here. And now I will go with Shift a and I will go with text. And if we go now to edit mode, we can type mode. Now, I will go with X9 it to line up this. And now we can press S to scale. Now because this is text object, we have heat text properties, then we can change, for example, font here if you want. But I think I will keep this default one. And if we go to Edit Mode, you can see that this is still text. So we need convert this to mesh. So I will go to right-click and convert this to mesh. And now if we go to Edit Mode, we can see this mesh here. And I will try limited this mesh. So I will press a and delete. And I will select here limited desal. And now we simplify this mesh. And now we can, this is just for example, so you don't need follow this step. So I will duplicate this with Shift D and right. And if you want to make this double line neon sign, you can, we can make this easily, but now I want to make this single. So I will show how we can make this double and later we will make this a single line. Here. We can go to object mode and we can go right-click convert this to curve. Now, if you want to, can just go to geometry and here under bevel, we can add depth to this object and we add depth to this curve. Now, we can easily add here and mission material, but, but I will now delete this and we can start again. Now I will duplicate this with Shift D and move this on y-axis. And let's go to, let's isolate this object with NOPAT slash key, and let's delete this out edges here. I will. If we select these vertices and press delete vertices, we will delete all this out edges. So I will select this holding control and delete vertices. We can delete also this vertices. And I will add one club cut with Control R here. And let's delete this work, the system, this one. And we can now press F three and search for marriage. Marriage in merged in Santa. And let's lose same with this so of 3D merge and center. And let's delete this vertices here. This one end. And let's bring this down. Let's now back to our scene with number slash key. Let's now move with numpad one to front orthographic view. And I want to put this in middle. So I will first start go to Edit Mode, and I will press P by loose parts. So now we have step, we separate all these objects. And I will now go with objects set origin to geometric to put origin in middle of this object. Now, if we press S to scale, we can scale this and place in center. So objects set origin to geometry. And let's scale this about here. Okay, I don't see this T here. I will go to Edit mode and now I'm not sure why he's here, but let's continue with E. So set origin to geometry, S to scale, and let's place about here. And Next I want do here, I want bevel this, let's isolate one, this object, if we will, with Control Shift B here. We have problem because we have vertices, they are too close, one to each other. So we need removed. This is by distance, so I will select this object. And if we go to Edit Mode and press a to select all, we can press F3 and search for managed by distance. And now you can see here that Blender remove zero vertices. That's because we need moved this distance. So now it's one millimeters. Let's set to 1 cm. And then they're still remove zero vertices. So let's go to ten centimeter here. And you can see that Blender remove two vertices, but we still have this one you don't need. So let's go even more. And you can see that we now join all vertices there are closer to 10 cm. Okay? Let's now. So we need, we don't need to touch this. Oh, we can now skip to tie. Can select D E. And we can now isolate this object and we can go to Edit Mode to see how this look. I think this looks pretty good, so we don't have doubled over here. If you want to come. Let's search for merger right? Distance. And we remove three vertices, so we have close vertices here from but I think now is okay. And now we can make to our scene. Now we can select button not to this 0 because we don't need bevel this 0. And we can go to Edit mode and we can go with Control Shift to be. So Control B is to bevel edges and Control Shift B is to bevel or thesis. So Control Shift B. And we can move this up and we can add one or two loop cuts if you want. And because we have this mesh here, I will again go wheat and delete and limited dissolve to remove these edges here. And now we can select also this 0. And then we select all these letters. We can go right-click convert this to curb. And now when we correct these two corner we have here curb properties and we can add that here. Okay, first thing I will do here, I will join with Control J to make this one object. And now we can add that to all these letters here. And before I do this, I will. I think this can be more sensitive. We connect these two, this part. So I'm going to go to extrude this. So E and white bull y-axis, so E. So E, right? So a lie and connect to this. Okay? And now we can add that here in under bump. So if you want mood this value slightly, you can just hold shift. And now you can move this slide. We have overlapping mesh here. So we can try fix this. But I think this from this stance will not be visible. But I think you can. We can again convert this to mesh. And if we go to Edit Mode, we can now move. We have three and merge Art Center. And let's also F3 marriage center. And let's bring this one here and now let's try with a and Let's try again managing by distance and just bring this to 0.01. Okay? And we have problems here. So let's merge my metal center. And let's also merge these two and this one. Okay, so now we have much cleaner mesh. And if you now convert these to, again, the current we can add level here and we don't care this problem. But I think you don't need to fix this because this is not visible. And I think this will look pretty good. Let's now create a mission material for this. So I will go to material property step and I will type here. Now. Sign and I will go to Shading tab and with an armpit slash key, I will bring this object here. And to remove this tab. And let's switch to render preview. Now I will delete this principle, be SDF and I will go with me. Sure. Let's plug these two surveys. And let's increase this may be too difficult to layout. Let's see in render preview how this look. So we have white emission material. I think this is maybe too intense. Let's bring this, maybe. I want convert this to orange color so you can just pick orange color here. But in Blender we have one node which is called lichen body. And this node will create color based on kelvin temperature. So if you search on internet, you can see that these go 1000-12 thousand. And if you go lower number, you will get reddish color. And this will go to blue. I will go. If you plug these two color, you can see that we get this orange red color here. I think this is too intense, so I will go to about 2000 and we get more whitish color but still orange. You can see how these look. Maybe it's this still too intense, so I will now go with phi. Let's try improve this material a little. So if you look this reference, you can see that this now sign have less lights on these edges. So we can try create this in Blender. There is one node which is called Layer weight, and we have one option which is called facing. So if you click here with Control Shift, you can see how this. So we can now treat this with, again with color ramp. And you can see that this is on edges. We have right follow around these edges and like color sign, we can now use this aspect also. I will duplicate this with Shift D. And let's go with Control Shift and right-click to mix this shader. And now we can use this aspect or N. Let's now plug this here. And nothing happened because we have same values here. And I will now try and move it to maybe this lower number to about 5,000. And this create white color. And you can see that we have more white color on these edges and we can also decrease this emission value. I think this will not be visible distance, but maybe you can use this next time. So let's now back to Layout and let's see how this look. I think I will make this more reddish, so I will bring this to 11,000. Now this is much more visible. So you can see this orange inside and this white color outside. And let's make this part metallics. So I will go with numpad slash key to bring this no, go to Save tab and MOW number slash key to bring this object here. And let's go to material review AND gate just met. So for this, I will again use image texture and concrete texture. Let's plug this base color to see how this look and we need to unwrap this. So I will, I will go to Edit Mode and I will go with you your projects. And we can go again with Control T. We can scale this, maybe 23. And let's now bring this metallic or to one to make this object metal. And let's again go into color ramp. And let's plug this to roughness. I don't want this may to shiny because if it will reflect too much light here. So I will bring this white color here and I will go with bump, plug to high end to normal and just bring these values all down. And let's see how this look now. Okay? 9. MOTEL SIGN DETAILS: I found this reference image and I like these cubes. So we can try make this, but I didn't make this last time. So you can choose if you want these detail. So let's to Blender. And I will now select these objects and I will go with numpad slash key. So we can work only with this objects. And I will go with numpad one. And I will go with shift cube and scale this SY to scale this on y-axis. And let's place this about here. And I will go with Control a and applies K. And let's go to Shading tab and let's make this just right. Maybe a little dirt material. So I will call this Y plus. And I will, I will add the bevel modifier here. So we will get this nice level edges here, just type here maybe to center. Now we have nice level here. So we can continue with material. And I will go with Shift, a image texture, and I will go select this concrete texture again. And let's see how this look. Projection. And I think this is pretty good. Maybe we can with Control T scale this. Maybe 1.5. Let's now plug this to call an input. We'll call them. I will just bring more white color here. And we can also apply in these two roughness. And let's now take our material unless you call this slope. No, I think we need more space, so I will go with numpad one and every go with Shift D and X to about here. And I will go with Shift R and repeat this three times. Now we need to split these letters also. So I will select this object and I will go with B by rows parts. And now we can go same with this object. So edit mode a, B bar. Okay? And now we need to convert this to mesh. So convert this right-click over these two mesh. And now we can select all. And I think this now sign have to match vertices. So we can go with mesh cleanup. That's image geometry and repeat type here, 0.5. We will delete this, but this is too much. So mesh cleanup that image geometry and back these 2.8. I'm not sure why we lose this T. So I will, I will select only this objects without. And now we can go with mesh cleanup. Let's emit geometry and maybe 0.6. So we delete some of these vertices and now we can go to Edit Mode plus a to select all and B, bye lost parts. And now all of these objects are separate. So let's now go with numpad one again. And I will go with texts remote to be sure to select all these parts in every go with number one and I will just drag it with box select and select this L with holding control this selected this object. And now we can go with objects set origin to geometry and just move this L here. And those same with this E. And we select the slide, but this is not important. So we can move this here and now will be same with D. So Control and deselect this. And, oh, and deselect this with control in place. This here Let's see how these look now. I'm not sure about these boxes here, but let's keep this for now and we will decide later. So I will, I think we need decrease these slides here. So I think I will set this to maybe 20 and here. And let's see how these look. Now. Let's try make these boxes more dark and I will bring this white color to about gray. Okay, I think these slides here is problematic. So if we move the slides here, I think this is little more visible. And we have also run here. And I think this loop now much better. So I will, I will make this white color. Again. Let's give this for now. I found also this reference and let's create this construction mesh here. We can create this very easy. I will now go to solid preview and disabled this x-ray mode. So we can go with Shift D and we can scale this on x-axis to cover all this. And S to scale this one z-axis. And let's remove this bevel modifier. And that's why. First, let's apply scale. And if we now create some mesh here, for example, with Control R and we loop cuts here. Let's add one more. Okay, Let's go with this. Let's now move this example, this down. And we can also move this Ritalin. With holding control, we can select all this line. We can go with Kanai K and we can just connect these parts here to get more mesh. So I will go again here with tonight. I will connect some of these parts. And if, and I'll go with for a modifier. You can find it here. We get this mesh here. We can increase the thickness here if you want. And we get a lot of details very easy. So we can bring this may be background. And we can scale this on y-axis if you want. And we can also add this metal material come to this object. Let's see how this look. I think this is here, here we have too much mesh. So let's try it and delete these vertices and see how this look relate to vertices. And let's see how this book now, I think this is much better. And let's also create these cables here. And we can also play this easy with modifier. So Shift and right-click to place origin here and we can go with Shift a, Bezier curve. So now we can move this on y-axis, and we can rotate these on x-axis. And now we can extrude this and create another curve here. So I will now go with Z. And they will place this here. S. You can scale this down and you can rotate the source so Let's extrude this two more times. And we can also intersect with this. I think this is not problem. So E to extrude and let's place this run behind. And E again. Let's delete these vertices. And now we can, if we wanted to go with Shift V, and you can copy this. So it can move this with the GI, maybe a little down. And just keep this close to this objects. Okay, and now I will go here to color properties, and I will bring this resolution to three. And this may be too, because I don't want high density mesh here. And I will add Bevel here. So I will be holding shift. I will move this slightly. If you want more resolution, you can make these to four. But I think this is enough and let's add that also here. Okay, I think this will make a mess here. So I will bring this down. And if you want more geometric and select the two vertices and you can go with right-click sub-divide. Then you get one point here. And you can move this to about here. Let's create black material. So I will call this lake and I will just choose here. Let's see how this look in render preview. This one also need black material and this is not so visible, so I will increase this depth here. Notice that intense. Okay, I think this looks pretty nice from far. Maybe we can just bring this down. Okay, let's see how this loop without these boxes. So we can select link to material. Let's now delete. Let's take for this loop. Without this, I think I will keep this for now, but we will decide 10. ANTENAS: We're almost done with this motel, but I forget one thing which is visible. So this antennas here and let's create this. Now. We can model this. This is not hard to model, but I think we don't need do this because we can try find this on CG trader or any similar site. So we can search here for. Now we can click these three category. I think I liked this one, so let's try download this. So you need make free profile. You just need to login with your Gmail or Facebook and you can download this for free. So let's click this free download and I will also share this link with you. So I will paste this link here. You can find this link in this file. Let's now download this. So you need wait, 20 s here. And now we can download any of these objects, kid and I will go with the OBJ or you can go with VX. So I will show me the OBJ for now. Let's now copy this. And let's paste this here. So I will rename these two antenna. And let's right-click and extract files. Now we can delete this and let's now just copy this address and we can back to Blender. And let's go to solid view. Now we can try import this file, import OBJ. And we have this antenna here. You can see that this too big, so we can just press S to scale this down. Let's isolate this object with a bump at slash key. So you can see that we have no, you need the select this object. And now you can see that we have one material here, but if we go to shading, we don't have anything plugged in this materials. So let's again go with number slash key to bring this object here. But we get this map with textures. So let's copy address of this and let's now make this materials. I will select this principle be SDF, and I will now go with Control Shift and Control Shift T. And now we can navigate to this folder and we can select all these maps. And now I will click here principal textures, setup, and Blender will automatically connect this to base color, roughness and to normal. And we also have one map here which is ambient occlusion. And when you have this ambient occlusion map, you can multiply this with color information to get more, to get the ambient occlusion in color input. So we just need to go with I will put this diffuse on top and ambient occlusion down. And now we can go with Control Shift and right-click. And now we can multiply this to get only dark colors of this ambient occlusion. You can see this dark color here. So it will go now, we multiply blending mode. We can add more ambient occlusion. Here. You can see some more details here. This is not so important, but you can use this because this antenna is not so visible here. I don't want to bag textures keeps this. These folders have 8 mb, which is not too much. But if you have big textures, you can always the Jews size of this texture. Let's try to copy this address here and let's go with 11 Let's import this here. And now we can go with the image, resize and I will now hear maybe thousands, maybe thousands Blender. Ok, and now we make this textures even smaller. You can repeat this process if you want. So again, select both of these textures with just a lot. Left-click and drag down. So thousands, four. And now we reduce these images maybe tonally to maybe 2 mb, not in this folder, but inside Blender. I also want to check the mesh here. So I will go to Edit mode and we have a lot of vertices here. So I will go to Mesh, clean up that image geometry and type here maybe point to make this low folder. And I think this is now pretty good. So we can with empire slash key back to our scene. Let's now place this on this motel so we can scale this and duplicate with the altar D. Let's rotate this one, mood z-axis. And we can go again with all to the, Hey, send place one here. And let's go to edit more than we can grab only one part of this, maybe this one. We just put mouse over this part and just press L to select this loose parts. Let's now go with shape D, X, and I will now go with P selection. Now we can separate object here and maybe set origin to geometry and rotate this on y-axis and maybe we can place one here. This will be more visible later when we add another lighting here. So you can see this silhouette here. 11. PARENT MOTEL: Last thing I will do with these motel, I will set these two parent object. So if you want move this motel, we need select all this button, then we select the slides. So we need unselect this and maybe we forget. Select something. And it will be very hard later when we add a lot of details on ground, it will be hard to select only this motel. You will always miss something here. And the best solution for this is to set this to parent object. You may think that you can join these 21 object, but if you go with Control J, you can also do this because we have few modifiers here. We have bevel modifier here and more deprived here. And I don't want apply these modifiers to join this in one object. And I will allow, set this to one parent objects so we can easily control this. Let's first hide this point lamps because this is just for test and I don't want parent this to my motel. And let's now just with holding Shift, select all these in glimpse here. And this one, I will now press M. And I will call this, set this to light, likes, folder or collection. And now if we will just close this, now we can see we have this, all these slides in lights collection and I think we have few more inside this motel. So let's also selling this one and press M and set this to this collection. And also this one here. Now we come back to solid preview. And now we can just disabled this viewport with this button here. And now we have only motel in this scene. And we can easily select all this to be sure that you select all these behind, you can just go to x-ray mode and now you can select all this. And now I will also add these two collection with pressing M. And let's go with new collection and call this motel. Now we have all these objects in motel collection and we can also disable this viewport if you want or in render. Let's now add empty cubed. So Shift a and empty. You can use any of this object, but I will use cube because it will cover all these motel and I will go with empty cube. And let's now go with numbered one to two front orthographic view. And let's scale this to cover this motel and SAX. And it number three, you can see how this book from side. So S Y, and z21. Okay, and now we can go to x-ray mode and select all these. And you can see that this yellow line here is this empty object. So this means that this is last selected object. If this is not your case, you can always with Shift click here. And now we can go with Control P and set parent object. And now all this object will be connected to this empty cube. And now if we move this cube, we can easily move this motel. So now we don't need select all these objects inside collection. We just need select this empty cube and we can move this with a G, G, Y or Y axis, or x-axis. And we can rotate this with their receipt for Z-axis. And we can do all these things with just this parent object 12. HUMAN MODEL: Next thing we need to hear is this human soul, because this human here is, I download this on blender.com and is CC zero. I will share this with you. And I would like to explain you how I made this human walking pose. But if you want to can watch my Mixamo part of tutorial, but if you don't want, you can just go here in this file. I'll we share with you. So let's open this. So this is fine. I'll share with you, and I will also share this red here and this human and Islam for, but we will talk about this and Islam later end. For now you can just copy this human and this armature here. And now you can go with objects and you can just go to our scene and we can just paste this object here. And if you look, if you go to camera perspective, you can see this human here. And if you want to rotate this, you can go with Z. And just be sure to select this armature here, not objects. If you go with objects to get this settings, these are mature and you can move this with G. G, right? You can also mood change, both of these because this is animated. Can see empty feel like maybe this pose you can do with LZ and you can place this. Because I talk about make some animation in my previous tutorial. I will not do all this again, but I will share this part of my previous tutorial V2. So you can find this maybe YouTube link or all these little file resources folder depends on platform where you watch this tutorial. And you can now just open this part, mixing them apart and you can start watching this part of tutorial where I talk how to animate this download, then animate this guy with mixing this list, the 8 min. So you can, if you didn't watch, you can open this window or you can just skip this if you know how to animate with mixing. And now we can go to Animation tab and we can search for type of animation, for example, walking. And you can select animation you like. And then then you can just go here to download. And for Blender, I download this big 7.4. And just in Blender Render download this file. You can just, let's download this for now to show you how this work. And now we have this five here. So I will just copy address to this folder and we can go back to Blender and file import MDX. And again, important this object. And let's see. So this is here in middle, so we can just move this character here and we can also grab this ball and rotate this. But I will now delete this because I don't want this object here. Okay, I think I need to select all this and press Delete. I don't like any of these characters, so I found this human base mesh from blend step. So you just need I shared this object with two, but you just need to make pre profile and then you can download this CC zero objects for free. Or if you want to can always try find models on CG trader. Let's see what we have here. And you can search for free objects. And if you like any of these, you can download also this for, Let's place this human in place, where I place this last time. So I know this is 10 m from this camera because I activate this depth of field. And if we move this, we can see here value. So this is about 10 m from camera, and let's do same here. So I will move with bump and zero. And I will now select the camera. And let's go to camera property step, depth of field. And now you don't see this limits because we need activate this viewport. So set this to limits. And now we have here by default 10 m. So I will select this guy and I will move this to about here. And I will allow disabled this field because we will talk about this later. Now you have this guy in same position that I put this much. You can change this if you want. 13. CAR: Next is car. And I'm not sure where I found this car because I made this scene few months ago and I didn't find this on CG trader now, but maybe you can find, but last time for last tutorial videos, this most tongue car, it is pretty low poly, but look good from distance. And I think this fits this ambiance. And I also talk about how to import then edit this card in my last tutorial. So just again as before, open this window file or this link. And you can learn how to import this car, how to change texture in this car. And because this object is not CC zero, I cannot share this Blender file with two. So you need to download this and then you open this video and you just need to change few textures and we can continue with tutorial. Okay, Here is my scene with car. So I just want make one adjustment from last tutorial. So I will go to Shading tab and I put this car in white color because I want, may discard more visible, but we will see later maybe we will change color. One thing I want to do, you can see that I turned on these slides here and we get nice reflection on this ground. And let's try make same bit less car. So I go to Shading tab and if I go to Edit Mode than with Face Selection, select this part here. Render, we'll navigate to this material. Let's try the non dislikes. So we have only base color here. And I will now turn on this render preview. And row is dark. And to lies to this material will need to plug these two emission. And you can see that we already have lights, but I want make this rate. So I will go with RGB and I will mix this with red color. And I will now set this to Multiply. And if we go to one, we get this red color here. And now to control how much light's we want, we can go, we know. So I will go with Shift a and type heat here. And I will now plug these two first value and I will go with multiply. And I will plug these two emission straight. Now, if we increase this value, we should get more slides here. Okay, this is maybe too intense. But we will see later when we add ground. And we can strike make test render bit. Okay, I think this car is not in good position. Let's try place this about here. End. We can open and let I'll let split this window and go with numpad zero to camera view. And I think I want move also this guy, shift, this guy and car. Maybe later on. Let's see, render something like this. And let's now glow this on left 14. GROUND QUIXEL BRIDGE: Next we will create here is this ground. And I will first go with Shift a and it played. And I will set this repressing can all to zero and Z axis. And now I will type here 100 m. And let's now go with NumPy slash key. And let's work only with this object. I will go with number zero to switch to camera view. And in this example, I use Quixel Bridge round. So I will talk about QUIXEL bridge today. So if you click this on surfaces, you can find this asphalt and a lot of high-quality asphalt texture. But if you have problem with this Quixel Bridge, I think you don't need to have problem because it's very easy. Feel free to use any similar size. Like for example, I'm NBN CG, and you can type here asphalt and you can also find nice one texture. And you can download this for three without registration and we can apply in this easy. Let's create one test material. So this is just for tests you don't think follow this example. Let's download these two K texture. And let's now copy this maybe on my desktop and extract files. Okay, let's now copy this address. And so this is just for tests you don't need follow this. And if you go to Shading tab and bring this object here, we can just go with Control T, base this address here. And now we have color NBN. So this is displacement. But because we have here normal maps, I will just use one. This term will mop and roughness. So we need only these three texture. Let's try also our displacement to see before and after. And now we have nice texture here. But because this, Let's see, we have scale of this. Now we don't care scale information, but I think this is maybe two-by-two. So we need brings scale. But because we use this 100 m dimensions, we need scale this 50 times. So type here 50. And if you go with number zero and get this, but I think we can problem with this displacement. So we can use maybe just 0.02 or three. Let's unplug this displacement because we already have no more mark here. And let's just quickly see how this look of it. So light point limb this to maybe 1,000. Okay, I think this is not bad, but I think we can find better textures on Quixel Bridge. And let's now remove this material. Let's go to Quixel Bridge. Quixel Bridge is not just a website. This also, they also have this program and plug-in for Blender installed Quixel Bridge, you need go to this quixel.com. And now you will need to click here, download bridge. And then you need follow-up steps to install this program. And I think in these steps, you will also, they will also ask you which software you use. And when you said Blender, you will automatically install Blender add-on, which you can find here in Edit Preferences. Don't send. If you search for omega stance, you can find this and activate this Blender here. And one important thing when you install this Quixel Bridge is to download this and login with Epic Games account. So I will go here with sign in. And so just give this step and sime it with Epic Games and then you get all these I'll set of three. And another thing which is important here, venue in process of installation, this program, Quixel, we've asked you where you want to save this file to download. So for this, I create this Quixel Bridge mega scan's folder. So this is on a Google Drive because I don't have too much storage on my computer. But you can just, if you want to, can create, for example, omegas can solve Quixel folder on your desktop and then you select this file and Quixel a, we'll download late that all these assets you download in this folder. So this is my pixel folder and this is my surfaces here. So all these subfolders will create Excel automatically. This is assets I download from before. In process of installation Quixel Bridge, you will also installed Blender add-on. But if you For some reason don't install this add-on, you can always go to Edit plugins and you can download this Blender plugin here. I already download this and you just need to go to Edit Preferences. Don't send. You can install and select this add-on and install add-ons. But because we will use this surfaces today, if you have problem with this omega scan, said don't, this is not big problem because you can always add this manually, this texture manually in Blender. And I will show you later how. Okay, let's now start with QUIXEL bridge. When you install all these settings, we just need to go here and I go to this surfaces and asphalt. And Let's download few of these. I think I lost time. I use this image asphalt. Now let's start with this damage rope. But you can use any of these you like. And let's try this. And you can select here texturally if you want to can go with four K resolution. But I think to K resolution is pretty good. And now you just need click Download. And when you click here, download, I already clicked this. And we excel will download this on your computer, on file selected. You can see how this look. And I think this is this one, textures. And let's now back to blender to Quixel Bridge. First time we go to Blender, and you can see that we have this plane here. And let's now back to Quixel Bridge. So when we download this surface here, we just need to click Export. And Quixel will connect with the blender. This Blender installed. And this should download this self-paced to our Blender scene. I'll just click here. And we can see here exporting to Blender. And let's now go to materials and let's try find this texture here. And you can see that we have the image and road here. Let's go to material preview. We have this texture here. And let's go to Shading tab. We need change UV 50 times. So I will select this object and I will now just go to UV editor. And let's select this texture here. Okay, if you now go to UV editor and if you press on let a, we need pressed now S to scale and type 50. Okay? And if we now go to number zero, you can see that we can write scale here. Because we have light here. Let's go to render preview, to preview this. Okay, let's back to material and select this object. You can see that Quixel automatically connect all these maps in right place. And we have only one problem here. We also have this ambient occlusion class. If you want increase this ambient occlusion, you can bring this one. We have one problem with this Quixel Bridge. We just need this. For example, move this roughness. You can see that nothing happened. Let's back this here and that's because specular is set to zero. I don't know why, but we need to take this to 0.5. Now if we go with color ramp, we can now change roughness because this scene is on rain. I want more shiny parts here. You can see that we need to be taught these color of black color to add more. Blake's here. And you can see in preview that we get more glossy ground now 15. MIXING SHEDERS: We have problem with this texture here, because we can see that we have repetitive texture. Here. We have this two-by-two meter tiles. Repeat all these times, 50 times. And let's try this with another Quixel Bridge texture. I think I will now a mix this with this damage asphalt, but to can use any of these. And you can again go heel down road. But I will not now go with export. I will show you how you can manually this. Important if you have problem with this plugin. So I will now go to this surfaces and I think this is this one. And let's, let's now copy this address and let's make to Blender. And now I will go with Shift right-click to bring this origin about here. And I will just add 4 s, another object to apply this new texture on this object. And I will now create new material and call this asphalt to, let's call this two and let's call this Asphalt. Okay, let's back to this object and let's now select these principally be SDF. And let's go again with Control Shift P and navigate to this address. And let's now. So this albedo is color, and we also have ambient occlusion. And I will skip this displacement and I will just select Normal and roughness with holding Control. And now click principal textures setup. And we should get some this material here. And let's first fix this textures. So I will again bring this ambient occlusion down and this, I'll be the up. And we can go with Control Shift and mix this with a multiply blending mode to add more ambient occlusion if you want. And if can see specularities on 0.5, which is good and I think we don't need change anything here. I will just delete these frames here because we will add another one in this texture. Okay, and how we can mix these two textures. So I will now go with box, select it left mouse and select all this without to this material output and tie will go hit right-click and copy. And I will now select this material, has got one. I will now go with right-click paste and before I click anywhere, just press the G to grab. Now we can move this down. And now I will delete this plane here because I don't think this anymore and select this one. Now to make this little more organized, I will go with Shift a, and I will go with layout and frame. And let's scale this frame. Let's now just bring this inside this frame to give this little more organized. Okay, let's, let's again select all this and just bring it inside this frame. And if you want, if you press N to can rename these to one. So you get to this name here. And I will, maybe we can duplicate this frame here, and Let's place this nodes inside. Now we can move this here and we can rename this to well too. Okay. I think we should we should put also this inside. If we now go with Control Shift and right-click, again, we can mix these two shaders and we get this mix shader here. Let's bring this here and go on. Let me get this asphalt one. And if we go All right, we get asphalt to but I don't want asphalt one or two avant, some areas with different textures here. And this I will go with Shift a and I will search for noise texture. And I will now go with Control Shift and click here to see how this look. So we need more contrast here. So I will go with coral them again and just tweak this to make more contrast and I want more details keeps. So I will bring this for maybe to 100 to get this details here. And now we can now plug these to factor everything which is black will be this asphalt one and everything which is white will be this second texture. So let's plug this vector and let's go with Control Shift and click here to back this material. And you can see what we get. So now we have area with asphalt one and area with asphalt to, and we can control this easy with this nice texture. So if you move more or less than we add more, white collar, be, get more. This second texture. You can this, repeat it the tiles here, but I want add more this first texture and do get this loop. So you can choose loop you like here, but this is much better than just one text. Let's increase a little roughness in this second texture. So I want make this more wheat or more shiny. So I will go with color them in this roughness input. And let's add more black color to add more, more shiny parts here. Let's preview this with Control Shift and click here. Okay, here I started getting lots of bright colors and Let's look like this material. Again. I will, I don't want completely shiny parts, so let's bring this down. This little. I think this is good for now, but we can always look here and see what we can change late. Let's back now to lay out and we can also lead number slash key back to our scene. Let's press F to see how this look. One thing I forget is to remove this test-like, so this test light here. So that's reason why this is too bright. So just delete this and let's make another test render. Okay, I see that something wrong with this texture. There is no bump information, it is to flood. And I found various program. So always apply scale. You can see that we have scaled this here times more on X and Y then Z. So just go with Control a and apply scale. Now, if we go with 12, you can see how much is this better. So we get, hold this bump information now. This is before and after 16. WATER PUDDLES: Let's continue with tutorial. So let's now ADH water puddles, you can see here. And for this, I will go with Chem, select this discourse of here on just with Shift and click here. You can place course of here and I will go with plane. I will type here, then meters ten by ten. And let's apply scale. So we don't have problems as before, and this will be our water. And you can see that this now intersect with this ground and let's water material. We can in-group or displaying change color here to bluish. So we now know that this is water and this is our spot. Now because these two textures intersecting, I will just slightly move this little down. So if you go with a G and Z and it holding Shift, we can just remove this written down. So you can see that this is now under this asphalt but not too much, maybe just 1 mm. You can see here this white. And let's now isolate only this water. So I will go to Shading tab and type. We'll go with NumPy slash slash key here. So we bring this water here. Now we can draw three water material. And let's go with 17. WHEAT MODELING: Let's continue with tutorial and next is these graphs are wheat. And I prepared this few pieces of width in this Blender file, I will share with you. So you can just open this in Blender. And you can select these two pieces of wheat and you can just go with right-click. And you can paste this in our Blender part. I will move this out of our scene and I will select this again, and I will press M to make a new collection and I will call this week. And now we have wheat in our collection. And I don't want model this from beginning because it will take a lot of time, maybe 1 h. And I don't want too long tutorial. I will just quickly show you how I made this into can now, just watch and if you want to can try it, make wheat from beginning. But before we continue with modelling, if you see this white background and this is strange for you. That's because last time, for last project, I change this team. So I will go now to Edit Preferences. And here on the other teams, I will just said this before. And I will say preferences. And now we can try model this just to show you how I made this. So I'm going to go with an unfair slash key and with numbered one. And I will try model this from beginning, but I made this for few months and I will try remember how I made this. So I start to make this piece here. I start with cylinder. And because I want keep this very low poly, I will go maybe with six vertices here. Let's see how cylinder here. So I will just scale this down. I will go with Z to scale this z-axis. And now I will go to Edit Mode and to x-ray mode. And I will scale this, select this top edge to edge select. And I will scale this down. And you can get control or odd, we looked cuts here and now you can make some variation here. And now you can go with Control V to bevel this, to smooth this. If you want. You can go with right view. You can see that now this is perfect in right orthographic. So you can also make some variation here. Now because we have lot of Lucas here, you can use proportional editing. You can go to G, like you can scroll your mouse down and you can move this. Okay, This little too much. Now if you want to grab some of these edges here, and let's try, make one leaf here. So I will go to Extrude. And now we can go with S to scale this without proportional editing. So you can scale this. And you can rotate this to line up little and again and again. And you can scale this down if you want to be. Okay, and you can make a few more leaves here, but I will try now making this part here. So I will select, again, this is in x-ray mode and I will now go to E and Z to X tilde on z-axis. And there's to scale. And again, the Z, scale this down in. You can add class here. And withholding all to can select all this loop cut and you can scale this down. I will add two more here. And let's select maybe this one, I'm holding Shift and this one and this one. And we can now press S to scale. But I will scale this in individual origins. So helplessness. That's how I made this far. And let's also make this two leaves here. I will select this edge here and every other with holding shift. This one. And this one. Now we can extrude S to scale. So let's now back to bounding box and S to scale and extrude again and S to scale. Okay, I need to line up from this a little. And maybe I can go with maybe Control plus. And I can move this G. No, I don't think proportional editing having just moved this and X. And let's move this here. This is very bad example. I forget line up these before, but I think I can select this with holding court. And if I press S Z zero, I can line up this on the z-axis, so on. And they can move this here. This is not so important for now, and let's scale this down. And this will look good for distance. I think this is too small, so you can always go with x-ray mode and you can scale this up and maybe rotate this a little and bevel this. And we can make one leaf. So for live, I just go with plane, a plane, and I will go with X9 to rotate, know X9. And they told some z-axis. And let's scale this all down. And we can now grab just this top edge. And, and we can go with D to extrude and scale this like this and extrude again, scale this down. And again scale this down and maybe one loop cut here and escape this up. And now we can go with maybe number three. And now we can know this is number three and we can move it not that one. Okay, various foreign in this task. So I will just bring this to about here. So we can now go numpad one. And let's move to about here. And we cannot see anything because he's completely lineup with front orthographic view. And if we go to Edit Mode, we can grab some of these edges here. The X-ray mode. So I grab this edge here and now I will go with Z2. Then we rotate this, we can see this. So now it's much easier to work and I will move this to about here and I will go with Z. Let's get this down. And let's rotate. This may be on x-axis salad. And we can make some distortion on right orthographic. And you can also level DCT want, and let's rotate this a little. And maybe we can barrel this Control D. But my recommendation is to go to Google and find some nice references. And it will be much easier to model and with some references 18. PARTICLE SYSTEM1: So we will use particle system and for this we need a plane. And I will go with Shift and right-click to make one plane here. And I will go the Shift a and plane. And let's just quickly add wheat material just to see better, where is this plane? And we can just a viewport display colon, just select any color and G and Z and holding Shift, I'll just bring this up. So Jay-Z shift and and I will go with an unpaired seven. And let's now scale this. On x-axis may be end, rotate on z-axis. And let's now separate this window here. So we can own left-side go with the number zero to camera view. We tend to remove this step so we can see how this look on left. And I will scale this again. So now it's little harder to scale this on y-axis because Y-axis is in global orientation. But if you set this to local, you can easily scale this one, Y axis or x-axis. And let's make something like this for start. So this part is not visible in camera, so I will bring this to about. And this will be this part here. Okay? And now we can add first particle system here. So I will go here and particle properties and I will click here two plus. And you can see that we have particles, but this is not our wheat. And I will now go to hate. So this is now by default, emitter end. We need Haidt here, and I will click here to advance. So we get oxygen here, right? Rotation. But for now I need a render and I will render this collection. And for collection I will use this wheat collection. I will select this wheat. And you can see that we have our wheat here in this plane. And you can see that this is rotated in wrong direction. And I will click here to rotation, and I will set this to global Z. Okay, this don't work. So I will try, yes, Global X work. Now. So I will let us increase the value of this particle. So I will set this to 2000. And now we need, Let's first apply scalable for this plane. This is good and we also named apply scale of this wheat. So I will select this cylinder here and let's Control a and apply scale. Okay, this doesn't help. So we can now go to this render tab and we can increase scale. I will hold Shift to move this slightly so we can be more precise. And I think about 0.5 is number we need here. And you can add here scalar randomness. So if we will move this all up, will are a lot of randomness here. So I will go to maybe 10 point to something like this. And this is mostly all we need. So if you want scale this, you can scale this here, but you can for example, scale this width here. This will affect also these particles here. And I will, under basic step are the little brown neon. And this will add some variation also. Okay, and let's try another render to see how this look This is too much. So let's bring this maybe to 1,500. And I think this interpolator is not visible in viewport. So we can see that we don't care too much particle here, but when we press F to L, we get a lot more particles. I think this is problem. So we have here display, so this is probably your display. So if you said this to ten and this value here, this is render. And let's set this maybe to five. And now this should be like in our render. So maybe file. And let's press. Okay, now this is like in our render. And let's try. Let's try in a viewport render preview. Maybe we can handle this. So I think I will send this may be to seven. And I think I will increase scale of this. And let's see, render preview. Okay, I think this look pretty good. Let's now add also this on another side. So I will go with conflict seven. Let's now move it, shift D and Y or Y axis. Let's move this here. Let's go with Z. So if your computer is slow, you can always, under this intercalated mood in viewport, you can set this to zero and it will be much faster. So let's now play with this and I will try place this to about here. But because this part here is not visible in camera, I will go to Edit mode, and let's play with this plane here. So I would have moved this here. And now we have much more these particles because we have same number of particles, one smaller area. So we will get more density on this area here. And I will move this on x-axis. Let's see how I made this last time. So maybe we can rotate this or we can just grab this point here and let's place to about here. And let's move this vertex here. And I will intercalated to seven. So I can see this in us in render. Now, what is important here, if you maybe this low density and I want scale this amount down. If you set this may be 200. Also change number of this rate here because we share the same particle system and I will go with Control Z, this to 510. To separate this from this one, we just need to click here. So we can call this particle. Right? Then we can select this, and now we can duplicate this particular settings and we can call this left. And now we can change this value without affecting this part. So I will say this maybe 23. Okay, and let's continue with particle. So I will now move it, shift D and Y for Y axis. And I want out also this wheat in background. And I will separate this, so I will call this for the ground. And now I can scale this up. And now I have 500 part. These particles multiply with this seven in all these big areas. So I think this is maybe too much because this is only visible in background. So maybe I will just bring this to 200 And now we can, I will just bring this little output because this is barely visible embed ground. So it can go with G and Z to bring this up to make this more visible. Okay, and this part here is not visible in camera, so I will move this here. And if you want to scale this little up to make these little bigger and more visible in the ground. So this part is also not visible in camera. Okay, and I will duplicate this extremely wide, and let's place one here. So let's go. Let's just grab this point and move this out. And this one. Let's see how this look. So this part is not visible in camera. And let's bring this about here. Okay? I will just bring this down because I see this plane here. So let's bring this Z. But I will increase also value of this scale. I think we need more particles here, so I will go with the X and let's rotate this with Z. To get this coordinate here. I will separate this and I will send this maybe 200. And let's bring this corner because it is not visible camera. And the last thing, I need fuel particle in front of camera to make vignetting effect here. So I will duplicate maybe this one, D X, and I will separate this, and I will send this maybe 50 of particles. And let's scale this. Now. This is too much, so I will send this mainly to ten. Let's rotate this one z-axis. And I will go with Jay Z to bring this down. Okay? And I will bring this scalar randomness down to make this more clean. So I will bring also this randomness almost to zero. And let's see how this looks. So I will bring this down. So Jay-Z, to move this z-axis. And I want also bring this down because we see this right plane here is visible in camera. So I want to bring this down immigrant. So I will go with G and Z. And also this three objects or Z and bring this down. This is the result I get. And I think I will share this file with two. And if you have problem with this particular, you can just copy this objects and you can paste in your scene, and this should work. And this width here is not so perfect. This is not so good model, but I think this will not be visible later when we add this black color here, and then we add that field. But if you want to can always search for on internet for better wheat grass model and you can find similar models online 19. GROUND PHOTOSCANS: Let's now continue adding details. And next is this ground. So you can see maybe little more details on this ground. And that's because last time I use ground PHOTOSCANS and I will share this file with you. So you can, under references, under resources, you can open this links here and you can find this link and you can download this spec. So I will now open this in Blender. This is what to get and you can play with any of this PHOTOSCANS. This is PHOTOSCANS I made in my neighborhood. So I just, I use Reality Capture for this PHOTOSCANS send. You can find more about this in mind one of my tutorials. But let's now set this to solid view and let's try. Let's try with maybe this one. I will now just go right-click and copy objects. And you can see that this is pretty low poly. If we go to Edit Mode, if you have problem with your Blender pilot can always go with a and you can go with mesh cleanup. And that's in my geometry. And you can type here, maybe going to school. And you can reduce number of polygons here. So you can see how this loop now. But I think I can handle this. So I will go to Control Z. And I will copy this object. And let's back to our scene and let's now click paste. And we can see that we have our object here. And I will set this to collection. So I will press M and call this PHOTOSCANS. Okay, and now we can play with this. So let's see. You can see in render preview that this is, this look too bright for this ground kids. So I will now select these two objects, templates. Let's go to check the depth and let's see shaded the number slash key to bring these two objects here. And now I will try to match color of this ground here. So I will select this object. And you can see that we already have set material here. Very simple, but I will now move. It shakes day and I was searched for killed saturation. I want make this more dark and so I will bring this down to try match this with this ground here. Maybe 0.4. And you can also play with saturation may be if you hold down, we basically get black and white. So I will go maybe 0.8. Okay, and now we can make to lay out, we can accomplish slash key, we can make to house. Now we can start playing with this. So I will press S to scale and I will go with the gene Z and hold with holding Shift, we can move this down. Let's now just to duplicate this two times so we can go with all the and why? No, I will make these two glow bar orientation. And let's now move this on y-axis and Z. And let's place this to about here. And you can also press S to scale if you want them to rotate this. So let's go with oldy and you can also press Z and scale this one z-axis. And I will now rotate this X and Y. Let's place fuel in this puddles here. So you can also go to Quixel Bridge and you can search here under 3D assets, for example, for ground, you can find our top 43 and nice models. So for example, if you click here, you can find similar assets here. I think this one look pretty good. So you can just sign up for Epic Games account as before, and you can download also this models for free. You can play with this in Blender 20. TREES AND STREET LAMPS: This is how my scene looked like after few minutes of playing with this. And next is trees. And you can see one tree here and I think I put another in this transcend. Last time, I use one nice free model from 3D shape can.com. But you can find trees in place on internet so you can maybe find better model. And let's try search key for three. Okay, I think there is no trees in QUIXEL bridge. But let's now back to 3D shaker. So if you click here to Library and free collection, you can download this nice trees for three. I think last time I use this one. So you can download this 13 or green from blender market. And let's see, let's see name of this. Cherry's. So I will sell it's on my computer. Because I download this last time. And I think here is older, so I will this is what to get. So I will open this in Blender. I see that I already decimate this objects, so you will get high poly object, but you need to go to Edit mode. Let's a to select all. And now you would need to go to Mesh, clean up this image geometry and just type here 0.1 or something to reduce this thing ten times. And I will also check materials. So we have a lot of materials here. Let's go to Shading tab just to check this. Yes, we have a lot of image textures here and I will make to layout. And I think we don't need out of materials here, so I will keep maybe just one leaf material. Now I will just keep this three materials because this is only silhouette and we don't need a lot of big textures here, which can slow down our render time. And so I would just keep these two materials. We have one materials for leaf and one for these branches here. I will not go with Kopi right-click copy objects. And let's back to how scene. Let's paste this here in our scene. So I will press S to scale these, SRI and let's place maybe one here. In the lesson you all to D and X. And let's place one helium background. Next is street lamps. And for last tutorial, I more than one street lamp and I record that this part. So I think I will share this part of tutorial, last tutorial with you. So you can see how I made this and if you want, you can watch these 16 min part, remodel this street lamps. But for now I also saved this file with you. So can you can find this rate human blend back and you can open this in Blender. And now you just need to select this area lamp here and this lamp. And you can go with copy objects. And you can back to our scene and you can paste this here. And I will not press M and new collection and I will call this street lamps. And let's now place this. So last time I place this one here and one in middle and another here. So let's, let's try make something that's like last time. So I will go with that Z. Now, I will go with D and X to move this on x-axis. And let's place one she event. Let's go with Z to rotate this z-axis and all the D again. And why For y-axis? And place one here. Okay? And you can see that we have too much lights here. I will bring this arm here and I will set now these two spot lamp. I think this is still too much. And I will bring this maybe. I don't know, maybe because I don't want this to destructive objects, too much lights and this side areas. I have, so I will bring this all down maybe to 50. 50 is too low. So last time my goal with 500, I check. And I think this is pretty good value here. If you want to can play with this radius, this spot size 21. CABLES: I think last thing we need model here is this cables here. I also use this as guiding lines. In. The guiding lines is one of composition rules. So we can basically put more focus on this main character with these lines. To create this, I will go with the shift a curve and Bezier curve. So now I will go with number seven to see where is this curve. And I will bring this up. I will go with Z to take this on z-axis, S to scale. Let's now go to Edit mode, and we can select this point here and we can rotate this one z-axis and also lead to this one. This one looked pretty good. So I will bring this and I will connect this maybe to this motel. If an hour with holding Shift, select both of these points here we can go with right-click and sub-divide. Now we get one point here. So we can bring this down and we can press S to scale. Let's also rotate. Let's press S to scale, also this point here. Okay, I think I will apply scale. And let's now go. I will go now. Why to rotate this and y-axis to make this shape more natural? So I think this now have more sense than before. Okay, and we have not one Kimball. And now because this is kind of Rick handled properties, we have this bevel and that, and we can with the holding shift slightly heart and depth here. So maybe 0.04, so this is 4 cm, or maybe 0.03. And I will also create, let's check. We have already black material, so this is jobs like color. And let's add this black material here. And if you want to can go with Shift D to duplicate this and move little on the y-axis. And let's make another variation. Let's make this maybe to sentiment. And I will also bring this up. Okay, and we have one cable here. Now we can duplicate one of this and let's go with shield the right. And let's place one. Let's press S to scale this place one point here in this lamb. And I will now move it X to rotate this on x-axis and maybe I will place one in hearing. So let's see how this look. I want to make from this side, one end, another from this side. So I think I will be Z to rotate this on z-axis. And I will place one in this coordinate. I will now move it shifted the right. And let's rotate this and other in this direction. Okay, and we can go to Edit mode and we can bring this little more up or down. I think this has more sense if we move this down. And let's also play with this point here. So as the scale. And I think this, we need to bring this thickness down, so maybe 0.01. Okay, Let's duplicate this with a shaded mode, this later on y-axis. And let's rotate this salad and let's add one with three cent centimeters. Okay, let's connect one. Here. I will go with duplicate both of these cables and number seven, and retrieve the right. Move this here and let's rotate this and z-axis. And let's place one here. Okay, let's see how this looking render preview. This look pretty good, but I think we need to bring this point little down and this one is barely visible, so we can maybe add more depth here. So let's add maybe 4 cm. And let's bring this point little dark. Okay, and also this one, I will line up little this on the x-axis, X. But we can always back later if we see that something is not good. So I think this is pretty good for now 22. LIGHTING: Let's now talk about lighting. Now, we will use volumetric for lighting, and this will change completely local. This scene. And volumetric is nice, but also have few problems. For example, it will slow down your render time. And we need to put a lot of effort in post-processing to get volume metrics to look mood. So if you like this, look here, you can maybe make finish result with this style. Maybe you can add haze GRI it with sky and something and you can get a nice result with this lighting similar like this. But let's now start with volumetric. To create volumetric effects limit cube and we need what? The school bus volumetric cube. So I will go with Shift a and I will go with cube, and I will press S to scale this z-axis, maybe 2 m. I just need cover all these scene with this group. I will now tell Z to rotate this in this direction and I will now move it. Let's set this to local entities Who's on x-axis to cover all this. And that's why we're y-axis. Okay? I just want to be sure to cover all these scene. Now, I will go with Control a to apply scale. I will go to Shading tab. And now I will create this cube selected. I will create, create new material and I will call this will make. I will now delete these principle-based the F and I will go with Shift a and search for principal volume. I will choose completely white color and I will set this density to 0.1. It's 2.1, which is very high density for volumetric. And I will plug these two. You can see that we have a lot of volumetric here. But first I will select this object and object properties under view-port display, I will send these two bonds. So we can now do foresee inside this cube. We have another problem here. You can see that we don't see whole cube here because we need in, under camera settings in itself this increase this value of clipping. So I will add here 10, so this will be 1,000. And now we cover all seen this cube. Now we can cube volume metrics, but you can see that we don't have enough flights to see too much inside this cube. So I will not go with the numpad, want to front orthographic view and I will go with Shift a and I will point limb here in. I will bring this point limb above this cube. And maybe I will put this above this car. And now I will go with all to D X and I will place another about here, and I will add one more X, and I will place one here. We have three point lamps here. And because we use old D, then we change this value. We change this value for all three lights. Okay, and now we need increase this value until we are happy with the result. So last time I go with value or 150,000 time this value here if you want same result. And I also change this color to color. And now we get this result. This is what we have for now, and I think these don't look so good, but I think we can fix this later. So this three point lamps with very strong power Should imitate something like more or sky going. Light's going through volumetric cube. So I think this is something similar, like in three more. I don't like this. Green wheat and this should be yellow, but this is yellow. So if you select this object, you can see that in material privilege we have yellow. Because yellow with combination of blue, we get this green. But I will try to duplicate this planks. So if we add more lights here, so Shift D and why? They should get more yellowish color here. So you can say that the now this starts to become yellowish. But I think we will also fix this later in post-processing. And we will mostly make this black, so this will not be so visible light. You can see when we add lights here that we get yellowish wheat. And, but I will keep this slide for now and we will see later what we will do it. This one thing Taiwan to do, we need to remove these three lamps views before just for test. So we can see here three lamps. So let's remove this. And I think we disable this in Newport. Disliked are still here in render, so I will delete this. So this is first 1, s one, and third one. The next thing to increase this later, this reflection on ground. I also want that area alarmed to these windows. So you can see that these two windows are light with light on. So let's increase this value. Also swaddle go to x-ray mode. And let's increase this, maybe 200, maybe being clear. And this one, okay, This one is inside. So let's select this one. And I will bring this also maybe 200. And let's now go with the shift day. I will go with Shift and right-click to this window and I will shift a light and I will set one area lamps here. So we need rotate these on x-axis. So I will bring this little down and I will rotate this little more on ground. So I will treat lethal to get more reflection on this ground here. Now I will say orange, reddish color here and I will set maybe one. I think I will remove this light from inside, from this window to this one. So let's bring this one and let's move this to this window here. And also with, Let's get this little I'm x-axis and now Alton D X. To move this to this last one, think about lighting. I want more light in front of this guide. So I want give this guy in silhouette. But I also need to make this zero at more visible light in front of this guy. So I will go with this slide here and let's see. I will go with shaved the X and I will move this in front of this guy, something like here. This should be like something like light bulb in under this porch. Okay. Maybe little on x-axis and let's see. That is disliked. Okay, Let's now make another render. This is what we have for now and I will change just few things. I want increase this lights here because you can see that we get some nice reflection here. But this barely visible. We can later in post-processing increase this reflection. But to make this more visible for now, I will select this car and I will select this far material and I will increase this value to and to get more reflection, I will select this ground. I will go to Shading them to materials mixing together. I will increase this black color here. To get to more reflection in roughness, I will just move this little here to add more blacks and more reflection. And I will also bring this closer to black. And let's do same with this one. So Control Shift and click here to preview this here. And let's add more reflection here. Okay? Now, don't forget this material with Control Shift and click here 23. RENDERING: And now we can render this. And I decide to not make animation. I just want to make one still image. So this is advantage. We don't need spent a lot of time to render because we will, for post-processing use few passes. I will go here under Properties and I will enable this mist past glossy direction and ambient occlusion pass. Direction and ambient occlusion we will work correctly, but for mist pass, we need to set some value. And I will now go to material preview. You can go here and you can find mist pass key. So now we preview only mist past. And I need change distance from this, from start, mist pass, start and where mist past. And so you can see this distance value here. And if we go to or properties have this nice past properties here. And I will set mist, start mist from 1 m. I will set and to about 100 m because our scene is very long, so I need better range for this mist past skew. Now we can bake here to combine and when we are happy with this mist past. So I will go here to combine it. And now we can go to render settings and you can choose what the resolution and central C1. And I think I will go with this value of 150, and this will multiply this by 50 per cent. Even we can go with maybe 2000s. So this will be numbered resolution about three K. And I will set these samples maybe to fight for final result. And now I can press F2 to render or you can go to render the image. Now when render is done, we need to save this render in all these passes. And my recommendation is to open render folder. And this is this too. So I will copy this address and HIV and save these files here. I will go with image service. Basically this address here, and I will call this mean. This will be main render and for format, I will use PNG because we get more quality with PNG. And also I will set this to 16 bits color, depth. And let's save this now. And to save other passes, it back to our scene. And we need to go to compositing. And I will click now use notes. I will now plug this mist past here. And if you press F 11, we should get this under random result dismissed past. So I will save this as mist. Now, same with the velocity direction. I will say this as glossy direction, this GL or glossy direction. And I forget for mist, set this to 16. And I think for mist is most important to get 16 bits. So I will again back to mist and let's go Image Service. Let's go with velocity, direction, glossy direction as this, and I will call this G, I don't work. And last one is ambient occlusion. I will say also this, and I will call this a. And now we have all these passes here. And I see that this size of these images are too big. About 15 mb. We can, if you want to, can go with the JPEG with these three images. But for mist past, we need PNG because we need more details for this mist past. We will use this Alex later. And we're done with Blender for now. We will also later re-render this, I think few times. Because when we see how this look in After post-processing, we will, we will want to change some settings here or remiss one light here. Let's see what is this? Yes, we have one point limb from before. So I will now just delete this and I will save this file. So later when I re-render this, I will also fix this small, small problem here 24. ABOUT COMPOSITION: Before we continue with post-processing, I want talk little about composition and similar stuff. And I think we need to know what we want to do with our vendors. And I also make your roles here you want to achieve. And I get inspiration from this Instagram links and I will share this links with you. So you can open this clockwise and you can see similar style images here. So this is nari, that Avante. I'm not sure how to read this and this. Hey run Siobhan. And I like this profile so you can find a lot of inspiration here. And you can note that all of them use the same lighting and composition techniques. I write here. Nodes. I see that most of this profile use. And let's talk about this. So first is still an orange loop. So this is basically opposite color techniques. And if you go to this link here on what.com, you can search for opposite color or color wheel. And you can see, if you move this slider here, you can see what is opposite color. So basically this is, most of them use this teal and orange techniques. So combination of bluish and cyan color, red or orange color, always look good. And you can see that this profile here use a lot of these techniques. So you can see a lot of this cyan color or combination of red. I see most, mostly of this technique in this guy, what Shabbat link. So you can see a lot of contrast between this reddish orange color and blue color. So you can see orange color here and boorish in the ground. And you can note this role in all these images here and also here in this last time, I also use this and you can see this cyan color in background and orange color here. Because I like this cyan color from this profile. More than this blue color. You can see a lot of this sand color or combination of this orange color. Okay, this is first row we want and another is main character in shadow surrounded by lights. High contrast and see what you can see also this rule is in all these profiles, we can see mostly in shadow. The main character in with strong rights in megawatt. You can see all in all this renders same techniques. And you can also note that this in other profiles. So you can also see here hike, main character in shadow when high contrast between them and they ground. And also here. So we basically want make this guy. And also same techniques, all these renders. And I also want to make high contrast between these motel and this background. So if you look our render here, we can see that we basically don't give any contrast between this guy embed ground and this motel here and this way ground. So we need do this in post-processing plate. Next rule here is tonight mist volumetric, rained. And you can note that most on this renders are in this style because these are the, a nice cinematic feel. And so you can see all of them here volumetric. And most of them can have rain and and all of them are render light conditions. And next one is a dark foreground. So you don't want put a lot of bright colors in foreground because you will get this. You can see that our eyes go first. So in this bright for ground. So we need to make this foreground dark to put focus on this, right? Ms. Motel. Next is wheat reflective floor, and you can also note this in all these renders. So this guy get a nice reflection and the nice color on this ground here. And you can know this techniques in all these ProQuest. So you can see this reflection here. Also in most of this renters. And last one rule is saturated sky with a lot of details. And I think this details on clouds. And this is mostly technique from this nut in mind that bundy you can see, I will write this saturated sky without of course, and lots of clouds here. You can find this in oldest renters details and lots of clouds. And I think this is maybe not physically accurate because when we have a lot of mist in our scenery cannot see clouds in Skype, but this is advantage of render. We can do what we want. And I really liked this details so we can include this in our render. If we go to other profiles, we can also see these clouds textures here. Now we will start with post-processing and I will use After Effects, because I use After Effects more than other programs. But because we will not do animation, still image, you can use any graphics program you like. So you can use, for example, photoshop or Premier Pro and DaVinci Resolve or any graphics program here use, because we will use only simple things. I think you will not have problem to follow this tutorial 25. POST PROCESSING: Okay, Let's open After Effects and let's now start with new composition footage. And I will navigate to this folder and I will select this main. And let's create just render folders to keep this organized. And that will place this Blender inside here. I will also select ambient occlusion is called the controlled glossy direction. And we still as brig this inside this folder. So we have all this passage here. And let's save this file. So file save and I will go in this mode. I will start with color correction to try get a little better color from this. And let's set this to 100. And let's go now, we right-click here and new adjustment layer. And I will rename this to see like for color correction, I use lumetri color. And I will go to Effects Controls panel here, and I will bring this. You can bring this to this image or with color correction, I mostly use this basic correction and I just go with plus one example, plus 50 and -50. And then I have what I like more. So I think I will go with now get plus. But because I didn't go with plus 35. And because file because I don't this color CORECTION last time you can just copy my value scale. So I will go with minus. Well, because I want more greenish slogan than magenta. So if you go plus to get more of this magenta look, I will go minus an exposure. I will bring this to 0.5. With highlights, I will go with 20 shadows plus tempt whites plus 60, 60. And Blake's minus six. Okay, So this is before and after. You can find all these values in any graphics program. Next time we'll do here, I want dark foreground. So we have one rule here, which is called dark foreground. And I want make this effect. So this is this is our render and this is after post-processing. And you can see this, this is one that I made last time before few months. In average, I get similar results like this. And you can see that we have a lot of bright areas here. And I want make all this area blank, mostly black. So I will go with Control C and Control V. And I will duplicate this main image here, and I will rename this to mean dark. Now I will go with Lumetri Color and I will go under Basic Correction, and I will set this exposure to minus six. And we basically get this effect. But I don't want make black all this area. I just want to make this foreground black. For this, we will use this mist path. Let's bring this mist pass key aspect or in, in Blender. This is vector in After Effects. This is called luma made in Photoshop. This is called mask. So it will use this as mask. And I want delta After Effects to put this where to put this dark image and where to put this main image. So in After Effects, this is simple. We just need disabled this form, render preview here, and we need to set this to luma. Let's explain this in Blender Render we have noise texture with color ramp to get more conscious. And if you use this aspect or this will tell Blender where to put. Color one, which is red and color two which is blue. And now if we move this, we can basically choose how much we will. Avant value of one and value of two And same is in After Effects. So we have color, one color to, and if we said mist on top of this color, so this will be similar, like same light vector in Blender. If he said this to luma mate, it will take this nice past. And now we can use levels which is similar, like color ramp in Blender. And now we can, let's just isolate this mist pass here. If you click here, you can preview this mist only dismiss past. So I want make this area more black. So I will just move this about here. There. I'm happy with this. Let's see if we disable this, how this look. But we get opposite effect. You can see that we, you get this dark background and white, this bright render in foreground. So we just need to go to mist past and we need in very similar like in Blender. Here. We just basically invert these colors here. And now we can play with this color ramp or these levels. Again. Let's preview this look. I don't want affect too much motel, so I will bring this back scholar to about here. And let's see how this loop now. So you can ignore this right part because this is from these lights here. We put, I think this is too intense, so I will bring this maybe to 100. Okay, I didn't use all the Soviet can bring this to 1100 and we can save this, or even we can save this for render. And let's back to After Effects. Let's see how this looks. Okay, I want more dark color here, so I don't want to this dark affect this. So I bring this, maybe I want to affect this guy here because I want put him in black. And let's see how this looks. So if you now click here, we can, this means right there and you can see before end up. So this is before, this is up. Okay, let's put this guy more in black. And we can always back to this settings later so we can continue with. Let's now add horizontal glow on these black bars here. I will duplicate this Control C, control V. I will name this horizontal glow. Now I want this image here and I will go with level. I will take this until I see only lights here. So I want isolate only the slides here. So let's bring this to here and Let's see. So I want Blake area. I will ignore this part so we can mask this later. For now, I just want see these lights here. Okay, and now I will go with Garcia Ambrose. And I will set this to horizontal. And I will set this value to, to empty. So we can blow this on horizontal line. If you want to Greece this, but I will make this 20. And if now set this to screen blending mode, so Will ignore all these blacks and P poly, this white parts. Okay, and we need this to our scene. So we remove this one, this part. And you can see afraid to forehand. So this is before and I will now use mask to remove this part. So just take this pen tool and just mosque do the same. Okay, so we remove all this. We keep on this part here. This is before and if you want to express T and link capacity, maybe 70% to reduce this. To keep this, sorry, I forget. Make one very important thing in Blender and this depth of field. So you can see that we have daily sharp details here. So I will back to Blender to all scene. And I will now select camera. And I will go to render properties to camera properties. And I will enable this depth of field. And for focus objects, I will select this guy here. And in material preview and also in solid preview, if you enable this data field, you can preview this depth than we'll ever go all down. Maybe to 0.6 or seven. So we get a lot of depth and fill here. And I will now say this. We can make embed ground. Another lender. So I will press up 12 and we can render this again. Because we fixed few things. Now. Let's now back to After Effects. And now I will play with glossy direction here. So I will bring this glossy direction, P&G here, end. Under this color correction. I want keep this top. I will now set this to screen blend mode. So you can see before and after. I will now set opacity, maybe one to temp, to keep this really soft, glossy direction, this weird smooth part. And I'm not sure why I get this, but maybe this is because I use 16 bits for from Blender. And I will, because I just read render this. I will say this, and I will overwrite these files, and I will now use eight bits for ambient occlusion. Let's make again to Blender. And I will now plug this glossy direction and let's see how this, this look in eight bits. So let's see what the, by changing these 16. Okay, Let's now save it to eight bits. Let's now save this file again. And I think I need 16 bits for this, for dismissed boss. And I will now save hold so the image file or this, combine it. So file save as and I will also again go with eight and just write this file. And let's make to After Effects. Now, this should update here. Let's see now this glossy direction. I think this malfeasance, this problem. Okay, so just use eight bits for this end. This mist parts, you can use 60. I will say this to one temporal sent. You can see that we get this field here. So we get small value of this gloss interaction. I will bring this even two-ply because I don't want too much lights on this black part. But I will now duplicate this direction again. And I will now set this, maybe this opacity with tea, maybe to 30% in Iran. Because I want a lot of reflection on this area. I will now just take mask. And I will mask this area here. And if and now twice M, we'll bring this Mass Properties. And I will set this feather to maybe 200 to smooth transition. So this is before, this is after. Let's now this is before and after. And let's now play with this mask. So I don't want this bright parts here. So let's bring this to about. You can see how much we increase this reflection and let's, let's try cover all. So this car 26. ADDING SMOKE IN POST: The next we will add here is smoke or dust. And for this unit, download this from Pixabay, smoke without texture, you can use just image texture or widow texture. There is no difference and this is one I found for free. You can also find the similar image textures like this. And I will now import this in After Effects. So I will bring this here. And if you want to can make another folder and call this overlays. Let's place this here. I will now bring this smoke. After this color correction and Debussy, this message just press Caps Lock to refresh this. You can see that we have only black color here. That's because this little texture start from this dark color and appeared later. So we just need to move this to about here. Now, we need to set this to screen blend mode to ignore breaks. And you can see that we have this small here, but maybe we can use our door lighting. Okay, I think I will use screen and let's now place this in 3D space. So I want plays this after this line here and police. I can again use mist as a little my mate. So it is very important to set this over the smoke and then you can send this slow mommy. And now we can go to mist plus here and we can again, we can isolate only this past to see how this look end. We can go to mist, to Effects Control and we can go with the learners. Let's now isolate this guy from because we want put this mist for smoke after this life. So I'm going to bring this leg spoiler here. And when I isolate this guy, I will see how this book. I also want make this here and I also want to make more bright color here because we have a lot of opacity with this gray color. So I will bring this wholesome and left. And let's see how this is visible. I think I've said this to light, and I think also this color correction effect to this smoke. So I wouldn't bring this down. And I will bring this to timeline where this smoke is more visible. So you can see called the slope. Let's press S, scale this. Maybe to, to cover this part here. And let's now press T to bring opacity, maybe 50%. So we have this smoke effect here. But if you want, you can place this also here. You can also scale this may be down to make this smaller. But then we have this problem here and we can, for this, to fix this, we can also use mask. So I'll press again MM, just M to bring this mask here and divulge whether these two maybe 300, too small to this edge here. Now I will duplicate this again. So Control C and Control V. So you can see that After Effects make this wrong order. So just bring this up here and now we can make another, I will press, press M to remove this and delete this mask. And I will press S to scale this. So we can make bigger scale clouds here. And you can also make little offset If you move this on left, you can see that we make offset of this video texture. And we can also put this to another area. So if we now isolate this mask here, we can place this more in this task maybe to about here. And let's see how this look. This is before and after. And you can see that we put another mist in front of this motor here. Okay, and let's duplicate this. Control C Control V again and change order on this. And we have third one. I will put, maybe this one varies this car here. And let's again see how this look. So we can tweak these settings here. So we can put this right here. And every press S to make this maybe smaller. And let's place one smoke here. You can see this smoke effects. Okay, So this is before and this is after. And now I want make this more contrast between these motel and this background. So I will again go with smoke control C control V. Let's change order of this and let's now make this mist past cover all these motel. So I want black area all to this motel here. So I will just bring this back scholar here and isolate this part here. So I want more white colors to make this more visible. I will bring this on that. Okay, I think this is a pretty good and we can now place this smoke behind this motel here. Let's try scale this up. And let's also change this timeline so we can get another details here. Okay, This part is visible here. So I will keep this part here. And I don't like this bright part here, this skill, this conscious. So I will, I will try me move this maybe down to this week's or I will just put over this car so we get nice silhouette of this car. This smoke effect. This is before and this softer. This is this one. So you can see how we get nice silhouette with this smoke window texture. Okay, this is what we have for now and now it's too late and I think I will continue recording in more 27. SKY AND CLOUDS1: Let's continue with tutorial and I think we need some green here. So I will right-click and new adjustment layer and I will call this grain. And I will search for grain effect. And let's set this to final output. And I will choose this codec 800 reset. And we can reduce this. Maybe to point a. Let's now create sky and clouds. And I will use this as reference so we can find a lot of nice sky here and mostly in cyan color with lots of clouds. So let's try create something like this. I will start with solid color. So a new solid. And I paste this hex code here so you can, if you want a similar color like or same color like me, you can just paste this cyan color hex code here. So you can choose this color, and now we have this color here, but if you want, change this color later, you can choose thin. So for example, if you decide for bluish color, you can always pick here and change this to group two bluish color. And for now, I'm delete this. I don't need this. Now we need set the sun color only on Skype. So I will again go with this PNG and I will use this as luma. And now we need levels. And we need now isolette sky. So I will just bring this mist pass here so we can see what we do. Okay, I put letters in wrong layer, so we need levels here in mist. And I will now tweak this until I isolate one sky. It is little hard to isolate this because this range is not so good. But I think is not problem. Put some sand color on this area. You can see also the type fade this motel here. So I think this is, we can get nice effect if we put some gray areas here. But I want to move this more on that. I think we can also try enter some numbers. So let's try this one. Let's see what we get. Okay, and if you now remove this from visibility, we can see what we get. We get this and color only on Scott. But we have one problem. We have very hard transition here. And I want smooth this. And I think we need gradient from this for this area here. So we can add this new composition. So right-click and break. And I would call this sky. Now if we double-click here, we are open on this mask. And I think we need gotten this from here. And I will paste the least mouth here. And now I will go with a new adjustment layer and I will call this gradient. And now I will search for Gradient Ramp. And if we set this blending mode to Multiply, we will take only black scholars from this area, so I will set this to multiply. So we have dismissed P&G here and gradient from top to down. So we need opposite direction. So I will set this to white color and this You can see that we have gradient here, but we need to tweak these settings. So I will try move this point. I think we can move this. Okay, this is the top points, so we can move this, maybe don't, and this one from down to, up to make more gradient on this area. And you can see Effects we get here. So let's try move this down. And let's now try how this look. Okay, I think we need to more play more with this. So I will be this point up and also with this one here. Okay, this works but, but we have this sand color is very similar, like Oh, original color. So I think we need Greece, this white here because we have lots of gray color scale. And we bring opacity down with this gray color. So having strike, play with this while you're here to get more white colors here. Now this should be little more visible. And you can see this gradient here. Let's try. Let's add more gradient here. So I will bring this point more up. Okay, I think this is good for now. Let's now add some clouds here. So I was just for test, try another color. So you can see that this works. So I will go with, let's try color this red color. So you can see this gradient here. We can change this to any color later if you want this tint effect. So let's try out bluish color here. And maybe this gradient is too intense so you can always play, play with this gradient also. Okay? I will now clearly distinct. Let's now add the clouds here. I will share this link v2. Okay, here is linked to Unsplash, so can copy this link and if you want, use gloves texture I use, you can download this image and you can download from this link. So you can use this to K or for K. But you can also search for clouds here. Maybe you can find better texture. But for now I will use this one. So I try this and I think this, this one works. So I will bring this to After Effects. Let's open this project here and let's bring this After Effects. And let's set this in this folder. Now I will set this on top. I will not press S to scale this down. We can bring this down to about here. Evan lot will change the blending mode to overlay. And you can see that we have clouds here, but we have also this road here and stop. We don't need to remove this. We just need to copy this sky mask. It's Control C and Control V and set over this texture end, we need to set this to mommy. You can see them this work. If you want to make this more intense, we can go to Effects Control and we can search for lumetri color and we can increase maybe this consciousness to Foundry. So we get more details here. But you can also play with all these values and maybe you can get better results. Now, of course, you can always choose opacity. Maybe you can set this to 70% Okay, I want to keep this intense, but you can also play with different blending mode. Let's see, call this look. Okay, this vivid light is more intense. If you want to can choose this one and maybe bring opacity down. And let's try to more. So we can choose between multiply, overlay. I think I will go around, keep overlays so we can quantity. Let's try play with these values here. Maybe we can get something interesting. So I will try and go to 100 and minus one. So I think I like first, we'll get plus 50. We get more greenish tint here and distinct I can try also want to download. So if we go from minus T, we get to this greenish tint. And let's try bringing exposure maybe to five minus five. I think I will go to plus maybe only one. With highlights. I think I want to go maybe, maybe down 50. And with shadows, Let's try go to class, but I think I will go to minus to make more conscious. So let's try -100. Okay, we have more conscious heat and more details. Maybe doing ten -50 and I think I will try go to plus but I think minus kept more sense. Maybe -50. And with blacks, maybe also mine. So this is before and this is up. And you can choose look like 28. RED GLOW AND HORIZONTAL BLUR: Let's now try create this red glow effect. So we can go again with new solid. And I will now choose red color, but I think I will choose more orange color here, then completely red. Okay, and let's now set this to screen blending mode. Now we can mask area where we want to put this red glow. So I think we need put over this motel sign. And I will now choose this ellipse mask. Okay, and I think we need now play with this mask to mention this. Now sign here. So let's move this down and move this here. And we can also rotate this. The next I will add mask feather here. So if we open this tab here, we can add whether drive it to 100 or maybe 200. Okay, Maybe 150. And now we can also bring opacity maybe to 50%. Okay, So this is before, and this is, let's duplicate this with Control C and Control V. So I will rename this to neon sign. And this will be man. Because I want put this mask after this man here, this guy. So I will bring this here, and I will now change this shape of this mask here. Okay? And I want put to this after this guy here. So we need again Mr. PNG and we need use this to my mate. And now I will again with levels. Let's isolated this to see what we do. And I will want isolated this guy. So I want to paint them in black. So various black area. We will not to get any of this solid color. So let's, let's now see how this loop, this is before and after. But I think we need more white color in this area, so this will be more visible. And I will move this left. And now this should be more visible. So we have this red glow effect here. And if you want to can also do this on this car lights. So I will walk in and copy this. And I will call this car. So we can place this mask here. And I will just bring opacity maybe to 30%. So this is before and this is you cannot this horizontal blur effect here. And let's try create this now. So I will create new adjustment layer, and I recall this horizontal glow. And let's go with the Gaussian road. And if now set this, maybe two. And this to horizontal, we get to this horizontal, horizontal rule. And I will click this repeat edge to remove these edges here. After Effects is a little slow so you can bring this preview resolution maybe to help. I think this will be little faster now, but you will lose some quality and in viewports here. And I didn't want this horizontal glow only after this guy because I want to put him keep him in focus. So we can again go with mist mask here. And I will set again these two Little Mermaid. And let's again play with this mask here. So let's again isolette, this man here. And let's see how this look. So now we have this glow effect only on this motel, but I will for taste increase this may be off to, to fund it. So you can see this effect here. So this is before. And, and I think this is nice, I forgot, but I will give this sort of maybe one fifth 29. OTHER EFFECTS: This black skied off too intense. So you can see on this reference that we don't have to strong blacks. And I usually take S-curve effect here. So I will rename this to risk curve. And again with the Lumetri Color. And we have here curves settings and I will just add three points here. And now we can bring these legs up to find that this mux here. So this before. And you can also bring whites down. And you can create a little more contrast. It mid tones. I think we have too much focus on this bright area, so maybe we can create the gradient from talk. So I will call the name these two gradient. So we can again go with a gradient ramp. If he said, now these two multiply to keep only blacks. And we get this gradient here, but we need play with this. So let's bring this value all up. So you can drag this with the left mouse click. And I want bring this up. Maybe I want to just a small gradient here. And let's also bring this point here also. Okay, So this is before and talked in the beginning here also odd vignette. So we can rename these two gradient from top bend in it. And I will go with Lumetri color. I will not this vignette, maybe two minus one to get this dark coordinates here. This isn't, if we go more to minute, maybe minus five, we get a lot of blacks here. But I will go maybe minus one or maybe even less minus the zero. Let's now try put more focus on this area so we can increase brightness only on this part. I will call this focus. And if you now go with Lumetri color here, and if we increase this exposure maybe to one. And now I want use mosque only to this area. And let's see how this look. I think I cannot play with this mask, but if we will now to transform and anchor point, we can now play with this mask here. Let's now add the 200 or three comedy. So let's see before and after. So you can see that we add more lights here and you basically put focus on this area. Let's try also increase contrast. So if you said this may be confounded, this is too intense, maybe 50. So let's see before and after. I think I will keep this subtle, maybe just 20 per cent and this may be 0.5. So this is before. But I think better way to put this in focuses with this smoke effect. And let's one more. So I will try make more contrast between these motel here and this background. So let's copy this, smoke enemies and bring this And let's see how this look. Okay, we can isolate only this mist past and let's make more conscious here. So I want to isolate this motel here. Okay? And we can now use this this smoke and we can easily put these smoke after this motel. So let's, let's see if we have mask in terms, have mask here. So we can put this on this. And I will now bring the opacity to 100 to see better what I do. You can see this mist here. And if you move this on timeline, because this is not just still image, this is 3D animation. You can see that we get different result when we move this. We get in the smoke effect here. We can also press S and scale this up. But I will keep most of these subtle, maybe just 50 per cent. So this is before and after. So I want this more in silhouette in this mode. And let's try place one here on this area. I will go again with control C and Control V. Let's bring this up. Okay, I think we can put one here on this and bring opacity down maybe to set. We have this ambient occlusion path here. So let's see what we can do with this. Usually I put this on soft light blend mode. And this is before and after. So let's try. So I will go with levels to try make more conscious heat. Okay, and because we have black colors in this sky, maybe we can use this as Musk because I want to remove this ambient occlusion from this sky. I will also duplicate this and I will set this Asilomar make. Let's see what we get. This is before and after we remove this, this mask, use this as mask to remove this me too close up from this guy. Because we have a lot of black scholars here. And I think I need to add more white colors to affect this. Gaping holes. They smoke. Okay, I want more whites color here. And Blake, Blake scholars on this guy. So this is before and after. And we get a little more details on this roof here if you look better. But I think I don't like this ambient occlusion pass on this area in foreground horse. So I think I will just use mosque in every dry paint on this area. Okay. Let's now add M to this mask. In every ago maybe Hundred too small to this. And let's simplify this mask with deleting these points here. Okay, and let's see before. And so we basically get more contrast on this area and on this area here. And we get also more details on this car and this motel. But I think this is now too intense. So let's go with T to bring opacity. And I will set this maybe just to 50 per cent. So this is before and after. One thing I miss a lot in this render. If I compare with this one is this reflection on ground. And I'm not sure why I cannot get nice reflection here. I think this is because of this volumetric. Because if I, for example, select this ground here and few of these lights. If I go with number slash key and isotonic this, I can see a lot of this nice reflection. But if I bring this, if I back to my scene and this volumetric cube, this kill all this reflection. So if we, for example, delete this, this volumetric cube and this lights here. We use these slides for volumetric. So if we delete this, we can see that we have this, all this reflection. And wanting we can do here. We can just render this without this volumetric and without these lights for volumetric. So for now I to delete these slides, but I will not save this file. I will now just make another vendor. And after rendering, I save another glossy direction pass. This is last one with this volume metrics and these lights. This is without this volumetric and you can see that we get much better results. So what I will do now, I will try import this in After Effects, this another direction paths. I will set this may be here on top. And if, and I'll set this to screen. We should get more reflection on this graph. So this is before and after, and this is obviously too intense. But I want keep this glossy direction only on this ground and maybe on this roof. So you can see that we get nice details here. So I will now just make another mask here. Okay, and let's simplify this mask. And let's now move with them to open this mask properties and increase this feather. Maybe all 300, too small to this. Okay, So this is before and after. And you can see how much details we get. Let's play with this mask. So I want hide this part here. Okay, and now I will go with T to bring opacity, maybe 50 per cent. Maybe this is also to match. And this is before and after. We bake this nice reflection here. I think this is too intense here, so I will bring this old to 20, and I will now go with Control C, Control V. And I will duplicate this mask, but without this motor here. So I will bring this Mosque down. And I will keep on this part. So we have 20 per cent of mask, this mask and also 20 per cent on, only on this area. So in this area we have 40 per cent. So this is without glossy direction and this is wheat. And we can also increase, this may be given to 50 to get a lot reflection here. Maybe too intense, so maybe 30. Okay, and let's see before and after all these effects. So this is from Blender and this is after post-processing. Maybe this guy texture is too intense. So let's find this here. Let's also bring this opacity to 70% or eight. Maybe we can increase this red glow here. So let's see. So this is car, this is now sign and this is men. If you look this my last render, you can see that I put a little reddish color are also on this guy to match this with this background. So we can do this easy if we now had the little white color to this mask here. So let's bring this maybe left. Okay, We put little reddish color here. And let's see. Let's check opacity. So we can break this maybe to 70 per cent to get more reddish color on this. A, maybe it's too much maybe scene. And we can bring this mask heroes. And maybe last thing here, if you want to can add rain effect here. So let's add another adjustment layer and I will call this rain. And in After Effects we have real effect, I think. So CC, rainfall. And if you bring this here, we get rain. And I will bring this down to maybe to merge this better with this Effects. And now we can increase maybe opacity if you want to 50. To make this more visible. You can also add more. This drops and played with all this value. So if it's being this side, so let's see how this look. But if you liked this effect, you can play with this. And if you don't have After Effects, you can always maybe go to Google. And you can search for Zane. And you just need find a nice and high-quality texture and we just need sent this to blending mode. Okay, I didn't find high resolution texture, but let's try with this low resolution so it can bring this here. And you just need to scale these to match this. And now we need just set this to screen blending mode. You can get nice magnetic dipoles. I think this RE-AIM is nice, but I want keep this clean. So I will remove this maybe for now, and maybe I will add this later. And let's now render this. I think we are done with After Effects. So I will go to composition and say frame as file. And I will change from Photoshop to JPEG. And now I will Save this on this render folder, and I will call this render. And we can just click here render. And now we have our render here. And if we compare my last render be to this one, you can see that there are similar but not the same. And that's because I played also in Photoshop with color CORECTION tool and I will show you how. And we also have same or similar in After Effects, but This little too slow. In Photoshop, we have more option and it's real time. And that's I, that's the reason I play with this in Photoshop. But you can also write in After Effects with selective colors here. So I will add another adjustment layer here, and I will call this selected. We can search for saving effects here. So you can see that this is very slow and we don't have too much oxygen scale like in Photoshop. But for example, if you set these two reds, you can change only the colors. So if we change this maybe to 100, we should see changes here. Maybe you can see. And let's now try -100 to see what is better end. We increase this reddish color, but this is too slow and let's try with yellows. Happy we can affect this. Wheat here. So let's try this to 100. Okay, I think we affect this area here and what if we go with -100? Okay, I think I want plus here, and let's try also with science. So I think we should affect this area that desire. So let's go to plus 100. You can see reason why I don't want use this in After Effects. And I think we can try this in Photoshop. And one thing I also miss here, I see here also wheat in this area and we don't, we have here only empty parts. So I also add one of this area here so we can try the reason that this with this wheat here. And you can see that all this process of creating Art is just a lot of tweaking settings. So we can tweak this all day. But I think we need finish with this tutorial and I think you can play with all these settings and layers and maybe you can get much better result. And you also need to jump from blender to After Effects on any post-processing software. And you just need to put more time to get the result you like. Okay, I read render this and let's now try write all these files. So this is main. And I will go to compositing and I will save dismissed. Glossy direction and ambient to prove. Let's see what we get. Okay, maybe this is too intense, but let's keep like this. So I will again rerender this same frame as file, and I will choose this JPEG. And let's save this render finished to 30. COLOR CORECTION AND FILM TEXT OVERLAYS: Let's now open this in Photoshop. But you can find similar tools in any graphics editing program. Let's now move with control C and Control V to duplicate this image here. So they can compare later, before and after and just drive it. Balanced squeak effect here. So if we go hold all, we can just stick these two, this first layer, not too second one. And let's try and move this. So you can see that we get more reddish color here. I really creates this reddish color and also maybe little green don't end. And maybe in the ceilings and just delete. This is this is before and main tool for color correction is in Photoshop is here, I think, in camera raw filter. So we can all options in this step skills. So some of this is like in After Effects. So we can try maybe this values here. I think I really increased temperatures are lethal and so control smoke you like. And you can play with these sliders and let's see how this loop, I will not touch this exposure. I think they've really been gluteal conscious down. We can look likes here. So I will bring this, maybe. We can increase the highlights. If you want to, can add more texture so you will get more details. If he treats this texture. I will just add a little and clarity. Okay, I will increase also this clarity. And if you want more haze, you can add the case. Or if you want to remove case, you can move to right. I think every volatile let vibrance and saturation is for color. So Want more polar or you can add more saturation. But I will not touch this. In the next is saturation. So if you want to add saturation to this reddish color or you will go on left. If we want this saturate this you will go and left. And if we want more color, civil go, alright. I think I will desaturate a little less. This is orange part here with adversely affect this sky. So if you want more color, you can bring this. Alright, I will keep like this. And now we affect bluish color and we have a lot of bluish color on this motel. So I think I will desaturate this. So I don't want too much bluish color here, so I will go Khalid. Okay. And we don't have purples and magentas. And let's now play with luminance. So if you want more reddish color, you will go alright. I think I've gone into left and with orange color. I will keep like this. Okay. I want more darkness on this bluish color So I will go on. Let, if we go, alright, we match, merge this little more of it. This guy, I don't want this, I want high contrast here. So I will move this. Okay? So this is before, this is before and this is out there. And let's now disabled this color balance and C before end up. Let's see how we can get to this poster. Look. So I just put some text overlays here. And let's say this is this drive is short beam. I put on my YouTube channel. If you want to can search for them. And this is the reason I type here dry. And let's again type here. Dr. end. For this. I think I use this font. I paste this name of phones here. So you can go to use this, the website.com. And you can search here for these categories, for example, this time. And you can find a lot of free fonts. You can download any of these, mostly for free. And just double-click here and install this font. And then you can find, you should find this font in Photoshop. And over any program. I will select this font sharp, so I will sharp. Okay, and I have only 50 pixels here, so maybe type 200, 300, maybe four. Okay, and I just pick some yellowish color here. And you can see that this is too sharp, so you can, let's increase this maybe to 450. And now we can just go to Filter Noise and we can add noise here. But this will convert this text to smart object, so it cannot edit these texts anymore. But we can add grain to this text here to make this less perfect. And how I get these icons here. So I searched for, I think I've searched for and I found on some of these. Yes, you can see this title here, so I just download this image and maybe you can find better resolution of this similar image. But I will share this photo V2. So you can bring this in Photoshop or any program, so I will do it photoshop. And now we can unlock this and Control C and Control V. Copy this here. But you can see that this is very low resolution image, but I will Control T scale this up. I want these texts convert to white. So I will go here. I think I go with this levels. Okay? And I want it for the old Taiwan. They picked only this, this image here. So I really cool old and I will click here. We can now affect only this image here. And now we have white text here. And now I will set this to screen blending mode. No, I will select this layer here and I will send this to screen blending mode to ignore blacks, but we don't have too much. This is mostly gray and I would try playing this while loop here. I think we can do better this width. Let's try with the curves effect. And let's also just stick this to this layer here. So if we now make more contrast here, we should isolate this black scholar. Okay. Let's now this can easily control T. And that's how I get this nice icons here. And that's basically all this text here. You can take anything you want any form to one, then I think we're done with the least tutorial. I hope you learned something new and see you next time.