Complete Guide to Maya 2024

1. Introduction: Hey guys, you want to learn 3d artist. I don't know where to start. That is the case and they welcome you to next. It's complete Guide to Maya 2024. My name is Abraham. I have 12 years of experience in the industry and I am going to be your instructor throughout this course, we're going to be going over the full production pipeline so that you too can create amazing 3d content. This course is a perfect place for you to start your 3d career. We're going to go over all of the different parts of the production. Blink. And we're going to be doing over 30 easy to follow exercises that you can fully understand all the tools and workflows that we use in 3d industry. In this course, we will be going over modelling, Uvs, texturing, rigging, animation effects, rendering the full production pipeline. We will start by exploring the interface of Maya and understanding the basic principles of components, objects in the basic modelling tools. Then we will go deeper into modelling props, characters, and environment. We'll then learn how to properly texture light, animate, rig, and render all of this elements. Each exercises in the course is easy to follow and we will show you all the necessary tools and steps to achieve a great result. The course is aimed at beginner level students, so you don't need any previous knowledge since we will be covering everything from zero. All of the videos are real time and all of the pilots are included. The only thing that you will need is access to Maya 2024 and Substance painter for some texturing. So what are you waiting for? Join me and become a great 3d artist in no time? 2. Welcome to Maya: Hi guys, Welcome to this first video of the series. We're going to be taking a trip down will not true Like a time travel thing. We're gonna be going into the past. So all the amazing things that you saw on the intro video, I'm going to be showing you how to do all of those. But we're going to start with the very basics here on the interface of Maya. So when you first open Maya, you're going to be greeted by this view right here. If you don't have these exact same one, you can go to Workspace and say reset current workspace. This should be the BU that everyone has the first time they opened my. Now, it can be a little bit overwhelming to see all of the different buttons, all of the different shelves, shortcuts, windows, everything right. There's a lot of stuff in here, and if this is the first time you're opening a 3D package, then I understand I was here 12 years ago with this same interface or a very similar one, trying to understand what the **** Everything is. So as with every general software, they are traditional areas such as the menus up here. We've got main Sure. Because such as opening a new scene, opening it previous scene, saving the scene, undoing, redoing all of these different shortcuts are there, of course, Maya related, your user profile should be here. This is a very, very important part of Maya, which is called the shelf. But this right here, this window, this is probably the most important window which is called the viewport. I'm going to be using this tool right here, which is called the blue pencil just to do some notations. So this right here is called the viewport. And our viewport is our window to the 3D world. We need to understand that on the 3D world as, as we're working with three-dimensions, we will have three things called at the axis, we're going to have the x-axis, which in Maya is usually represented by the red color. We're going to have a the y-axis, which again in Maya, is usually represented with the green color. The x-axis is left to right, the y-axis is top to bottom. And the blue axis is usually represented with the blue color, which is the c-axis. The c-axis is front and back. This window that we're seeing right here is at the viewport That's going to allow us to navigate this 3D world. Now how do we navigate this window with Alt and left-click. If you click Alt and left-click, as you can see, we're going to be able to rotate around our windows right here. And we're gonna be able to see this a 3D world right now this 3D world is completely empty. If you press Alt and middle mouse button, you're gonna be able to pan your window up and down, left and right. And finally, if you do Alt and right-click, you're going to be able to assume you can also do this with the little scroll wheel on your mouse. It's very important that you're using a traditional mouse because trackpads in laptops usually have a really hard time like doing all of these gestures. So I strongly recommend if you don't have a mouse to go get one, doesn't have to be inexpensive one, as long as it has the three buttons, left-click the middle mouse button, and the right-click, you aren't gonna be just fine. So this viewport re theories or window to 3D world. And this viewport also has some menus over here, and it also has some shortcuts like the blue pencil that I'm using right now. Don't worry, we're going to cover most of the tools as we go along in this course, this series. But it's important that we understand that this is gonna be the pupil. So if I tell you during the videos, hey, go to this viewport menu. I'm talking about this man is right here, not the ones up here. If I tell you, Hey, go to this view port shortcut, be talking about this one is right here, not at this ones right here. It's gonna be like Maya menus and Maya shortcuts. There's gonna be viewport menus and Buber shortcuts. This, as I mentioned earlier, is the shelf. The shelf is where we're going to be able to create objects. So if I went to greet the sphere, I just click the sphere. And there we go. We got the sphere ready to go and start working with it. We're going to talk about working with blood primitives. And just a second at this is the general way in which we do it. Now, as you can see up here, we have this thing called the view cube is very handy. It comes on by default here and Maya 2024, way in which you can quickly jump to the front view of an object. You can rotate this cube row. You can go to the right view of the objects. You're, if you're having issues with the navigation, you can go here to the buccal, buccal and use it to navigate to different sections of your scene. We also have this thing called like right here called the BYU axis, which is going to tell us how the world is currently oriented. You can see the c-axis is pointing forward. So that means that this is the front of the object. So this tool, tools are excellent ways to have a reference of where we are in the 3D world. Again, especially if this is the first time you were using in 3d package. Navigating a 3D world can be tricky at first. I want you to take a couple of minutes to get acquainted with the way the camera words discrete, any basic poly, modeling over here, any basic primitive, just wrote it around trick to see it from different angles and make sure that you understand how the rotation is working here inside of Maya, There's no need to do the blue pencil. I'm actually going to delete mine right now so we don't get any extra information. If you don't have these cubes, if you opened my eyes, you don't have the skills which sometimes happens. You need to go to display, heads up display, which is our Huff, the main window we're that we're seeing. And as you can see, you want to have you access and view cube enable This two things are the ones that we're seeing right here, and then allow us to, again, get a quick reference of where we are in the world. Now, Maya, easy, really, really complicated software. So there's two things I want you to do right now, which is first to locate where your preferences are in Windows. You're going to find this Preferences under documents Maya 2024. And this is where it's gonna be. If at any point during our course, Maya starts acting really weird, tools are not working. You get weird display issues or whatever. It usually means that something got corrupted on the Maya interface, on the environment, Maya environments. So you're gonna have to navigate here again, documents Maya 2024. And you're going to select all of these guys and delete them. When you open Maya again, all of these folders will be recreated and you're pretty much starting Maya from factory default, which is or should resolve about 90% of the issues. Now, the other thing I need you to do before we start working is to set our projects. So the way we work inside of Maya is we're gonna have scenes, we're going to have models, we're going to have Textures, we're going to have sounds. There's gonna be so many different elements. If we just keep everything in the desktop, everything's gonna become very messy, really, really quick. So Maya allows us to create something called a project. I'm going to show you real quick how do you create one? But then I'm going to tell you how to set up the one that you'd got from our files to create a new project you're going to go to File and then project, project window. Here you can create a new project. You can name it whatever you want and you can place it wherever you want. Again, by default, projects are going to be saved on documents, Maya projects. And here's where you're going to have all of your projects. The one that comes included with this one is called complete the 2024, Maya complete 2024. And you don't need to create it from scratch. It should already be there. The only thing you need to do is you need to set it. Setting it Project means that everything that we do is gonna be saved on the heirarchy of folders that that project has. So you're gonna go to File set project. You're going to select the project that we've provided so that everything that we do is included into this folders that we have right here. So just select the folder. You can keep this folder wherever you want. I have my own little partition on the hard drive to keep my projects. But if you want to keep it in the default place is fine. Just make sure you click it and you set it. Now, when we start the project, everything that we do, every scene that we save every texture to we open should be coming from that specific project. That's it. We're pretty much ready to start working here with my. So the first thing I need to talk about is the interface with movement in regards to the Components. So hang on tight and I'll see you back on the next 3. Interface: Very well. So in order to understand how to move things around here instead of Maya, we need to use the three most commonly things, which is selection, movement, rotation, and scale. In order to select something instead of Maya, we're going to press the letter Q. Q is our selection mode, as you can see right here. And it allows us to select whatever thing we have on the viewport we select by just clicking on top of an object. And this, as you can see, highlights the object and allows us to access something called its channel box, which are the information that tells us where this object is on the world. As you can see, every object in the 3D world will have something called translation, rotation, and scale, which is where the object is, how it's rotated, and what's the scale of the object. By default, this object is 0.1 on translation, rotation, and on scale. So Q is the basic selection mode. If you click outside of the object, the object gets a de-selected. We can also do a selection, like a selection box. So if you have multiple objects, show you real quick here. We have multiple objects and we select all of them. The last selected objects will be highlighted green, while all of the other ones will be selected with a white color. So you can see the last one that we select is going to be the green one. To add an object twist selection, you can click on an object, press Shift, and then select other objects. And we'll also add to the selection. We'll talk about multiple objects in just a second. Selection is the basic way in which we can access to the transformations of an object. Once we're inside the transformations, we can select what kind of change or what kind of modification we want to do. The first one is W, which is movement. As you can see, we're gonna get this thing called a gizmo. It gives more is this three arrows that we're seeing that allows us to know where the axis of the objects are pointing. So the red axis, as we've mentioned before, is the x-axis. The green axis is the yellow or yellow the y-axis, and the blue axis is the z-axis. So by accessing this axis, we can move the object in that specific directions. So for instance, I move this a sphere to the right. We just push this with the red arrow. And as you can see, that translation tells us, hey, this object is now 9.4 units away from the center of the grid. If we push this up, it's going to say, Hey, this object is now 9.1 units away from the grid. Every unit that we see here in Maya, by the way, it's centimeters. Centimeters are the default units for Maya. If we push this forward, as you can see, it's 15.7 units forward integrate. At any point, I can select all of the elements right here and all the units, and press zero to bring this elements back to its origin right there. Once we have this, we can move it again or we can use any of the other tools. Now, as you can see, there's a couple of extra buttons in this gizmo. The first buttons that I want to talk about, this little floating squares. These are squares that allows us to move the object in to access while blocking. The third one. Why is this useful? Well, imagine this sphere is here on top of the ground, and I want to move this sphere somewhere around here, but I'm not exactly sure. I don't want to be like second-guessing myself and just like pushing and pulling those guys right here to move it on the X and Z axis, I would like to be able to explore the position and make sure that this thing will not be moved on the y-axis. So if I select the little square right there, I can actually move it on the X and Z axis without moving it on the y-axis. So I'm only moving in on two axis. They can be sure that this thing will not be going under or over the floor. Once I'm happy, I'm like, yeah, about their sounds right? There you go. The sphere is right on that point. And I can either save this information or just know that the element that's where I wanted to be. It's very handy. For instance, imagine you were doing a room and we have like a frame with a photograph. We can use this one to move it along the wall and make sure that it doesn't leave the wall. But we can just position in the where we want it on the wall. So this little squares and very handy to again, a block one of the axis. There's another one which is this one right here. But this one's a little bit more tricky and I'm actually going to be using a box to show you this. Let's imagine that they've pushed this box to one of the corners right around there. And there we go. So that box is on that on the grids core. If I select the center line right here, you can see I'm moving all of the three axis at the same time. And they can move it to the back corner right there. It didn't might seem like the Cubists on the back corner. But if I rotate the camera, you're going to realize that the cube is actually floating in the middle of whatever this grid, right? The problem is, this cube allows us to do something called the free movement, but it's more like a camera based movement. So the Cameras becomes a flat plane. And depending on where we place it on the Cameras like plane, we're going to have it right there, but it might not be exactly where we want it. So on my personal recommendation, on this first chapters, I strongly recommend against using that moment right there. It is quite useful for more like organic movements. But for now, try to just move with the little elements right here, the little arrows, or would this whole squares, if you already know that you are on the plane that you want. If at any point you move the object and you want to bring it back to the origin again, just zero out that the translations on the channel box of your objects, which you can find right here. Sometimes this thing is hidden, just click on this one and you should be accessing the channel box. Another thing, if you at any point get lost and the viewport, you don't know where the viewport is. Don't worry, press F and F will frame the object is just a matter of moving our cubes. So that's again back to like a To the beginning, and you should be good to go. So F will frame the Scene and we'll get you back to the center of our little world right here. One final piece of advice, just to find a little thing here with the mob brush or whatnot movers, the Move tool. There's a shortcut which is Alt and B, if you do all to be your going to change the color of the background. Sometimes people have a little bit of an issue with the basic great background. I personally liked this one, but if you like this another one of the default ones, the blue background, it's mainly for display purposes. It doesn't change anything under renders or anything, is just to see the shapes in a better way. Now, if we jumped to the letter E, We're gonna go into the rotation tool which allows us, as the name implies, to rotate the object as you can see right here, I'm just going to reset this real quick. There we go. I'll explain that in just a second. So by rotating the object, we can rotate this on different axes, such as the y-axis, the c-axis, and the x-axis. We can also click in-between the axis and do free rotation, which similar to the movement tool, it's not a bad idea, but it might give you a slightly different like sort of problems at any point. We can also see you all the rotations of the object and we're going to be back to zero. If you click on the outer ring, you're gonna be able to rotate the object in a camera based movement as well. So if you're in a side view like this, it's kind of like doing a rotation. But you can see all of the numbers also go a little bit crazy here on the rotation. So similar to the movement to, I don't recommend using the free rotation or this one just yet. We will be using it but a little bit later. Finally, we have R, which is the scale tool. This is the final of the tools. Again, we've mentioned this is movement, this is, sorry, this is selection, movement, rotation and scale. With scale, we can scale or change the size of an object on the x-axis, on the y-axis, and on the CX, it might look like we're extruding the object. We're actually not, we're actually deforming the object. It looks a little bit more obvious with the sphere. The form of the sphere gets completely distorted. By using the Scale tool. As you can see, we can do it. We can also constrain it. It's only two axis, which can be very handy as well. Or in this particular case, I do prefer using quite a bit at a uniform scale, which is right there on the center of the object, you can manually input any number over here, say five. And the whole object is going to scale uniformly in all directions. So those are the three main tools WE and our, that I like to use to what's the word to create the, the, the object. Now, I do want to teach you a little bit about how to use all of these tools with a slightly more complex model. I'm going to ask you to do is delete anything that we have right here with Supreme. You're going to say File and we're going to import this little S2s cart start and we're going to say input. So this will Scene As you can see right here, ASA, small, little wooden car that we're going to be reassembling in order to practice some of the tools that we just mentioned. So as you can see, we have the little like a body of the car and we have four wheels and two axis. So I'm going to press W and I'm going to move the body of the car to the center, right around there. Now you can see that it's not perfectly like, like center and I cannot see where the cell because if I see what this out, it actually is gonna go back to this place where I placed it. Um, what's the word I placed that voluntarily? So what we need to do is we need to access something called snapping. I want to be very precise with my movement. And then when the snap this object so that the body of the car rest is right there on the center of the grid. How can I do this? By pressing the letter X. When you press the letter X on your keyboard, we're going to access a special thing called the snapping and Mouth, which is this one right here. This in particular is called Snap to Grid, which has the name implies will snap the object to the grid off the floor. So if I start snapping, I can snap this so that it's right there on the center. So I know now that this guy right here is properly position. However, I would like this thing to be facing forward. As you can see, it's kinda like facing backwards. So I'm going to press E, am going to rotate this around. And when I look for the amount of angles that I need, which in this case I believe it was 135. So I'm going to say -135. I'm gonna hit Enter. And as you can see now, my car is ready and it's perfectly looking to the front, which is what I want. The problem here is that I need to make sure now that all of the other pieces fit as well. So I'm going to grab this little guy right here and I press E to rotate. And if I rotate this, I know that I need to rotate this and 90 degrees. There we go. And then with W, I'm going to move this, am going to position it right there to give this car a nice little effect. Gonna do the exact same thing with this one right here. So I'm going to press E, I'm going to rotate around again 90 degrees to make sure it's perfectly flat. And we're going to position it right there. I'm gonna go with the next. We'll, in this case I need to go negative 90 so that the flat part of the wheel On the other side. And then again with W. I'm going to move it to the side. I'm going to try to get it as close as possible. Doesn't matter if for this first exercise we're having issues with the precision of our elements. As long as you can get it as close as possible, that's perfectly fine. Now grab this axial for instance, I'm going to push it and get it to overlap a little bit right there on the holes of the wheels. That's gonna give me a good idea of whether or not I'm like, really like how precise I am with my moments. I'm just gonna move this wheel a little bit right there. And as you can see, this fits way, way better. Going to grab this. We'll over here press E and we're going to rotate this around -90. And I'm going to push it right here. Now, don't try to go with other angles are decreasing rotation. I made sure to only move this in 45 degrees increments. We will talk about this a little bit later. But for this one, that should be more than enough. This one, for instance, I'm going to rotate. And as you can see, it's 45 degrees and it should be now perfectly flat. We can press W and we can position it right here as well. Right around there. We can snap it to the grid on X. There we go. So it's perfectly flat ice. And yeah, that's actually way, way better. So there we go with assemble our little car. And hopefully with this little exercises, you guys will be filling a little bit more comfortable movement rotation in scale, but we're missing one thing. If we select all of the elements, the lead, the floor, we don't need it right now. If we select all of the elements, you're going to see that elements will have different values in translation, in rotations and scales in that is a problem because if someone opens the scene and they select everything and they see that there's values. They might try to zero them out. If they zero the amount. What's gonna happen is all of the car pieces are going to go back to the assembled the situation that they have. So we're gonna have to use something called Freeze Transformations, which will tell Maya that this is the new base setup for our little car. Do that, just select all of the objects and up here on our shelf, we're going to click this option called Freeze Transformations. And this option, as I again said, we'll make sure that now this is the new default position. So as you can see, if we select all of the parts in the rotations and everything, they will be back to zero. Now I can see that this upper wheels are floating a little bit, so I'm going to select them. We might selection tools. Remember it's Q for selection. And then with W, I'm going to move them down. And then again, that's new transformation. So I'm going to freeze transformations once again. There you go. Now, if you imported this properly, I have a little surprise for you. You can press number six on your keyboard and you're gonna get the Textures of the little car. This is because I've actually created the material for this one before the exercise so that we could see the little wooden material. We'll talk about Materials and all of these things later on. If you don't see the material, don't worry. That probably means that you important things in a wrong way or maybe you have the folders in a slightly different setup. Maybe you didn't set up the project properly. But we'll talk about this later and I'll show you how to do the wooden car. So if you want, another little exercise that I like to give my students is once you've assembled your car, try assembling a different configuration for the car. For instance, we could grab this back wheels right here and then press R. I'm going to scale them. I'm going to scale them to make some really, really big wheels that are gonna be here on the back. Maybe I'm going to push this a little bit to the sides like this. And the actual is gonna be like a little bit smaller. There we go. He's slightly different configuration. Maybe it will have six wheels. So how can we duplicate an object? If you Sorry, if you select a couple of elements right here, we'd Q, Let's say this guy's and you press Control a, B, you can press W to move this elements around. And now we have another set of wheels, which we can also make a little bit bigger, a little bit shorter than we got a new car right here, reusing some of the assets. So headphone with this one, create your own little version of the car. Maybe you want to grab this guy, Let's Control D. I'm going to push it up. You're going to scale it in. I'm going to push it down and just create a slightly different version. And this is one of the font things about Maya. Once you understand how all of this work, you're going to be able to create very complex or very cool looking shapes without having to redo a lot of the word because we just really utilize what we already have right here. So I'm going to save the scene. To save a singer is gonna go to File. I'm going to save Scene As and I'm gonna call this car finish. It gives you want to see it. It's gonna be there on your project folders as well. The car start again. I can go file open scene and I can open my car start and we're gonna give me back. Let's save this real quick. We're going to be backed with this one right here. If you wanna go back to none texture mode, you can press number five on your keyboard as well. Number five is called just like basic mode. Number six is texture mode, okay? So there's a shaded mode and there's a shaded with Textures. So yeah, that's it, my friends. And make sure to do this little exercise assembled a little Garcia. Do you get used to the movement, the rotation, and scale of the components? And, uh, once you're ready, we're going to jump onto the next part where we're gonna be talking about the primitives. We're going to be talking about all of these different guys and how they have specific things that we can use. So hang on tight and I'll see you back on the next one. 4. Primitives: Hey guys, welcome back to the next part of the series. Today we're going to talk about primitives. Primitives are the shapes that we're gonna be using to create pretty much any single thing that we can imagine inside of the 3D world. There are basic building blocks such as this figure, the cube, the cylinder. And I want to talk about a couple of things that things have that are really important to remember. Whenever we're creating an object like this sphere, for instance, we're gonna get access to its transformation nodes, but we're also going to get access to something called its inputs. So this is for you right here, as you can see, has an input called Polys fear 3d. This is the command that tells us figure how to build a sphere. It gives us this radius and it gives us supervision axis and height. So how many polygons are making up at this sphere right here? If we're using a different type of affirmative, let's say we go to the surface and we use this thing called nerves. You're going to see we also get specific elements, but you're gonna, they're gonna be a slightly different because this is fear is a nerve sphere, which is a curved sphere opposed to this one that is a very basic just polygon sphere. So the cool thing you put the inputs is that they will allow us to modify the components of the object before we start working on the object itself. This is a great way to get a starting point closer to what we want to create. So let's say for instance, we want to reduce the amount of polygons that we have for this sphere. Instead of having 20.20, we can say, Hey, we want 10.10. And as you can see, this sphere is gonna become a more like low poly version of the element. Maybe we're doing, let's say we want to do something like the word like an umbrella. Umbrella usually have, I think six divisions. Well, we can go to six divisions and as you can see, we are going to get the divisions that we will normally get on an umbrella. Now, there are other components are primitives like this cylinder right here that has more options than the basic sphere. For instance, the cylinder. We can change the radius of the cylinder. We can change the height of the cylinder. And I'm doing here in the interactive way to change things by clicking on the name and then middle mouse clicking on the viewport We're gonna be able to calculate are just like scroll at generate the exact sort of measurement that you want. We got the subdivision axis, which is more or less divisions. We got subdivision heights, we got the subdivision caps. Like all of these things we can interactively change by clicking on the name and then middle mouse dragging from one side to the other. There's one that I really like about this one. If you do subdivision caps and you add a couple of caps, you can then go to round cap on and off and you can turn on or off the round cap. And as you can see, we're going to be creating something like a pill. So instead of having to create the sphere and then extruded and do like crazy stuff. Just navigating into the inputs of the cylinder will unlock more features that you might not be aware of. My advice is just click on the objects and see what you can create. For instance, this one, my favorite ones or one of my favorite ones. I am a huge at the end defense, so I can create a D20 very, very quickly, but they can also go here to the inputs and go to the primitives and change to a tetrahedron, cube and octahedron, a dodecahedron. And you pretty much have the whole like D&D dice set available for you. You can change the radius and the, any change that you want to do, you should be doing it at this point when you first create your perimeter. Now, there's other types of primitives. For instance, this one right here. This is a tax primitive where you click on the text and you're gonna get a, an input where you're going to be able to change the texts. In this case is you can see we're no longer on the channel box. This is the channel box right here, where on something called the attribute editor, which is another place where you have way more information that you can modify. So in this particular thing, this is called the type of polygon. Polygon type. You can go to the type in here. You can write something like, let's do my name. I'm going to say Abraham. If I write Abraham, you can see that they generated this new polygon that is both describing my name. I can write out like Maya. There you go. We got the Maya input right there. There's gonna be a lot of things that we can change. We'll talk about the type of polygon later on. But this is also an object. And all of these things that we're changing right here, alcohol their inputs. Now, once I started working with this letters, like if I want to animate them, if I want to modify them, I won't be able to come back to this part as easily because Maya works in this sort of like Stack way where every single action that you do modifies the original core substance or core way that this polygon was created. So any change that we do right now, we'll change this object and we won't be able to come back here. You're coming from a different software. I'm going to just mention Blender. Blender. You actually does not have a history. So once you do an action, you don't have a way to come back except by control scene. So you don't get this stack Inflammation of all of the inputs that are necessary to create the object. Now, for instance, this one right here, this is called the super shape, which we have like this sphere right here. And we have options such as changing the way dislike things work. There we go. So the forums, the opportunity to creating this very intense elements. I don't use this one as much to be honest, but again, feel free to just explore. Just click on some of this elements right here on the first row and see what inputs you can change to get an idea of how the basic primitives work inside of Maya. Now one of the things that we need to understand is the more elements, the more subdivisions we have on an object, more control we're going to have over this object thing, so something called the components. But I want to leave a BDS specifically for components because it can be very tricky subject at one first learning it. For now. Just again, just create some of these shapes. Just play around with them and make sure you understand where the inputs are. Control C if needed, if you find that you're breaking things up, that's fine. As one of my teachers used to say, polygons are free. So if you break it, it's perfectly fine to just started using and you're going to be perfectly fine. So yeah, that's it for this one, guys. I'll see you back on the next one. We'll, will talk about components, which are again, the building blocks of everything we do here in the 3D world. 5. Components: Hi guys, Welcome back to the next part of the series. This is a super important video because this is again, one of the foundations that we are going to be using to create amazing things here, instead of Maya, every single object, every single polygonal object that we have is made out of something called Components. And Components are the different basic parts of the built up our 3D world. In the case of a human body, for instance, the cells are the basics of everything, right? Cells create tissues, tissues, create organs, and then organs create systems and so on, so forth. Well, in the case of our elements here, instead of Maya, the basic unit of everything is called the vertex. In order to access the vertex, we need to right-click on top of an object, then select the vertex mode right here. This is a smart menu. All of these menus that you see here like radial menu starts mark menus. And if you just right-click on top of the object and select vertex, as you can see, we're going to jump into vertex mode. The object will change color. As you can see, it's now light blue and it has this like a purple dots. The dots are the vertex themselves. A dog is nothing more than a point in space. So this element right here has a specific point in space, which in my, I think my calculations are not wrong. It's gonna be 0.5 on 0.4 and negative 0.51 C and 0.5 on. Why. Now, the cool thing about vertex is that we can actually modify them. We can move them around. Vertex have no volume, they have no surface area. But the thing that they do have is position. So we can move this vertex around. And by doing that, we can modify the shape that we have. This cube is no longer cubes now this or like abstract shape. And it allows us to create something that's way, way different than the primitives that we have right here. Now, if you have to vertex together, we create something called an edge. So if you right-click on top of the object and you jump into edge mode, we're going to select this one right here, which is the edge that allows us to move the edge. Now, the edge, since it has a little bit of dimension, it has length, we can actually rotate the edge around and we're going to be able to, again, create an interesting looking shape. We will be able to scale it in certain axis, but there will be a point like this one right here where we can no longer scale that edge, but this edge, depending on how it's oriented, we might be able to scale it, but by default we can move the edge, we can rotate the edge and we can scale the edge. Finally, we have to face. The face is a collection of edges, at least three. There is no limit on how many edges a face can have. However, we don't usually want to have faces with more than four edges because those become something called an guns and they can be problematic with other softwares. So usually we're gonna be working with triangles and clots. That's the basic unit, four phases. We can scale the faces, we can move the faces and we can rotate the faces. And by doing this, as you can see, we can change the basic form of a square root of a cube into something that's a little bit more interesting. This is the way we're gonna be modifying and editing things here. So I'm going to show you a very simple exercise. I'm gonna go into object mode, which is the final mode. There's a couple of other modes, but we're going to talk about those letters right now. Vertex, edge, face and object are the ones that we're gonna be using the most. I'm going to go to object mode, and I'm going to create a new Q, create this new cube. And I'm gonna go to the inputs, remember the inputs, and we're going to modify the subdivisions. We're going to give this elements three subdivisions like this. Well, we're going to be doing, is we're going to be doing a traditional six-sided dice and we're gonna be accessing the specific elements of this object or the specific what's the word components to be able to get the result that we want. Julie, let me go back. We're going to start with the cube right here. And the first thing I wanna do is I want to round the corners of this objects. So we're gonna be using one tool that it's one of the most commonly tools are commonly used tools, which is the Bevel tool right here. However, the Bevel tool works with edges, as you can see right there. If you hover your mouse, it says that it works with edges or faces. So I'm going to right-click, go to edge mode. I'm going to select all of the edges which with a selection box. And we're going to click. There we go. As you can see, all of the edges of this cube has been doubled. However, they're not exactly looking like a six sided dice. So what am I gonna do? I'm gonna go to the poly bevel little box right here. If you don't get this, you can press the letter T and you should see it on your inputs as well. So as you can see right here on the element, if you click on poly bevel and you press the letter T, it should open up right here, this little box. And what I'm going to do is I'm going to modify the fraction. I'm going to make the fraction a little bit smaller. 0.1 seems good for me now, I'm going to increase the segments to two. Why? Because if we keep this elements at one, you're going to see that we have a triangle right there. And even though triangles are not bad, they can be a little bit tricky to work with. I want to keep everything with quotes. And by making this two segments, as you can see, we get a nice rounded effect for our objects. So there you go. We've accessed the components of for objects and with a beveled or rounded off the corners to get something that's a little bit more interesting. Now remember how on the last video, I talked about how we get this a stack of things. Now, we cannot go back and change the divisions. If I want to add more divisions and they start doing this, you can see that the bevel is kind of like disappeared. They go all the way over here. It's no longer rounded. And that's the current like the history that I was talking about. Once you start modifying an object, it's going to be very difficult to go all the way back to the beginning and change certain elements. But I would like to have some divisions here to be able to select the faces that will represent the numbers How can I do that? Well, we need to add more divisions, we need to add a more Components, more edges. And to do that, we're going to use a tool called Insert Edge Loop. We go to Mesh tools over here. So this tool is not by default on the shelf, but if we go to Mesh tools, you're going to find this thing called Insert Edge Loop. If I click it and I hover my mouse on top of an edge loop, you're going to see that I'm going to be able to insert and actually wherever I want. But I want this insertion of edge loops to be a little bit more precise. So let me show you another thing that's very important here inside of Maya. Every single tool instead of Maya will have this thing called the option box. And the option box, as the name implies, allows us to go into the options of the tool before we use the tool by selecting the option box of the Insert Edge Loop. As you can see, we have certain options. If at any point any of your tools are acting weird, you can just open the option box and hit reset tool, and it will reset back to default and it should work as expected. In this particular tool, what I wanna do is I want to select this option called multiple edge loops, because I want to insert two edge loops on all of the axis of this cube. If I do number of edge loops to, and I click here, as you can see, the cube is gonna be divided into equal thirds, which is exactly what we want, similar to what we would have done if we started with the subdivisions on the width, height, and depth. But I'm gonna explain why we're doing it this way Just a second. So we do two right there, we do two right here, and we do two right here. Very important when you finish adding edge loops or using any tools, press Q so that you get out of the tool and you don't accidentally edit the object. Again, it's very common that my students will use the tool, the Each relationship, that they forget to turn it off and then just start adding edge loops everywhere. And that's not what we want. Once you're happy, once you have divisions on all the three sides of the cube, you press Q to get out of the elements. You can press right-click and go to object mode to go back to the object, both of this cube right here. So you might be wondering, well, if we wanted to add divisions, why not start with a cube at divisions first, like this, 333 and then like round the corners. Well, for starters, if we go to the edge mode, we're not gonna be able to select everything because we're gonna be bubbling everything and that's not what we want. We will need to select each individual edge like this. And it's going to take quite awhile. Now, I'm going to do it real quick just here on the front faces to show you the other reason why we didn't do it. The other reason why we didn't do it is because, well, we Babel, the phases are no longer going to be symmetrical. So even if I do this right here, you can see that this phase right here is bigger, that this one's right here. There are certain no longer like perfectly square faces are a little bit more like rectangles. So the order of operations we use to create an object will impact on the final object that we went. We get. So keep that in mind. Now, we created a cube, we babble its edges. We did the Insert Edge Loop. Now we're going to use a third tool, which is called the extrude. And it's one of the most basic tools that you're ever going to use instead of 3d. This one works ideally with faces. I'm going to right-click, go into face mode, and I'm going to select one phase right here. And let's say 123 phases right here. Let's start with one first. If I select this face and I go to this tool right here, which is the extra tool. I can extrude this element and push the little hole of the dye, which is what we want, right? We can do the exact same thing here. Let's say 123. We extrude and we push this in, and that's what we're going to get. However, what I wanna do is I want to select all of the faces that are going to create the little holes for my die. Now, in order to do this, I need to know, and this is one of the secrets about 3d. I need to know how a six-sided die is organized, right? And this is one of, one of the things that I always told my students. We tend to think that we know how things work in the real-world. But if I were to actually ask people, most of the people out there wouldn't know that there is a specific order, for instance, to a die. And the order in this case is that opposite sides of the diet should add up to the maximum amount of numbers that you can get. So in this case, if you have six on one side, you're gonna have one on the other side and they together will add seven. In the case of a 20 sided die for the Indian stuff, you will always have the 20 on one side and the one on the other side. This is supposed to be to balance things out. So reference is super-important in all of the 3d things that we're going to be doing because we need to understand how the real-world works so that when we do it on the virtual world, everything is as close as possible to reality. So I'm gonna go to face mode, I'm going to select one face and then we'll shift. I'm going to select six faces on the backside right here. I'm going to select 123 on one side, and it's like 1234 on the other side because they add up to 712 on one side and 12345 all the other side. I'm going to rotate my camera around and I'm gonna make sure that they don't have any extra face selected. And now I'm going to click Extrude again. However, are not going to be doing just extrusion towards the inside. Because as you can see, if I do that, faces are going to start collapsing with each other and it's going to look really, really ugly. So what we're gonna do first is we're going to use one of the inputs are one of the special tools instead of the extra option, which is called the offset, I'm going to click Offset I'm gonna do this but see how the opposite is actually in very weirdly, this is because we're working with a very small cube, very easy. It's 1 cm cubes is really, really tiny, and usually this number is work better when the objects are a little bit larger. However, you can press Control on your keyboard and then click on the word and use offset to get decimal points and get more well-controlled on the overall thing. I'll do a control of 0.05 opposite. You can actually type this down this wall if you want to. But this is what we're gonna do. Then I'm gonna do a second extrusion. I'm going to click Extrude again. And I'm going to push this guy's in. And that's what's going to create the actual like little holes for our die. Now this looks really, really good. This you can see right here. Why nice? However, here's the magic. If I press number three, the whole thing is going to look smooth. We're going to get the smooth modifier. We're going to smooth everything. And now it's gonna look like a really cool die. However, there's model issue. The number six. What the **** happened to the number six? Well, the problem with the number of sex is that when we did the first extrusion, it did not know how to separate each face. Okay. With the offset, remember the opposite was a 0.05 upset. And everything else looks very nice because faces are like far apart enough that they know that they should be like doing it separately. However, the number of six did not do that because as you can see, we have this option called Keep Faces Together turned on. So we need to turn this off, okay, this is why I was telling you earlier that is very important that you explore all of the available things that we have inside of the tools in Maya, because there's so many little secret things that it will be impossible for it Tutorial to cover them all. So by exploring and understanding how these things work, you're going to be able to create more cool looking things. So now that we have this, we can do again our second extrusion and push this in a loop to create the little holes. We go back to object mode and if we press number three, have, are really clean, die ready to go. Now remember the inputs that we talked about. Look at this, every single action that we've done so far to create this elements, the modification of the components, the verdicts, everything, everything has been saved. Right here. We have the creation of the cube, the Babel, the edge loops that we inserted and then to extrude. So this is pretty much like our history. And the interesting thing about the histories that technically, technically we should be able to go to some of those histories and modify them. Let's say, for instance, that we went all the way to the bevel and we want to modify the fraction of the bubble. Which of you guys remember was how intense or not the Bible was? Technically, we can try it. We can say, Hey, let's go to a 0.3 bevel. Sometimes it will work like in this particular case. Like a cool that works like it did modify and everything got adapted properly to this new bevel. But there will be other things that will break the whole objects. For instance, if I go all the way down to the poly cube creation and I want to add more divisions, like on the height. Look at this. It breaks everything, breaks all of the elements that we have. It's no longer working. Why? Because the construction history does not allow us to go all the way to the back. So there will be some inputs that you might be able to modify. But usually once we're happy with the modification of an object, one of the things that we want to do, not only do we want to freeze transformations like with the little car, we also want to do this option right here, which is called delete history. So all of the steps that we did, the extrusion, the babbled insert edge loops, every single part of the way. We want to delete that because we don't want to create any potential problem later on. And by doing this, we ensured that this is a super clean optic. Last thing we wanna do, we want to go here to PQ one and we want to change its name to die, right? Because it's at six or we can call this like D6. There we go. Okay. So again, if you wanted to see it's more depressed. Number three, on your mouse and your audition Andromache on your keyboard. And you're gonna be able to get this smooth preview. You can duplicate this guy. You can create some model scene here with dye is like a casino or something. And that just like modify this guy's and rotate them and generate something that looks interesting. Now one word of advice because we did mention the number six, which was Textures. We don't have any Textures right now, but there's other modes that I need to mention. The first one is number one. Number one is the default mode here instead of Maya, which is like the normal polygonal Mouth. Number three is the smooth Mouth, and number two is something called a, like a hybrid. You're going to see the wireframe of the number one with the display of the number of tree. I usually don't use that one, but you can switch between them if you wish. Finally, there's another number that we haven't used yet, which is number four. Number four is the wireframe mode, and this is very important. Imagine we have like a really big die here on our scene. I'll make this really big. And I want to add like a sphere, like a roulette, little like lead ball or something. If I create these fear and I cannot select it because it's inside of the die. There's two things I can do. I can select the sphere directly here on the outliner and just move it out. Or I can press number four so that I can see through the objects, select the sphere, move it out, and then press number five again to bring it back into position. Those are the ways that we're gonna be interacting. But yeah, that's pretty much it, guys. And if you managed to do this dye, which I'm sure everyone should be able to do because it's, That's the simple step. Then congratulations, this is your first the 3D model. I would do a screen capture or something because we're then gonna be doing some very cool stuff. But remembering which one was your first model is always, always super cool. In the next video, we're gonna do a more complex model and we're gonna be using something called image Planes to bring the reference into Maya so that we can more closely follow the exact same thing that we're going for. So make sure to do this die, I actually would recommend saving this. I'm going to say File Save Scene. I'm going to call this dice. And we're probably going to be using it later on to do some, some rendering things as well. So hang on tight and see you back on the next one with an X model 6. Image Planes: Very well guys. So today we're going to start with one of my favorite projects. Every single student, the left thought for the past 12 years has gone through. This exercise is kind of like my rite of passage, and we're gonna be doing a barrel. So first things first, let's start a new scene by clicking this little object. Let's save. That is fine. And we need to take a look at Cameras because we've been working on the perspective camera pretty much since we started learning Maya, but there's actually more Cameras available to us. Probably have already seen them right here on the outliner. Now the question is, how do we access them? There's two ways to do it. First, we can go to this option right here on the side which are the orthographic views. As you can see, this is W, This is the front view. This is a side view. And if you hover your mouse over any of them and you press the spacebar, you're going to jump onto that particular camera. You're gonna know which camera you're in, thanks to this little description right here, this is the top view. This is the frontward, the perspective view. This is the side view, and this is the front view. Now, the way I like to jump between Cameras is actually not by using this one right here. It is quite handy, but I prefer to use shortcuts. The shortcut or they use is as follows. You press the spacebar on your keyboard and then you click on this Maya icon that you have right here. And you select which camera you want to jump to. Front view, perspective, left, top. So if we go to the front view, we're in the front view. If we could do perspective, we're in perspective view. You're gonna see me jumping in this Cameras like very, very quickly. And the more you use this, the more the faster you get. Now this is Space-bar menu is actually really, really cool. This is meant to be used with four people that like a lot of shortcuts. All of the things that you normally do inside of Maya, like the creation of spheres and things like that, like a rendering over here. Like every single tool is in here and this is Martin menu. You can actually modify this one. We're not going to really see this or go over it. But you can modify this radial menus to accommodate your personal preference. But all of the things we're going to be right here, so Mesh tools, it's here. Mesh menu right here, Animation, everything is here. If you don't want to use any of the menus are shortcuts. You can pretty much navigate the whole Maya by going into this menu right here. But in our case, we're just gonna be clicking on the Maya and jumping into the different perspective. We're gonna go to front view. Right now. We're gonna go to the front view because we want to import an image that's going to be used as a template to create the barrel. So by jumping here into the front view and by going to BYU image plane input image, we're going to be able to import an image into our scene. In your source images folder, you should have this called OK. Whisky Barrel PNG. I'm going to hit Open. And by doing that, as you can see now, instead of Maya, we have a new object, which is another polygonal object. They say different kinds of objects and image plane object. We have an object that we can move, rotate, and scale like any other objects. So the first thing I'm going to do something to scale this object up. I'm going to change the scale to something like at three. There we go. And I'm going to push this up until the corners of the barrel are on the floor. Okay. That's like the perspective that we're going for. I'm going to jump to the front view again. And I'm just going to make sure that this barrel is centered as possible. You can see it's a little bit skewed. So I'm gonna just like the fight this a little bit says as central as possible. We need to modify it later. That's fine. Now, I personally don't like seeing images like super, super intense with the colors. So on the inputs over here, there's gonna be one called Alpha Gain. And we can move this to something like 0.1 or maybe 0.23 so that we can barely see it. And we can work with this a little bit. The first question we need to ask ourselves when we're starting in my list. Which shape does this model is closest to from our primitives. But of course, the cylinder is the answer. We start with cylinder. We're gonna be really close to the shape of this barrel. Now, I'm going to go to the inputs. I'm going to start changing things such as the radius and make it a little bit bigger. I'm going to change the height to make a little bit taller, press W to get it lower. And then very importantly, I'm going to change this subdivision heights to six. This will give me enough division so you can capture the proper, like a curvature of the bear. So I actually six, perfect. Now that we have this, I wouldn't start capturing this curvature of the barrel. And I'm going to do it by accessing the components of the object. So I'm going to right-click on top of the object, go to vertex mode. I'm going to select the top edges and then Shift select at the bottom ones right here, I'm going to press R to go to scale mode. You're going to scale them in and scale them up. Scale them in, and scale them up. I'm focusing on the corners that we have here on the bottom part. I know this one's are not perfectly matching. That's fine. Again, I'm focusing on the ones on the bottom. Then I'm going to select the second row, shift select the last row. Again, the scale, the mean. Let's scale them up. Skill, the main, scale them up. I'm going to try again to match distributor as perfectly as possible. Let's grab the final ones here. We're going to scale them up a little bit just like that. Now, we're going to perspective mode. You're gonna see that with successfully created a barrel shape object, right? Grab this guy. I usually like to push this back so that we have the center of the grid open. So we successfully created the bell shape effect. The only thing that we're missing now are the top at the bottom parts where we usually have a like a cap right here. I'm gonna show you a very nice trick. I'm gonna go to face mode. And I want to select both at the top and bottom faces, like this Be very careful not to select anything else. And we're gonna do a couple of extrusions. We're going to start with one extra one right here, offset. And then we're gonna do another extrusion. Push this in. I'm using the blue arrow. Always use the blue arrow when using extraction. One of the things that we're going to be using. So let's go to the bottom so that we can see a little bit better. So I'm going to use the blue arrow and I'm gonna give it a little bit of offset. Probably like a point to one, I think. Probably like 0.15. We go in, then I'm gonna do a 3D extrusion and push this in to create the actual hole for the valence. So as you can see, we have three extrusions right here. We did one to create this border, second one to create this really sharp line going in. And a third one to create the depth that we're going four on the back. So it looks like the barrel is looking nice. But if we put number three, you're going to see that the border loses a lot of elements. I need to talk about something called the cabinet clerks have division algorithm. So I know this sounds very fancy, but it's not as fancy. Several years ago, cat but Clark to individuals capital N, Clark actually Ed Catmull is one of the pixel, pixel guys who, who founded picture. So a long time ago, they discovered that if they had the, a corner made out of three vertex, they could create a mathematical approximation to generate a smooth surface across them like this. And this is called the cabinet Clark approximation algorithms. So when you press number three, we're using this Kadima clubs thing, degenerate a smooth preview of how the object would be if we give them more subdivisions. Now, the problem is that when you do this, a sharp corner like this guy right here, gets automatically smoother. So how can we avoid that? Well, if we add more points to the corner, Let's say we add three points here on the corner. And then this guys right here, then the approximation changes. And instead of creating this curvature right here, since we have this edges right here, the approximation becomes a lot tighter. We call this edges or we call this point's support edges. By adding support edges to specific corners of the object, we can generate a harsher look overall, and you can add to support the edges in two ways. The first one is with double. So if I select this edge right here by double-clicking, and then Shift, select a double-click this edge right here, and we babble. We have two segments and its mole fraction. As you can see, we've pretty much added support edges and we will, when we press number three, as you can see, now we get a sharper, nicer when I repeated over here. So I'm going to select this guy right here, shift select this where with here, bevel, two segments and a small fraction. And this is what we're going to get. A nice clean edge right there. That's one of the ways to do it. However, there might be a moment, like for this line right here, we don't want to get a soft round corner. We want to keep a very sharp corner. How can we do that? Well, with the Insert Edge Loop, if we go Mesh display or sorry, Mesh tools, Insert Edge Loop and we interdental right there. What's happening there? We need to reset the tools. So double-click on the two over here. This is the active tool. We double-click the tool right there and we reset. And we can click and that one line right there and one line right there and we're adding support I just to deadline right there. So when we press number three, as you can see, we get a nice sharp edge. You can see we're definitely missing a couple of edge loops here. So I'm going to add 1.2. And that's gonna give me a nicer cleaner look there when we press number three. The same thing again here I'm going to repeat, so G is to repeat the last tool, which in this case is our international. We're going to insert one there and one there. And we're going to insert two. There, will press three. And there we go. We get a really, really clean barrel with nice support edges in a super clean, smooth surface over here. But that's not all, were still missing the rings, right? We definitely need to do the rings. So how can we do dose? Well, again, when we're thinking about doing a new model, because it's gonna be a separate model from the barrel. We're not going to model it from this mesh. We're going to create separate new models. We need to find which shape looks the closest. And I would say probably the cylinder again. I'm going to create a cylinder here. I'm going to go to the options or just to the scale and this gives going to scale it up, make it smaller. I'm going to press this one and press number three to get the actual surface or the actual curvature. I'm going to match the lower border of the cylinder to the lower border of my barrel right there. Then I'm going to grab this vertex right here and we are, I'm going to scale them down. I'm going to move them so that I can create the proper width of the element which is right around there. Perfect. Look at that. Now. Of course, we don't want the inside of the cylinder, right? All of these phases, we don't need them. So I'm going to right-click select faces and select all of these phases to delete them We're gonna be left with the thin ring right here. And this thing ring that we have right here. I'm going to Control E, which is the shortcut for extrusion Control E, we're going to extrude this out to generate the thickness of the rig. Looks good. However, when I press number three, we lose a lot of the nice like Chris volume that we have. So I'm gonna go to the edges, shift and just double-click all of the edges to select them except for the ones on the inside. We're going to double them, label them with two segments and its mole fraction because we know when we do that and we smooth things out, we're gonna get a really nice sharp effect. We can make this a little bit smaller, even if there's a little bit of overlap, that's fine. Just to get a nice clean ring right there. If we need, we can make a little bit thicker. So just scale it up and that's it. Now, we don't want to do double the work or triple to work. I'm just going to press number one, Control D, W, push this up. Definitely going to have to make it smaller so we fit the proper curvature. Then we're going to grab all of this vertex, make them smaller as well. So we fit the curvature of the barrel. Might need to push this out a little bit more or make a little bit thicker. That's fine. Control D, go to the top, make it smaller as well. Go to vertex mode, grab all of the vertex at the bottom part, scale them up a little bit. There we go. Oh, that's definitely a little bit too small. This one also. So let's scale this up a little bit. And scale this one upload. Perfect. So now as you can see, we've successfully created the three rings that this parable is going to have at the top. Now we just need to create the ones that it's going to have on the bottom. What's the easiest way to do that? Just select all of this case. Control D, E, rotate them all 180 degrees and position them where they're supposed to go. So this one right here, it's gonna go right there. There's one right here. Right around there. There's one right here. It's gonna be right there. Now, as you can see, I'm not doing this super precisely. There are ways to mirror this in a super precise way. But for this particular exercise, I actually liked the sort of like chaotic look to it. Like when things are not perfectly symmetrical, they tend to look a little bit more real. And by doing it this way, as you can see, we generate a very, very clean results. So there you go, my friends, if you were able to get all the way to this point, then I would like to congratulate you again because you've successfully done your second model. Not only is this molar ready, this model is actually production ready. So you could use this inside of a game instead of a movie, like as long as we texture it, of course, but the model is full. It's properly fulfilling all the things that we need to do to get a clean CGI model. Now there's a couple of things that they wanna do before we close this chapter or this video right here, the first thing is, I want to go to the cylinder. I'm going to change his name here on the outline. We're going to call this a barrel because I want to be very organized on the way I do things. And then all of these rings right here, it might be a good idea to have a single group that moves them altogether in case we need to move them as a whole. So you can actually select all of these guys and press Control and G, control G will group them together in a single group, as you can see right here. And I can call this group barrel rings. And then all of this, once we definitely need to name them as whilst we're going to call this ring a, gonna be Ring B, C, ring. See, there we go. Ring D. This is mainly so that each of them has its own name, its unique name. Maya doesn't like when two objects share the same name. So that's why we're giving a single name to all of them. I'm going to grab all of the elements and we're going to delete history and freeze transformation, which are this two things which allows us to make sure that the object is perfectly clean. And if anyone opens the scene, they're gonna be able to to get the barrel, use it however they want. But if they destroyed or whatever, at any point, I could just like Ciro, the rotations, translations and the object is gonna be back to the orange or the objects going to be back to the origin point of mine. So yeah, that's pretty much it guys. Now you're also part of the Cloth. You've successfully modeled a barrel. And we're ready to jump onto a couple of extra little things that they want to show you on this first chapter, just to get you an idea of where we're going to be going with all of the remaining chapters. So we're gonna be talking about the production pipeline on the next one, my friends, hang on tight, LLC back on the next one 7. Production Pipeline: Hey guys, welcome back to the next video in the series. Today we're, are in this one we're going to go through something called the production pipeline. And don't worry, we're almost done with what I would like to call it the Tutorial. And we're gonna be going into all of the amazing things that we can do inside of Maya. So we are part of this world where we produce things for the entertainment industry. Usually however, the 3d can be used for a lot of other industries. Now, in the entertainment industry, we have this thing called the production pipeline. And this diagram, I've been using this for so long and probably like ten years or something explains perfectly, perfectly well how this is done. There are three main areas, pre-production, production and post-production in these three main areas, our main focus throughout this course, it's gonna be the production area. The production area are the steps that we will be following to generate the final image that we're gonna be presenting, the audience, or clients, or anyone who's gonna be the consumer of the product. Now, as you can see here in the production area, this thing is divided into different sections. We got layout, research and development, modelling, texturing, rigging, animation, VFX lighting and rendering. We won't be able to go through layer than researcher in development because this are only usually made by big companies that are trying to do something completely new. We're going to be starting next chapter with the modelling section. We're gonna be learning about traditional modelling, poly modeling, nerves Modelling, a little bit of everything that we can do in regards to modelling. Then we're going to take a look at Texturing. We will learn rigging, we will do animation. We will be a little bit of effects and lighting and rendering. So as you can see it right here, this is pretty much at the next couple of chapters that we're gonna be going through to make sure that we get a really, really nice result. And we understand all of the things that we can do here inside of Maya. Now, I won't use this video not only to explain the production pipeline right here, but to let you know that there's also other things that you can get into the industry with, such as storyboard, the sign would concept ART and things like the color correction. Any sort of like motion graphics and all of the light. When you, for instance, grab a light plate and you combine it with 3D stuff, all of that sort of stuff is usually done in compositing with post-production. So this is a career. I've been doing this for over 12 years and it's an amazing, amazing journey. Hopefully in the next couple of chapters you're, will be able to not only learn but put into practice all of the amazing things that we can do here inside of Maya. Now, before we jump into, into the final bit of this chapter, which is, I'm going to show you how to do a nicer render here with this very quickly so that we can showcase and then you can share with the world your first steps into the 3D world. I do want to go over a couple of optimization things that we can do here inside of Maya. We've already talked about how to reset Maya. It gives, there is an issue. So if you go to Documents Maya, the version of Maya we're using, which is 2024. And you erase all of these things, you're going to bring Maya back to its default state and it should solve any issue that you might have. Other common issues that people find, as I've mentioned before, losing sight of your viewport, just press F to go back into the element. Then we got the crushing. Maya usually crashes every now and then. So if you are fond of using other Save, you can click this little button down here, which is the Preferences. And you can go to upper or is it I always forget where this, I actually don't use all the save as much to be honest, but there we go, files and projects on their foster Project at the autosave feature which you can enable. And you can set up a specific project where this is gonna be all the saving. It does this automatically every X amount of minutes, as you can see here, it's 10 min. The reason why I don't love using it is because with vague Files you get multiple copies and it can be very heavy very quickly or you can get very heavy very quickly. But if you want to use autosave, feel free to go here. There's one option that I do recommend changing under the undo options. Make sure you have undue turn on. And I'd like to use not the infinite queue, but finite queue. And on finite, I set this to 300, which should be more than enough so that the computer doesn't have to save as many states. Other a couple of things that you can do if you go to the display options down here on the rendering engine, I am using Direct X 11. By default, this is set to OpenGL core profile, which is this one right here. But if you have a GPU, like a dedicated GPU, you might be able to use strict X 11 and you might get a couple of extra frames in several parts of the software. Other than that, when you open Maya or when you close it as well, it needs to load a lot of different plug-ins and things that's gonna make it run a little bit slow. So you might want to go to Windows Settings and Preferences, settings and preferences Plug-in manager. And down here, after the main plugins, all of these ones right here, bifrost looked of X mash. This one right here. No, Maya Toronto, we want to keep that one on sweep once finds will substance like there are some plugins, Those are the three main ones to bifrost mash, then the substance plug-in, also xgen all the way down here. You might want to unload dose so make sure that they're not set to load it or a load so that the next time you open it up It's a little bit faster. Those are a couple of things that we're going to be using. And it's going to, yeah, it's hopefully going to give you a really great experience as we keep learning about our modelings right here. So this was just a short video. Again, we will be going over this whole production line right here. We're gonna be, I'm going to be showing you, we're going to be doing so many exercises. I think I counted they were like 24 exercises or something like that in total for modelling, texturing, rigging and everything. And by the end of this course, the idea is that you guys have a great understanding of how the production pipeline works and how you can create your own creations. So, yeah, that's it for this one guy is just one more. For this first introduction chapter, we're going to go over a quick render setup here for our barrels. So hang on tight and I'll see you back on the next one. 8. Lights and Render: Hi guys, Welcome back to the next part of our series. This is the final video in this first chapter and we're gonna take a look at lights and Render. I'm going to show you super, super simple tools that we can use to showcase every single thing that we do in the best possible light. So it makes me very sad when people are learning 3d and they do models like this barrel and then they just screen capture computer and upload it to Facebook's like, Hey guys, look, I'm running through the, and it's always very cool to see people learning 3D. But I'm always like Dude, if you could just spend ten more minutes making a nice clay render Elvis, you would get so like a very nice result. So here's what we're gonna do. I'm going to create a little plane for this guy, going to scale this up. And then I'm gonna go into component mode. I'm going to grab the edge on the back, this one right here. Actually, this is the back and shift a double-click the one at the top right there. I'm going to press W to bring this up. And this is going to create the backdrop for our plate, for our render. Double-click this edge, push it up a little bit, double-click it. It says push up a little bit and double-click this edge and push it up a little bit right there. So that when we press number three, as you can see, this becomes a very nice, very clean, like an infinite background. This is called an infinite background. I'm gonna grab this edge right here. I'm going to push it forward a little bit as well. There we go. Then if we want, we can even scale this one a little bit more. Now, we need to create one camera, a camera like the polygons that we've been using. It's an object, an object that we can use to create a different shutter to see that scene from a different point of view. So I'm gonna go to the rendering tab right here. Then when you click on this bundle, which is the camera, right-click it go panels, look through selected, I'm going to assume out and just move my camera. When you do panels look through selected by selecting the camera, It's pretty much like going into a new perspective camera. And this is what we have right here. Now on the buttons here on the billboard, There's this one called the resolution gate. Really important because this is going to tell us what we're going to be rendering. And I want to render a nice shot like this three-quarter view of the barrel, something like this. Now you can see that moraine out the proportions of my Render are not perfectly square. And I think I would like a square render for this particular shot right here. So I'm gonna go to this little button right here, which is called Render Settings. You can also find it on Windows, Rendering Editors and then Render Settings. Okay, it's this wrong right here. Again, it's the one with a little cogwheel Render settings. And under common, down here, we got the presets of the size that we're going to be doing this. I'm going to do this. A to K to K is like really, really good. And now I'm going to move my camera to frame this a little bit better, something like that. Some people would like to do, like the perfectly square like very symmetrical element. I'm going to go look something, something like this. I think it's going to look, there we go. Now that we have this, if I press number seven, we're gonna go to a, another mode that we haven't seen yet. Remember, number five is shaded mode, number six is texture mode. Number seven is a leitmotif, but we don't have any lights. We need to add lights into our scene to make this thing look a lot better. How do we jump back into perspective Mouth? There's a couple of options. Of course, you can press this bond right here and we're gonna be in perspective mode. Or you can press the space-bar and go to perspective mode. If we want to jump back into this camera, will just select the camera. And again, panels look through selected and now we're back into the selected cap. But I'm gonna go back to perspective mode. I'm going to press number seven and I'm going to add my first Light. Now, you might be tempted to use this slice right here. We're in the rendering tab after. All right? And we could use the slides. However, we are using a render engine that's called Arnold. It comes installed by default. It's this one right here, is the empty you, if you're plugging is not enabled, you're gonna go to Windows, Settings and Preferences, Plug-in Manager and Jews are going to write empty array. And here in Maya Toronto, make sure that this is set too low that I usually keep this as outlawed because I use it all the time. And once we have that, if we go to the Arnold tab, we're going to have lights here that we can use. You can also find the slides here and Arnold Lights and it's all of this was right here. We're going to use the basic one which is called an area light. I'm going to click this one right here, press W and bring it up. I'm going to scale this up and I'm going to rotate. So the little line is pointing towards the bear. Now the light is actually their board not seeing anything because we have very little exposure on the light. So as you can see on the channel box of the light, we didn't have a lot of things to really play around with the cardboard with a light properties. In this particular case, we're going to jump to the attribute editor to find the light information in here under exposure, I'm going to change this to something like a ten. And as you can see, now we have Light. Look at that. We get the really nice glow hitting our barrel. I'm going to bring this light to the side and I wrote it a little bit. Kinda want to have this sort of like a side view, something like this. Then increase the exposure a little bit more. I'm gonna do like a 12th. There we go. That looks a little bit better. If it wouldn't see shadows. We can turn on this option right here, which is shadows. And as you can see, we're gonna get shadows on the viewport. This is by the way, using something called viewport to 0.0 that allows us to see all of this elements. However, in just a second, we're going to throw in or we're going to create an actual Render Now I'm going to Control D to duplicate this light and move it to the other side because I want to create a nice little composition here. And as you can see, we're going to have this one right there. Perfect. One thing we can do is we can use something called temperature. And don't worry, we're going to talk about Lights way more later on. And temperature will allow us to change the color of Lights. However, as you can see, we're not really seeing it here on the view port. So I'm gonna make this light a little bit colder by increasing the temperature. And this one, I'm going to make it a little bit warmer by bringing this temperature down, something like there. Now to actually see what we will be seeing on the good render, because this is kinda like a preview render. I'm gonna go panels, look through selected again. I'm going to say Arnold, render. What this will do is you can see is it will throw in and it will do the proper calculations to get the nice result that we're seeing right here. This window that we get is called the render view that make it a little bit smaller so we can see it as a full screen. There we go. The render view is the place where we're going to be seeing well, the final render of our elements. Now, you might have, I'm sure if it happened, but it might there might be in a little bit of a cutout in the audio right here. And that's because when they hit play over here or when I say Arnold, render, all of the resources from the computer are going to be used to render the image. And that in the case of Mike case where I'm recording, it's going to mess up with the encoder. Now I'm going to show you a very quick thing that we can do here to increase the speeds. And this only works if you are using a GPU, a dedicated GPU, and usually it should be a NVIDIA GPU. If you go to Render Settings and we go to System, we can change the render device from CPU to GPU. And by doing that, the next time I render, it will be considerably faster as you can see, it's just calculating all of the lie that we have here and look at as we get a really, really, really clean render. It took 4 s on my GPU to render this to K image and we get a really nice image. The only remaining issue is that there's a little bit of noise on the image. Some people like the noise. They feel like it looks a little bit more artistic. However, most of the times we want to get rid of that noise in the way to do that is by going into this little cogwheel right here, which might not be turned on, on your specific computer right now because it's the first time you're using it. So if you open this little options right here on the post options, we can add something called an imager. And again, if you're using a GPU, NVIDIA GPU, you can use it, the noise, your optics. If you don't have an NVIDIA GPU, you can use the noise or Oyin. And by adding this the noisier, what's gonna happen is the next time it renders, it will clean the image, see that it does. It uses a little bit of AI, artificial intelligence to find out how the colors should be increases. Super nice, clean image, and that's it. So a very simple camera right here, two very simple Lights, one on one side, the other on the other side. At the exposure again, it was set to 12 on both of them. One of them is war, one of them is called. And look how nice this looks if you're coming from a different software. Because I know we've got a lot of people that sometimes have been using things like Blender. This is very similar to cycles instead of Blender where it goes through actual ray tracing, a path racing to give us a nice result for the render. This that we see right here, this viewport to point, you would be a little bit more similar to what we'd see with EV, which is a real-time rendering, which is really, really fast. But as you can see, it's not as exact or precise as this one. Finally, let's say we want to save this image. We want to showcase this or show it to our friends, which is going to go File, Save Image. And we're going to save this in our images folder. Just going to call this a barrel underscore. Very important. If you go File, Save Image Options, make sure that this BWT transform is said to use display settings. As you can see, it's for a bit formats only. And what's gonna happen here is this should be saved as a JPEG. I believe it's been picked by default. There you go. And it should be the exact same image that we have on Maya. Now, with this, my friends, I am happy to announce that you are beginning your journey in this 3D world. We're gonna be going through so many things by the end of the day or by the end of the scores, you guys are not going to believe how much information just absorbed through all of the exercises that we're gonna be doing. But hopefully with this, you have not only your first model, but your first actual 3D CGI render. So hopefully you've liked this first chapter. We're going to have a lot of funding the next upcoming chapters. And if you have any questions about this, makes sure to review the beat, the videos of all the shortcuts and all the things that we're going to be using and helps you back in Chapter two, we're, we're gonna be focusing in Modeling 9. Poly Modelling Basics: Hi guys. Welcome back to the next part of the series. Today we're going to start with the poly Modelling. And this is probably one of my favorite chapters, or at least one that I have a lot of font teaching because we're actually going to be doing props that we could find instead of a game or commercial or a film. And today we're going to start with this very cool one, which is a hammer, a sort of like stylized hammer. This one right here. This is going to teach us a lot of the basic things that we need to understand that both poly Modelling and even though we will not be texturing it in this chapter, we will eventually texture then give it this sort of like rock texture to make it look really, really, really cool. So, yeah, let's get to it. We're going to jump straight into a new scene here inside of Maya. And the first thing we need to do is we need to bring this hammer into one of the abuse. We need to decide which view it is gonna be. Now when you model, it doesn't really matter which Bu modelling, but it does matter which view you use at the end to export to an engine or something like that. So we're gonna be Modelling from the front view. Actually. Let's go right back. We're gonna be modelling from the right view. So spacebar click on my right view. And this is usually the way we want things to be because we always want the elements to be pointing towards the front. I'm gonna go Bu, image Planes, input image. Or you can click this little button right here, which is a shortcut to image Planes. And we're going to select our hammer concept are right here. Now I'm gonna make a little bit bigger, something like this, doesn't have to be extremely big. And I'm gonna move this thing. We can center it there, get it as close as possible to the center line, right here. There we go. Now, as you can see, this model is made out of multiple components, and this is one of the main things that I'd like to teach. We can make really, really cool looking things by mixing and matching the different elements that we have on our assets. What do I mean by this? Well, since this thing is made up of multiple pieces, that means that we can make it out of multiple geometries. We don't have to model one thing from a cube and make sure that everything falls into place. One very cool rule of thumb that I like to use as IV. You see different materials being used. For instance, this leather right here that we have this like wood or it could be leather as well over here, metal and rock. If it's a different material, you probably want to have a different, a different geometry as well. Now, when we decide where to start, I usually like to start in this particular exercise with easy pieces. So for instance, we got this one right here, the base of the hammer. Now in a very similar fashion, I'm going to move this thing lower a little bit. So at the corners are on the ground. That means that the perspective is going to be right there. I'm going to create a new cylinder. Control. A is a shortcut to open the attribute editor, we can go to the channel box and we're going to change the subdivisions to six because we want to have this or like 123456 dimensions. There we go. Now you can see that we need to rotate this thing. Probably like 30 degrees. I think 30 degrees is that is the number here. Let's go to the perspective view and just make sure that yeah, as you can see, we got a very symmetrical piece right there. We go back to right view. And what I'm gonna do now is I'm going to add a couple of subdivisions very similar to what we did with a deep barrel. I'm going to go subdivisions height and let's do like 45, Let's do five. Now, I'm going to scale this up until the top part meets the proper size and we're going to position it right there. And then I'm going to grab the vertex, this guys right here. I'm going to scale them up until we meet the site on the bottom. Now you can see that we're not matching the concept perfectly. This is very, very common one. We're following a picture because this picture right here, it's just a concept piece. So some of the perspective things might not be perfect. And other, the other thing is, this is not like an orthographic leg engineering things, so we just need to capture the general shape of the whole thing. So I'm going to start scaling this things around to generate the curvature that we have right here. I'm going to actually push this in a little bit to create nice little curvature right there. And, um, I think I'm going to grab the whole object, right-click, go to object mode. Just make a little bit thinner. There we go. Something like that. Perfect. Now if we take a look at the perspective, you can see that we got something that looks really, really cool. I'm going to push this image to the back. I usually like having my image Planes here on the backside of the LMS. And we've used, or we just created a primitive with a couple of components, in this case the actual to create the base for this hammer. But if we take a closer look at this and you're gonna notice that all of the edges are a little bit rounded, right? Well, here's where the verbal comes into play. So I'm going to grab this top edge right here, this top or bottom edge right here. But then I'm going to shift and double-click this edge right here. See, because I do want to graph the inner border of the thing. Some of you might be wondering, well, why wouldn't we just grab everything and then eliminate this once we've controlled. You can also oh sorry, you can also do that. That's a perfectly valid option. I remember my teacher just to tell me that there's multiple ways to get to the same point here instead of Maya. And you can just select everything and then Control double-click on this edge loops to deselect them. Now, I also want to deselect the top part and the bottom part so that we only have the borders of the thing. Now that we have this, we can hit double. And it's gonna give us a nice bubble. I'm gonna give this two segments again to get rid of the triangles that we normally get when we have only one segment I'm going to bring the fraction that remember that you can press control when doing this to get a little bit more control on the slider, like an invisible slider that we have right here. Then I haven't ride around there. And then we go. Now, if I press number three, as you can see, we get this as a very, very nice flat surface effect. So that's it. That's the first part. Now, once I'm finished with a part, if I want to keep my work clean, one of the things that they need to do is I need to center the pivot point, delete history, and freeze transformations. So all of these things are clean. And it's a good thing to change the name to something like hammer or pummeled, which is the base of the hammer. Perfect. Now let's go to the right view again, and let's go to the next part, which is this thing right here. You might be wondering, well, how are we going to do this? It's always important when we're looking at a complex shape to try to break it down into its simple elements. So what is the simplest things that we see right here? It's a cylinder, right? So let's start with the cylinder. Let's start with a very basic cylinder right here. Make it a little bit thicker. I'm gonna make it a little longer. So it goes into the hammer and a little bit into the bundle. It doesn't have to go all the way through. This is a very important role about Modelling if you don't see it or if it's not going to be seen, you don't need to model it. So we're not going to see this like the insights of this hammer at any point of the animation or whatever. We really don't need to do it right there. So that's it. That's all I need. The only problem with this, with this handle right here is if I press number three, you can see that the caps of the elements are going to get a really weird result. And this is because of the subdivision, Cadmus Clark's of division that we've talked about. There's a vertex on the center, there is a vertex on the border, and then the next vertex all the way over here. So when they do number three, it tries to calculate all those things right there. Couple of options. First of all, we could of course bevel this, but in this particular case is suddenly have an easier option. If I go to the vertex of this guy, select the top vertex and press Control F 11. We can delete the faces. And when you don't have an extra vertex there, when you do number three, which is like smooth both, you're gonna see that we don't have that same effect. Turn the Carnot real quick. Forgot to turn it. There we go. Now, this button right here is one of my favorite options inside of Maya viewport is called Isolate Select. So you can see that I wanna do the exact same thing on the bottom, like faces which are right there, but they're a little bit hidden. So instead of having to move this thing, it really erase them and then bring them back. If I select the object and I click this little button right here, I'm gonna go into something called isolation mode, Isolate Select. Now, I can work on this thing without being bothered by any of the other elements. You can select multiple elements as well. To get into this a specific area, I'm going to grab vertex Control F 11 and we delete this one, and there we go. So now this is an empty cylinder that as you can see, is going to serve the function of of being in the place where we're gonna be positioning all of this like leather straps. So how are we going to create this leather straps? Well, some of you might be tempted to go to this tool right here, which is called the sweep Mesh. It could be useful but not in this particular case. We're actually going to be using, if we go to Create polygon Primitives, we get this thing called the helix. So I'm going to create a helix. And as you can see, a helix is nothing more than a coil, coil thinking. And we're gonna be using this one. So firstly, I'm going to do is on the subdivision axes, you can see it's an eight-sided helix. We're going to bring this up. Division X is down to four. Then we're going to change the twist where it's not the coil. We wanted to change the twist a little bit. So it twists and goes flat against the what's the word against the surface. We're definitely we need to count how many of this we have to have 12345, something like five coils. So let's go here on coils and say five. We definitely want this to be a lot longer. There we go with, We definitely need the width to be a little bit bigger, so we are actually holding the whole thing, radius. We also want to change the radius here. I'm actually going to go here. I'm gonna go up a couple of subdivision levels and I'm going to explain why in just a second. I'm gonna go to like eight again. Guess as you can see, we don't have an option to write rotate around the, the elements of the, of the of this leather cutting. So we're gonna go over there. Definitely need to increase the height a little bit more. I could probably increase the coils a little bit more. Let's do a little bit more radius. There we go. So as you can see, that looks a little bit better. Let's closer and we can work with this. So I'm going to isolate this and I'm going to show you how we can simplify this elements so that we get a flat effect, which is what we want. I'm going to select these two phases, the top face and the bottom face. So I'm gonna delete them. And then I'm going to go to Edge mode, and I'm going to delete this edge right here, as you can see, goes across the side, the backside. And I'll hit Control and delete. Very important you do not just deleted because if you delete it, you can see we are, we keep the vertex right there and we don't want to do that. We're going to say Control and delete. That will delete the edge and the vertex. And we're going to have this flat surface right here. Now, this is where the magic happens. I'm going to select this face and then shift select the next phase. And as you guys know, we're gonna be selecting this whole thing right here with the outer edge. We're going to shift and select everything else And delete and look at what we get. We get a nice spiral that goes around the element in the way that we want. Okay? Now the only thing we need to do here is we need to do an extrusion and probably push this out. Look at that. Now to get the extra layer because you can see there's like multiple layers there. That's fairly easy. We just Control D, scale this a little bit and just push it up, right? Something like this. We created a little bit of overlap. And this gives us two different elements. But before I do that, I actually wanted to go back to this piece right here. Isolate, Select again. I'm going to select this one, this one. The lower one, like this. Very important that we select this once right here, the ones that are create the extrusion. Once we do that, we can bevel them again, two segments and its mole fraction. Of course, there's gonna be quite a bit of geometry. We're going with, with high numbers of geometry because this is a really curve element. Whenever we have curve elements, there's always gonna be an increase on this stuff. For some reason I have five options right there. Let me change this to Let's just two segments. And something like that. History will make it work a little bit faster, and that's it. So now we have this thing, and again, it's a really dense thing because it's completely normal. It's okay to have dense matrix every now and then. This is not something that we will be able to use on a game. But it doesn't mean that it's, it's a bathroom element. So one option do we have is, as I mentioned previously, is just to duplicate this thing. Like maybe make a little bit shorter in and just play around with the sort of like overlap the weekends you can see that makes it look really, really, really cool. But I want to hide this corners a little bit more. So I'm going to show you a new tool here before we finish this first video. I'm going to select the faces that we have right here. And I'm going to press the letter B on my keyboard. And as you can see, what's gonna happen is everything's gonna turn on into this or like gradient color. Now, if yours looks a little bit different because right now as you can see, mine is only grabbing this corner right here. If you're it looks a little bit different. You're going to have to go to Move brush. And here on the soft selection, I changed mine to surface. I think by default it's set to volume. So as you can see, it's going to look a little bit more like this, but I'm going to change your mind to surface. Selection is the way in which we can, as the name implies, move something, and modify other elements that we're not actually selecting based on this gradient. So if I move this thing down, as you can see right here, I can move it all the way down to create a really nice and clean overlap on this part, height where this thing ends and generate something that looks really cool. I could, for instance, select this phase right here and do the same thing. I could just move it down a little bit and create a little bit of overlap on this area. And then I could grab this guy right here, push it up or push it down. So it's very cool now if we want to modify the gradient, for instance, let's say we go to this face is on the top right here. And we will not affect more than just this part right here. I can press B and then middle mouse drag and change the size of the influence of our element. Okay, So if I increase the influences, you can see when I move this thing, all of the points are going to be moving. This works for rotation as well. So as you can see, if I rotate here, all of the things that are going to try to rotate as well. And this is a really nice organic way to modify certain things that My not vec2 just like do it manually other way. Now this overlaps that we're trading here. Some people get too worried about those. They're not the end of the warlike. It's fine to have overlaps every now and then, especially on an object like this which is not going to move. But later on we'll talk about how to fix those as well. Now, I'm going to grab this guy right here. And also I want to bring the influence down a little bit. I want, want to push all of it. And I do want to move this around. There we go. So they kinda like goes into the top part of the hammer. For instance, here we can push this one. This is an excellent way, as I've mentioned before, to add a little bit of like organic deformation to the whole thing. One of the main issues with 3d is that every now and then when we create things, they look way too perfect to CG, to computer-generated. So by adding this, as you can see, we can create a very interesting complexity that will be impossible to do from the beginning. So there we go. This video, we just learned self-selection, which is learn how to use this spiral tool, how to extract faces and use a primitive to create a more complex shape. And again, what I wanted to share or share with you with this is how we can create a really complex elements with very simple shapes. So I'm going to stop the video right here, guys. And in the next one we're going to continue working on the remaining parts of the hammer, so hang on tight and I'll see you back on the next one. 10. Mirror and Components: Very well guy is we're going to continue now with the second part of the hammer right here. And we're ready to jump onto, onto this element right here. Now, before we do that, I wanted to show you about something called display layers. As you can see, we're getting into a point where modifying couple of things here It's getting a little bit complicated because we have a lot of elements and buy a lot. I mean, there's three elements right here, and I would like to hide them for a little while, while I work on other parts of the hammer. So there's two ways to hide things. First of all, if you select an object, any object and you press the letter H, It's gonna be hidden here on the outliner. As you can see, it's grayed out and that means that it's hidden. You can select it then press H again, and he's going to be visible again. However, imagine having 200 different elements here in the outliner is gonna be a little bit difficult to find all of them. So one thing I'd like to do is I'd like to select all of the elements right here. Let's freeze transformation, delete history, all the stuff to keep them clean. And if we go to this side right here, this is called the display layers. We can use this last bundle which is called creating new layer and assign selected objects. And it will create the layer very similar to Photoshop or other softwares. And this layer is pretty much a visual container. So if we turn off this V, which is the visibility, it's going to be hidden. It's not gonna be kidding here in the outliner, but we can very easily turn this on and off. It's a way, way faster like approach to generating this elements. Now, this box right here, as you can see, it's pretty much a, another cylinder, probably six-sided as well. So I'm going to start with a cylinder. Bring this up right here, rotate this 90 degrees to either side. And I use this subdivision to bring this all the way to six. Now, it seems to be facing the proper way. Now let's just a matter of making sure that it has the proper elements are the proper length. So I'm going to press Control and click on this little green box so that I can move this on the y-axis and it should be uniform. Do not do this. This is a very common mistake. When we're doing the right view. There we go. Very common mistake is people will do this to match the perspective. But if you do that, as you can see, we're gonna get a really elongated, weird effect. So we actually want to press Control and click on this so that we're doing xgen. See at the same time, remember when we talked about this constraints on the viewport chapter, what we're gonna do that, so we're gonna go right view, control and click on the green one. And there we go. So that way we're expanding it, that's on the X and the see at the same time. And we gave a uniform effect. That's it. That's pretty much all we need for this one. The next thing is, of course the Bible. So I'm gonna go to edge mode, select all of the edges, get rid of self-selection. We don't need it anymore. And we control, I'm gonna deselect that the edges on the central because we only, we only want this one's on the sides. We babble. And if we opened a little box here, we're gonna go with small fraction and 2 s. More. There we go. I kinda wanted to keep it a little bit stylized. There we go. So that's it. Now we can bring this back on. And here's where we're going to start seeing some slight issues. Here's where overlap might not be the best idea because as you can see, we're actually need to increase the size a little bit more. There we go, but overlaps looking a little bit weird on the bottom part, what can we do? Well, if we're allowed to do it on the concept piece or if we talked to her for Tours Director, we might just be able to go to all of this lower vertex. It just like extrude them a little bit to the cytoskeleton, a little bit to the side, so we get enough room for the whole thing. This is no longer a perfect cylinder because it's the basis a little bit wider, but it shouldn't be affecting anything of the elements that we have right here. Let's go to a right view again. We're going to create a new cylinder for the other part of the handle, which has this one right here. We're going to rotate 90 degrees. And rotate 90 degrees. There we go. But session at right around there and we can scale it to create the handle of for that. I think I'm going to lower just a little bit. So that has a little bit more, so it's a little bit more centered. If we want to center it perfectly to this point right here, we can press the V key, the VS and vacuum. We press that one, we're going to turn on something called snap to Point. And when we do that and we use any of the arrows, we can actually snap it to the same distance that any of these points have. So for instance, in this case, I think snapping it to the center of the body of the hammer is the, is the best idea. Once we have that, we need to analyze the next parts, which are going to be a little bit tricky. Now, as you can see, this bar right here and this part right here are very similar. They're very similar because they share a very similar structure, even though the length of this elements is a slightly different. So one thing we could do is we could do one of this and then mirror it to the other side of the elements and just modify the mirror element because as you can see, the curvature here and here, like all of this elements are very, very similar. Now we have a little bit of a challenge here because at this stone is also a sort of like six PSI, That's stone. But then it goes into this very cylindrical looking shapes. How we would do this? Well, as with anything, the best idea is to start as simple as possible. So I'm going to create a cylinder here. I'm going to move the cylinder up again with the letter V. I can snap it to its right there on the center. There we go. And we're going to rotate this 90 degrees. Then we're gonna go to the subdivisions, bring this down to six. Perfect. Make sure that we have yeah, that's, that's great. And we're going to start scaling this up. Let's go to the right view. Of course there's gonna be a lot smaller. I can imagine that this is what this part right here is where this rock events. And again, using control, I can click this little green element and make this so that it matches or we get as close to the size as possible, something like that. So that's gonna be one-sided or 11 part of the head of the hammer, which is looking quite, quite nice. I liked this one quite a bit. You can see that on the front that there's a little bit of a babble and stuff will take care of that in just a second. But since we know that this next bar right here is actually coming from the same shape as the Iraq. A good idea to do here. So I'm going to call this rock hammer front. I'm gonna duplicate this. I'm going to call this rock hammer front armor, so that we can use the exact same shape to generate at this element right here. So I'm going to select both elements. I'm going to select the rock hammer front and the image plane right here. I'm going to isolate select so we can work on desk guys. What I'm gonna do is I'm going to bring this vertex it back so that we're right there. Okay? That's where we're going to stop pretty much. Now. We know that this piece right here, It's symmetrical. Which means that if we could manage to create, in this case, like one-fourth of this elements, like this section right here, we can mirror it to the other sites and get the exact same shape on the other side. So here's what I'm gonna do. I'm going to delete all of the phases except for this two phases right here. Then this phase right here, I want to create the division right in the center. We're gonna go Mesh tools, Insert Edge Loop. And in the ancient Egypt's are going to use multiple and just one. And there we go. So now we delete that phase right here. I know that this is one-quarter of the element. If we mirror this to the other side, and then the whole thing that we get, we mirror it down, we're going to have the full shape. Why is this important? Because with, with less parts of the element to worry about, we should be able to generate something that's a little bit cleaner or closer to this. So as you can see, what I'm looking for here is this sort of like cut, right? So I need to remove a face from this area. I'm going to be using this tool, which is called a multi cut tool. It's a really, really handy tool because it has multiple elements, are multiple tubes inside of it. So if I press Control, for instance, I'm going to be able to insert an actually very similar to the Insert Edge Loop tool. And I can modify in place where this, where I want. When the press Control on the top here, I'm going to insert one right there. And I'm going to press Control here and I'm going to insert one right here. And what I'm gonna do, as you might imagine, it's, I'm gonna delete that one right here. Now as you can see, we got this new shape, which is very close to the shift toward going on. We're the, we're going for right here. This is the shape that we're eventually going to be mirroring to the other side. Now on the top here, I would imagine that we're going to have a similar cut as what we have right here. So even though we don't see it, I'm going to add one line right there and I'm going to delete this face as well. So we get this little shape right here. Now that we have the shape, we can actually start doing the mirror to create the whole thing that's going to go around our rock elements. Now how does the mirror work? Mirror is one of the most powerful tool we have here inside of Maya. And we need to understand all of the things that we can do with it. So we start by selecting an object, and as you can see, the object has its pivot point or its original pivot point coming from the cylinder. It's all the way up here. So I'm going to actually sent to the pivot point to show my, show this example a bit clearer. That's actually do like delete history and everything. This is the piece that we have and it's completely clean. If we go to Mesh and we go to mirror, you're gonna see that the mirror option has a law. The functions, by default, the function is said to World negative X, which means that whatever we model on deposit side of the world, remember the world's down here will be mirrored to the other side. So actually let me reset the settings. There we go. So if I just do apply, you can see that we get something that's really close to what we want, but we actually lost some stuff over here that I don't like. So if you remember the original shape, we have a hole here and if we do apply, we lost that or we lose that whole. And that's not what we want. The world function, again, as the name implies, a will take the world coordinates, which in this case is this the front camera. In this case, this is the line that we have right here and it will mirror it from that point. However, as you can see on the Merced threshold down here, it has this option called automatic, which is trying to merge the vertices that are really close to the center. And it's finding that this one's right here, a really close to the center. And that's why it's merging them, which is not what we want. So I'm going to make sure to select costume. And as you can see, 0.001 is the default number. It should be more than enough. If I do apply. Now, you can see that this now does work the way I intended to just work, which is really, really cool. However, if I wanted to do now on the y-axis right on the bottom part, it's not just about changing Y and saying apply because it is going to work, but it's gonna be all the way over here. Why? Because this is using again, the y-axis of the world of origin as its point of mirror. And that's not what we want. So we can change which access position we're using from world to something like object. Object will use the pivot point. So in this case is this one right here. If I do object and I hit Apply, that you can say we get the shape, which is a cool shape, but it's not the shape we're looking for. And the reason why this shape is not going to be working is because the pivot point of the object is not where we want it to be. We can't really solve this by centering the pivot. Because if we do that, we'll still going to get this or like weird shape right here. The only way we could fix it by using the pivot point will be to move at this pivot point to the border of this guy is right here. Move with pivot point, you can press the letter D, and then we'd letter V. Remember, we can snap this bullet point down here. So now the pivot point is down there. And if we do object, why negative? We should get the shape that we're going four, which is this one right here. Okay? Now, it is a little bit tricky and maybe we don't want to move the pivot point. Maybe we do like where the pivot point is. If that's the case, then fine. The other option we can use is a bounding box. A bounding box is an invisible box that every single object has inside of Maya. And the bounding box tells us what is the lowest point or component on this imaginary box. So again, you can imagine that there's a box right here because I'm isolated. So you can imagine there's a box right here and the lowest point of that thing right there, That's lowest point of our upper bounding box. Okay? So bounding box works really well in this case, if I don't want to modify the pivot point because I just say, okay, from the bounding box, from the lowest, why do the mirror at that point and which see the play? And there we go. We get the little armor piece that we're looking for. And that's it to now as you can see, we got this very nice armor pieces like holding the whole element. However, we're still missing this or like element right here are the cupboard. It goes towards the cylinder. So I'm going to select the armor piece. Isolate again, double-click this edge, whole edge right here, then C Control E to extrude. And I'm going to use an offset and a thickness. As you can see, this is going to start like clamping things down. But as you can see, the, the, what's the word the extrusion, another extrusion, the destruction of the extrusion can generate some weird effects right here when things are being pushed too much. So here's another, another way to do it. We use the extrude. We push with offset out a little bit, and then we change to our to go into scale mode. And we scale this down and see how this becomes a more uniform scale for the whole thing. That's what we're going for. This is the effect that we want, we want to have. Of course we're gonna go to a right view. We're going to find the position, which is this one right here. And this is where we're going to be having our elements. We're not going to go over this code right here. It looks a little bit weird. One thing we could do if you want to imitate that a little bit more will be to just grab this edge right here and this edge right here. And just like push it slightly forward, it's not going to really make that much of a difference. And I think this looks a little bit more clean for a Dworkin hammer. So we're gonna go for this. One thing I do want to do is this whole thing. I want to push it really, really close to the woods or something like that, so that it really looks like it's holding the whole element. Finally, I need to grab this guy right here and do Control E to extrude this and give it a little bit of thickness. Write something like this. There we go. So now it looks like we have this armor holding the whole rock. The problem with this armor because we're doing the subdivision method for everything is that if we press number three, we lose a lot of the cool shapes that we have. So we do need to add either a couple of bubbles or we can add some support edges. If you have a clean edge, such as this one, this one, this one, and even this one on the inside. Bevels are usually a good idea because we could just bevel do two segments in a small fraction. And that's it. It's going to give us a nice, clean, hard surface. However, for other elements, such as this whole border right here, it will take a little bit of time to just select everything and just time-consuming. So for this one, I'm going to be using the Cut tool control and just insert one that should have right there and one actually right there. And as you can see, that's gonna give us a nicer like thickness for the whole arm. Now to really give this armor the effect that we want, I'm going to grab the corners. This corner, this corner, this corner, this corner, this corner, and this corner, the six quarters of an element. We're going to grab all of them. We're going to bevel them as well. Segments and a small fraction. And as you can see, that's making this whole thing look a lot nicer, lot cleaner. Now, if we want this things to be sharper because you can see we were getting this sort of effect. We can add some support edges, but I don't want to add that support edge right here because it's going to affect everything on the inside. I just want to add this edge right here. But the big question is how can we add nitrate here and make sure that all of the edges that we add on all of the other ones are the exact same thing. Well, we delete history, freeze transformations, do all that stuff. We can actually activate something called symmetry. We can activate symmetry instead of Maya. I don't work with this as much like normally because it can be a little bit tricky with more complex shapes, but in this case, it should work just fine. So when I turn this onto world ECS, that means that whatever I do on one side of the object, on the world, it will be on the other side of the object as well. So as you can see, I can very easily insert an edge loop right there with control. And another natural right there. In both, the top and the bottom ones are going to be the exact same thing on both sides. So now if I press number three, we get this even dad like round the fact that we're getting there, I think that looks pretty, pretty cool. It gives it a sort of like organic and mechanics sort of like look that I think it's gonna, it's gonna benefit the whole, the whole piece. But if we wanted to eliminate that, it is possible to do so. We just need to do the exact same thing here, add one line right there, as you can see, that becomes a lot harder. However, as I mentioned, I think I'm going to keep it. I think it looks, it makes it look way. Wait, nicer. Now for this piece right here, which is the last thing we're gonna do. And then we'll jump onto the, onto the other rock. For this piece right here. I am going to grab all of the faces here. Let's turn off symmetry. I'm going to just do a Control E, a little bit of an offset and pushes forward just to give it a sort of like a, like an edge, right? Inevitably have this, since this is a very, very simple shape, I'm just going to double everything. I'm just going to clean the object in Bevel, two segments in a small fraction. And that's gonna give me a really nice hard surface here for the rock. And then we go look at this. Not bad, right? We got this very nice armor piece, like holding the whole, the whole hammer together. And we got this, this piece over here. Now, I know some of you might be wondering about the lines on this inner peace. It's probably just like a leather like thing. We could of course do a very similar approach to this one, but since it's quite hidden by the rocks and stuff, I don't think it's really necessary to do it. Okay. So now, before we finish this one, I wanted to do a quick mirror to get the shipper here because we already have it. This thing is exactly the signal, that's this thing. The only thing that changes is a proportion. So I'm gonna grab both objects, shift, right-click, and instead of going through the menus, there's a shortcut here for mirror option box. I'm going to change. I'm gonna say, hey, I want to mirror this to objects on the world. But I want to mirror them on the see negative axis because so far we've been working on the positive side of, of C. So I want to go to the scene negative axis over here, okay, which hit Apply. Now, before I do that, I'm just noticing something here when I press number three here. So weird pinch over here. It seems like I, I messed up something. Because the curvature there, it looks a little bit weird. It should look clean like this. Really weird. Let me analyze here this real quick. Because you can see here on the inside, when we press number three, everything looks smooth. But at the outside, this edge right here looks a little bit weird. I'm not sure why. Maybe it's, maybe it's fine. It looks like an extra vertex, but I don't see it. We can try to fix it by deleting this face right here. And then if we go edge, we can select one and the other and use this tool called Bridge want and the other umbrage. There we go. Yeah, so let's fix this again. So if you have this, just delete those faces and just select one of the edges, the other one and just rich one and the other one I just bridge. And that should fix any issues. Okay, so now that we have that, we can mirror this to the other side, to the c-axis, as I mentioned. And there we go. Now, the only bad thing about mirror Rig are not bad, but do you think about mirroring? Is it actually emerges the elements into a single object. You can separate them by going mesh and that's separate. And now each one of this is going to be its own separate mesh. And we actually do need to do that because as you can see, the proportions on this side are not exactly the same. So this one I'm going to send to the point is gonna be closer to this area right here. And I love the little legs right here. A little bit bigger. So let's push this forward a little bit. And then this one's quite a bit over here. And then the ROC is very, very similar. We're going to send to the point. Push it here, grab all of this vertex right here, and push it a lot more. Not allowed, but you can see it like this is the distance right there. So I would say something like this. This is more than enough. And there we go. This done as you can see, we get that you really, really cool looking hammer. We can grab all of the pieces right here. Center pivot, the history, freeze transformations, so make sure all of the pieces are clean. And before we finish this hammer, we're actually going to go through all of the elements and rename them properly. But yeah, so far this looks really, really good. We're gonna go one more BD. I want to show you how to do this, like a bolt or details that we have right there. We're going to use the mirror tool again. And I also wanted to show you how we can work or improve upon the concept to create something that looks even better. So yeah, hang on tight and I'll see you back on the next one. 11. Complexity out of Simplicity: Very well guys. Let's continue with the hammer right here. And we're gonna do this a little details of the bolts and things that we have. Since you can see it's a single bolt that we just need to multiply or position like several times. And we can of course mirror this. Like it makes no sense to do extra work when we can do things very, very easily. So I'm going to create a new cylinder. And this is very important that we, even though we are using high density on certain areas, if we can do things in a simple way, it's always a good idea to try to do it that way. So I'm gonna make this bold, a 12-sided board, like a very, very simple bolt. And then I'm going to delete the lower faces. So this is pretty much just a, a cylinder with no cap on the bottom. Make this a little bit smaller. And I am tempted to just give this one subdivision, one fraction right there. So when we smooth, we get a slightly soft effect. Now we're going to position this, as you can see, this one goes on the top part. It really today, it goes right here. We're gonna make it smaller. Rotate it, I believe is something like 60 degrees should be something like -60 degrees. There we go. We can just position it right there. We can go of course, to the right view and find the exact position which is gonna be right there. And just make sure that this looks as nice as possible. Something like doesn't have to be perfect, as was mentioned before, sometimes doing things way, way, way too perfect makes it very easy to know that this is CG. And I'm going to duplicate this. I'm going to have this right here. We go. That's it. We just need to create too. Because as you can see, this one on the bottom, like this one, is a mirror of this one. So if we grab this guy right here and we move its pivot point, we have V to the center of this line right there. As you can see, even though the arrows up here, I can point to this vertex right there until, hey, that's the point where I want you to mirror from. Do that and we go Mesh mirror. Why? Object? Because remember Object uses the pool point object near there been a hit Apply. It should be. We need to freeze transformations. So we freeze transformation and then we do apply. There we go. That's it. We got it right here. Now we can grab these three guys. Let's combine them. And let's do World X. And in this case is World X negatively hit Apply. It's going to be on the other side ready to go. Technically, we could grab this guy, say world as Z negative and hit Apply. This one is gonna be right where it's supposed to be, but this one's are not. But that's an easy fix because we can go to right view. Just go to vertex mode. Grab all of this vertex right here and just move them a little bit. This is what they mean by working smart and not hard, like trying to find the tools and techniques that we need to get this things too, just like or to position all of this elements as fast as we can to get a nice result without having to spend too much time. So yeah, that's pretty much it. Now, as you can see, we are missing a couple of ones right here on the bottom. So I'm going to grab any of them, Control D. Then I'm going to go to face mode. Let's grab that one, shift, select everything else, and then we're go, we're left with one, which just need to enter bullet point and go to the center. We've already talked about a snapping to a point with V. You can also snap to the grid with X. If you press X, you're going to be able to snap this to the very center of the grid, as you can see right there. And now it should be fairly easy to just find the position for this thing. Rotate around and get it where we want, which will be right there. And this is one of the principles that took me probably the longest to understand, but also that increase my 3d skills quite a bit when I finally got it. Which is when you do this sort of stuff, when you add simple elements, just cylinders, this is just cylinders, but they're everywhere. Once you add this simple stuff, you can make very, very cool looking pieces very easily. It, this is the principle that we use for the name of this chapter, which is complexity out of Simplicity, we start with simple objects. And by using a lot of simple objects, we can create something that looks really, really complex. So we'll grab this one right here. I'm going to say Mesh mirror. This is gonna be X negative and hit Apply. And there we go. We got the bolts on both sides right there. Now, the thing that we can do is we can start working on some extra little elements. Like what, what kind of elements could we add to make this thing look a little bit better? Well, I like how this things are connecting to the overall elements. Well, they also feel like it looks like a weak connection. I would like to have some sort of like extra support. And yes, we're going to be going outside of the concept aren't a little bit to create this extra support, but I think it's working. Here's what we're gonna do. I'm going to select this guy right here. And I want to, or actually no, we didn't even need to select this one. I'm just going to create the new cylinder. Sorry. We're just going to start with a new cylinder. We're gonna go right view, push the cylinder up. And if we want to make sure that it's aligned with all of the other cylinders. We can press X to snap it right there or V in this case, then we will be a little bit more precise. Just snap this Hi there at the center. Perfect. We're going to change this to six sites. Again. We're going to rotate this 90 degrees to either side. Now that we have this, I'm going to push this to the border here. This is very, very common in games where there's like an extra protection ring or armoring on top of elements, something like this. I'm going to make this metal, but I would kinda wanna make this so that we can see the connection. There you go, See that little lip or connection of the element. Once you a little bit of it, and then just push this a little bit more to the back. That as you can see, is gonna give us a really interesting connection against simple cylinder. So my, this was just doubled the whole thing. Two segments in a small fraction. Maybe this one right here. We can press Control and make just a little bit smaller. So we can see a little bit more of this guy. Let's smooth it out. Now for this one, remember, we want to erase the faces on the caps so that we just have the main body of the cylinder that we go. Now this one, you can just duplicate and position it on the SAT right there. And look at this. Definitely looks like a dwarf and hammer, one that you would use some that forges or something to to create other weapons, right? Yeah. That's that's pretty much it my friends. Now let's go through some cleanup process. So first things first I'm going to select everything with history, freeze transformation, center pivot. They should keep everything very, very clean. And I'm going to press Shift P on everything. Why Shift P? We're going to talk about this in the rigging chapter a little bit more in depth. But when we combine them separate things, they create these things called groups like this rock hammer front and rock hammer front armor. They create these groups. And groups are a way in which we can organize things. We will use them in just a bit. But right now I actually don't want them, so I'm going to delete all of this catchment here. If you have extra Cameras, you can also lead them. You should only have Cameras here on the other. Now, let's start by combining things that are very similar. So for instance, this two guys which are going to be the rock Cameras, we're gonna combine to a single object. These two elements, this guy, this guy, this guy, this guy is actually, I mean, we could combine everything but that should we. I don't think so because we're going to know, Let's go back. Let's go back, Let's go back. Here we go. We're gonna do UVs and Textures later on. Then it's easier if we have things separated for the things that I want to show you. Just grab everything against entropy with Duluth history, freeze transformation, and we're just going to rename. So this is going to be called hammer rock front. And this is gonna be called hammer rock back, back. And then of course, all of this like the bolt for instance. Now that's fine. We'll keep this district gonna be hammer bolts. And this is gonna be HMO volts. This is gonna be called handle. Handle. This is gonna be called leather handle. A leather handle. This is going to be called main connection as long as you know which one it is or whether it's yeah. What did you pardon? Represents it should be fine. It's going to be called rock axis. And then Then we have a couple of moments. It's going to be called back hammer connector. And this of course it's going to be called from hammer connector. This is back hammer armor. This is gonna be from hammer armor that week. So now what we can do is we can give every single object here, all of the geometries, and we're going to press Control G. What Control G does is exactly what I was mentioning earlier in the video. It creates a group and this is gonna be called hammer. The cool thing about this group. It has its own transformation. Know that you can see right here. So we can move, we can rotate, and we can scale every single thing that's inside this group as a singular unit. Now, the group, for instance, we can press the letter D and move its pivot point center of the handle. So imagine that this hammer is gonna be hold, are held by a character. Well, you can use that pivot point to make sure that this is always on the hand of the character. And that's pretty much it. Now to just keep this thing already, I'm going to save this actually haven't saved. Well, let's call this hammer. The last thing that we can do here is we can actually do a render. Remember that we've mentioned the renders are really good way to showcase all of our improvements. Well, this is just the Modelling so far and we're gonna be taking a look at some more modelling exercises. But it's a really nice model and we can already showcase this for a tour France or family and stuff. So I'm gonna delete the image plane right here. I'm going to create a new scene. Save Scene As I'm going to call this hammer Render. And remember the phrase that I use quite a bit of work smart, not hard. Well, we already have a render scene for the barrel, right? So we can just say File Import. And we're going to import the barrel render scene and hit Import. And what should happen, as you can see right here, is our to Lights our camera and even the barrel. It's going to be here now. Very easy. Just grab the barrel. We deleted, we don't need it right here, which need the camera and distinct well, actually the ground we do need. I'm gonna grab the group here, probably going to make it smaller. So nice, like post right there. Let's go to the camera. Panels looked are selected. Let's change the options here. Remember we were using a square perspective or so two K squared. There we go. And I'm going to grab the hammer. Just get into position right there. Perfect. So make sure there's no overlap or anything, and we're ready to go if at any point we want to return the hammer to its position, just remember, do not freeze transformation on this group, we're going to just zero all of these things out. So now I'm just going to make sure to go to System GPU perfect. And just say Arnold and render. If everything is working exactly as expected, we should have the hammer here render as soon as the GPU starts. Let me pause real quick and I showed you the result before we move onto the next video. There we go, Make sure to find the proper composition. One thing I'm seeing here is that the hemorrhage a little bit off-center. So I'm going to try to center a little bit more, something like that. And now we can render again. And there we go. We've got this very cool. My look at how nice the whole geometry looks really, really clean. Everything falls into place properly. And again, once we add realistic texture to this thing, it's going to look a really, really, really cool. So I'm going to save this image for our evidence over here. We're going to call this hammer Render and we're ready to jump onto our next exercise. So he couldn't fight. Penalty you back on the next video? 12. Curve Modelling: Hi guys. Welcome back to the next part of the series. Today we're going to continue with curve Modelling and we're gonna be doing one of the exercises that I really, really like, which is a chess set. So we're going to jump into front view. This is a new scene here in our project of course, and we're gonna go to View image Planes and we're going to import the images and we're going to import our, this one club, classic books would a chess pieces. I've been playing chess not for a long time. I started when the series came out of the Queen's gambit there. But having hooked ever since, this is an excellent exercise to show you not only curve Modelling, but a couple of other new tools that we have here inside of Maya, such as booleans, three topology, and stuff like that. So let's start with the most simple piece, which is this guy right here. And let's talk about curves. There are other softwares out there does tend to war with something called nerves. Nerves are mathematical things. I'd like to compare them to vectors and pixels. If you've worked in Photoshop, you'll probably work with pixels. But if you're working Illustrator, you probably would with vectors which are more scalable, more precise, and things like that. Well, the same thing happens with at the difference between a surface such as this sphere right here. And they polygonal sphere. The polygonal sphere as a sphere. A lot of flat surfaces like pixels. And this is made of Curves, which makes a mathematically perfect like elements. Actually, I always forget what the nerves means, but non-uniform, non-uniform rational B-spline. So it's a way to describe surfaces using curves and at this elements right here, now, they do not work and I repeat any, like they do not work anything at all with polygon. So for instance, I cannot grab faces. We have things such as surface points. We have things such as control vertex right here that changes the surface, but they're not poly goods. We do have tools that allow us to work with this elements. However, usually in traditional pipelines are not used as much. But there are a couple of tools that are actually quite handy, which is what we're gonna be taking a look right now. So curves are really interesting. I'm gonna go here to create curve tools. And there's three types of curves. Cb curve, which you create points. And after the third point, you create this thing right here. The way you modify them is by using the Control Vertex. Very, very handy. But as you can see, the control vertex does not match where the curve is. This is the first type of curve. The second type of curve is the EP curve, which is the one that I'd like to use. And I like to use this one because the control vertex ado match or athletes, at least one of your drawing it, there are a lot closer to the position of the curve. And finally, if you're familiar with again, the Sierras and handles, you can use this Curves, Bezier curve, where you draw a curve. You get this handles and you can modify the handles of the control points to get a slightly different results for tracing and stuff. So we're going to be using the curve tools and we're gonna be using this EP Curve. And the way we're going to start is we're going to sit right here on the center of the grid. And I'm going to start drawing 123 456-789-1011, 1213, 1415, 1617, 1819 to Wednesday, we're gonna do 20 points, is starting on the very base of the element, all the way through the silhouette of our little part right here. Now, I'm going to right-click and go to Control vertex, as you can see, where you have a lot of little points everywhere. And the cool thing about curves is that we can clean up discouraged by modifying these parentheses and making sure that they are as nicely aligned as possible. So remember, if we want to snap this to the center of the grid X and we snap it to the center. I'm going to try to use this curve to match, to capture the silhouette of this thing as close as possible. There we go. It gives you, there's a lot of points here and we're gonna have to modify all of them to get this to look as clean as possible. We might not be able to capture all of the silhouette, but don't worry, as long as we gather a really close like result, we're going to be able to use this. Again, just a couple of this points around, split a little bit with the silhouette and stuff. And there we go now grab all of this guy's, flatten them up with scales or grab all of this are, and then flatten them up so they're perfectly flat. This one, I'm also going to bring it down actually, all of these guys and then snap them to the center. There we go. With this done, as you can see now is we've over what we have done right now is we've created the profile of the pond. Now we're gonna be using a tool. It's very common in other softwares, which is the Revolve tool. You can actually see it right here. It's this one right here. If I click Revolve, we're going to get the pawn. Just like that. Like no need to modify or change anything. We just click the revolve option and we get the pond. But we have a problem. The problem with this bond is that this bond is made out of NURBS, Non-Uniform Rational BSP lights. And we want this to be polygon so that we can modify them with things like extrusion. We can babble some edges, clean up some elements, and just in general, have a little bit more control So how can we do that? Well, there is a way, but we need to be very careful about that, the instructions that we use. So here we go. First of all, I'm gonna go to the object mode to, to curb mode. And we're gonna go to their curves menu, sorry, the surfaces menu. On the surfaces menu we're going to go to rebel, but we're gonna go to the option box. And by going here, we're going to be able to create something like a Oregon create, able to create our revolt. But we modify things right here. We're going to be able to change how this robot works. They'll be very careful here. This red bulbs, as you can see, works on the objects pivot point, which right now set to the origin. So it's gonna be rewarded from here. If we move the curve over here and we move the pivot point back, for instance, something like this. And we do apply, as you can see, we're not going to get the exact shape that we want. So the location of for curve and the pivot point of that curve is very important to how the revolt of works. Right now. This is the y-axis, so we revolve from the top and we create a 360-degree element. We can change that to an X, for instance, and do something like this. If you're gonna do like a regime or like a wheel or something like that. That's actually how we do it. We create the profile of the wheel and then we just revolve around the access axis. We could also revolve around the z-axis, but in this case is not going to look great because it's perfectly flat, so it's not really doing anything, anything cool. So we're gonna do why? We're gonna do objects. We do want to do a full 360 sweep. However, we can change that around if we make it lower, as you can see, we can do fractions of the element. If you're doing some sort of like mother Arthur creation, we can do it with this thing right here with 3d '60s default segments is eight. That's perfectly fine. And here's where things start to change on the output geometry. We don't want to output nerves, we want to output polygons and we get more options. Once we select polygons, we're going to go to the type of polygons and we want quads, one-on-one triangles. We want quads are the tessellation method. We're going to change this to general. And finally, you're going to remember this because it's the only different option. You're going to change the you type t2 per span and the V-type to press ban. This is telling the, the element is that for every one of the eight segments, we want three divisions. So it's going to be a 24 sided like pawn. And between each point that we have, we're also going to have three divisions right here. So if I hit Apply, this is what we get. A really nice smooth pond that as you can see, follows perfectly the curvature of a lemon or for element. And it's all quads, which is what we want to be able to do, things such as Uvs animation and stuff like that. So that's it. So again, just quads, general passband, passband. And we use this. Now, the cool thing about this is that the curve that we have here still there, the Curves still there. It is still attached to the history of the revolve that we did. So if I grabbed the control vertex of the curve and they modify them, you can see the geometry is going to be modified. This is super handy. We actually use something similar to this, are rigging to rig the spine of a character to make sure that it moves and it flexes and stuff. So, yeah, that's pretty much it. Now, if you are happy with the result and you don't want the curve to be modifying the pond anymore? We can remove that connection, remove that like, yeah, like a connection. Remove that relationship by selecting the geometry and saying delete history. When we delete the history, it forgets that it was created from this curve right here. And now we don't have to use it anymore. Now this group, I can rename it to pond curve and we can save it. It's really not a heavy acid or anything. So having a backup of this thing in case we want to create a new, a new Polys always useful. One thing we could do, for instance, is we can go to this guy right here to the display layers. We can create a new display layer and just hide it so that we have the curb right there, but it's hidden by the display. And this layer we can call curves. There we go. Now let's add a little bit more definition to this bond. For instance, this little cap that it has right here, it's a little bit sharper, right? So one thing I might want to do is just go to this edge right here a little bit and then grab this guy and this guy and beveled them with a small or a small fraction. And shoe segments. There we go, small fractions so that when we press number three, we're gonna get a really nice, clean sharp line right there. And everything else is still like soft. The other thing we could do, for instance, is we can add some more harsh lines by going to our CO2. Be like, Hey, you know what, I want to like other couple of support edge right there. That's gonna give me a sharp line right at that point. And they will want to sharpen some of this other lines. We can do that as well, like this one right here. Maybe. That's one right here. Let's bevel two segments and a small fraction. When we do number three, as you can see, we get this very nicely cut line right there. Now you can see that on their need, this guys, there's like a felt or like the soft stuff. I do want to have that. I'll show you a very cool tool here. I'm going to select all of this faces or let's just go front view. I'm gonna do a quick selection here. And then remove the selection. There we go. One thing we can do is we can extract this faces are duplicate this faces to create a line right there, which will be, let's grab the outer one that matches perfectly with this or like a direction or profile that we have right here. We're going to say Mesh tools or edit mesh. Edit mesh, duplicate. This creates an extraction, as you can see, of the elements. You can push the extraction a little bit lower like that. There we go to see different objects. Now Control E, push this down a little bit. And that's it. It's gonna be like a like are nicely felt padding that we're going to have underneath the whole piece. And this is how curves work. This is one of the amazing things that we can do with curves because there's a lot of shapes out there such as this pons, wheels, like a ramus from cars and stuff like that. There's a lot of things like bases, glasses, like a wine glasses on other like great example that we do. We'll probably do one on this on, at the very end. And all of these things we can very easily do with Curves. Now, could we have started with this here, extruder the phases at that edge loop extra, the rest of the elements are start with a cylinder. Of course, as I've mentioned before, there's a ton of different ways to do things instead of the 3D world. But this one right here, it's a great way to generate this quick shapes. So now the next couple of chapters we're going to start focusing on the rest of the pieces. And I'm going to show you specific tools that each of this elements are going to be using so that we can create this or get as close as possible to do this final result. So that's it for now. Make sure to save. Let's save this as our chests set. And I'll see you back on the next one. Will, will do the rook 13. Curves and Polys: Hey guys, welcome back to the next part of the series. Today we're going to continue width or rook. And it looks actually very, very similar to the pond. So what I'm gonna do here is I'm going to move the pawn to the side. We'll get it back later and we'll move our image plane, of course, to the center here so that we got to work. Now, as you can see, we got some really intense lines here on the road, kind of like cuts into the, into the woods and of course a little elements right here. So this is where we need to analyze how we're going to be like doing this sort of stuff. The felt right there actually bring back this guy. So we're gonna move again to look over here and let's turn modelling now, this is one of those elements. Where do you might be like, hey, why not model this with polygons and curves? Like maybe we can use the curves on the lower section right here, but we can use traditional polygons on the top part right here. And that's exactly what we're gonna do. We're gonna go create curve tools, EP curve. We're going to start right here on the bottom part. Go to the site, will just capture this. You lead right there a couple of extra points to, to get a nice sharp line right there. Right here we have another sort of like little bump. And I'm going to finish right here, going to the center. At that point. Now we can go to the control vertex, grab all of those guys, hit R to scale them. It's going to flatten them out. And it's very important that we cleaned her curves. A little of my students struggle with this bar. They, they, they just want to jump straight into the polygons, but we definitely need to grab some of these points and play around with them so we can get a cleaner and nicer effect. We can scale them down. Or in, for instance, right there. If we need to, we can blend this guys as well. Like all of this guy's, flatten them out and that's gonna give us a cleaner look right there. Same thing here like this form right here. Push it down a little bit so we get a nicer curvature right there. Here we get a ton of points. So let's start just like moving them and playing around with them. And we'll get something that looks really, really nice here. It's got like a smooth curve right here. Again. Later on we need to modify some of this elements. We can do them with polygons. If, if we can get this to look as clean as possible, It's gonna save us a lot of time that we can cool. Now that we have the main shape, we can of course grab our elements and we can go to surfaces and just do every bulb. It should still have the same options that we had before. We shouldn't be leg, we shouldn't need to change it because once you change the options on the tool, just like keep them. And yeah, there you go. This, this is quite nice. I would say we get the really, really nice approach. So I think this is a perfect, I don't even think we need to like any support or anything. I think this looks quite, quite nice. Now let's jump into this one right here. I'm going to start with a cylinder. Again, push my cylinder up, and then make a little bit smaller so that we get to the base of the little holes that the roof has. And then again, weed control and clicking on the green element, I'm going to push this out. Now of course, there's gonna be a little bit of an empty space right there. So we need to find a way to solve that. Well before that I want to do that sort of like border that are real cast. So I'm gonna go to this point right here. Press Control F to select all of these faces, and then Control E to offset them a little bit. I think something like this is fine. Now we're going to grab all of this elements. And if we go to the right view or to the front of you, sorry. These are the elements that we want to push up to create the border of the cast right there or the, or the rook. Now, we want this to be symmetrical. Remember? So I'm gonna go to the top view and I'm going to select all of these guys and all of this guy. So we're only left with one-quarter of the element. And this is the quarter two we're going to be creating the little hole into. So the cool thing is, we actually have the hole right here. If we select all of this elements and we delete them, we're gonna be able to select or to reach this things and recreate the little hole that we have right there. And as soon as we duplicate this around a couple more times, we should have the exact same shape. So I'm going to select this edge right here and this edge right here. And I'm going to click this tool which is called the bridge tool, which as the name implies, will bridge two elements together, bridge, umbrage, and there we go, reach and bridge. And there we go. And as you can see, we've successfully rebuild it that area if I press number three. Because if we get a really, really nice effect, of course, if we want this to be a little bit more hard surfacing, we need to add some support edges. So I'm gonna go to my cup to here. I'm going to add a support. It's right here, one right here, and one right here. And as you can see, that's gonna give us a nice effect right there. One right here, and one right here. And it's gonna give us the very nice effect for our book. You can see we've got a couple of elements right here. These are called pinches, and it happens, we will have a lot of space going from one point to the other. But I actually don't want to add one line right here or right here, which might be our first instant. Because if I do that, what's gonna happen is as you can see, the curvature of the cylinder is gonna be lost. And that's something that we don't want. So I'm going to show you here a trig, little bit infinite bass trip, but I'm sure you guys are gonna be able to To make good use of it. So first we're going to add our support I just here and here, which is going to give us a nice effect. We could keep it like this, but I actually do want to have this sort of like hard surface see etch. So I'm going to add one here and one here. That's getting closer, one here and one here. And that's getting a lot better. So as you can see, by adding the edges, not going on the vertical direction, but going on the horizontal direction, we can make this thing look a lot more square without affecting the under, like the lower parts of this thing right here. One line right here actually thing I want a bevel, this edge right here. I'm going to bevel with, of course, a very small fraction. And it's gonna give us the effect that we want. Now to combine this, I definitely need to graph this like faces down here. Control E. Actually, we're going to do this once, once we've finished the mirror. Okay, so now that we have this very important, we're gonna do the mirror again, shift right-click, we're gonna go mirror. And first the pivot point that's on the center. So we can use object as her point. We're gonna go see negative. Very important to use custom points 001 because we have vertices that are really close to each other. If we let this do automatic, it's going to merge them together and we don't want that. So we can apply. There you go. The border as you can see, continuous perfectly. And then we're going to use a get objects in this case is going to be X negative and hit Apply. And there we go. And look at that. We get the really clean mirror rook all. Oh, sorry. We get a really clean mirror rook with a little handles right here. And we create the little crown of the whole tower. Now, to combine it with the other part, we do need to do something here. So I'm gonna go to the vertex right here, control if 11, Control E to extrude, we're gonna do a little bit of offset and then Control E will push this down and then we'll delete it. Why we want to delete it? Because that way, when we smooth, we're not going to have any weird distortions over there. And that's how we're gonna get this very nice at the blind going across our rook. Now, other things you could do, I've seen some books that have a detail over there. I didn't think we need it in. Here's again, we're we need to work smart, not hard. So let's duplicate this guy. Zero it out. So it goes back to the rook. And that we're just going to scale it so that fits the base of the roof a little bit better and push it up. And that's it. With that done, we've successfully created the root for our chests. It however, a rooks and now composed of multiple parts. The big question is, do we want to combine those parts? I think the answer in this case is yes. So I'm going to select both of this elements. I'm going to say Mesh, Combine, Mesh, combine. This makes it a single element, a single object with its own transform. And as soon as we delete the history, there's no going back. Now this right here is gonna be our ROC curve. And one of the things that we can do is we can just right-click on our layers by selecting the curve, right-click on the lawyers and say Add Selected objects. And what that will do is we will add the curve there so that at any point we can turn our Curves autonomic are enough. I'm going to call this curve layer. There we go. Now at any point I can access the curves that we are using to create all of our pieces right here. So this is just a quick example of how we can combine the use of a polygons and curves to create a more complex piece. Now, could we have done this upper part with Curves? Yes, but they would require a lot more work to make sure that all of the little holes filled are fit together. So hopefully we the all of the things that we've done so far, I think we've been doing this course for like two or 3 h now, you are starting to get that sort of like mental state of, Hey, there's a lot tools here and Maya, and my goal as an artist is to understand them and see how I can use them together to create more interesting shapes. So I'm going to push this to the site with its little vase. Of course, push it to the side. And now we're ready to jump onto a little bit more of a complex piece, which is the horse right here. Now the horse is going to require us to, us to talk about something called topology. But either one I'd like just cram everything into a single video. I'll show you this on the next one. 14. Topology: Hey guys, welcome back to the next part of the series. Today we're going to continue with the horse and it's probably the most tricky part of the whole thing. So the reason why the horse is so complicated is because we don't have symmetry from left to right. We do have symmetry from back and forth. There's a lot of things going on here in regards to the curvature of the element. Like we have a very flat area here on the neck of the horse, but then we go to this area right here. And as you can see, it's a curve going in and there's another curve going out here, and then it's flat on the head. So there's some other things going on that can really make the whole element complicated. Now, the reason why we need to talk about topology is because topology is the way that we organize our squares. And when we're planning for organic shapes such as this one, we need to take into account at that sort of are those sort of elements. So we're going to wrap my blue pencil right here. And usually when I'm faced with a piece or a in an element that's a little bit more complicated than usual. I'd like to draw how I would imagine that topology to be. So we know of course, that we're going to have a topology that goes around the character. Usually if we want to have a really smooth transition on topology, we want to have the squares going like this, okay? We want to make them float like this. However, anytime we have a hard edge like this one, we can stop that flow of topology and start a new user like topology going onto this side. So as you can see, we're going to have these Stop right there on the corner of the neck or on the forehead of the character. And we're gonna go from there. Now on the I, we do have, or we need to have a sort of like round topology to be able to create the eye shape. Now, the two that we're going to be using for this construction, all of the things that we're going to be doing is not going to be any primitive. We're actually going to be like constructing the profile of this character from scratch using a tool called the quadro tool. I'm a huge, huge fan of the quadrate tools, one of my favorite tools. But in order for this tool to work, we need to have an initial polygon. So I'm gonna go here to Mesh tools. I'm going to use this option called Create Polygon Tool. I'm going to create 1234 and hit Enter. That's going to create a first phase that we're going to be using to replicate are built up all of the rest of the horse right here. Now, if this face turns up a black by some recent, don't worry, just select the object and go to Mesh display and reverse. It's going to flip it so that we can see it on the right side. Well, I'm not sure if we've talked about enormous yet, but we'll probably talk about them later on the Texturing set of things. So now that we have this, I can select this option right here, which is called the quadrant two. And the way this works is very simple. You click twice on any part of your plane in this case. And then if you press Shift, you can create a new face right there. And we can use this tool, click twice to create two little points and create a new faces. But again, we need to start with the basic face. That's why we're create the first polygon. Now that we have this, we can actually create four points anywhere and just click shift instead of those points. And the cool thing is, as you can see, I can manipulate it. The edges, the vertex are the phases to start adjusting where all of these points are going to be. So I'm going to start with 1234567 and we're going to finish with eight right here. This is where we're going to stop our topology flow on this back part of the horse. Now on this section right here, I want to create one new face because remember we talked about how this is gonna be it's own like edge loop. And it's not going to flow directly into the face. And then we're gonna do 123456. Okay, Very important. We do want to follow this 1789, okay? So we're pretty much going through the whole like border of this course, creating this elements right here. Now in this position or this point, we're going to create a new edge flow. It's gonna be 12.3. In this position. We're going to create another new actually right here. So all of this are like lines and the way we're gonna know they're like independent elements. If I press Control while in the quadrate tool, you can see we also go into the Insert Edge Loop, very similar to the knife tool or the multiple tool. As you can see, each one of this is an individuals who are like strip of polygons. Like we're not really combining any of these polygons into their own elements. There we go. So eventually, we're gonna have to create some elements over here, but I want to focus on this part first. Now, the next thing is we need to fill this end. We need to completely fill this in with the polygons flowing from one section to the other in a way that makes as much sense as possible. So if we start on this side right here, you can see this elements are flowing down. So I'm just going to continue and make them flow into this element right here. So the third one right here will flow into this section right here. This guys right here, very close together. So I'm just going to make them connect to each other like this. As you can see, we're getting a nice uniform construction of our topology. But here we have an issue, like things are trying to go everywhere. What can we do here? We can create something called, or I like to call the chicken foot, where it's a vertex, this one right here, that has two different directions. It goes this way and it goes this way. So we have this or like try Like trilateral division or something, which is this part right here. Okay, we got that covered. Now, what are we going to do with the eye? Whenever we have a circular shape, you need at least eight sites for the secure shape to work. So I'm going to create a point on the center, and then we're going to create a square like this. Then another one right here, another one right here, and another one right here. And as you can see, the border of this sort of like square shape has eight sides. So we're going to create a little edge loop that goes around those sites, as you can see right here. We're going to start modifying all of this points to create a ring that's gonna be going around the horse's eye. And now that we have the ring, we can start finding ways to connect this ring to other places. I'll show you how to do that ring like super perfect because the smooth nice ring. But right now we just want to connect everything. So we have this line going here and this line going here. So let's add a couple of points. Let's add one right here. And then we connect that one on top there. And then here, 12, We're gonna get a star. This is a star. A star is any point that has like five Connections. Now we have right there. We're gonna go over here. And here we're going to have a triangle. Triangles are not bad, but we need to be very careful of where we place it. Could we solve this without triangles? Yes, but we need to add another edge right there and make it flow into like a lot of different directions. And I really don't want it. I'm actually going to collapse some of this guys that might be very go that allows me to save myself from a triangle and keep the topology flowing a little bit better. Now from here, we're going to go forward towards the nose of the horse. She can see we're continuing this edge flow into this direction. And we're stopping right there. That one end. Now again, just a matter of finding the points and filling them in here we have another triangle. We don't want triangles. Triangles are, you can not bad, but not ideal. So how can we eliminate a triangle? Usually by adding an edge loop somewhere? So for instance, if I add an edge loop right here, this now becomes the square. And it's really not that much of a deal. Now you can press shift, shift this a great tool to relax the topology. And as you can see here, it's kinda like smooth it out to a more organized and properly distributed effect. Going to move this thing down right there. And we're going to have 1.2. There we go. With this. As you can see, we've successfully created the profile of this head here for the horse. And I know that when I extrude this, we're gonna get the proper volume. It's really tricky. So if you're having issues with topology or if this was a little bit too confusing, just pause real quick. Take a screenshot of this thing and literally copy every single square that they have. There's not too many of them. And just make sure that you have the exact same distribution because this is gonna be very important for the next couple of elements. Now, if we want to create this perfect circle here on the eyes, I'm going to select this edge loop that goes around the eye. And there's an option here under Mesh, which is called a circularize Edit Mesh. Circularize, it's going to create a perfect circle. I can do the exact same thing for this edges right here. Or let's make it a bit easier. I'm just gonna delete all of these guys, since we have a perfect circle right here. And then just Control E offset. And then to fill this gap right here, I'm just going to say edit mesh, mesh, feel whole. And then grab that face. Edit Mesh and poke. Poke will add a point on the center of the face and connected to the, all, all of the other remaining edges. And there we go. Now, the only thing we need to do is we need to continue this thing all the way to the bottom here. So I'm gonna go back to my quadro. And to make this a little bit easier, I'm just going to create four faces on the bottom part, which is what we have, 1234. And then by pressing Shift, we can bridge all of this together, as you can see right there. And we can add more edges where we need them. Now, see how we have this or like curve distribution, that one's going to play an important role. So I'm going to start pushing some of this vertex in this way because we are going to be using some of these faces to create this effect, sort of like a round thing going forward. We can smooth this one out a little bit there. That there we go. This is the edge that we're going to be utilizing to create that shape. Now we go. So we gather horse ready. And now we need to create the curvature that gives us the actual 3D shape of this course. I'm going to press Control E. I'm going to push this forward a little bit, something like that. There we go. Because we know that eventually all of this thing, it's gonna be mirrored to the backside as well. So I don't want to make this super thick. What I do want to make a little bit thicker is this lower part right here. So first, what I'm gonna do is I'm gonna go to the right view. And all of the phases that are on the inside, I'm going to delete. So they are completely empty. There we go. Now, I'm going to grab, you can see this piece or this face right here, points a little bit further out. So I'm going to push this out. I'm going to create the base of the horse. I'm going to have to go to the next one, which is this one right here. Push it a little bit as well. And I'm going to have to do a little bit of like traditional poly Modelling to find the perfect curvature for all of these points, including this ones as well. So need to push this up, rotate a little bit, and then grab this vertex, push it out. Grab this one, push it out. So we can start capturing that sort of like soft curve that we have right there. Let's do it for this one as well. I love this one as well. There we go. Let's grab this four points. We can even use soft selection. Make the self-selection a little bit smoother. Just push this out. It's a matter of just like modifying this to get the best possible carved effect. This is something that nowadays we would probably do with ZBrush level. It's called this piece inside of ZBrush and then reach, apologize it so as we can find the perfect effect here instead of Maya. But that doesn't mean that we can't do it here instead of, instead of. Now that we have this, I'm going to select all of this edge. They need to make sure that it's perfectly flat. You can see that there's a little bit of imperfections there. So we're gonna go to the top. You are, am going to snap this with the blue square. So we scale all of this into the same element. We turn on the grid, we can snap this there. And now we should be able to do a mirror on the X and negative axis on the world, on this negative CX. Sorry, There we go. We get there. Very nice piece right here. If we press number three, we're gonna get a really nice smooth effect. And that was just a matter of like literally going in and tweaking all of the vertex like this guy and this guy, I do recommend turning on symmetry world Z in this case. So we can select one of this and just play around, press number three, which is play around with that with a curvature that we want to emulate from that part. You might know this, that we do have a very strong edge right here, going to the insight. It is possible to do it or to capture it. It's going to require a little bit more key like control here let me show you I'm going to try it. And if it doesn't, where we will go back, I'm going to grab, first of all, going to use my Insert Edge Loop to insert on the bottom part here. So we get a nice clean shape right there. We might also want to do that like on this part right here. So the horse is a little bit like stronger on its silhouette. There we go. Yeah, that looks really, really good. Another thing we can do is we can do the I, right? So I'm going to select this guy, Control E, offset a little bit, and then Control E and push it in. It's gonna give me a really nice clean I there on the horse. If we want the eye to be a little bit smoother, we can delete one of the edges. And that's gonna make a little bit smoother. Or we can not do the offset like this initial officer that I did will get just like extrude this end. Maybe we'll offset on that one and that's gonna make it look a little bit smoother. It all depends on the other type of effect that you want to go. Now here I'm going to use an insert. And thanks to this edge loop that we have right here, when I insert this one right here, you're going to see that we're going to start getting this sharp effect on the back part here. That doesn't look as clean, right? It looks a little bit wonky. So let's go to our Vertex mode. And again, here's where we need to start tweaking to clean this up and create a really nice sharp transition. So this one right here, and this one pretty much we need to push it all the way to the front because this is where the hard edge just caught me. There we go. That looks a lot better. Look at that. Now, in places where you feel like things are looking a little bit wonky, are a little bit off. That's where we manually adjusted. This is why 3d usually takes a long time. With this exercises. I tried to do things a little bit faster than usual. But in, in production, a piece like this might take you two or 3 h to get it right. And using all the time to get the proper result. This is definitely important if we want to make this thing look as nice as possible. Let's blow up with, with the curvature and this one right here. We go. And look how nice and organic the shape looks now. Now, as you can see, we have a very similar shape to what we have on the rook, so we can recycle things. Remember, this is very important not to do any extra work if we don't need to. So I'm going to bring the rig to the center right there. The horses you can see it's not Coming up. Try to find the center of the base which is right there. Scale this up, push this up a little bit, or scalar like this. There we go. And then what we can do here, for instance, to capture the curvature here a little bit better is we can use soft selection and start pushing some of these phases. In. There we go. Now I can see that this is where it pretty much ends. So all of the top parts of the rook we don't need, we can delete those. And that was just a matter of filling in this hole right here. How do we do this control E I'm just are to scale this in like that. Let's go up all of these faces. These are, just flatten them up so they're perfectly flat. It's where it has sort of like an oval shape and that's fine. We'll just grab this guy right here and say Edit Mesh or Mesh, feel whole. And then Edit Mesh and poke. There we go. This is gonna be the base for our horse. Go to the front view. Probably make the horse a little bit bigger, centered at both points to match the proper shape. And there we go. That'll be your horse. Now, if we want to make the, we want to flare out the base a little bit more. We can do it, which needs to select all of the vertex on the bottom part. And here's beginner where self-selection is really handy because we can make the self-selection little bit bigger. We can flare this out a little bit more. As you can see, this is going to occupy more space on the base. And we're just going to have a nicer effect right there. Here. It might be a good idea actually to get rid of the symmetry because we were getting a slightly different result. There we go. That's it. Now let's just a matter of analyzing if we get any weird pinches like that vertex right there. I'm gonna go back to symmetry, will see. We just might need to, again, just fine and make sure that this surface is as perfect as we can get it. To get the like the feel of the Karp piece. Once you're happy with it, then that's pretty much it. We're done. I kinda want to add another line right there. Let's see if we don't add another extreme match anywhere. That looks good. And with that done, our little hoarse piece is ready. But again, it is ready, thanks to all of this topology tricks that we did. Now, I know that this B there was like 20 min long. It's probably going to take you a little bit longer for this the first time you're doing it. Be patient may sure to go back to the part where we have the proper topology and all of this like manual TIG tweaks that I did. Those are definitely gonna be the most time-consuming parts of the whole process. So don't rush it. We want to have this thing be like a really, really cool piece. So don't rush it. We're gonna be using this later on for rendering and Texturing. So the whole set, so make sure to spend enough time here on the little hoarse. If you want to add the mouth, you're probably gonna have to do something similar to what we did with the remember with the rock. It can be done whether it will be rig right here, hovered them out such a small little detail that I don't think it's really like necessary. Another thing we might wanna do is add another edge loop. Right here. It's going to modify the shape of the ILO bit, but it's gonna give us the sharp effect. Actually liked the soft way, to be honest. So yeah, there we go, my friends. Last thing we need to do here, Let's just grab our little like felt thing. Let's go translates zero. We got the horse debase and this guy, we're going to move it to the side over here. So three more pieces to go on. The king and queen are actually very simple. We're gonna be following the same sort of like Kerberos or thing except for it a little cross. And then the queen. We're also going to do just like traditional curvatures. The bishop is the one that's gonna be a little bit complicated because we have this card right here. But don't worry, I'll show you how to handle it and yeah, that's pretty much it, guys. I'll see you back on the next one. 15. Booleans: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the booleans, which is one of the things that we don't, I don't want to see. We don't use them as much because nowadays there are ways to use them a lot more. So there are a way booleans or mathematics, mathematical operation that we can use here instead of Maya to create complex shapes that wouldn't normally be possible due to the way topology works. We took a quick look at how topology should work for an organic objects such as this little horse right here. But now we're gonna go with this one. And this are like subtractions from an element. They can be very easily done with booleans, however, and you will see you in just a second. Booleans can be quite destructive. So I'm gonna go over here and we're going to start with the curve creation. So I'm gonna go actually how we're curves over here. I believe this is our curve. Is this the one that they want? Yes. So we're gonna start with an API curve right here. We're gonna go to the side, create the little base. Read a little belly right here. It's a little detail. We go over here, how a couple of donuts. We go, we have another extra doughnut right there. I would like an X shape. And we finished with the stigma. Here. There we go. We're gonna go to Control vertex of course. And we're going to start just like tweaking and modifying couple of this elements to get a nice effect. There we go. That's flooded this guys out. We go right there. And we can start giving it this or like will look the we went, remember that any point later on, once we're in the polygons, we can edit them and add more volume or remove volume for instance, right there, that thing right There's gonna be really helpful because going to look like a pinch. Just going to really make this like doughnuts look like separate pieces or like an indentation. The whole thing that we go. Perfect. Good, good, good. This guy's, we just look, flooded them for all of these guys over here. And even this guy right here together. A nicer effect. Cool. So now that we have this, we just go Mesh tools or sorry, surfaces and we're just gonna read Cloth. And as you can see, we get the very nice shape of the bishop, which is what will work going for. Now, I do want to sharpen a couple of things. So for instance, at this edge right here, I'm going to press Control and then the little thing right there to push it in a little bit more, might want to push this one that will be more. And then that guy, if we go to poly modeling, we're going to babble that border. So we get a nice sharp effect right there. I still feel like it looks a little bit too, like elongated. So I'm gonna grab this guy's push some of them out. Which does what? In? There we go. I really wanted to think to be a little bit more organic. So the late history Fisher information, all that stuff. The script right here, right-click. We add that there. And we've got the bishop. So the thing with the bishop, as, as you can see, we have this shape right here, which is like really ache colic acute going through the shape. And we can create a cube. We can go and create the cube over here. We're going to bring it up. Get the proper size of the cube, rotate a little bit. We go. And what we would ideally want AS2 literally removed at this piece from this piece right here, right? We could do it. We can do it using booleans, but I'm gonna show you why booleans can be a little bit tricky to work with. And then we'll take a look at some other tools that could be helpful to fix the Boolean issue and create something that's a little bit more organic and more proper in regards to topology. So a Boolean is a mathematical operation. We have them right here, by default is eight minus B, but we have B minus a union intersection slice. And the way this works is very simple. You don't like the first shape. You select the second shape and you click on this button to go into the Boolean mode. In Maya 2024, we're actually working with a, an interactive Boolean system that allows us to select the shape that we're using to remove a piece from. And we can interactively modify this and see how this will change on the element itself. Now, the more complex the shape, as you can see, the slower the Boolean process can be, but you can modify and move things around very, very, in a very cool way. Now, we can change here, over here, this is the Boolean Window. We can change the operation that we're doing right now. We're doing difference a minus B. We can change this difference B minus a for instance. And we're going to get this right here. We can go to intersection where only the intersecting pieces, the one that we're going to be seen, we can go to slice, which is going to remove one of the slices from the object. But in this case difference, I am a minus B is the one that we want to go for. Once we're happy with the result, are careful here what's happening? I don't want to smooth this way Let me go back. Let's go back a couple of times. There we go. Oh, it was just wondering if because I had it on set those smooth muscle, Let's get rid of it. Let's get out of smooth muscle and let's go to booleans and it should be there. We go a lot faster as you can see right there. So once we're happy with this and once we're not going to be doing any sort of like Boolean operation over here, we can select the resulting Mesh and just delete history again to remove all of the connections there. And this is the Boolean that we're going to have in that first, it might look like, well, we got one that we got the P is going through the element. But the problem is that as you can see right here, this face right here is called an angle and it's a phase that has more than foresights and N amount of sites. In this case, it seems like 19 sites has 19 different divisions all the way around. And these things are really, really complicated to work with in other softwares. And even here instead of Maya, and the easiest way I can show you why this is a problem is if I press number three, if I press number three to go into smooth mode, you're going to see everything else on the pieces modes nicely, but that part right there, it doesn't know how to smooth and it tries to create this thing, but it's just not doing a great job to be honest. So how can we manage using booleans, which could be very handy in order to create something that's more usable for what we wanna do. The answer is Rig topology. So I'm gonna go back to this guy in just a second. But first, I'm going to go to a cylinder. Let's do a very, very simple exercise right here. I'm going to delete all the faces from the cylinder. Am going to be left with like a cheese slice. Jesus, it's a great example of how booleans can work and how we can make this look a lot better. So I'm going to bridge this thing right here. And this things right here. There we go. We have this slice of cheese, right? Now. Let's say we want to smooth slice of cheese. Well, actually we don't have that battle foot topology. So technically we could add on top here, on the bottom here. And as you can see this, it's not looking that bad, but I'm going to add a card right there. It's going to make it look a lot better. And then another one right here. But the topology is like not ideal. Now let's add some spheres, and let's say we want to add some holes to dislike cheese right here. So I'm going to add one right there. One right there, another one right there. Let's make it this one a little bit smaller. Let's do another one right there. Another one right here. Let's do another one right here. And then one more over here. Another one over here. Just going crazy with the cheese holes right here. There we go. So let's say something like that. I'm going to grab all of the spheres and I'm going to combine them, Mesh combine into a single object. Just the Boolean operation is a little bit easier. I'm going to select first, then the second, and we're going to Boolean out. And as you can see, we get this very cool looking cheese piece that has a lot of elements in a lot of cuts everywhere. But there are a couple of pieces that are not ideal. For instance, this sphere right here, I'm going to move it a little bit. There we go. So we don't have such thin areas. Once we're happy, we can say, Yeah, this is perfect. This is the cheese other want to do with maybe I'm doing some product render or something, and this is what I want to use. We delete history and we got Archie's. The problem is if we try to press number three, this is where we get. Maya has absolutely no idea how to smooth this out because the topology is not right. Thankfully, in Maya 2024, we have an option here called a rate apologize. And the way rate apologize works is it allows us to use some computer algorithms to try to find how to better describe this form with proper topology. And by proper topology, I mean the kind of topology that we have here on the horse, all quads and everything moving in a way that it captures the shapes of the elements that we have right here. Now we can set the target face account. I think 1,000 is fine for this example right here, we can select whether we want to keep the original are not in this case, I don't think I want to keep the original and this are some options that we can move around to try to get some more uniformity. But in this case, since this is just a very basic shape, we'll just hit Apply and see what we get. As you can see, it says, Hey, we've got some stuff over here. You're sure you're want to go, let's go. We're gonna say ignore and reach, apologize. And this is what we get. So as you can see, we do get this or like t-shaped that we wanted. Everything is quads, everything is flowing. We are capturing the shapes, but it's not really working exactly as expected. So how can we improve this? Well, we can increase the poly count. So if we go double the amount, you can see we're gonna get a better effect. And we can select this option called hard edges. If we select hard edges, is going to try to preserve the heart edges of our element. Now this aren't complex operations, so let the computer round and let the computer calculate all of those things so that we can get the best possible results you can see by increasing the poly count, we can get you way, way better result. And now our cheese is looking really, really nice. We got 4,000 phases, which is a little bit high. But if we smooth this out, you can see arches is looking a lot better. It won't be perfect. That's the thing about re topology, especially automatically topology, you might not always get perfect results. But as you can see, this is way, way, way more usable than what we had before. So that's exactly what we're going to do with this piece right here. We're going to select our object. We're gonna go and say, Hey, preserved a heart edges which are this one's right here. And as for polygon, well, let's see how many faces we have right now. As you can see, we have 4,000, almost 5,000 poly counts. So I'm gonna go all the way to 5,000. And I'm gonna give it even 20% tolerance so that it can go higher or lower if it needs to for this particular piece. Now, when you have an object that's very uniform in other areas where the booleans not present, most of this thing should remain the same and the booleans will only modify this area right here. Let's see how these to get apply, say ignore and continue. And let's wait for the computer to show us or give us a result. I did not save in this case, but they strongly recommend that you guys save because whenever the computer needs to do like heavy calculations, such as this one's, if we don't give enough time, it might have some issues with it. But there you go, look at this. So it managed to create a very nice looking element. And even though the topology is no longer symmetrical, you can see that the flows and allosteric symmetrical. If we press number three, we do get a nice result. All of the other faces down here, like all of them, seemed to be working pretty much exactly the same. So the only change or the only place where this thing has got modified is up here. Now, can do another try. Let's try doing a Control C here to go back to our Boolean. There we go. And a couple of other options we can activate say, Hey, I want to keep asymmetry and I want to keep with the symmetry on the object from negative to positive. See, because right now the object is symmetrical from this side to this side, right? Let's say real quick before anything happens. And let's give it another rate. Apologize here. Let's go, let's see what we get. You can keep the original, by the way. In this case, I don't think we will need. There we go. Now, this looks really clean. Look at how nice the D topology looks here inside of the face. All of that thing. I used to do that by hand when this tool was not available. But as you can see now, we get a really, really nice effect. Any general shape is looking good. Now, I do know this that even though the object looks a little bit better, It's not perfect. So we're going to again combine tools like it's not, There's nothing wrong with combining two. So maybe to get a better result here, I would like to divide this object into two objects, will keep this a little like X shape. And we'll do the Boolean for that actually will keep the top part and the lower part a separate pieces. How can we do them? There's a couple of options. The easiest one is just delete these faces right here. Delete this face is right here. Then I'm going to say Mesh and separate. And this will separate the object into three different pieces at the base, the little hat and a little action. Let's go with a little extra, which is the most important. And this guy, we need to fix it, right? So I'm gonna say Mesh, fill hole and then Mesh or edit Mesh and poke. And to soften this up, of course we're going to bevel two segments and a big fraction. So that when we fix the little X shape up there, we'll do the same thing here. Control E stood in and then Mesh, feel hall. Grab that face, Edit, Mesh and poke. We'll grab this whole thing right here, will also give it a bevel to make a little bit nicer. And there we go. This piece right here. We'll fix it super, super easily by just extruding in Control E. We extrude in again mesh, edit mesh, sorry, that Mesh, fill WHO. And then Edit Mesh and poke. And we'll do the same thing on this piece right here. Control E in Mesh, feel hope. And at the mesh. Ok, perfect. There we go. So now that we have this, we can go back to this little at right here and do the same thing. Now, the amount of faces has gone down or like 1,000 Faces right now, if you haven't if you don't have this one, by the way, I'm not sure if I mentioned this before. Bits in display, heads up display, and it's poly count. That's one of the UIs that I normally use for this row stuff. On this one will go Mesh. Writ apologize, will say Give me 1,000 with a 20% tolerance. Hard edges. It's important and a symmetry from minus E2 positive. See, Let's go. And what's gonna happen, as you can see, it will only do it on the little egg right there. And it should give us a nicer effect. So as you can see, this looks way better. Now if we go to the front view, it's just a matter of maybe like scaling this. Let's center the pivot point. Scaling this a little bit and making sure that it looks as nice as possible. You can see it's not as uniform. That's the thing. When we're working with this sort of like booleans stuff, we might not be able to get this. Now, see how we have like weird shadows going there. Let's try solving them by going to mesh display. And we're going to say on lock normals, mesh display and then soft edge. If that doesn't work, then that problem means that we have way more topology than what we need. And what we can do here is we can go to, we can go to some of them, like skip one and select the other one, like this. And then remember to delete an edge loop, we need to press Control and delete. That's going to simplify or reduce the amount of points that we have. And that should give us a softer effect. Now, we can try to do it over here as well. Just make sure that we're not hitting any spirals. Like those guys right there we go. We delete. And that way we should have a smoother effect with the top part of this patient. That's one way to do it. So hopefully with this guys, you are a little bit more familiarized with booleans. Again, it's not a tool that we use that much, but it is very useful. It's used a little bit more inside of games when we're working with games, because we'd games, one of the things that we can do is we can bake all of this information down into a low poly. So we don't care that much about topology. I'm going to push this up a little bit and in too can capture the roundness of the visual right there. And once we're happy, we can grab all of these three pieces combining into a single object. Let's copy another one of this file paths. And there we go. Let's go through the front view. Just get this in their will, adjust a little to things as soon as we finished the rest of the pieces. And that's it. So we got our bishop ready. Again. I mean, when you see it from afar in the take and a shot with a movie or something, like it's gonna be barely, barely noticeable. This line right here, it's also a little bit too close to the next line. So I'm going to push it up a little bit and that's gonna give me a smoother effects. Well remember when two lines are really close to each other, we're gonna get a sort of like pinch. And that's what we want to avoid with this. But there we go. We got the Pong, we got the root, we get the horse, and we got the bisher ready. Now, it's time for the queen and the king. So we're going to be using all of the things that we've learned so far to create the final pieces, hang on tight and I'll see you back on the next one. 16. Duplicate Special: Hey guys, welcome back to the next part of the series. Do they weren't going to continue with the queen. The queen actual want to show you a really cool thing because I want to decorate her crown a little bit better. You know, the queen, She's the most powerful piece in the whole board, right? So I think it might be worth it to make this thing a little bit more special. So here's what we're gonna do. I'm gonna go to the base of course, and we're gonna do a basic curves. So curve up, curve. There we go. We're going to start tracing the profile of her curve. He has the little bays right here, a little detail right there. We have three circles. And actually I'm going to stop at this circle. That's where I'm going to stop the whole thing. I'm going to have this thing a little bit more. There we go. The reason I want to stop here is because I want to work on the crown starting at this point right there. Go. Let's just fix a couple of points here on the profile. We go Make sure to adjust this so we get as close as possible to the actual silhouette of the piece. Can flatten this case a little bit there. All of these guys over here, perfect. Now we have this surfaces and revolve. And there we go. We're going to have the base for the queen. We can say Adelie History Center paid with Fisher information. Now for the crown, as you can see right here, we got that you really, really cool piece. And I'm going to start with this cylinder right here. However, one thing I'm gonna do is I'm actually going to delete. I'm going to give this some lyric, couple of more divisions, let's say 24 divisions. Because I want to select at this four pieces right here. Actually, like two of them only. I'm going to delete all of the other ones. So this two sections are here are what they wanted to use to generate the cool details for that, for the crown. And I want to poly modal them. So what I'm gonna do here is I'm going to rotate them a little bit. Actually. Let me go back. It's just not what I was expecting. Let's go again. Start with the cylinder. We're gonna go to the top. And as you can see right here on the side of the cylinder, we got this two phases, right? We're going to select them and we're gonna go now to the right view, front view. We're gonna use this to faces to model the shape of the crown. So I'm going to start right here. I'm going to add some cuts, 1.2 with my CO2. And then we're going to push them in like this. There we go. All the way down here. Then I'm going to use this whole thing. I'm going to use Control E to extrude this phases in. And as you can see, we're creating the pillars of what eventually is gonna be the Queen. Now, the reason why this looks dark is because we extrude it in the phases of the object R&D inside this are called the normals. Easiest way to just like changes is to go mesh, display and reverse. And there we go. So now this thing is perfectly right over here. Now that we have this, I'm gonna go back to the front view. We're going to start giving you this the, the effects that we want. So I'm going to go with my CO2, going to insert a natural right there. There we go. I'm going to insert one right here and one right here. And that's it. One more interface. And there we go. What I want to do is I want to create a crown, but instead of making this a solid cram, I want to duplicate this thing several times until we go around the whole element. Now, here's where we're going to be using the tools that is on the title of this chapter which is duplicate Special. We could of course, uh, duplicate this and then rotate this around, find the perfect like elements. In this case is like, I think it's 30. And there we go. But then I want to do this like a lot of times because it's gonna be really, really like time-consuming and that would like to be a little bit more precise. So the way this works is as follows. We're going to select the object and we're going to go to Edit. We're going to say a duplicate Special right here. We don't select the option box. And this tool right here allows us to, as the name implies, a duplicate this with a special instructions so that we can generate a really, really cool result. Now, the initial cylinder was a 20 sided cylinder and we took two phases. So that means that we need to duplicate this object ten times. And we want to duplicate this object Ted times are along the y-axis, which is this thing right here. And if we find the exact number that we're looking for, it's gonna be 36 degrees. So on the rotation right here, anytime you see in Maya three boxes like this is always X, Y, and Z. So on the rotation I want to duplicate this and rotate this 36 degrees, okay? So if we select this one and I say apply, as you can see, it's going to duplicate it. And it's gonna give me a rotation at 36 degrees. If I do it again, it's going to do it again and again and again and again and again and again as many times as I need. Now, the cool thing is if we know how to calculate this properly, we can say, Hey, I want nine copies because I already have the original one right here. So nine copies at 36 degrees, it's gonna give me 360 degrees. And as you can see, we get this very cool effect that allows us to generate this whole thing without spending too much time. And look at how nice this like crown looks. Now, I'm going to grab one of these pieces. I'm going to duplicate it. And let's say we want to do an intermediate effect. So instead of six degrees, I'm going to say 18, 18 elements. And I want to make it a little bit smaller. And I want to kinda wanna push it to the outside. So how can we push this to the outside without modifying the, the element right there? And the answer is, we actually can't. We're going to have to find another way to, to find the position. So I'm gonna go to the top view. When I'm gonna do is I am gonna make it smaller, then press W. But as you can see, W right now it's not allowing me to push it on the direction that they want. If I go to the move options here, I can change the axis orientation to object. And as long as I haven't frozen the transformations yet, I should be able, as you can see right here, to push this out, right there. Going to push it down. In, scale it up. Can I create like a nice like element right there? Look at that, that looks really nice. The problem is, the proof points is no longer on the center of the, of the cylinder. So if I try using the same duplicate Special that I have right here, as you can see, it's not gonna work because it's duplicate, Special. It's very important if works based on the position of the Poupon. So I'm gonna go to the top view. I'm going to press a D. And with the letter V, I'm going to snap this back to the center of the cylinder. Make sure it's right there on dissenters. You can see, I missed there a little bit. So it's right there or we can go to the grid and with X center to the grid right there. Once I have that, I could go back to duplicate Special, again, rotation 36 degrees on the y-axis, nine copies because where we have the first one and hit Apply and look at that. Now the queen looks really, really, really cool because we got this whole thing going. And that's it. If we wanted to add a little sphere here or somewhere else, It's very easy to use duplicate Special to create a sort of variations. Let's finish up this piece real quick by going for a tourist. So I'm gonna go for a tourist right here. Go to the poly torus Options, change the section radius a little bit, change the radius here as well. This one's gonna be right there. There we go. And we can duplicate this one, make a little bit smaller, probably a little bit bigger, so we can get a nice overlap there. As you can see, we've got a couple of spheres. So just create a sphere right there. Match the shape of the queen. Probably make a little bit more like an oval. And then a second sphere right there. As you can see, we can make full pieces were just like basic shapes. But at the moment we grab all of these guys and we combine them into a single object. That's when we're gonna get a really, really cool looking BCE. So not difficult, right? Very simple piece, just a simple cube here that we created from a cylinder. And by using duplicate Special, were able to create a new element, a new 3D shape, that it's going to look way, way, way better than this one that we have right here. So our queen is ready. Let's give her a little path on the bottom-right here. Go to the front view. Scale this up a little bit. There we go. And our queen is now ready. We're now just going to be missing the king. That's the final piece that we're gonna do. And then we're gonna do the board of course. But once we're done with that, we're going to have our full chess set already. This is an excellent exercise. If this is the first time you are using Maya or any modelling software, I love doing the chess set because it really pushes you to learn a lot of the tools that you're going to be using for more complex stuff that we're gonna be doing later. So make sure to get to this point and make sure to save. We're going to be cleaning all of this up. One quick way to do it is just make sure too little history and all of this information did you have right here, if the groups are empty, if they just have a transform, just select them and delete them. Now, a very common mistake that I've seen some people get is when the object turns green, like, like like this really intense neon green, if that happens, did you just right-click, assign existing material and go back to your Lambert one. And that's going to bring back the, this nice gray material that we have right here. So yeah, that's it for this one guys. Make sure to get to this point and I'll see you back on the next one will be finishing up with the king 17. King Modelling: Hey guys, welcome back to the next part of the series. Today we're going to continue with the kink and the king is a really FUN piece because we're actually gonna be like putting into motion are using all the tools that we've learned so far. I'm going to try to center this as nice as possible. There we go. And now we're going to go with our curves. So I'm gonna go create curves, tools and EP curve. We're gonna go to the base here, push it to the side, create this little curve right here, a little with an angle right there. Keep going up. And we can capture this with a couple of points. You'd need at least three points to capture a proper temperature. So that's what are we going for it? And we're going to stop right here. This little extra piece at the end. We're going to be doing that as a separate element. We're gonna go to Control vertex, at least this last one. Say definitely want to keep them like really, really flat. There we go. Now we can start modifying or moving some of this elements if we need them to be, for instance, a little bit sharper, can push this point a little bit more towards the upper side right there. Just in general, play around with this elements right here. There we go. Let's try to capture the silhouette as nice as possible. Remembering that at any point after we do our revolve, we're going to be able to adjust or modify any of these points a little bit more precisely. We go and we get this right here. There we go. Keep going over here again, just a couple of little Justin, especially this or like knots that we sometimes get where a couple of points are intersected with each other. It's important that we clean them up a little bit. Finally, disguise right here. We can blend them out and flatten all of these points on the bottom part, right? Perfect. So now that we're ready, we can describe this curve and do a revolve. Remember surfaces and revolve with all of the previous options that we used before. And there we go, get a high-quality pieces are really, really high poly but really clean, really nice. And then we're capturing the silhouette of our key right there. Now for the top piece right here, as you can see, we got the sort of like a tourist or actually it looks a little more like a sphere. I'm going to use this fear to create the bottom section right there, right around there. Doesn't make a little bit smaller. There we go, something like that. Now, if we want to make this a little bit wider, trying to think one other thing we could do here, I'll show you one trick. We can grab it like the upper faces right here and London them alla little bit. And then grabbed the lower faces and do the same thing. This is going to give us a slightly more rounded face like this, which I think it looks a little bit closer to what we're expecting on this position right there. Perfect. So it's just scaling some of the edges together on the top part and on the bottom part. Even though it's not perfectly symmetrical, It's still going to look just fine. Now for this piece right here, I wanted to go over the quadrate tool again because it's again, a really, really powerful tool that everyone should know about. And it's important for me that you guys know how to use it, even though we will be using it later on as well. So I'm going to start with a Mesh tools. You can start with a plane, by the way, but I'm gonna do a Create Polygon, and I'm going to create a one small polygon right here. Then with quadro, I'm going to start drawing the profile of this are like round corner that we have right here. There we go, something like that. And then this is a little bit sharper. So we're going to keep it sharp, sharp, sharp. Let's do just two lines right there. We're gonna get this right here. And then over here we need another little loop that captures this particular silhouette. Now we also know that we're going to have a central line, right? It's very obvious or it should be very obviously, we're going to have a central line and then we're gonna be mirroring this across the whole thing. Now that we have this, we just need start filling things scene to make sure that we don't get any, any triangles or anything like that. So for instance here, these guys right there, that immediately tells me that we should have two lines going in there. And as you can see, this fills all of this elements. Very, very nice. Now here, the move that a little bit over here to get that line right there. And since I don't want to add more lines that we need to, for instance, in this area, I'm just going to add to zero point. And there we go. Something like that. Over here. Got an issue. If we just feel this and this is gonna be a triangle, what can we do to avoid that? Well, the easiest thing is just to add one more line right there. Now this is gonna be a square. Yes, we add a little bit more resolution or a little bit more topology. But for a piece like this, it shouldn't be that much of an issue. There we go. Now, before we mirror this, There's something very, very important that we need to do. We need to make sure that all of this vertex that are here in the center are perfectly aligned with each other. There are perfectly aligned to the x-axis. I'm going to press R to go to scale mode. And we're going to scale all of this together. So they're perfectly flat against each other like this. Once we do that, we go Too movement and with X, remember X is a snapping for the grid snap, we're going to snap them to the center. Now we should be able to mirror. So shift right-click to mirror and we're going to mirror across the X, negative X. There we go. Of course, when we do number three, this is gonna be a nice smooth effect, as you can see right there. We can modify this point a little bit there to give them more roundness. And what we're gonna do now is just scrubbing this whole object. I'm going to Control E to extrude it forward like that. I'm gonna go to the top view I'm going to select all of the faces on the center and delete them. And finally, we're going to mirror this on the X negative z-axis. So, yeah, there we go. That's it for is number three because they're very nice effect right there. If you want to make sure all of the faces on the bottom are perfectly flat as well, which I think might be a good idea. We can go to vertex both and just flatten all of this and merge them down here with the rest of the, if we want to make this whole thing be a little bit more sharp, especially on the borders because I think it looks a little bit too round right now. We could, of course bevel or we can use another tool. I don't think we've used this one before called offset edge loop, which is very cool because when you have a symmetry line, you just click on it and then we'll add two lines on both sides. So it's very easy to add a uniform divisions for this particular part right there. And there we go. With that done, we are pretty much finished with our chest a set. Now it's going to bring a one last copy of this thing over here. Of course, scale this up a little bit so that matches the size of the king space. We go. That's pretty much it. Let's do a little bit of cleanup here. So I'm going to grab the whole king right here. I'm going to combine it except for the curve. Make sure that we don't select a curve and we're going to combine it. There we go. Same thing for this one. You can press the G to repeat the last action, G, G, G and G. There we go. Very nice. Now what we can do is just delete history for all of them. Centered appealed point. There we go. And finally we can rename stuff, right? So this one's going to be called king. This one's going to be called a rook. This one's gonna be called pawn. And this one's going to be cold sores or night light. Essentially they're the proper name. Night is gonna be called the Bishop. Finally, this is gonna be our There we go. With this done. We are pretty much finished with our whole set. We can bring all of the pieces into position. I'm actually going to grab all of the curves right here, Control G to get them into a single group. And I'm going to call this curves. So if we need access to them, we just check them out. We don't need that nerve square root. We don't need the image plane anymore. We don't need to blue pencil nor all of this extra front Cameras. And that way our scene here instead of Maya is gonna be a lot, a lot cleaner. One thing of course, we're gonna have to do is just like move a couple of the pieces up and down to make sure that they're on top of the ground. So that when we position them on the board, all of them are going to fall perfectly in place. So, yeah, That's pretty much it. Now. It wouldn't be a chess set without the full like chess board, right? So I'm gonna save this. I'm going to open a new scene. And then I'm going to say File and we're going to import the chess set into this new scene. However, there's one thing that's going to happen here when I import. You can see here on the Outliner, we're gonna get this names called the namespace. Name faces are good to remember or to tell you where these things are coming from. And as you can see, we get all of this just sets coming or adult, if the speed is coming from this chess set, you can keep that if you want. We don't need a curse on this particular one. You can keep the name space if you want, but if you want to eliminate it, you're actually not going to be able to eliminate, or at least in older versions, it is possible now to eliminate it like this. Well, I'll show you a quicker way. If you go to Windows, general a truss, There's an editor called the namespace editor. And here you can see that there is a namespace which is coming from the chest set file. If we just select this one and say Delete, it's going to tell us, what do you want to do with this? And we can merge this with the parent, which is just the root or Metro with the root. And when we do that, we get rid of them. Namespace. Very, very important to keep the scene scalene because remember this is the new scene that we have right here. So what I want to build now is I want to build a D chessboard, the actual chessboards, but I want to make it the make a little bit more interesting. So what we're gonna do is the following. We're going to grab all of the pieces, move them to the side for just a bit. And I want to create one square. We're starting with a cube, will make this cube a little bit bigger, something like this that says a good size. Once we're happy with this, I'm going to bevel the whole thing, but I'm not actually going to remove that thing. I don't want to do a smooth version. I kinda wanna keep it like this. So we have this very hard machine cuts on the corners off the object. Now what they need to do, as you guys know, a chessboard is an eight by eight grid, right? 64 squares. And we need to duplicate this guy in a way that we can create the 464 squares. So the easiest way to do that is by making sure that we move the pivot point on this thing and assemble a little duplication of this elements in the proper way. So what I'm gonna do is I'm going to press a D, and then we the V key press, I'm going to move the full point to the farthest point that we have right there, which is the side of the little plate that I'm going to press Control D. And I'm going to move this. And again, I'm going to snap it to the farthest point right there. And as you can see, this is what we should see. We can actually push it a little bit more. There we go. This is what we should see. As you can see, each vertex are pretty much touching each other. And once we do that, we do that again Here's a small trick. Once you do it, once, you can actually press shift D and they will repeat the last action. So if you did it properly, you should be able to get the eighth little blocks that we want here. So that's 3678. There we go. Now, I'm gonna grab all of this elements right here. And I am going to combine them to make things a little bit easier because I don't want to be working with individual elements right now. And I'm going to present Dean, move the pivot point now to the farthest point on the back and then duplicate, move it to the farthest point on the front like that with snapping, remember we're using V to snap whenever you see the little gizmo there change shape. That means that I'm using some snapping tool. So this is the snap to point. And then we do Shift d34 5678. There we go. We get our chessboard. We can combine all of this into a single element. And now with X, we can bring it back to the origin, to the very center of the grid. And we're going to have our nice, like the, all of the squares of our chessboard. So there's gonna be like a little bit of an indentation in-between the pieces. We're gonna be like positioning. All of this is just a second. But before that I do want to have some sort of like border or something. I'm going to show you something real quick about the curves. I'm going to go to my curves again. I'm going to grab another curve. And I'm thinking about a flat box that's gonna be like this. And then we're going to have a couple of like little decorations. And then we're going to have the main element right there. I'm going to just control vertex. I'm just like being creative right here. And I invite you to do the same thing for this particular part of the exercise. That's one of the cool things about 3d, like we've been following the law of references so far. But you're perfectly free to order, completely free to create your own stuff once you feel comfortable with the tools. So this is gonna be like my, this is gonna be the, What's the word? The corner of the box now it seems a little bit small, so I'm gonna make a little bit bigger. There we go. And what I'm going to do, you can see the pivot point is not on the border and I would definitely liked it to be at least on this corner right here. I'm going to press a D and there's another snapping option which is called the C. With C, you can do a snapshot curve and you can middle mouse and drag and snap this at any point in the curves. I'm going to snap it right there at the top of the curve. Then what I'm gonna do is I'm going to rotate this 45 degrees. Okay, So 45 degrees, what I'm gonna do is I'm going to position this Control D. I'm going to snap it to the lower point where the lower portion of this chess board right there. Okay? Then I'm gonna duplicate it again. Duplicate it again. And I'm going to snap it now to the next point, to the next lower point of this one, which is V, which is that point right there. And we're going to rotate this, but in this case is going to be, we can actually turn on snap rotation. I believe we've already explained this one, which is this option that we can rotate in a specific angles. And we do that. Then again. We do it. The bottom part or the back part, 45 degrees. There we go. Then one last time. That point right there. Perfect. So as you can see now we have four corners that are going to be creating the wound border. There wouldn't box that they want to have as the support for my chess set. I'm going to grab this guy and this guy. And we cannot use revolve because reward goes around the element. But we can use a tool that's called a loft. And they worked in a very similar way. It's this one right here. We're gonna go over here and we're gonna say polygons. We're going to say quads, general perspect perspective, hit Apply. And look at that. We get this very nice border. And the cool thing about this is we can actually select all four corners, but it's very important that we select them in order. So you'll want to go either clockwise or counterclockwise, but you want to select them in ordinary, hit Apply. Actually, no, that's not what they wanted. That's something completely wrong. Let's do it one by one. Then we select that one, and then we select a curve here and here. Apply. Then we select that curve and death curve and apply one more, one more and apply. And as you can see, we've successfully created this whole mesh right here. Now to make this Mesh final laser, to finalize this Mesh, this is what we're gonna do. First, we need to combine it, right? So Mesh and combined. So at all four sections are a single mesh. Then we need to reverse the normals because as you can see there, they're looking to the inside. So Mesh display reverse. The problem is if we try to smooth things out, it might look like we're actually smoothing things, but this vertex right here are separated. See that if we want to have a single mesh, we need to combine them. Now how can we combine the meshes or vertex that are pretty much on top of each other? Well, the answer is actually quite simple. We go to vertex mode. We select all of the vertex and if we go to Edit Mesh Merge, there is this thing called the threshold. And as you can see, the 0.01 threshold of 0.001 threshold will make sure that all of the elements that are pretty much on top of each other will be will be combined properly. Now, I'm not sure I'm going to delete history here. I'm not sure if this is perfectly symmetrical. Account looks a little bit like weird over here. So it looks, it looks correct over here. What can we do is easy. We can just do mirror. So we might have messed up something at that point in this position over here with a way mirror here in the next world. And we do apply. As you can see, this should fix the whole thing fairly nicely. There we go. So now this should look up perfectly square. And what I'm gonna do is I am gonna make it a little bit bigger, just a tad bit. I'm going to push it up again just a tad bit. Because I want the squares of the chessboard to be inside, like a little wall over here. So I'm going to press Control E, bring this down and then Control E and offset a little bit. Or in this case the thickness a little bit, just a little bit. Or we can use remember the key to just like extra insight towards the inside. Now. And all of this whole, we can just fill it so Mesh feel whole. And did Mesh poke. Same thing on the other side. So mesh, edit mesh. Ok, there we go. Of course, if we do number three, we lose a lot of this stuff. So in this particular case, or for this particular shape, we're not actually be doing number three. If we wanted to do number 31 thing that we're going to have to do is actually the lead. This guy's first go to the corners, especially the corners. Go to all the corners and do a Bible segments in a small fraction. Why is that? When we smooth, we keep the hard edge that we have right there. Now, some of you might be asking, well, do we really need to like, uh, like do or model the things that are inside this box. And the answer is actually no. We can keep it like this because unless we will move the, all of these blocks in or out, no one's gonna know that there's an empty element over here because all of these things are like properly covering. We do have a little bit of a hole right there. So that might be our indication that we do need to fill this in. Just again, easy, just mash, feel WHO and the face. And we poke the same thing here. Mesh, feel home. Added Mesh and poke that we go, we got our nice chess border right here. So the moment we're all been waiting for, Let's place our pieces. Am. I am going to show you a quick way to do a dark square just to, just to get some quick are nice Materials for this, but we'll talk about Materials a little bit later. Let's start with the ponds. So I'm going to grab this point right here. One thing we can do is press a D and move the point to the lowest point. So when we slide the, as you can see, it's lights on top of the position, which should be, this guy is gonna be right there. And we can say Control D, then shift each of the shifting, shifting, shifting, shifting. Now remember how I mentioned that we tend to make things way, way too perfect. So what I'm going to do here, you're seeing a little bit of this like a green square. Remember that it only moves, sit on specific points. I'm just going to move it the pons a little bit. I know there are some chess players. I love those pieces to be perfectly aligned. I'm just going to move them a little bit to give them a little bit of variation. And we're going to grab all of these guys right here, Control D, and push them to the other side, to the next row, which is one, that one right there. There we go. Let's go forward to rook. So we're going to push the point of the rook to the lowest point. There we go. When position the rook on the board. We go. Control D. This guy's Control D. There we go. Then we got the horses. So we're going to have one of course, you right here. And the other horsey right here. We can even give them slightly off rotations, that's perfectly fine as well. Control D, Let's go back to World Mouth. There we go. We just wanted, we don't need anymore than we got the bishops. Go right there. Actually, I think the horses are floating. So let's go. There. We go. Forces to the side. And finally, the king and queen. So this guy is right here. Squares. I'm, I'm, I'm supposing that this side of them that's closest to the camera, it's white. That's way the king is right here. And we just pushed this together. So queens should be facing each other. That's usually the weight goes. And that's it. My friends is, you can see we've finished our little element right here. Now. What else can we do? Well, of course we're going to select everything. We're going to delete the history. We do not want to freeze transformations. Why not? Because freezing transformations might This allows us from doing other stuffs later on if we want to. But I do want to do a nice render for these pieces. And the question is, how can we make this pieces like different colors, right? Because if I, if I choose render right now we're gonna get their traditional clay render, which is not going to look bad, but it might be interesting if we could, that just looks slightly different colors. So I'm going to grab all of the white pieces. I'm going to right-click and I'm going to sign a new material or node. Ai standard surface will, will go over this whole thing later on if you don't want to follow and you want to wait until the rendering stage, that's perfectly fine as well. So here on the center, I'm just going to actually, I'm just gonna keep it like that because that's actually a white color. And then I'm gonna go here, assign new material. We'd right-click Arnold AI standard surface. This one I'm gonna go for like a dark red. Something like a little bit more desaturated. There we go. Now, one more thing that we should do is the squares, right? So for the squares, the problem is it's gonna be a little bit more complicated, but it's not that bad. So I'm just going to right-click where it first of all, I'm going to right-click. I'm going to assign existing material. I'm going to add the standard surface one, which is the white material. And then we're gonna go to face mode and we're going to start selecting one of each face is like this. Okay? So we're going to create or select the checkerboard pattern that we normally get. Like this. I'm pretty sure that's actually wrong. That should be. If I'm wrong, I'll check in just a second. Think I remembered that the queen should be on its own color. So since the queen, the white queen is right here, it should be on a white square. So we just double-click, we're double-clicking. Remember when we double-click an island or a face Island, we're selecting all of the faces were connected to that island. By double-clicking all of them, we can right-click and assign the new material or the existing material and assign the AI standard surface. And this is what we should be getting. Finally, we can go and say File Import. Let's import our barrel Render again. Import. We don't need the barrel or this guys right here. Guys right here. And of course, all of the things that we've done here with the element, we're going to Control G to group it. We're gonna make it smaller. Let's just rotate it around a little bit so that we can see it from a nice perspective, something like this. Let's go to our render view. There we go, because we're going to change this to a two K squared, which is the one that we've been using. We find a nice framing like this. We save real quick. This is actually let's save. We're going to call this chess render. We can just go Arnold and Render. And look at this view. The full model looks great, right? Not bad. So after what was it like an hour or a little bit more than that, where we now have an actual prop that we can see on the movie. On a film, this wouldn't be eligible for gains because it's a little bit dense on the amount of polygons that we have. But look at how nice this chest it looks with all of the different business. And the cool thing is if you made it this far, you made it yourself. I showed you the tools, but you were the ones that made all of the clicks and all the different things. So you are the ones that manage to create this final result. So yeah, this was pretty much it guys. We're gonna have one more modelling exercise on this, a modelling chapter. Then we're going to jump onto the next chapter, which is going to be UVs and Textures. So make sure to get to this point, to get used to all of the tools that we've been using. Because the next exercise is gonna be a little bit more challenging than this one. Yeah, hang on tight and I'll see you back on the next one. 18. Environment Basics: Hi guys, Welcome back to the next part of the series. Today we're gonna be doing a little and environment. And I wanted to use this last exercise on the modelling section to show you how we can incorporate all the tools that we've learned so far to create what small environment. So if we navigate to our source images folder, you're going to find this fantasy door right here. It's a cool concept. And not only are we going to be Modelling and texturing this, we're actually going to be rigging it and I'm gonna be showing you how we can create some really cool like a Animations with the mechanisms of the store. Now, the first thing we need to do is we need to talk about scale. We have mentioned this briefly before, but instead of Maya, when you create an object, this object is made out of a one by one by one cube. And the units that you normally find instead of Maya are centimeters. So we definitely want to bring this into a real-world scale. And if we were seeing this door on a castle or a dungeon or something, it will be at least 2 m, right? For my friends in the US. I believe that's about six-foot or seven for something like that, so a little bit bigger. So what we need to do is we need to change the dimensions of our grid so that we can work in real-world scale. This is not something that you do all the time. You can work at smaller scale and then just scale everything up once you're exploiting this to like a game engine or something like that. It's a good idea to try to model everything in real-world scale. So if I grab this cube and they changed the scale right here and I say 200, that's gonna be 200 cm. This is how big I want at the door to be. And usually they're about 1 m wide, so I'm going to say 100. So this is like a normal size for a door, probably a little bit more. I think the default is to 30 by 110 or something like that. So let's do something closer to this measurement. Now as you can see, the grid becomes really, really small. And I've had some students that are really scared about modelling things outside of the grid. It's not going to like nothing's gonna happen if you turn off the grid, this thing is not going to fall into the ground. There's, there's no gravity right now here instead of Maya, so you're perfectly fine, but it does look a little bit weird. So to change that, we're gonna go to display a grid and we're going to go to the options here. We're going to change this to 110.1. I'm gonna hit Apply. And as you can see now, the grid is going to look closer to what we're used to see. Going to delete this, then we're actually not yet. Let's go to the front view. And let's go to our image plane right here. And we're going to import our fancy door right here, hit Open. And we're going to scale this up until the main size of the door fits inside of the volume that we want. It's going to be a wider door, of course, but this is what we want. Now, I would expect this door not to have this. This looks more like a window than the door, but that's fine. We'll just Malda whole thing. And that's it. With this, we pretty much have the required size for the element. And now we can start thinking about the general construction. I'm going to show you a technique that we use very frequently when working with environment that's called a blocking. Sometimes when you are working on a game or an inexperienced or whatever, you want to see, roughly how things are going to look before you start modeling. Just to save a little bit of time and make sure that all of the things are looking like, okay, we're gonna go to the front view. And what I'm going to start doing is I'm going to start creating very basic shapes. So for instance, for this handle, I'm going to create a cylinder as you'll have my steps nap, turn on. That one's gonna be right. They're going to make a lot thinner. So I would expect this to be quite thin. We can push this back by the way. Then we need to create a wall, of course. So we're going to create a big plane right here. Rotate this 90 degrees. And this is gonna be my wall right there. So let's push this wall a little bit further back. Then, we need to have this Arc for the door. So I'm gonna go to Create polygon primitives and we got the pipe. Push this up. Let's scale the radius. Let's scale the height. One other, hide the thickness. There we go. Let's bring the radius given the higher should be right around there, there we go. That's actually really close. So let's change the thickness a little bit. There we go. And what I'm gonna do, just to make this a little bit nicer, we're just gonna delete those for just a second. And if we go to perspective view, of course, we're gonna have to scale this up to get a really nice depth for the whole door. Then we have a Secondary, like a wooden ARQ. So I'm gonna duplicate this, make it smaller for the wouldn't Arc, which will be right around there. You can see that the doors is not perfectly straight. That's fine. Where we're going to ignore certain things about the concept. And that would expect this to be a little bit less effect. So something like that. Going back here, we got the handle. I'm just gonna use the basic for the handle. Just make the handle little bit bigger. Scale this representing again the handle. Something like that. Perfect. And I'm actually going to reuse this cube to create. This is the big leg actual mechanisms. So I'm expecting that when you move this thing right here, this elements goals probably to this I read here because this is the it looks like this is the thing that's locking the door into them into the wall. So this whole thing, just like pump moves a little bit to the side and it allows you to open the door. So again, just a very basic, very, very basic blocking of how this thing is gonna be. This one of course, is gonna be up here. I would expect this to be right here as well. Probably not as thick, something like that. Now we got the door right. So the door is let's go front view. There we go. The door as a curve door on top of any sort of like straight door on the bottom. So I'm gonna go with a cube. Let's start with a VQ cube right here. Get the main shape of the door and under division, so I'm going to add a couple of divisions on the width, something like three. Why? So that they can go to the vertex and just push this guy's up a little bit, create an overlap with the upper elements and just continue moving this thing so backwards. Make this a lot thinner. There we go out, something like that. Since girth, we go to the front view. Then we got two more cubes. Right here on the sides. There's going to capture the general volume of this things. Pillars right there. We've got the a frame on the lower side. So before I do that, I'm going to combine this two elements. And I'm going to move the vertex of this like arches down so they touched the cube. And this cube, we can actually mirror it to the other side. So World X negative. Again just together, a general idea where this thing is gonna be. I can definitely see that the door is going to need to be a little bit wider so that we don't see the whole thing. There we go. Let's go to the front view again. And now we're just missing this like Frame right here. I'm going to create another cube. Bring it like right around there. Go to this faces Control E. Push this down at one division right here. Grab this interface right there, and Control E to the center. We can snap it to the center. And again, we know that this element right here, we can grab this object and mirror it to the other side. There we go with this done, and of course, push the wall closer to what we will expect this thing to be. And if you want to be like super precise right now, we could even delete the faces on the inside of the wobble. We don't really need to. In this, I said this right here, my friends is called the blocking. And as you can see, it allows us to see a very good idea of how this whole door is going to look when it's on the game. Of course, we need to model all of the details and a lot of different parts. But as you can see, this is gonna give us a really, really nice result. Now, if you want to see this a little bit better here in the viewport, I want to show you a couple of things that you can do to improve the look on the view-port without having to Render. First of all, we can turn on this option right here, which is called screen space ambient occlusion. And it's really good. It's a little shadow that we get and we can see a little bit more contrast between the different pieces that we have. The other one is this one right here after the ambient occlusion. It's two bonds after that one it's called the multi-sample anti-aliasing. And this will soften up the elements anti-aliasing for those of you are unaware of whether this give me use one. Anti-aliasing is this thing that happens with screens where we're using pixels. All of the screens that we have in the world work at the time of this recording, all of the screens are made up of pixels and pixels r-squared, right? So when we have a line that's not going in the direction of the pixels, we get this sort of like jaggedy edge with anti-A lysine, we soft and we blurred a little bit deadline to make it look a little bit less intense. So that is you can see softer and softer. The effects here instead of Maya, hopefully on the screen you can see a little bit of the change. You will see some lines be a little bit thicker, especially like on the wireframes and stuff. But yeah, that's a couple of things that we can do. Now, as you can see here on the concept ART, there's actually a light source. See how we have a very nice light source hitting most of our door right here. Well, we can actually add a little light source that is not an Arnold light. Just to again, get a nice idea of how things are going and make sure that we get the proper depth with different parts of the store. So if we go to rendering here, not Arnold to rendering, we can add this point Light, which I really like using. And then we've compressed the number seven on our keyboard and we're gonna go into light mode. And as you can see, this is going to start working very similar to what we have on the concept. I'm going to turn on this option right here. There's no number for this one. You need to click it directly, which is shadows. And as you can see, now, we're gonna get some shadows. And again, we should be I'm sorry. We should be able to appreciate a little bit more how things are looking. So if I take a look at the concept, you're gonna see that there's quite a bit of depth between this wooden frame and the door. So I probably need to go to Maya, either bring this whole arches up or out a little bit more. Maybe even this one needs to be going a little bit more to create a nice step for the whole thing. Now if I move this light little bit closer to the side, we should start seeing a very similar shadow here and look at that shadow right there to what we have on the constant. And that tells me that we are going are we are creating the proper depth for the elements. I don't usually work with lights when I'm modelling, it tends to be a little bit distracting. But from what's the word from a production perspective, it's good that you can show your Art lead or your clients how things are looking even before you start working. So if I was working on the studio, I would definitely just like Dewey quick test and send this to an engine to make sure that the scale of this door like matches the character or the enemies or wherever this thing is gonna be, be. Before I start modelling all of the things that we have here on the concept. But once I have the blocking ready, well, now we're ready to start working on all of the different pieces. So let's, let's stop the video right here. And then the next one, we'll just start building all the different parts that make up this door. And we're also, as I mentioned, we're going to make them, we're going to build them with Animation in mind. So all of the species would eventually be moving once we get into the reading section. So let's go 19. Door Modelling: Very well guys. So let's start now Modeling our element over here. I'm gonna grab this whole thing and this works again, it's a really nice blocking. So I'm just going to Control G called this group of lock-in. And we're gonna save this. Some people like to call it blackout. I've always called it blocking, but both of them, same things, just a very primitive way to showcase the main volumes of our elements. I'm going to create a new layer. I'm just going to hide it so that we don't have to see it. And when we take a look at an object like this, we always need, need to ask ourselves, where are we going to start? Like, what's the first piece that we wanna do for this particular object? And you're free, of course to start with anything that you want. But usually, and this is an advisor that was given by my sculpting teacher several years ago. You always want to start with the big shapes first because the details, even though they're really interesting and really cool to model, the details are the last thing that you want to be worrying about. If the structural form, form or the primary forms of your object are properly done, then everything else should be fairly EC2 to just follow. What I'm gonna do here is I'm going to start with a cube and I'm going to do one of the planks. As you can see, this are asymmetrically. I actually wanted to go and make them a little bit asymmetrical. So not all of them are going to be the exact same thing. I'm going to make this really, really weak so that we can create the long plank. And I would imagine that opens right here. I'm going to grab this vertex and bring them down to right around there again, we're probably going to have a little bit of overlap here, but not too much because I do want I do want to capture the curvature of the door. So something like that. Then what I'm gonna do is I'm going to make this a little bit thinner. I think something like that, That's good. I don't want this to be like a strong, sturdy door. So something like this. We're going to double this two segments and the small fraction to give it a nice smooth effect, Let's turn off the anti-aliasing, the amine inclusion. We don't need it right now. Once we have this, I'm gonna do Control D. I'm going to start building the next elements right here. I want to be very careful to respect the depth of all of the elements. So Control D, Control D. I don't want to leave any spacing between them. So I'm going to like push them really, really close. And what I'm gonna do some probably going to bury the thickness a little bit with some of them. So for instance, that one's a little bit thinner. And then we're gonna make this one a little bit thicker. There we go. And then another one. There we go. Let's grab one of the originals. Bring it right there. Perfect. Then we'll just grab I mean, we can just duplicate some of this guy's, save ourselves a little bit of time and move them all the way to here. Can we don't want to see through it when I make sure that the topology is really, really tight right there, this one right here. I kinda wanna push it a little bit more. There we go. And this one right here, I also want to push it a little bit. So that's the main structure of our adore, which is looking quite, quite nice. If you want. One of the things that we can do is we can actually change the position of some of these blocks. So this is a technique that I like to use to add a little bit of variation. But before I do that, let me, let's fix the curvature of the element right here. Now, I'm going to crop all of these guys, and I'm going to combine them into a single object. And it might seem a little bit, whether it be, well will be the word weird what I'm about to do. But we're gonna be using something called a deformer to capture or, or move this thing closer to the position. And then we're manually going to adjust the curvature of the door. Because again, I definitely want this door to it will look like a door and move like a door. And therefore we need to have this curvature on the back. So if we go to the different options, we can create something called a lattice. The lattice is literally a box that goes around the object, the bounding box of your object. And this box has something called lattice points. As you can see, it only has two components, the object and the lattice points. In this lattice points will move, as you can see in a very nice like deformation way. All of the things that we have right here. So this is a super, super handy way to the form of an object in this particular instance. So I'm going to bring this down to three. We don't need as many points on the verticality of it, but we do need more divisions on this one. So we're going to bring this to something like eight. There we go. Now, if we go to the front view, we can go to our lattice points. And I can start grabbing some of this lattice points and moving them down. And as you can see, by moving this lattice points down, we're modifying the way the vertices are working. And we should be able to capture, or at least get really close to the proper curvature that we're going for. Something like this. There you go. Look at how nice the planks look here on the upper side of the door. That looks really, really good. To get rid of the lattice, the only thing we need to do is the little history and that's similar to the curves, will get rid of them. Now, as you can see on this site right here, we're not getting the exact thing that we want. So we might need a couple of extra divisions, especially on this site elements right here. So I'm going to add two lines here with my cut tool. And then I'm going to manually just fix some of this position, all of these points right here. Door is a slightly asymmetrical, which again is perfectly fine. Two more natural view, more realistic. And we get this. Okay. Now we cannot eliminate this new I just did we add, we're going to keep them. But what we can do, again to give this door a little bit more, life is we can select a couple of this planks, for instance, hit Scale and just slightly scaled them in. And then we can select some other ones, like, let's say this one's right here and slightly scaled them up. What that's going to create, as you can see, it's going to create a very interesting visual, like a difference where all of the planks are not exactly the same, they're not all uniform, and we get a very nice natural. Now imagine how this thing is gonna look once we add the texture and everything. And that's going to look really, really good. So, yeah, that's pretty much it for this, for this wooden block. The last thing I need to do, again, talking from an Animation perspective, is I need to move the pivot point to a position, in this case, on the side of the door that will allow me to move it. So we know that this thing like locks into the wall when we pull the lever or move the lever around, this thing moves inwards towards the center of the door. And then there was probably going to be a hinge on this site that allows us to move the door. So the rotation of this door should be right here so that when we open this door, it probably only opens one way, right? Because we have a lot of things over here. So when it opens this way, we get this thing where here we don't see the hinges. We could model them, but we don't see them. And remember one of the rules that we follow are not rules but suggestions is we don't need to spend time on something that's not gonna be visible. I do think it's a little bit thin, so I'm gonna make the whole door a little bit thicker. There we go. That looks a lot better like huge beams of word right here. Now let's go onto the main section here of this lever, which looks really, really cool. I'm going to start with the cylinder. I'm going to bring this up. I'm going to rotate this around and get this right here. Now, we're going to of course, make this a lot thinner. And it looks like it has a little bit of depth. So it's gonna be sitting right here on the wood like that. Then there is, as you can see here, a section, will We got the nice sharp bevel here. So I'm already going to add a nice bubble there on the border. In this particular case, I know sometimes I'll tell you guys to delete the back part. Glad I'm not going to delete the back part. And this one, I'm going to actually give it the small bubble as well. There we go. If we go to the front view, we can select that this vertex right here and say Control F 11, extrude and use offset to get to that line right there. That's very important because that's the line that's gonna be moving. So we need to create kind of like the space where this whole cylinder is gonna be rotating around. When we move this lever, this intersection will rotate while the other section remains is still. So at this point, I'm going to show you another trick. If we select a natural right here and we bevel it, we're going to get a little segment. We were actually kinda like splitting that edge. And we can play a little bit with a fraction to find the proper position. And there we go. Now, it's just a matter of grabbing again this vertex and extruding this there. That's it. Finally, we just grab this edge right here. Nice bevel, again, two segments in a small fraction. So that when we press number three, we get this very nice effect. Look at that super clean piece right there for our, for our metal. Now, let's do this lever piece. So the lever pieces, you can see it's a little bit round. Then we have this like huge handle poking out of it. So I think I'm actually going to start with a sphere. For this particular one. I'm going to start with this fear. I'm going to scale this up and I'm going to snap it. Remember V with a, with movement, I'm going to snap it to the center there. Rotate this so that's facing us. Let's go right here. There we go. I can definitely imagine this thing being a lot thinner. So something like that, that looks actually really good. And you can see we have an inner circle where the whole handle lists like attached to. So I'm going to go to the front view. And as you can see, it's not exactly centered. But I see that it's like 22 edges white. So I'm going to select this guy and this guy. And I'm just going to say Control E, W, I'm going to push it up. I don't want to use the extrusion here because it's going to do this or like flare out and that's not what they want. That's why I'm pressing W. Just push this up. Or for worse, that's gonna give us the again the handle where our main element is going to be. Health. Seems a little bit big to be honest. I'm actually going to go back and I do want to have two lines, but I want to have the inner lines right there. So Control E, W and push this out. Now, again, looking at the element, this part right here, it seems to be going in a little bit, and then this has a strong bubble. I'm gonna do it. There we go. That's what it looks stronger, Lacey, like a shine right there. And then we're going to grab some of this edges. And we're going to beveled segments and small fraction. There we go You can see we get this piece. Again. This is the piece that eventually will rotate with the handle. Now, for the handle, this is where things get a little bit tricky because we're going to be creating two different elements that are gonna be will combine together. I'm actually going to go back a little bit here with the bubbles. So I'm going to Control C and we are going to be doing the handle real quick. So if we go to the front view, we take a look at the handle. It's a very simple handle. And it would be ideal if we could extract that the base of the handle from the shape that we already have here. So what I'm gonna do is I'm gonna go to the side. I'm going to grab it this four phases right here. I'm going to say Control E offset to create a little offset at right at that part. And then Control E. And we're going to extrude this out. As you can see, this is gonna give me the base of the handle. Now, I know actually, did I rotate this thing? I'm wondering if I wrote to the this thing. Well, that's fine. Let's grab this four faces. Know, hey, the second, I just want to make sure that this is as symmetrical as possible. So what we're fine. So one-two-three-four, one-two-three-four, control E, a little offset, and then Control E and we W, we're going to push this out. I'm going to scale this. So this is perfectly flat in this, indicates this part right here. Okay? So it's similar again, just imagine, imagine that we're, we're transforming the shape into what eventually will be the hand control E. And we're going to push it all the way to the head. I know that handle those up here where we're going to be modelling down here. We're gonna go here and we're going to add a couple of divisions, 1234. And then if we go to vertex mode or to edge mode, we can grab this edge is right here. I'm going to scale them in and start making them thinner, thin. Then. And then over here, we're going to use this vertex right here to give it a little bit of roundness to that, to the head of the handle. This one's, we're going to bring them back. There we go. As you can see now, we have a shape that's coming off a different primitive and we create the handle that the player would just like interact with to rotate this around. The rotation looks a little bit weird. I'm going to have Freeze Transformations real quick. Just wanted to make sure Maybe it's my eyes that are deceiving me, but it feels like I'm rotating wanting to one side and then I'm getting the rotation on the other side. But yeah, there we go. So as you can see, when we press number three, we get a really, really nice handle here. Now, if we want to like play a little bit with this elements, now we can go here, add like a support line right there. We could even add the support lines right here, another one right here. And those are going to help with the pebbles that we need over here. We can even grab this guy right here, that bullet, two segments in this mole fraction. It's going to give us a very nice like modeled effect. Let's go in here, babble two segments and a small fraction. And there we go. As you can see, we've successfully created the section right here. Now, where is the rotation going to be? The rotation is gonna be there on the center because we want this thing to rotate. Like, like handle, even though the player is going to be affecting or modifying this thing right here. So from a reading perspective, we might add the controller here so that the animator can animate from this point, but the rotation is gonna be there on the center of the object. Now, I would probably expect this thing to be available on the other side of the door as well, even though the door won't will only open to one side. But again, if we're not going to see, we really don't need to model it all the other side. If this was gaming, I'll probably just mirror this to the other side. Finally, you can see we have a couple of spheres, six spheres to be exact. So I'm going to create a new sphere. I'm going to bring it to the center here. Make those a little bit bigger decision that right here, I'm going to make sure I select both of these guys. And I'm going to make sure to snap this to the very center right there. And then we're going to rotate this, so that's facing forward. Just to get a nicer effect. We don't need as many divisions. Usually when I need low poly versions of spheres 12 is more than enough. It keeps it a lot more manageable. We're going to have a right there. Now, if we wanted to have at the six spheres, we can again practice the use of duplicate Special because the force just like duplicate them and that's it. But I do believe using duplicate Special might make this a little bit easier. That makes it a bit flatter, something like that. I'm going to grab both of this elements and they need to move the pivot point of this guy. Remember with D to the center of the point right there, then we just use a little bit of math. So 360/6, that's 60 degrees. Note that we go edit, duplicate. Special in this case is on the c-axis. So we're gonna do 60 degrees on the c-axis and we need five copies because we already have one. And if we do apply, That's what we get. We can grab all of them, are even all of this piece. Just combine it into a single object. And there we go. We've got the basic shape of our door ready. And everything is getting prepared for the animation process where we're going to be able to animate this elements right here. So I'm going to stop it right here, guys. And in the next video we'll talk about the mechanism that we have right here. And then we'll go over the next parts of the frame of the doors. So yeah, hang on tight and I'll see you back on the next one. 20. Door Mechanism: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the door Mechanism, which is this part right here. And let's get to it now, before we started modelling, it's always a good idea to, to really look at the constant value like, okay, that looks cool. This has actually worked like this. It makes sense. And it doesn't make a lot of sense to be honest, this looks just like a declaration that this sort of doors usually have, but we need to make sense out of it. So even though it might not look like it could work, we need to imagine that there's some sort of mechanism behind this thing. So let's do the sorts shape first. And for that one I'm going to use the quadro techniques. So I'm gonna go Mesh tools, create polygon. I'm going to create a nice little triangle right here. Actually, I'm just going to hit Enter. I know I've mentioned triangles are not usually ideal, but I'll show you how we're going to fix this and that then with quadra, we're going to start drawing the remaining parts, so that's our square. There we go. One thing we can do later on, this just fixed this and make a fake triangle. I'll show you how to make one of those. And we're gonna go all the way over here. So that's one, that's 233.4. And then over here go. And I kinda wanna make this symmetrical. So I'm just going to do one of this top part's right here. I'm going to have one line right there. Actually. Need a couple of lines, probably like force, it's gonna be like 1234. There we go. Like that. Then we add a couple of lines here. There are going to fill in this section one more line there to, to capture the curvature of this area little bit better. And even though this is not perfectly symmetrical, I do want this to be symmetrical to the bottom part. So let's delete all of these faces. And let's do a little bit of cleanup. I'm going to grab all of the vertex right here. I'm going to scale them so they're in the same exact plane right there. I'm going to grab all of this guy's to the same thing. There we go. So we're going to push this whole geometry for Worth. And again, from an Animation perspective, this thing should be going into the wall. So I'm actually going to push this a little bit more. Probably something like that should be more than enough because I don't want to be moving this whole thing too much. And now we're gonna give this a little bit of thickness or Control E. Push this forward. I think that's more than enough thickness. To get the proper mirror. We're going to select all of the faces on the bottom part. Delete dose. And we're going to shift right-click mirror. This is going to be white negative bounding box because we want to go to the limits of the object and we hit Apply. There we go. Look at that. It's really, really, really cool. Now usually this sort of like metal details have a lot of bubbles. So I know we haven't done this a lot. I'm actually going to go and manually select all of the edge loop that goes through the element. As you can see, when we try to select the natural, it stops because it doesn't know where to continue. So we need to be very careful and select the whole thing right here like that. And once we do that, we're gonna give it a bevel. I'm not going to change where I'm actually not going to add a two segments in a small fraction that we would normally do because I do want to have that sort of like metal like faceted look right there. Now in order to keep that when we smooth, which is something that we definitely need when start adding support edges. So we need once production, the back, one right there, one right there, and one more right here. There we go. We're going to add one here and one here. So when we smooth, we don't lose any of the square effects. And here is, you can see when we tried to add one line, it's gonna, it's gonna stop at the triangle, which is fine. It's going to change the triangle into a square. But now the triangles look a little bit weird. So how can we make fake triangles? So that would, this works a little bit better. Well, a fake triangle can be made by simply adding one line right there, like right there in this section. As you can see, that creates a square that has three of its vertices on the same element. So now we get something that looks a little bit better. And if we want to add, for instance, one line right there, it is going to work, is going to work like a support, which even though it looks really, really, really, really weird. We're gonna have another one right here, and another one right here. Probably add one more right there. And it will make it look. It might have a slightly weird pinch, but it should work. That's the one more right there and one more right there, one right here and one down here. Those are also going to help with the sort of like sharp look. There we go. Get the really nice triangular looking shape, very medieval looking at. Definitely want to add one more right here, one more down here. With the opposite edge loop. Off the edge loop, we're going to add one right there. As you can see A really cool looking shape right here, really clean, really clean like a bolt or however you want to call this, this thing right here. Eventually will slide sensory appeals point. And they will slide probably this much, like not a lot, but just enough so that it gets out of the door, right? So that probably means that we need to bring this elements just a little bit closer so that when we move it and it stops with this like handle right there. Again strongly, you're gonna be like right around there. We have enough like a clear for the door. So there we go. Let's bring this back where it's supposed to be and let's start adding some of the details. So as you can see for the details, we've got this interesting elements. Most of this stuff is usually added in texturing, but we can create these fear that's gonna be a good place holder for all of this Textures. So I'm going to create these here. I can bring this down to eight samples, or 12th horse will 12 divisions. And here's what I'm gonna do. I'm actually going to grab all of this vertex right here. I'm going to flatten them. I'm going to push them up like this. So this creates like a bolt that has a, a, a backpack. But we're not going to be using that back part as much. If we wanted to be a little bit more performance savvy, we can delete a couple of edge loops right there so that we don't add too much divisions on the console that kind of see like a little border. So I'm tempted to just grab this guy right here, given an extrusion, small offset, and then a second extrusion. And another officer right there used to create a little bit of a bump, something like that. I feel like that it looks quite nice. My God. Now we're going to rotate this 90 degrees is what we have right here. We're gonna go to our front view and we're just going to start positioning it. So that's the first one right there. Let's get old way. They're probably make a little bit flatter, something like that. From View. There we go. Duplicate, duplicate, duplicate, and duplicate. This one is like the big one, so I'm going to make this a little bit bigger. I'm not going to move it from the position that we currently have because I want to distribute like the stopping element. This is the thing that's going to stop with them with a mainframe or with the main Leica like that metal lock right there. And yeah, that's pretty much it. We do have a couple of more up here on the center of this thing. A little bit smaller. Move this down right around. There. Doesn't have to be exactly symmetrical. Gives surface. Now this log, we don't see it right? But we could eventually make this look evenly thicker. I don't think it's necessary to be honest. But there we go. So that's one nice effect right there. Now let's do this piece right here. This piece right here. I think we can also do it with our quadro techniques. So we're gonna go Mesh tools, create polygon. We're going to create a nice little square right here. And then with quadra, we're gonna do another square root there. And this will be the middle section. We clean this vertex a little bit by making sure that they're very flat right there. And let's bring that shape up. Central point and will push this up. It's gonna be right around there because it's supposed to be like embedded on the width as well. Even if there's a little bit of overlap, that's perfectly fine. Control E. And we're going to push this out quite a bit, something like that. Now, we do need to create that hole where this thing is gonna be sliding through. Otherwise it's going to look very, very fake. So I'm going to push this a little bit more. I'm gonna go with my knife tool and we're going to add one line right there. And then another line right here. Because I know that this face right here, or this face is right here, we can eliminate to create a little like a space where this thing is gonna be sliding through. Now to fix this, I'm going to grab this three lines and grab these three guys right here. We're going to bridge and we're gonna do the same. This would this one. There we go. We've got this face, delete it. Make sure the vertex are aligned. And what do you think we're going to be doing? Of course, we're going to be mirroring here. On the Y. Negative X is bounding box and we hit Apply. And as you can see, this is going to create a really clean effect for the whole element. I can see that this saturate here and this is right here, need to push further up. This one specifically needs to go quite a lot lower. Seems like we actually miss this one as well. A little bit lower. Maybe we miss the exact center of the element, but there we go. We got the nice piece right here. And if we take a look at the concept, you can see again a couple of Babel areas. So let's grab this area and let's do some bevels. I'm going to grab all of the top part right here, all the back part. And this guy, whenever you do a babble, especially like this bevel to them about to do, you should always close the loop. Because if you leave the loop open, you are open to creating an guns and we know and glands are not a good thing. So we grab this whole thing right here and we bubble holding not that intense, something like that. Now when we go to number three, we need start adding some support edges. So let's go over here. Support edge right there. Want support, it's right there. One support edge right there. Once reportage right there. One support their wants support there once before they're one on the back, one on the front. That already is looking a lot more blocky. One right there. One right there. One right there, one right there. It's going to help hold the edge on that specific corner. One right there and one right there. And as you can see, this gives us a really nice, clean like double look overall. I think we can add one more extra right there. And right there. There we go. This is the mechanism that's going to stop this big elements. So we can imagine that if we grabbed all of these guys right here, I'm not going to combine them, but I am going to group them. And if we center the pivot point, when we animate this thing, this thing will move until it hits right there, right, like that's where this whole thing is going to stop. Now I can definitely tell now that either this guy, it's not align to the center. There we go, That's a lot better. This case also seems to be like a line a little bit lower. I'm going to push them just a bit up. And that's it. So this is the maximum distance that this thing is going to move or the group itself. You can see five units, I think minus five units is perfectly fine. So I need to make sure that this vertex right here are open when we move it. And if we go back to the group and we see where this out, this is how much this is gonna go into the wall. Not a lot, but again, it's just a fantasy doors so we can play around with it. If we want more distance, we can move this thing a little bit further back, like bare for instance. And that's gonna give us a little bit more distance. Or we can move this sphere like a little bit further up. I think that might be a better idea so that we can give this a little bit more strength for the holder. We don't want invaders to be attacking our castle, right? So, yeah, that's, that's it for this one right here. Now we're missing this or like handle or another plate that we have right there. So let's start with a cube. Bring this one right here. Looks a little bit the way it looks like a, just like a reinforcement sort of thing. So I'm gonna go with the cube. I'm going to add one division and the center. Grabbed the vertex right here, scaled them up. This guys are gonna go up here. This guys are gonna go down here. Let's center the pivot point. Find a good position for this thing. And since it's a simple geometry, we can just double the whole thing segments and this mole fraction. This is going to rest right there at the center. We definitely need to make this. Maybe we can make this a little bit smaller again, that's going to should give us a little bit more room. So that thing is going to rest right there. And I'm not sure what that is, but it kinda looks like a handle to me. So I'm gonna, I'm just going to follow the shape that I'm looking here or there. I'm gonna do is cylindrical handle because it looks like a loaf of bread, but it looks really weird. So it's going to use a handle, maybe, maybe you unlock it and then you manually move this thing. So I'm just going to add a cylinder right here in the center. Push it outside of the elements so that we can connect it with other two cubes or cylinders. I definitely wanted to bevel this elements. This is where we're the creative part of the 3d process can come into play. There are, I mentioned this before. There are a couple of school of thoughts when we're working with concepts. Some people say that you need to do it like perfectly, perfectly exactly like the constant. And sometimes especially for products and things like that. Yes, it's very important. But for other things, especially fantasy stuff like this one right here, I personally think that it's perfectly fine to switch things around if needed. If you think that certain things are looking or might look a little bit better with what you're having mine, then that's what we're artist, right? Like we went to, went to leave our impression on the things that we work in. It's perfectly fine to improvise a little bit. Let's do this right here. Grab both of them. Combined babble segments and this mole fraction. There we go. We've got a handle, actually one that again, I want to add just a little bit of offset. Then another offsets. And then push the scout. And then another office. It's just like four or five, extrudes that I'm doing here. What's going to look really, really cool. There we go. I might even want to go to this guy right here. In throwing an extra level. Just the one that's in one. And there we go. Not bad, right? So yeah, I like this. I think we can make this a little bit bigger though. There we go. Cool. So with that, we've pretty much done with the Mechanism. One thing we can do is we can also grab this guy, this guy, and you can middle mouse and drag it into the group that we created so that when we move this whole group together, everything moves as a whole. We can call this Mechanism. We're going to be doing a cleanup pass later on, but this one right now it's a good way to start. So that's it. We got the Mechanism ready, but we can turn on the me, the collision and stuff. Start seeing how this door is looking. Quite nice if I if I may say so myself. And we're ready to jump onto the next part, which is going to be a little bit of the architecture that's gonna be supporting this door. So hang on tight and I'll see you back on the next one. 21. Door Frame: Hey guys, welcome back to the next part of the series. Today we're going to continue with the door Frame. However, things are getting a little bit BC here with our elements. So one thing we can definitely do is create a new layer. If you remember, we have this, which is our lock-out, lock-out layer, we're going to call it. We actually don't need it anymore so we could delete it, but we'll keep it for now. I'll grab everything else here, create a new layer, and just hide that layer as well so that we can focus on the actual frame. Now, this frame, as you can see, has a quite that big of a thickness right here. And it has a really, really interesting shape. And again, this is one of those things that works really well. We'd are tracing technique that we've been doing, especially the lower portion. This upper portion, we can definitely do it with an ark if we've, as we've done before. But this lower portion, I think, will benefit quite a bit from having a trace. So I'm gonna go to my again, my Mesh tools create polygon. We're going to start creating a polygon right here. Now, this thing that I'm seeing right here, it looks to me like the perspective. So I'm not going to be or I'm gonna be ignoring that thing happened here. G1234. There we go. I'm gonna go to vertex mode. I'm just going to flatten this thing so they're perfectly straight. Usually with architecture, you want things to be really straight. There we go. This guy seems to be a little bit wider. So right around there. We can go now with our quadro. So we're going to start right here. We're gonna go down 123. Careful there we need an extra point there to hold the curvature little bit better, 45 curvature, 67. And then we have this lens right here. And we're gonna go to the center of the grid, which is right here. I know that the lines do not match perfectly. That's fine. We'll fix that in just a second. So now we're gonna be using again, our skill or skill tool to start flattening some of these things out and making sure that they were asked to straight as possible. I know we have a couple of curvatures here and there, but most of the inner lines should be pretty straight. So there we go. Now that we're happy with this, we can literally just go Control E and extrude this into the actual elements. I am going to go to this face right here, delete it. And we're going to bring this to the other side with a mirror bounding box, X and negative. And there we go. Let's bring in our main doors so that we can find the proper thickness. There we go. That looks pretty good. Oh my God. I believe that we we nailed it. We really, really nailed it. There we go. So as for the perspective, I am just going to push this thing up a little bit. I think that's perfectly fine. One thing that we definitely need to do is bring some of this elements. You can see that the perspective really is missing a couple of things here and there. So I'm going to have to scale this down or scaled the door for words. Actually think, I'm gonna go symmetry, Let's do symmetry will see that we can not working. Let's freeze transformation. Sometimes that messes things up. Not is not the world. See, sorry, it's a world ex doesn't like it. Okay? Okay, so here you can see something weird happening. We can delete history there that shouldn't make it. So let's go here. Instead of work. No, Let's try object X. That's really weird when this starts happening, as I've mentioned before, some things Maya just like starts having issues. I haven't actually close Maya in awhile. So sometimes just opening and reopening Maya should do the trick. But let's keep it like this for now. Now, if we take a look at the, at the elements, you're going to see that this are like shapes right here, dislike sites, shapes are their own like a form and then we have a couple of bricks here. So I'm gonna grab this vertex right here and push them toward the main brick is, which is right around there. And what I'm gonna do is I'm actually going to separate at this frame into multiple objects. So I'm going to select this edge right here, this edge right here, this one right there, and this one right there. So all of those elements, and I'm gonna say Edit Mesh, and we're going to use something called a detach. What detached does is it separates those edges that we selected into different islands. So now if I double-click, you can see that we're only selecting this part right here. Once we have that, we can grab all of the elements, the object and just say Mesh and separate. What this will do is we'll get the Ford like blocks that make up the whole element. I'm going to grab all of the blocks and I'm gonna say Mesh, feel whole so that all of those empty elements are now like properly filled in. And now that we have this, we can actually do the, the bubbles that we want. So let's start with this lower sections right here. I'm going to grab this guy right here. And since it's a very simple shape, I'm just going to bevel the whole thing Segments and its mole fraction a little bit bigger than usual. So 0.21 seems to be a good number. And now we need to match the exact same thing for this one. I'm going to delete this edge. We don't really need it. And then this one, we're going to say babble 0.21 seems to be the good number. And two segments look at that same thing with this one. So bevel, 0.20, 1.2 segments. And now we've successfully created the bricks that are going to be here on the underside. Of course, we can scale this tad bit so we get a little bit more overlap and we don't have any empty spaces. But look how nice this looks. Now for this one is right here. Since we don't want to do double the work, I'm just gonna do one and then we'll mirror But we definitely need to be a little bit more aggressive on the bubbles. So I'm gonna go to all of the sites, especially this size right here, that you always want to complete the loop. So we complete the loop right there and we bevel. Actually, I'm gonna show you a trick here. I'm not gonna, I'm not going to complete the loop on the lower or on the lower sections. I just want to grab this edge is right there. I'm going to babble, going to keep the fraction a little bit bigger actually for this site elements because I want this to be more like architectural, kinda like what we see right there in then, as you can see, we have an guns right here. Can we solve those? Can we fix those? The answer is yes, we could, but we can also just delete it like this one right here. It's gonna be inside the block. And this one right here is going to be inside the other block right here on the underside. This one, we might need to fix it. So if we need to fix it, here's how we do it. I will just select the whole thing right there. Control E is small offset or a small thickness to the inside. And then just push it down. That's it. It's going to create enough overlap. And now the only thing we need to do is probably throw in a couple of extra bubbles into this like hard edges that we have right here. Here we definitely want to mentioned complete the loop right there. That one definitely needs some extra bubble. And that's it, which is double segments in the small fraction. And when we smooth, we're going to have this very, very cool looking silhouette. Look at that. Pretty nice. Now this one actually has another level here. So let's keep it a lot harder. And I might need to add another extra support edges right there. And that is, you can see it's going to match the shape of the stones very, very nicely. Later on when we go into Texturing, we're going to be able to add a lot of really, really cool stuff to the whole thing. So yeah, that's it. Now, this one, we're gonna do a mirror. In this case, it's going to be a world to the other side right there that we need to figure out what are we gonna do here? We did door because door is not looking at symmetrical this I would like. And that's because the concept might not be exactly perfect, but we need to make it a little bit perfect. So the first thing I'm thinking about, as I'm actually going to delete this guy right here. And I'm going to make this whole section a little bit thicker. So I'm going to grab all of these vertices right here. Just push them forward a little bit more. Even this one is right here. Can push them a little bit forward. Just make sure that this is still looking like it goes on top of the element, even if there's a little bit of overlap right there. That's fine. As you can see that it looks really nice. Start getting a really nice, strong form on the whole door. And then when we mirror this to the other side, what I'm gonna do in order not to destroy all of the things that we had done is I'm just going to grab this vertex right here. Like that. Silence. Just push them a little bit more to the side. There we go. That way the door is now complete. Okay, So the other thing that you might be wondering as well, what are we gonna deal with? Things that are like touching the stone right here? Everyone, to be more precise, one of the things that we can do is just really utilize the vertex that we already have and try to follow the shape here of the door. You can see here for instance, we're going to have a little bit of an issue because we need more divisions. So I'm going to add one more division right here so that we can grab all of this new ones. It just push them down. And if it gets like a slight weird effect right there, that's fine. This isn't going to look a lot better than not having it. And it's just a matter of pushing and pulling the points. They're a little bit to make sure that this fits nicely as possible. I'm going to add one line, one support, especially on that piece right there, so that we don't have as much distortion. Will talk about distortion later on because you can see the edges are distorting quite a bit. But right now what I'm mostly interested in is making sure that there's not a lot of overlap. This whole blocks right here. All the elements, essentially the pivot point, get them into the center of the world. Really going to go a little bit crazy with the thickness there. Because they're supposed to go through both sides of the dura. Again, the hinges will probably be on this side. So when we wrote it the door, I kinda wanna avoid having a little bit of overlap there, but even having that. Sometimes it's not that big of a deal. Another thing would be that this whole this whole thing like that breaks and stuff, they only are visible from the front like this. So that when we rotate, especially if we rotate from this back part right here, we get this sort of rotation and there's not gonna be any, any sort of problems there. I'm going to keep it like this for an affix, for a render, I really want distinct to look as nice as possible. Now we got this arch right here. This are just stones, right? Very, very simple blocks. So I'm going to start with a big block right here. I'm going to move this so that we get this as close as possible and you can see the corners or beveled. So I'm going to grab all of this edges right here, level the corners. It's gonna give me this Ehrlich hexagonal looking shape. Split-level the fraction. There we go, closer. And then the whole like top edges, top and bottom edges are also double or nothing. We can do. This. Just grabbed this guy and this guy Control E, pushed them up and upset in As you can see, that matches what we have right there. Like they were a little bit bigger. I'm going to grab this whole vertex, push them up, push them down. With scale control. There we go. See how nice would match those styles right there. And the bottom one is the exact same piece. Now this is a simple geometry, so we can definitely just doubled the whole thing, two segments in a small fraction. So we get this and if we want to be super precise, both of those mesh, edit mesh and poke, make sure that we didn't have any errors with ambulances stuff. We duplicate this thing. I think it down make a little bit smaller. It's going to be like Secondary base right there. Now which need to make sure that both of them fit nicely on this walls right here. There are a little bit too thick. Bring them in a little bit there. That looks really nice. There we go. Just grab this two elements shift and we mirrored them to the other side. As you can see, we're building our door little by little. Hopefully again, with all of these techniques that I'm showing you guys, you can see how even something that might look really complex and really advanced, it's actually fairly simple to do. We don't need to do or to spend a lot of time like imagining how to handle this. If we divide or go and try to see the simple shapes that we have on our objects first. Now, let's bring in the blockchain because the blocking already had this piece right here. I'm going to select the piece, right-click and just say Remove Selected objects because we're going to be utilizing them or we can just duplicate. Let's get this out with a mental mouse button out of the outliner. There we go. We're gonna be reusing this one. I'm going to separate. So Mesh and separate, got this is the width Frame and we need to adapt it a little bit. So let's grab the door and the Woodford and this guy right here isolate. And they can definitely tell that I need to grab this intersections. Apologists is killed him in a little bit. I'm just going to scale it without the Y or with the y-axis as well so that we don't move anything that we shouldn't. Let's grab this vertex, for instance, bring them down, skilled them out, and start playing with this so that we can match the curvature of the door a little bit better, even if it makes things look a little bit symmetrical. I'd rather have a nicer fit. Now on the concept, you can see that this thing is made out of multiple beams. So we have one beam right there and one beam right here. So let's play a little bit with that. Let's grab the concept as well. There we go. So the thing is, we need to win to of course Babble this. The good thing is we don't have caps, so we're not going to have to worry about angles. So I'm going to bevel this, give them a small fraction, again, two segments. And when we smooth this, this looks really nice right there. They definitely want to split at the elements. As you can see, it's this guy right here, this guy right here. So it's asymmetrical. So we select both of those edges. I'm going to say Edit, Mesh and detach get that's going to create different islands so we can Mesh separate. Now we have three different islands right here. And to make the line look a little bit better, we do need to fix the holes that we have. So let's start with this one right here. This one. We need to grab this element right here, Control E and scale it in a little bit. Then this edge right here, where it's going to bevel it a little bit. We don't need to do a lot. Because now when we smooth, especially if we add a support edge right here and right here, there's gonna be a line is going to create overlap with this guy right here. You'll see just a second. So we extrude this thing that's a little bit. Then we doubled this and we can leave that other part empty. I know it looks really weird. We're actually not using it. Now, when we see both of them, look at that. You get a nice little insertion right there. The only thing is we need to do it on all of the sites. So this guy Control E, a little bit of thickness in a little bit of febrile here. And then 1.2 to support that edge. That's gonna be our, our wouldn't be right there. This one finally, which is the last one, control E, scale in a little bit. Grab this edge, that bullet. And then we'll just add a couple of edge loops there and they're perfect. Look at that. Not bad right now, math for another bad for the wood beams. And even like a little bit of an issue there, that's fine. I mean, we could always go to the front view if we wanted to just fill this in. The menu soft selection to try to, to hide the army. But again, a little bit of imperfection every now and that's perfectly fine. Then with this one right here. We're going to follow a very similar process. You can see we have that line right there. This one is a little bit higher, so I'm going to add one line indicating where that one's gonna be. This one goes there, this one goes there, then another one there. So let's start with the, with the smoothing first, with the pebbles. The roof self-selection levels. This one does, will have a small fraction, supposed to be a little bit more solid. There we go. And now we start cutting suits. That one, That one. Dad, dad, dad, one, that one. It mesh, detach and then added Mesh or Mesh Separate half all of the blocks right here. And we're going to follow the exact same process of grout this guy Control E, scale in. And this one is gonna be a babble, but it's gonna be a type double. So two segments and small fresh because it's supposed to be outbreak. Same thing for this one. Unfortunately, we do need to do this. Like for each 11 thing we could do is we can extrude all of them first. And then we just babbled disguise that should save us a little bit of time. You're gonna see how nice this like it does break or we do lose a little bit of the curvature there. We're going to be recovering that in just a second. Just keep in mind that there will be a little bit of that happening right now. It's Control E is true, then Control E scale in this guy, this guy, 2 s, this one guy, this guy. We can also try to do at the same time, as long as the thickness goes in the proper direction, we should be fine. Here. Here Control E, the thickness in two more. Let's go to this guy's control E. Thickness. Go finally one control E. Here and There we go. So as you can see now, whole thing looks a lot sharper if we want to recover a little bit of the curvature because some of these pieces became a little bit too smooth. It's fine. Now we can combine them back again. And we can be like, Hey, you know what? Let's add another extra line right there. So that when we do this, can push this N and recover a little bit of the curvature right there. Let's just course it's an and recover a little bit of the curvature there. Push this in, can recover a little bit of the curvature. It's also going to make the whole thing a little bit asymmetrical, which is aforementioned before, gives us a really interesting look. I want to add one right there. Push this a little bit out. Can recover a little bit of the curvature. There we go. Now of course, both arches will, the wooden arch actually know, will Duchess need to be moved a little bit so central to point them both and just snap them there to the center. There we go. We need to make them a little bit thicker. I don't think we can make them dad much thicker because you can see we're almost there on the limit for this thing's going to have to move the stinks for worth. Now going to think of this, or how about this? Need to push this things out a little bit more. So I'm going to grab this elements. I'm going to push it more to the side because otherwise the door like BU definitely need to do a codon door. We're not going to be doing that. That's a little bit too much. Will definitely need to do something similar to make sure that the door can open and close properly. But that said would scrap everything here. Delete history, we freeze transformations because we're sure that this is now the final result that we want and our door is ready. The next thing we would need to do, I'm not going to do it here on camera just because I want to save some time and so that we can jump into the next chapter. The next thing we need to do is we need to clean up some of things like group, things that we need to group. But we're pretty much ready to bring this into Texturing. Need to Uvs first bill, once we do that, we can go into Texturing. We're going to have an amazing piece here for our course. So I'm going to stop the video right here, guys. And in the next one, we're going to jump onto the next chapter. I think we're ready to go into the next chapter. I'm gonna do a quick render again, not going to show it right now, but I'm gonna do a quick render of just like a clay render like what we did with the barrel so that we have it on our evidence. But yeah, that's pretty much it, guys. I'll see you back on the next video. 22. Character Overview: Hey guys, welcome back to the next chapter. This is gonna be a really, really FUN chapter, and I'm sure this is one of those chapters that people are really looking forward because what are the things that you think about when you think about 3d is characters, right? So we're gonna be focusing the whole chapter in creating a cool character right here. I'm going to look straight going through the front view right here. We're gonna go to View image plane. We're going to import our first image, which is gonna be, well, let me set the project here. As you can see, a switch projects, very important when you're working on something else. And we're gonna go to source images and we're going to select this monster front right here. And we got this little creature. He doesn't have a name yet, but he'll have one later on. We're going to increase the scale of this object to five. I want to make this super, super big, but they're the ones that make him a little bit bigger. We're going to position the hymn right here. So as you can see, this is a really cool concept, this font character, you can maybe find this and then like a children's storybook or something, I'm gonna guide you through the creation of this character right here. However, one thing that we are going to need is when you got to get into a side view and sometimes you're not going to have access to a side view. Actually, most of the times that I'm giving a character for a production or something, we only have some key guard or a concept dark, but we don't have all of the orthographic views that we might want. So what do we do in those cases? Well, if you know how to draw, you can create your own little version which has what they did for this one right here. Going to go image Planes import image and we're going to import this monster site. So as you can see, that this monster side right here, it's not the exact same ones just to sketch right here, but it's mainly to get the general shape or the general form that we want for our character. So I'm also going to change the scale in this G5 to make sure that we have the exact same one. I'm going to position this so that it's foods are aligned to the ground right around there. The hips of the character should be on the central line. Okay? So this is it. Now, this one we're going to push back, and this one we're going to push to this array here. Now, I do have the image open here in Photoshop, which is the little sketch that idea because they need to explain to humans as the main purpose of this first video, I need to explain how we build characters. We'd like to think about characters is as assistance. So a character will have its main System, which is usually its core. Okay, I'm creating a new layer here. Let's go. Green color. There we go. So the main body of the character, it's going to be its core element. And this is a thing that we're gonna be focusing on first, which is the head, the face, and of course, the belly of the abdomen. After this system, we have arms. And the arms are going to be attached to the main system of the body, but they're going to be their own independent systems. Then we have the system of deluxe, which is gonna be, are there gonna be its own independent system as well? Now when I talk about Systems, I'm actually referring to a more complex thing. We're not going to be curving this and this series, which is rigging when we read the character we rig depending on which system we want to give functionality to. The arms. Are Rig different than the legs, which are Rig different than the torso, which is rigged reference than the face. And there's a lot of things that go into this. Now there's a couple of rules that we need to follow when we're gonna be Modelling this thing. And this is actually a technique that I really encourage my students to try whenever they're modelling something that they really don't know how to tackle. So whenever you have something complex like this character right here, we need to break it down again into simple shapes. So I know it's very easy to see that the fingers, for instance, are just cylinders, right? So if we model cylinders around the fingers, We're gonna be able to capture the form of the fingers. And then we're going to have more cylinders for each finger. And we're gonna have to do something here on the hand to combine all of the cylinders into a single element, something like this. Then the arms just gonna be really long and thin cylinder as well. It's gonna go from the wrist all the way, the shoulder. That's where the system will end. We'll figure out how to combine this system or this part of the body with the torso later on. We also have something very similar here on the legs we have really thin and long cylinders. And then once we get here, the cylinder ends and we have something like another sort of like cylinder, like a box going forward into the foot area. So hopefully you can kinda see the wireframe of how we're imagining this guy right here. As you see, we have Cloth. We're gonna be doing those Cloth a separate pieces. It's always easier to do them as separate pieces. We also have a big toe on the bottom and right and that's it. Don't worry about the hair. Imagining this character has no hair at all. We will be adding data later on. But for now we're just going to keep it simple. Now. On the face, there are a couple of things that we need to take into account. For instance, the ice. There's just the spheres, right? Like we do a big sphere for the eye. We're going to be good and that's gonna give us a nice result. However, as you can see, the is heavy connection to the head right here. I'm going to use a different color. Let's go for like a yellow. So if we can imagine this from a side view, there's gonna be like a socket and then the scholar of the character. So we need to model the head and the skull with this sockets for the eyes, and then the body itself. There's a couple of rules that we need to follow. There has to be a symmetry line to character is going to be symmetrical. And we have to try to keep everything with quotes and in a nicely uniform way. Why is this? Because eventually we would love to animate this character and have a little short or something. And in order to do that, we need to make sure that all of the topology will bend in the form properly. So there are certain rules that we're going to Following on the arms, on the torso and legs to create the proper topology for discussion and talking about topology, there's a super, super important part which has the mouth. The mouth has to have a big loop going around the whole mouth like this. That's going to have its topology as well. You can imagine the little squares are going to look around. In Mexico, we have a candy called clown lollipop. Lollipop, it's like a clown candy and it's the face of a clown and the chocolate, chocolate like envelope. And it has the mouth. So I always refer to that one right here. But just imagine like any Cloud Mouth, you can see that this kind of like a doughnut, right? Like this. That's the topology that we need for an amount. Because again, eventually, if we want to animate this character Randy me just character, we need to make sure that topology allows us to do that. The teeth are going to be separate pieces, of course. I mean, it's very simple to see that we can just add them at the end, even though we don't see it, but probably do need a tank as well. So it's not a simple problem. We're gonna have to use a lot of tools that we've been learning so far that we learned in chapter two to create this character. But hopefully at the end of this chapter, you guys are going to be able to create cool-looking characters like this one. Of course, there's a lot more knowledge out there. There's other softwares that we use for more realistic characteristics such as C brush allows us to create like anatomy, like perfect anatomy are correct anatomy and we're not gonna be able to cover that in this particular course. But this should give you a really good understanding of how things are made in the 3D world. So now that we're ready and we have our image Planes prepared here, let's start building up the Bobbi. So I'll see you back on the next video. 23. Torso Modelling: Hi guys. Welcome back to the next part of the series. Today we're going to start with the torso Modelling of our little character right here. I definitely need to come up with a name, but we'll talk about that later. As you can see, the character has to sort of like peanut shape. It has this big expanded head on the top. And then we go and create the little like a torso and abdomen here on the bottom. So I'll all of you might be tempted to start with the cylinder, but like, hey, we'll just kinda looks like a cylinder. Why not start with the cylinder wall? From an information perspective, cylinders are actually not that great for characters in The reason that is the polls that we have right here. So even if we go to the options and we add some subdivision caps and we make this round cap. The problem is at this vertex right here is a very tense vertex because it's sharing a lot of edges with all of these points on the next circle. So when we move this, every other single edge moves and that makes it a little bit difficult to the form, especially when we're talking about skin deformation and things like that. So when we're working with characters, we tend not to use this a poles right here. We want to keep everything with quotes and triangles and try to avoid as many multi points edges as possible. So I'm actually going to start with the cube. And it might seem a little bit weirder. We're starting with the cube, but you'll see just a second. What's gonna happen? When you select the cube and just move it? You get the sphere, which is really close to what we're looking for, for the shape of the header, in this case the shape of the abdomen. So when you select the cube and you go to Mesh and you hit this smooth option. What's happening is we're actually doing this mood that we normally do. And we see number three, but we're making this permanent and we kept and two divisions and we're gonna get a really nice and smooth mesh right here. Look at this really clean a sphere. And the cool thing about this is even though it's not perfectly for you called, it gets a really nice result. It gets really close to the result that we're looking for without having any poles. As you can see, this is a more organized version of this fear. Same thing as if we started with the sphere. The problem with the sphere in the same way as what cylinders is that we got the pole right there and against not ideal for what we're going to be doing. So I'm going to bring this thing here. I'm going to make it a little bit bigger. There we go. And one of the things that we need to understand this, since the character is going to be symmetrical, what we technically only need to worry about half of the character because eventually we're gonna be doing or modelling the other half. So what I wanted to do here, as I want to grab all of this edges and I'm going to push them out to create like the general shape of the head, which is something like this. Move this a little bit further up. There we go. Now, you can see that since we move all of this points to the side, which is fine, it's giving us the result that we want. But one of the problems that we're getting as that there's a lot of space in here. And one of the rules that we want for animation and especially character Animation, is we want to try to keep things as uniform as possible. So I'm gonna go with my cut tool and I'm going to add two lines right there to increase the amount of divisions and get something that looks a little bit better, something like that. Now we go to the right view and we can of course play around with some of this vertex, for instance, maybe we can push them a little bit back. We can definitely push this one's a little bit for worth. Just balance them out to create the general shape of the head. Now, the eyes are gonna be super-important for this character because he has this very huge, googly eyes. So I'm gonna go with a sphere. And I'm going to position the eyes right here. So that's the first one. And of course we can, I'm going to rotate this forward. So at the center is essentially looking at me. And then we're going to mirror this to the other side. There we go. Now you can see that it's not matching perfectly. Remember that the concept might be slightly off. So we're not going to be obeying or paying too much attention to the concept on the right side, we're gonna be seeing it on just one of the abuse. We're going to push them forward. And that's where the ice are going to leave. Cool. Now technically, we can delete this one for now because we're going to be doing just half of the character. So we got the head right here. It looks good. I think I do want to push some of this vertex up a little bit more. So I'm just going to start using my selection here and pushing some of these points up to give this a little bit more rounds. Now, to generate the rest of the element right here, there's always 1 million wasted. With that, I'm gonna show you one that hopefully is gonna be a little bit easier for us right now. So there's going to grab all of this vertex right here. I'm going to bring them all the way down to the bottom of the little bud that we have right here. I'm gonna make this a little, a little bit smaller force. Now as you can see, the only thing we need to do is we need to start adding some lines across the section. Balanced this things out like this. And I'm gonna go to wireframe mode and we need to start grabbing all of these pieces very similar to what we did with the barrel. Remember? And we're going to start matching or getting to match this as close as possible to the silhouette that we have. So I'm going to start scaling them down and just pushing them forward. Scaling thing dam pushing them forward. If the image is a little bit too intense, remember that we can bring the alpha again down to like 0.2 or something. We can see our wireframe a little bit clearer. All of this skilled and down push them for worth. All of this skilled and down, pushing it forward. This scale them up to create a little button that we have right here. And there we go. So as you can see, this creates a very nice aversion offer character. Want to give this a little bit more roundness here on the belly. There we go. Perfect. Now we go to the front view. You're gonna see that of course we're not matching the thing. So when it started like tweaking this thing as well. So I'm going to start moving, not the central one. I always want to keep the center one like clean I'm going to start moving all of the other ones, scaling them, moving them in, scaling them, moving them in scaling, and moving them in scaling, moving in. We could grab multiple of this. Like I can see that all of this are a lot smaller. So there we go. Now over here, Let's go to the right view again. I'm going to push the little. Thank you. You're up a little bit. There we go. Because I can see that this was a little bit too low. And then we can start pushing all of this vertex up as well. Well, this will do is this will capture the silhouette of her character a little bit better. And we should have in just a second sort of like peanut shape that we're expecting. There we go. Now you can see the character looks a little bit square, right? And that's because when we added the lines right there, things became a little bit square. So how can we get rid of this? Well, one option is to go to the quadro and if we own it, it's like actually not going to work. So we're gonna have to do this a little bit more manually. By manually. I mean, we're gonna have to grab some of this face is right here, for instance, I want to start creating a little bit more curvature, right? So I'm going to grab all of the side view right here on the torso. All of these faces scaled and I'm going to scale them with soft selection, with small self-selection. As you can see, this is going to start giving me a little bit more of a round effect right there. If I press number three, you can see how this thing's not looking ideal. So it's now a matter of going into face mode again. And we're going to start pushing some of this up, a little bit of manual. I wouldn't call this the topology, but it's just like manual setting up of all of the squats that we have right here. Another thing that we can do actually let me show you a cool tool. I think this is going to have worked a little bit better. Firstly, you need to mirror this to the other side. So let's make sure that we mirror. There we go. And then what I'm going to do is I'm actually going to go to the sculpting tools. Maya has some sculpting tools. They're not the best way better sculpting tools in the market than Maya, but they're salvageable. We can at least clean up a little bit of this things right here. So here's what I'm gonna do. I'm going to select the object. I'm gonna go to this option right here, which is the smooth brush. And the way this works, as you can see, it will smooth out the surface and create something that's a little bit rounder. However, we definitely want to turn on object X so that we can do this on both sides. We're going to be smoothing. All of this is, you can see, this is making things like a lot softer and lot more, more organics, especially here. All of this point and I love this lines. You can start cleaning them up with a little bit of smooth. So we get rid of that sort of like square effect that we have and we recover something that's a little bit more nice. Now, if the brush sizes too big, you can double-click this option and you have the size right here, mine is set to 1.9. You can also reduce the strength. So if you want to do like smaller changes with this sculpting option, you can do it this way. There you go. As you can see with this, we're pretty much creating the Basics of our care. Not bad. Yeah, this is perfect. So now, of course, when we press number three, we're gonna get the, a way smoother effect of the whole thing. It can still see a couple of pinches here and there. So I'm going to keep my numbers three and just smooth a couple of elements around. Because you definitely want to keep the geometry as clean as possible. So that point right there. Definitely want to clean it. We never want to have a vertex that's pushing way, way too far out from the surface. We always want to keep things clean as possible. Smooth mode will always give us a very nice clean result. There will always be slight little pinches. You can see, for instance, this, this point right there. It's a slight little pinched. It could be improved by just smoothing that a little bit. There. There we go. We got this torso and this course is perfect because I know that this course will allow us to properly deformed a character when, when we get the final thing. Now, there's a lot of ways to do the eyes, but I'm gonna show you a very simple one right here. I'm just going to grab this right here. I'm going to duplicate it. And then this duplicated mesh, I'm gonna go to face mode. Let's get rid of symmetry. I'm going to delete actually this phase right here and this front part. And then this one is going to extrude, and we're going to extrude out. Then of course, this guy in this guy, we're just going to throw in a very quick like that. So that when we press number three, we get this. So this is going to work as the socket of the character. Now of course, there are ways in which we can incorporate it to the skin and make sure all of the topology flows. But for this particular case, I think this compromise, this is more than enough. We're going to select this two objects, shift middle mouse or right-click it. And we're going to mirror this to the other side. And there we go. So you can see with this done, we now have a really nice torso here for our character. And we got this guys right here. The next step is going to be the math and the Mouth. Let me tell you, it's a little bit tricky. It's not as easy as it might seem, because we're not going to be able to do the trick that we did here for the ice. However, before we do anything else, actually want to do the little big here. So we have right here that kind of look like antennas to me. So let me show you how I would do them really, really quickly. Remember to curves, well, we can go here to create curve tools. We can create an EP Curve. And we're going to create 12345678. There we go. We want to clean it up a little bit of Greek, and of course go to Control vertex and just clean this guy a little bit there. Now, there's a new tool here inside of Maya, which is called the sweep Mesh. But actually, now that they think of it, I'd rather have that as a separate a separate file because I know people are gonna be looking for this topic. So I'm gonna stop the video right here. And in the next one, I'll show you the sweep Mesh and we'll do them out. So hang on tight and I'll see you back on the next one. 24. Sweep Mesh and Mouth: Here we go. So let's do the sweep Mesh real quick. First thing I'm gonna do is I'm actually going to save them a little monster. So I'm going to call this a monster, will, will give the name later. And I was talking about this Gerben, the last video with curie, this little curve here for the antenna. And we're going to use this tool called the sweep Mesh. The sweep Mesh is a really cool tool because literally you just click on it and it will give you any of these presets that you select, polygon rectangle, line or whatever I'm gonna be using polygon here. And it extrudes that polygon profile along the curve that you selected. We can of course change the profile here. We can increase the precision to make a lot smoother. So something like this. We can taper this so it becomes smaller or thinner as it goes into the end of the, of the element. And as you can see, that's all we want. We just wanted to have like a nice little antenna sort of thing right here. Now, I'm going to make this a little bit more sites. I'm gonna give this to sites or ten sites. I'm going to increase this a little bit more so we get the rounder effect. You can check the topology right there. It is a little bit dense, but it's not that bath. And once we're happy with just delete history and that's it. However, we got a couple of issues with this. The first one is that the point is open and we actually want to close this. So I'm gonna select all of the vertex right here. And we're going to use the tool that we haven't used before, which is this one and it's called emerge to center. It will grab any components that you have and merge them to the center, which in this case are all of the vertex. And that's pretty much it. Then on this part right here, I'm just going to grab this edge. And I don't need to combine it, but I'm going to bring this inside of the character so that we don't see it. Now, it's a slightly asymmetrical, right? The little thing right here. So let's central point and push a little bit to the side, duplicate this. And I'm just going to rotate this and scale it a little bit less like that. There we go. Something like that. Or we can create another mesh. But just to keep it simple, something like this should be more than enough. Now, this one, for instance, we can rotate a little bit to the front. This one we might be able to return to the front as well. So this has a little bit more perspective to it. There we go. So that's the, that's the way where we can do that sweep Mesh, which is amazing guys, it's one of my favorite tools. They added this back in 2022, I think. But it's one of my favorite tool. It's been one of my favorite tools since then. You can do pipes, you can do corners. There's a lot of things that you can do. And again, the only thing that you need is curves. And one of the cool things about the sweep Mesh I'm just going to show you real quick is it actually works with multiple curves. So let's say I have a curve right there, and then I have a crib over here. And then I have a cube over here, and I select all of them and I just sweep Mesh. It's gonna do it for all of them and it's going to modify. So imagine you plan out like cables or Connections and things, and then you just sweep Mesh and you're going to have all of the cables available, not only that, but Uvs. We'll can talk about Uvs later. Uvs are also taking care of with sweep Mesh like they're already working. Now the math, the Mouth is one of those tricky things. And the S, we've mentioned earlier, we need to create a special topology for the mouth that allows us to have a loop going around the whole thing to make sure that it will modifies, removes the best possible way. So what I'm gonna do here is I'm going to select this guy's like all of this front-facing elements, all of this, as you can see, it's quite a bit, but we can see that the Mouth goes really quite far into the back. I'm going to press Control E, but we're going to offset this to create the loop, that loop that we have right there. That's the look that we're going to be using for the mouth. I'm going to push this forward just a little bit because that's gonna be like the lips pushing out. Then we're gonna do Control E Again, another offset because we want to keep having the effect. We're going to push in a little bit more. And then Control E offset. We are going to push in a little bit more. And then Control E W to push this in. And that's going to create the mouth cavity. Going to flatten this out because I want the mouth cavity on the back to be a little bit flatter. And one thing that we can do is we can grab this face is similar to a width of the barrel. We can give or add a little bit of curvature to the back of the math like this. Okay? Can I have this grabbed this edges, for instance, even this edges that are really, really close to the border right there. This one's right here. You can push them in like this. So that when we press number three, as you can see, we're going to get this interesting effect, which is not that is, of course it's not looking like the amount that we have on our concept, but it's getting there. And that's the, that's the main thing. Like the fact that we have this, this loop around the mouth. That's what we're looking for. Now that we have this, I'm going to add a couple of edges on the inside. So I'm going to have one right here and one right here. And here. What is, where's the sculpting tool can be quite handy. I'm going to select the object. I'm gonna go to sculpting. Let's turn on symmetry object X again. And I'm going to use this option which is the mood or points, this one. And what we can do is you can see is we can move points around. Again. You can change the intensity. I have a size 1.9 and the strength of 100. If you want to modify that, you can also press B and middle mouse And you can change the size of the element. And what I wanted to do here is I want to start pushing some of this elements down. You can press Shift to smooth things out. I'm going to be pressing this down a little bit, start creating the curvature of the almond. I'm going to push, for instance, the corner of the mouse out a little bit as well. It's kinda like using soft selection, but I feel like you sometimes get a little bit more control with this one. I'm going to move the corner of the mouth up a little bit more. I'm going to move this lips to add a little bit right here. I really want to curve them out a little bit more. So I'm going to push this points forward a little bit. And you can see the mouth on the bottom side. It's hello rounder. So let's create the rounds that we're looking for. For instance, we have a couple of points here that are really close together. We're going to use that tool to relax them and just move them apart a little bit more. This we can relax them a little bit. Start creating the math. Let's make the brush a little bit bigger. And then we'll now open the mouth a little bit more. Let's make the brush a little bit smaller. It's more this in. Really pushed his hand on the incident. Can add the tongue and just a second. As you can see, we have all of the proper topology that we need for an eventual Animation. What Seth, like the roof of the mouth there to, to create a little bit of a cavity. And we can do this right here. This is not something that we do that much lately. Be completely honest. Nowadays, most of the characters like this one we will do inside of ZBrush and then we will reach, apologize to make sure that we get the, the precise effect. But this is the way we used to do it several years ago. I remember this is how that you started doing backing what 2011 when I started, we didn't have super short, at least Sievers was not as good as it is today. And a lot of characters we're done this way. Traditional poly Modelling. And there we go. So that if we go back here and we press number three, you can see that we gather a very nice Mouth, therefore our character. Now, let's add the teeth. The teeth are very, very simple. The tongue first, let's have the tongue first. So for the tongue, I'm actually going to create another cube. And we're going to use the same technique that we used before, where we're going to smooth this. So Mesh and smooth. And we're gonna do another smooth. So two divisions that make this a little bit bigger, I'm going to make this a lot flatter. Then the only thing I wanna do is I want to delete the back face is right here. And this, I'm going to snap them, bring them back, scaled them up a little bit. Let's get rid of symmetry. So we get the proper scale or deformation. So we're going to bring this back. That's it. We'll just position this where we want to be, wanted to talk to be a little bigger or smaller. This is where we want, but it's very important that we have this topology coming from the sphere because that's the topology that we would normally use for rigging so that we can modify this character. Now here I am going to add a couple of more divisions. And the reason why the tongue is going all the way in is because maybe we will have an animation where we do like that and pushed the tank or scale the tongue forward. And we need to have a little bit of area on the back right there. Some people like to model, like all the way down to the throat of the character. I don't think it's really necessary for this particular one, but if you want to go for it, well, go for it. Yeah, that's that's it for the tongue. Now for the teeth, again, we don't want poll spores post can be a little bit the damaging. So we're also going to start with a cube. I'm also going to give it a subdivision. So Mesh smooth twice. Then instead of doing, what's the word? Instead of doing it, the scale or modifications and stuff, remember the lattice things that we have. I'm going to go to form lattice. And as you can see, we get enough lattices on all of the points so that we can really sharpen this little block right here and create a rounded sort of like teeth like this. We can even like pushed this things down. And we can use them to degenerate the shape of our teeth. And you can see on the topology that this is gonna be a lot cleaner than what we have. So yeah, that's, that's perfect. This is a perfect teeth right there. Delete history, and now the teeth are asymmetrical, so let's position them asymmetric little, We got one there. Then we get a longer one right there. This one's a little bit thinner. Going to get rid of the discrete rotate. So right there. Right there. And another one right there. I would scrap all of these teeth wrinkling into the character because we're gonna have to modify certain things. You can see that my lips right here a little bit high. If we want to perfectly match one thing that we can do here, and this is why topology was so important. I can select, for instance, all of these faces right here. Press B, which is my self-selection with a small amount, and bring this down. And they can match exactly where this thing is right there on the concept. And I can do the exact same thing on the lower lip so I can grab this face is right here, which are the, the faces of the lower lip. And bring them down with soft selection. As you can see that it's even gonna give me a nice little border there, they're on the bottom. Now if this border is a little bit too much, we can of course, grab it. Without self-selection, just move it down to relax a little bit. And that way we're not going to have as much of a problem. I'm actually going to grab this guy right here. I'm going to scale it in. So we get a rounder effect right there. We can even push it forward a little bit. It's gonna give him more far from the factory there. Now let's just play a little bit with the position of the teeth right here. To make sure that they look good. It might not perfectly matched the concept. But again, one of the things that we wanted to do is we want to capture the essence. You can see this like Disney does this all the time. Picture does this all the time, like they'll do concept arts. But when they translate a concert piece to a 3d artery, 3D model, certain proportions from elements will change. You can see this in like Buzz, Lightyear and woody and all of this like Toy Story Characteristics in monster sink of course. All of that sort of stuff. You can see it happening where the concept moves or it gets modified a little bit. Now I can see a little bit of tension in this area. So I'm gonna go back to sculpting. Two are relaxed been and I want to relax couple of del before we, we start there, Let's turn object X. Want to just soften up some of this elements. You don't want to see any big pinch on the character once you have the really, really clean, That's it. Like that little cute character is looking good. I promise I'm going to come up with the name by the next video. But yeah, by doing this, as you can see, the elements right here, the eyes, the TD like everything, is looking quite, quite nice and we're ready to jump onto the next assistance, which are going to be the arms and the legs. We're going to start with the legs first because we're going to be connecting the lexer to this area right here. And after that we'll we'll jump onto the onto the arms. Okay. So hang on tight and I'll see you back on the next one. 25. Leg Modelling: Hi guys, Welcome back to the next part of the series. Today we're going to continue with are a little monster and he's got a name now his name is gonna be XM MOOC app. And I'm actually going to show you something cool real here we have this text tool. I believe I've shown you this before. I'm just gonna write here and let's name is gonna be. Again. I've mentioned MUGA. There we go. Actually let's change this to make it a little bit cuter. And instead of MUGA, it's gonna be double 0 MUGA. There we go. So yeah, the Text tool is a great tool to create textures. You can see right here there's a couple of things that we can change. We can change the font, for instance, right now, this is Lucy that what continue to impact. We can finish Georgeanne, like whatever font you can even download your own fonts and that it will try its best to use the vector information from the font to create it. We can change the kerning size, which is the distance between the elements right here, the grading scale. You can also go to the geometry options and there's a couple of things that we can do. For instance, we have the extrusion first, which is how thick or thin we want the elements to be. We got pebbles. We can enable a bevel and give it a bevel to the name. The one thing about the textual is as you can see, the front-facing face of the texts will always be an angle. And so you're probably going to have to triangulate that. You don't have to fix it manually. There's ways to do this or we can try it like the Subaru meshing tool. The point, this is the way to do it. So I'm just going to keep the name of us, MUGA right over here. It's gonna be a little character. Let's go into focus now on the legs. So the lexer, as I mentioned earlier on the first video of this chapter, there's a system. So we need to think of them as individual elements that the will of course play a role with this guy right here. So the way this is going to work is we're going to start with a cylinder. And we're gonna make the cylinder and eight-sided cylinder hit. It's a really, really clean, easy shape to remember, easy number to remember, because it's low enough that it allows us to control things. But that's not super intense that it will make the, the modelling difficult. So I'm going to position them right around here, as you can see on the center of the character. And one of the things that we need to do is we need to kind of like flare them out a little bit. So I'm going to have a couple of divisions here, here, here, here, and here. It's a 12345 divisions. And we need to start playing around with those divisions a little bit. So I'm going to graph the center division here. I'm going to press soft selection. I'm going to increase this a little bit right here. That's gonna give me a nice like natural flare up pretty much everywhere. Yeah, there we go. I think it definitely needs to be a little bit thinner, so it's right around there. And then we need to do that one thinner and thinner and thinner than one, a little bit thinner. We're not going to be using the caps, so we're going to delete the caps on the top to bottom and on the top. There we go. Yeah, that's, that's pretty much it for the elements. I do want to make this a little bit bigger. Just a tad bit. There we go. And important for the elements for any characters that we're doing is there's something called an IK system. We're gonna talk about this later when we do or will talk about rigging. But when we're talking about IT, systems such as in elbows are nice, usually easiest, a good idea to have a little bit of a band on the leg. So I'm going to actually push all of these things back a little bit in this, which is the one I'm going to push it forward a little bit. And it's always a good idea to have enough divisions here. For instance, I'm going to add two more divisions there and two more right there. Why? Because the more divisions we have, yes. The rigging or the skinning might be a little bit heavier, but we're also going to get a smoother, nicer transition on the deformation. Now we're just adjusting a couple of points right there. And that's pretty much it for delay, okay? Of course we're going to be duplicating this to the other side. One thing I definitely wanna do is I want to flare this out a little bit more. It gets, it's kind of like chicken food or chicken leg. Push this down a little bit more. There we go. Now the big question is how it looks. Kind of looks now that's cylindrical, so I'm going to bring this back to me. Cylindrical position. That's a little bit better. So how do we connect this thing to the actual leg? Because right now, oh, actually, it looks really ugly. What happened? I have to start over real quick and worse. So it will just start with one right here. I think it was the, the symmetry thing that we're, we're doing. Let's add a five subdivisions on the height. Let's go face mode, delete the top and bottom. And let's see if we can bring this down to date. There we go. It didn't work because we're not following the order of operations that we go. So eight sides, 2345. Yeah, there we go. Okay, perfect. Let's find the initial size which is right around there. And we're going to scale, scale, scale, scale. On this side, we know that we're going to flare this out a little bit more, less, less. Now, here's where the fund begins on this part right here, we're going to flare this out a little bit more as well because it's supposed to be Combining, or it's gonna be combining itself with the element right here. Now, when we want to combine two objects, two different objects together, we need to try to find a common number. So we know that this leg is made out of eight divisions, right? I'm going to turn on this button right here, which allows me to see the skull wireframe. Unshaded, allows me to see the wireframe while we're working on the geometry. And we know that we have eight divisions right here. In the closest point of where we have a divisions is, this face is right here. So I'm going to select this face is right here. I'm going to press Control E. I'm gonna do a little bit of an offset, okay? Then I'm going to delete the face right there. So as you can see, that creates a hole that has the exact same number of faces that what we have right here. And this should allow us to bridge everything together. Now some of you that are really, really smart, you might have noticed that every time that I'm trying to do something that involves like deformation, like the mouth or the eyes or stuff like that. I'm bringing in a natural edge loops are super-important for this sort of thing. So that's why we want to have an edge loop here, the finding or separating the system. So a little bit, I'm going to push this in a little bit. And one thing that I wanna do is I want to call it like circularized this thing a little bit more. We can even modify or move some of these points around it. Now, the only thing we need to do is select this guy right here, like the body of the character and combine them into a single object. You can do this by going Mesh and combined. Because the tool that we're going to use, which is the bridge tool, does not work. If we're not combining, we're going to select this guys and this guys, and we're going to bridge. And this is where we should get this. You can see it's a combination. It's a nice flow of topology from the body of the character into this leg right here. Now if we want to clean this up a little bit, we can do it. For instance, we can grab this edge right here, go to the front view, and play a little bit with that, with the position. You can even grab this vertex right here. This one's right here. Just make the transition a little bit smoother, softer. So something like this. There we go. And eventually when we mirror this thing to the other side, we're going to have both little extra can already do that by the way, mirror and there we go. You're going to have both of the little legs for a character right there. This is the beauty about topology and knowing how to position all of this elements. If we do this properly, then we'll allow us to create a very nice, very smooth transition of the elements. We're getting some errors there. I'll, I'll show you how to fix them later. That's a problem with the mirror, where we get extra vertices. But yeah, this is going to allow us to, is you can see connect Alexa eventually there's gonna be a joint right here that is going to move the leg. Now, I did mention that it might be a good idea to push the leg a little bit back to define word that we're the knee is going to be. So if my knee is going to be right there, I'm going to add 1.2 lights. I know there's supposed to be like a chicken leg which is like really, really straight. This helps with the rigging department so really inclined to do it here. Of course, we're actually now let's go back. Will keep them straight. The only thing I'm gonna do here to make this a little bit better is I'm just going to grab my cut tool and I'm going to add a couple of lines right there, which symbolized word than E is gonna be. So that's where my knee would be. So eventually, all of these faces right here, if we were to animate this character, they will move like this backwards, right? That's how we would expect the little movement to happen. And we need those extra divisions right there to make sure that that can work very nicely. Now we're going to go to the foot. And then for this a little bit interesting, it's a little bit more tricky. So we don't have any reference on the side view which will be ideal. So I'm going to show you the, the old-school way to do it. I'm gonna go to a front view first. I'm going to delete all of the half, half of this little character right here. You can see we have a lot of extra faces that I didn't want to have. One thing we can do here. The problem is, you can see there, there's like extra vertex and stuff. It's horrible. I don't know why this happens. It's well, actually, I do know where it happens when things are not perfectly aligned. So I'm just gonna go here in face mode and just delete all of those extra faces. Going to be the first of our issues. And then the second issue that we're going to have is that there's gonna be extra vertex as well. You can see all of this face is right here. Kaitlyn softwares don't work exactly as intended. Most of the time since a user errors all of those extroverted side you're seeing right there. Oh, those like weird pinches. That's Maya. Like creating more geometry where he shouldn't be. So let's just all of those. There's another one floating right there. Sometimes there's gonna be like edges that the tree there, we're going to have to delete it. If you can't delete it, you have to like all of those faces right there. And then reap rich this. It's quite unfortunate to be honest, having to clean the mesh right here when the mirror doesn't work. But hopefully If you encountered this arrow later on in your and your career, you're gonna know how to fix it. Seems like we're fine. Now there's a couple of faces. I'm gonna go here, I'm gonna go to vertex face. And then you can see that there's some bases they're extroverts is right there That's just select this whole thing, elite. And let's just rebuild real quick. Sorry that this be to turn on into fixing the topology kind of thing. There we go. Okay, so let's go to the foot. For the foot, this is what I'm gonna do. I'm gonna go to this top edge is right here, the front ones. Then I go to the side view. I'm going to say Control E, W. I'm gonna push them all the way to the front, right where the toast with N, which is right around there. You can see that there's actually no toasts look on, look up like a loaf of bread or something. So this just goes to four. Then this two edges right here, again, we go to the right view, control E, and this one goes back like this, like once, and then Control E twice. Okay, So this is going to create a little bit of an angle right there. And finally, this one is right here on both sides, the front and back. They're gonna be going down this wall like this. Okay? Now what we're gonna do, as we're going to add, we're gonna go to the right view. We're going to add a cut right here. That's going to add a cut on both sides of the elements. Then we're going to merge. So this guy and this guy merge to center, this guy and this guy merge to center this guy, this guy merged to center this guy and this guy emerged a sense. That's what we're going to create. The heel of the characters is a little bit too far back, so I'm gonna push this forward. And then from this I read here I'm going to see control E. And we're going to bring this down. And this one is well-controlled. E, we're going to bring this down. We're going to add an edge loop right here, and another one right here. And this vertex we're going to merge together to center, to center, to center and the merchant center. So we should have right here, as you can see is the shape of a shoe. Now we're going to grab all of the bottom elements. I'm going to scale them and snap them to the floor, which is what they're going to be. And we need to close this whole thing, right? So the easiest way to close this is to go from this guy, this guy, bridge, and then from this guy and this guy and bridge, then we need to add one little line right there. And this to vertex, mesh to center. We're gonna get this thing right there. Of course, to bring this or give this a little bit more form. We're going to flare this out a little bit. And we're going to start again. Traditionally poly Modelling, just like modifying a greeting, a nicer shape for the foot right here. So we'll push this for worth. Push this down. Maybe even back a little bit, back a little bit. As you can see, this is gonna give us sort of effect that we're going for. I'm going to graph this edge right here, bring it back, flare it out. It gives you that this vertex right here. I really like far answer. Let's push them out, push them forward a little bit. And that's gonna give me a more rounded effect overall. The beginning of how wrong we want. This is supposed to be a little bit rounder, so I'm going to push this out a little bit more. And this is what we're gonna get. Now before we do the claw and all of the other stuff I don't wanna do, like the sole of the foot and it should be fairly easy again, we'll just go from one side to the other. And since this things should be symmetrical, we should be getting this sort of effect. Then we're going to add one line right down the middle. And then this two points, we're Merchant Center, puts them back a little bit. Probably. These two guys were merged to send. As you can see, we're gonna have a really nice clean element right here. Now we do need to add a couple of extra edge loops. We're going to add one that should write here for the ankle. And we're going to add a couple of sessions here. There's usually a couple of right around here where you start. There's going to have a couple more right there to make a nicer for a second, I have one more edge right there. And this is going to allow me to, to make this even a little bit puffier, as you can see right there. Cool. So with this, we got the fifth done. However, at the feet, as you can see, has a single claw. So one thing we can do here is grab all of this forward-facing elements. I kinda wanted to do a little bit of self-selection and make this a little bit smaller. Make it smaller. There we go. Kinda like, sort of like sharp triangular shape. We can also use lattice and stuffs like that. For instance, it can grab this two edges right here, push them up a little bit, and it's going to make the full a little bit puffier. I'm going to try to keep it as clean as possible for now. And then on the tip here, when they go to the whole thing, Control E, we're going to offset. It seems like we dropped one more than we should. We grab all of this guy's control E, offset a little bit? Control E, and we pushed me. And that's gonna give us a nice effect where there if we want to make this a little bit puffier, we can control E ofs a little bit. Push this up like that. That's gonna give us sort of like the Bill of the nail, right? And always, as I say, work smart, not hard. Let's duplicate this teeth right here. Rotate it facing forward. Let's the snap it, snap to point with V. Snap it to the center point right there. And we can just reuse this as the clock here on our, on our graph. Let's say that facing that face, Soft Selection, scale it up a little bit here and there to create the Cloth. Oh, it seems like we did an extrusion here that they want to let me show you how to fix this real quick. We just delete all of these faces and we bridge this one. Very common to get like a stroke extrusions every now and then. That's it. We got the feed over character ready. There should be a little bit fatter. So I kinda wanna go to this line right here with self-selection, a little bit of fluff election. It's going to make this a little bit wider. Worried like and that's it. Now, if we cover character and we do a mirror, which would have this right there, Let's go to the mirror options. There seems to be some issue with the mirrors. Let's change this to 0.01 is the 0.001, so that we combine all of the vertex and we don't get any, any issues because I think points Here's your one was a too low for tolerance. And that's what we're, we're getting a couple of errors. We did that one right there and that one right there. And there character now has some cute little legs to start walking. If the lexeme a little bit too thin, remember, we can always change them. Just grab all of those guys and we the y-axis, we can control it just a scaled them a little bit there. In there we go just to make them slightly thicker if we need to. But yeah, that's it. We got the likes of her character ready. Now we're going to jump onto the arms. And the arms are definitely a little bit more tricky, especially because of the fingers. But don't worry, I'm gonna show you some cool techniques to get those done as nicely as possible. So hang on tight and I'll see you back on the next video. 26. Hand Modelling: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the hand Modelling of our dollars will go over here. And as you can see, the hand is made up of two fingers and a thumb. And the way we're going to be Modelling this as we're actually going to be Modelling them like down here. But later on, we'll connected the hand or the, the rest of the armed with everything. Now as you can see, modelling it right here can be a little bit complicated because we don't have a specific plane like this is a 45-degree angles. So what I'm going to do is I'm gonna go here to my front view and I'm going to re-import another image plane. So I'm going to import again monster front and hit Open. And as you can see, we get a second image right here. I'm gonna be working on the other side of the element. I'm definitely going to have to scale this all the way up to five, which was the original scale. And I'm going to rotate this around so that the hand and arm, our asset straight as possible. I actually just need one of the fingers to be straight because we're going to be Modelling one finger first and then we'll continue with everything else. So there we go. Now, the way we're going to start this as I'm going to start with a cube. And we're going to do the same process that we've done before because we don't want to have any poles on the fingers. This cube right here, I'm going to say Mesh and we're going to smooth. And that's it. Would that done? We pretty much have at the tip of the finger, I'm going to delete this face is right here. I just need to position this on the proper place which is right around there. I'm gonna grab this edge right here, Control E. I'm going to push it all the way back. Now that we have this, we can start playing around with the thickness or the shape of the finger. So I'm going to add a couple of divisions. Usually the fingers are made out of three segments. So we're going to have one segment right around there and another segment right around here. Each segment is supposed to be slightly smaller than the last one. So let's start with this right here. The image is a little bit too intense, so let's bring the Alpha gain 2.3. There we go. Grab this guy's, make them smaller. Grab this guy's and make them smaller as well. There we go. Now that we have this, we're going to add a couple of more divisions. Remember we mentioned that anytime we're going to flex something, usually having three divisions is a good idea. Now what this model, games and modern like acids, we don't need to do this as much because we have enough resolution that we're not working with so low resolutions that we need to do this. But it's a good rule of thumb to add extra divisions on the areas that are going to need more deformation. There you go. As you can see with this, we pretty much have one finger array. Now. It has a Cloth. So I definitely want to add a little like Cloth section. So I'm going to create an offset there are a little bit less and then Control E and push this in. There's going to create the little section, therefore the Cloth. And now to create the claw, we can actually just recycled one of the teeth, to be honest. So we're just going to duplicate one of this teeth right here. Let me zero out the rotations. There we go. Then rotate this 90 degrees to one side. And then something like this. Scale it, get it in there. We can snap it to zero point so that snaps right there. Make a little bit thicker. It's good to the front view as you can see the clause a little bit curved. So I'm going to grab this vertex right here, self-selection. We'd rotation, we can rotate this and just move it. As you can see, that's gonna give us the sort of like curve, the fact that we're going for and increase the size a little bit so that fits better on the finger. And there we go. That's our first finger right there. This saturate here. I'm going to scale it a little bit more. We always want the transition of the, of this elements to be as smooth as nice as possible. We don't want to see like any weird like Pinterest or anything. That looks really good. So that will be our first finger right? Now what I'm gonna do is I'm gonna grab this finger, am going to duplicate it, move it to the site to create a second finger and make it slightly bigger because usually the index finger in the middle finger, there's light at different and this kind of like a middle and index finger combined. And this is like a pinky and ring finger combined. So this one's gonna be slightly bigger, just like that. Going to move this back so that's a little bit closer. And I personally like to, I'm going to move the pivot point of this selection back. I'm gonna give it, actually, no, let's keep it like this for now. It's gonna be a little bit disturbing. Usually fingers now. Usually fingers do have a little bit of when you see it from the top, they're not perfectly straight. They have a little bit of an angle. So what I'm gonna do here, so I'm gonna grab this two guys, combine them, combine these two guys as well. And then this first guy I'm going to send to the point, same for this one. And that way I'm going to be able to rotate this out a little bit and rotate this in a little bit. Just like that. One of the Make sure that the connection here is really close to each other because we're going to be using, we're going to be combining them into the palm shortly. Now for the thumb, the thumb actually works in a very similar fashion to disguise, it's just slightly thicker. So I'm gonna duplicate one more time. I'm going to rotate this kind of like 50, 60 degrees, something like this because the thumb is not in the same sort of like direction that everything else And then we're going to rotate it like this. So if we go to the front view, we should be able to position the thumb where it goes. I'm gonna make a lot thicker. And the thumb doesn't have all of the divisions from the finger. You only has two. So what I'm going to do, so I'm going to eliminate the first division right here. And that's gonna give us a really nice clean the thumb that we're going to be able to use. Now as you can see, this is not perfectly aligned with the rest of the fingers. So I'm going to play with the precision a little bit. There we go, something like that. It depends on the rig. Some people like to have the rig with the finger a little bit higher. Thinks something like this is good. I'm going to move it forward a little bit. I know that doesn't match perfectly with the concept, but that's fine. There we go. So this is what our hand would look like by creating this three fingers, we get the basic shape of our hand. But here's the problem, or here's the, the, the tricky thing. Eventually, we want this whole arm to be connected to an eight-sided cylinder. That's going to represent the hand, right? Very similar to what we did with the what's the worth with the with the leg. First thing I'm gonna do is we're going to grab my image. I'm going to now make this perfectly flat with the arm because it's going to be easier to work it that way. And then this guy right here, we're going to make sure that this is set to 90 degrees. If we position this right here on the wrist, again, you can see that this is where we're going to be finishing the connection. Right around there. We delete those faces and all of these guys are gonna be connected in this particular area, right? So we need to create the connection that's gonna be attached to this arm. So this is where we're poly modeling because it becomes a little bit complicated because we need to find a way to reduce the amount of loops that we have right here, because we have eight loops for each finger and bring them all the way into the arm. This is also why I love characters in games and stuff. They have the fingers and things like separately. That's a segments like robots are really easy to Reagan everything because you just create independent sections and that's it. But for here in the organic character, that's a little bit more things going on. So I'm going to grab this three things, so I'm going to combine them into a single object. The first thing we need to do is we need to bridge a couple of elements. So we're going to breach this two intersections of the fingers together. We're going to breach the two sides sections as well. So this guy, This guy is going to reach to this guy and this guy like that. As you can see, that's going to create the initial connection of the hand right there. Then we need to create a sort of another connector or another like movement from the sides of the fingers, this guy in this guy to the actual element right there. So I'm going to see control E, push this back to right around there. And then Control E again, push it back in like this. And as you can see, this going to start creating this sort of like shape, like the boxy shape of our ahead. This again, this is known as box modelling, where we model everything from us. You can see here a box. And we'll just create the general shapes. I'm going to do the same thing here on the outside. And there we go. So eventually this thing is gonna be connected to the arm right around there. The big problem comes with all of the sections right here on the inside. Like, how are we going to be creating all of the sections without adding way too many polygons. And the answer is, we need to connect polygons in a way that they do not flow to the other part, rather that they float to its own little element. So we can see this to top areas here on the thumb and this to bottom areas. Ideally we want them to connect and we're going to connect them through the palm. So what I'm gonna do here is I'm going to add one section line right here on the other side of the hand. And then with this edge and this edge, we're going to bridge. We're going to add another section right here. And this edge, and this edge we're going to bridge, as you can see, that connects the Paul. And we're gonna do the exact same thing on the other side. We don't need to add the edges now because we already have them here and we just bridge them. So as you can see, this center line of the finger, instead of it going all the way into the arm, is going to keep itself on the hand. Now of course, it looks horrible, but you can see right here this is a really ugly-looking elements, so we start adding more Lights. I'm going to have one line right here that has to do with this connection. And I'm going to push this line up, rotate a little bit to give a little bit of volume to the hand. Then we need to decide again how we're going to solve this issue right here. We don't want to have, or ideally we don't want to have any angles or anything we want that were triangles. Why don't keep everything Cloth. So we can't just combine from this line to this line because we will get a triangle. But if we add one division right here, a new division, now, this can work as a square, this guy to this guy. And that's a square right there. It's a very like mood square. It's not perfectly clean, but it's gonna give us a nice like a division right there. So we'll gonna do that right there. Same thing here. We want to bring this guy into the loop over here So I'm going to create a new line right here. And this point, I'm just going to merge to center. Well, we're creating here, as you can see, it's kind of like a loop that's gonna be going around the hand, the swat, same thing here. I'm going to add one line right here. Grab this vertex and this vertex, and we're going to emerge to center. And that's going to start creating the little puffiness of the inside of the hand. Now the problem is we have 12345 lines over here. In, over here we're only going to have to. So ideally, we want to convert this lens right here into this two lines right here. So we're gonna have to use some topology tweaks to do something called a reduction. We're going to be reducing the amount of polygons that we have right here into weigh less polygons. So I'm going to select this whole thing. I'm gonna say Edit Mesh, feel whole. This is going to create the canvas that we're gonna be using to work with our elements. You can see that this is a super bath and gone because it has different depths and everything. But we're going to be fixing bits. I'm going to start with my cartoon. We're going to start right here. I'm gonna go in and back out like this, creating this sort of like trapezius shape. Then from here I'm gonna go out and into this corner. And then from here we're gonna go out and into this corner. And as you can see, if we go from here to here, we're now successfully created a reduction 3-1. This U-shape right here is super-important for those types of reduction. Now to clean this up a little bit more, I'm actually going to delete these faces. And we're just gonna go from here in and from here. And as you can see, this gives us a really nice and clean effect. Now the only thing that we need to do is maybe just push a couple of this lights up a little bit to create a better effect. Now, actually this vertex are not good. So let's grab those two. Merge to center that when we don't need. And this one mash to center. There we go. So now everything is quiet and we get a clean topology with this a U-shape right there. We're still not done right? Because we still need to reduce this a little bit more. We can get into the hand, but this is getting way, way, way better. Now, I'm gonna go back to the, or the lower section right here. We're gonna do the same thing. So we're going to select this thing, Edit Mesh and we're going to feel hot or sorry, mesh field whole. We're going to use the same trick. So we go from here out across in. Then we go from here, create this little like trapezius shape. Like that. I'm hitting Enter every time I'm finished with this thing. There we go. Oh, I didn't realize my taskbar was on. Sorry about that. I usually have this thing that we call. And then I will just go from here to here. And from here to here. And this phase we delete, okay, because we're going to again, like repair or recover some of those elements is just a second. So yeah, that looks good. Actually let me delete this guy is right here because we're going to need a little bit more geometry on this inner area as well. Going back to the back part right here, we see that again. Actually, let me bring this down. We're going to combine this two things already. So we're gonna combine them into a single element. And we're going to bridge this guy and this guy into a single element. And this guy and this guy into a single elements. We might need to tweak the depth here a little bit again to make this hand looks as nice as possible. And we understand that for instance, these two guys right here, what we're gonna be extruded for worth probably push a little bit up, degrade like the palm. This to vertex. We can reach them together. And ideally this too as well. There we go to create like the, the wrist. But again we have the same issue. We have three lines right here and we have two lines right here. So somewhere around this lines, we need to do another reduction. Okay? Now, I would like this line to continue very straight to this guy right here. So I'm just going to do a connection. And that would like this guy to continue straight this way. As you can see, that gives us a really nice clean flow of topology because we're flowing from the fingers all the way into the arms. Now, pretty much like if this was just the bustle, I'm going to start adding lines, for instance, this one right here, and another one right here. Because this lines are coming from the fingers of the, of this guy. And we just merge to set there's two points and merge to send. Now, on this side, we're going to have these two guys that we can very easily breach. And this two guys that we can easily breach, and we get this a triangle. It's a horrible triangle. But here's the cool thing. This triangle is actually floating or it's being present right here. So we could technically just add one line right there. This now becomes a square, just like that. So we create a square right there and then we have a flow that's coming from the finger and into the palm. And over here, that new line that I added should help me with this guy right here. Because I'm going to have these two guys. I can mesh to center. And then over here we can add another line to recover another square right there. And there we go. So as you can see, when we smooth, everything is a squash. Yes, we are going to have a couple of stars in a couple of points, actually, this one, I don't love. Then we can minimize this by just Merchant Center. There we go. That looks even better. And then this line is gonna be going to keep going over here. Very simple, which scrapped the desk guys right here. We know we're going to extrude this up and probably up a little bit to create the puffiness of the hand. This to vertex are going to merge together. And this divergers are also going to be merged together. That we need to solve this whole thing right here, which is quite tricky right there. So there's a lot of surface. Now here's where, that's why this is also close to what we normally do every topology. Well, we tried to solve certain areas of the character by making sure that the flow of polygons are going into the proper direction. So here what I'm gonna do is I'm going to do a mesh, feel whole. And it's kinda like a blank canvas so they can be like, Okay, how would they fix this? Well, I know that for instance, this guy needs to go all the way to here. I also know that I want a clean line going into the finger. Like similar to what we have right here. Like a clean line going into the finger. I would like like this line to go clean into the fingers, so that's a square. That's good. And then from here, we can go over here. And we got square, square, square, perfect. So this area is pretty much salt. Yes, we can push some of these things up a little bit to to give more puffiness to the hand, but that area is off. Then we get this line right here. This line right here was one of the ones that we use for this a square. So what can we do? Well, you can just go get it right there. Yes, we're gonna have another star with five points right there. That pretty much salts all of her issues. We're going to get the slightly weird polygon, this one that we have right here, it looks a little bit off, but it's not the end of the world. And eventually when we smooth like it, since it's in a part of a character that's not going to bend as much, we should be perfectly fine. However, another option could be like, hey, why not cross this like this together? Another square line right there, which is, of course is gonna be helpful. And then we're still left with the issue of, hey, we got this guy. Well, let's push it and let's hide the little star somewhere else, for instance, are actually another thing in this case. I think a triangle in this case is not going to hurt us that much. So we're going to cross this one right here. This one is right here. This one right here, or there you go. So as you can see, we get the triangle right there. So now we'll just cross and we stop right there and does now has become a square. We grabbed this point and we can push it. Now here's where the sculpting tools really help us. Well. We can go to sculpting and we can go to smooth. And you make the brush lot smaller. We can start smoothing all of this elements. And that's gonna give us a little bit more of a puffiness here on the hand. Because remember, at the end of the day, we're going to have this character in subdivision level three, right? Like in, we're going to press number three to just move the character. So as long as this thing looks nice, We're gonna be fine. And the cool thing about this hand is it's a perfectly, perfectly square hand, like it has, everything is R-squares. So the flow of topology is gonna be working perfectly fine. Look at that. Very, very, very nice, very clean. Let's go to the top part right here. We're going to delete those. And now that we have our arm, we can delete this image. We don't need it anymore. And we can bring it in position where the character is going to be. So hope position, it's a little arm right here. There we go. Let's start adding some divisions. So poly modeling. And we're going to add one division on the elbow. And again, as we know, we usually need at least three divisions. Let's add a couple of divisions here on the forearm, a couple of divisions on the arm. And here is where things are going to get interesting again, because we need to combine this into rotate this a little bit and combine them with the body. So remember what we did with the legs. We're going to be exact same thing. Let's push the arm a little bit back. There we go. Usually the arms are really in line with the central line. There we go. I'm going to find four phases where we can create the, the connection. In this case, I think I'm going to, I think I'm going to add one extra line right here. Just because that's gonna make it a lot easier. Otherwise, the faces will be a little bit to separate it. And now we're going to grab these two guys, delete them. Grab this edge as well. We need to combine both objects. And we're going to grab this outer edge and this inner edge right here. And we're going to bridge. Sometimes the bridge comes, offset it like this, like a spiral if that happens, just move the brick offset until you find the proper number. In my case, it's not working. It's working properly, but sometimes I find that issue It's a relatively common issue. Now, this guy right here, I'm going to push it in a little bit more. So we're really following the curvature. And I'm going to add one more division right there. Because I really want to make sure that the division of the character looks, it looks nice. Of course we mirror this thing. And this is what we're going to get. Now we go where it's MUGA is ready, the little character is done. Every single piece of the character is now a single element. I'm actually going to combine. Well, I don't want to combine everything, but we could combine everything into a single object. But yeah, that's, that's pretty much it as you can see right here, we get a very nice result. You can see there's a little bit of a, of a pinch right here. So I'm gonna go to symmetry object X, and let's go to sculpting again. I'm just going to smooth some of these things out. So we get a better, slightly better result. Same thing here on the chest. That because of the line that we added for the for the arms. So there we go. It looks green because I press number three to take a look at the smooth, smooth Mouth. There we go. So smooshed. Muga. Muga is ready and we're pretty much finished. My friends with this, we are done with our chapter number three. I know this was a little bit more challenging. Make sure to pause. And oftentimes to take a look at the geometry and all the elements that we're doing to generate this character. Because we're going to be using this character on the texturing department. And that's gonna be the next chapter. We're going to be taking a look at a UVs and how to prepare everything for the for the Texturing things that we're gonna be doing. So yeah, hang on tight and I'll see you back on the next chapter. 27. Monster Render: Hi guys, Welcome back to another video in this chapter. I know what we're gonna be done with the chapter. Really think it's worth it to add an extra little render option right here. So one of the things I'm going to do, so I'm going to start cleaning up the scene. I'm going to delete all of the Cameras. I'm actually going to delete the name. We don't need it right now. And I'm going to select everything right here. Go to poly modeling, central pivot, delayed history, freeze transformation to make sure that we didn't have anything that we don't need and we need to start renaming things. So I'm going to call this as monster eyes, monster eyelids, monster hair. A good idea would be to combine both of those hairs in 3d single element. We really don't have any reason to have them separated. So that's gonna be monster hair. As you can see, I don't like using space. This is something that was taught by my teachers back when I was a student. And this is because there's a lot of students that use other operating systems to do render us and stuff and stuff like that. So spaces can sometimes be interpreted in different ways, in different engines or different OSs. And by using underscore, you are just make sure that things are a lot cleaner. So this is going to be monster. Tong. I also like to capitalize the first letter. Now for the teats, same thing, we can just grab all of them and combine them into a single one. Monster teeth. Well, the history, we don't need to type mesh all of this extra Cameras we don't need. That's monster toenails camera. And this is monster body. There we go. Now we could grab all of these guys Control G and just call this monster a group. That way we need to do anything, we'll just do it from there. So I'm going to say File and we're going to import again our a barrel render scene, the one that we've been using for everything. And as you can see on the options here, there's the option to not use namespaces. I talked about namespaces before, so we're not going to use namespaces in this case so that we can just get everything in here. Now, of course, we're going to delete the barrel. We don't want the barrel right now, but you can see that the whole scene is a little bit too big. So I'm just gonna grab the group of my monster and make it smaller. Let's go over here. Panels, look through selected. And let's change the size here to two K squared. Make sure we're using GPU to get a nice render. And let's Frame or monster right here. There we go. That's a great, a great picture. So let's save this file, Save Scene As I'm going to call this monster Render. There we go. And then we keyed render, we should get our result right here. One thing that I didn't mention, as you can see, my GPU is preparing here. Every time you update your graphics driver, you're gonna have to do this process. And usually it takes like two or 3 min. If you want to speed this up, you can go to Arnold and then utilities and use this pre-populate GPU cache, which is going to just do the whole compilation before we start. So especially for what's especially for the for tough renders are renters and I have a lot of stuff. I do recommend doing a compilation before starting to render. It should speed up your render times sine quite nicely because as you can see right now it's been 35 s and still thinking about all of the things that they need to prepare. So I'm going to pause real quick. There we go. So yeah, as you can see, we get this, however, this monster is a really cool little dude, right? So even though we don't have color yet, it will be nice to just get an idea of how things are going to look. So what I'm gonna do here, as I'm going to start selecting a couple of elements and I'm going to change this color. So for instance, I'm going to select the eyes, the teeth, and the toenails. I'm going to right-click, assign a new material, Arnold AI standard surface. And on the properties of the material, I'm going to keep this white. As you can see, the roughness is low, which means that the object is going to be really glossy and you can immediately see the difference when we render because the eyes are going to be a little bit glossier. So it's going to look a little bit more cartoon, which is great right now. To remember, I'm going to change the name of this AI standard surface into M. I'm going to call this white plastic. Then for instance, I could grab the tongue, assign a new material. We'd right-click Arnold AI standard surface, and we can call this M underscore tongue. This is a little bit of a sneak peek of what we're gonna be doing on the next couple of chapters when we jump into texturing and rendering. So M underscore tank. And this one's gonna be a pinkish hue, something like that. So again, if we Render now, what's gonna happen is the tongue is going to look a little bit nicer, something like that. Now you might be wondering, well, could we add the original white material to the fingernails? And the answer is yes. However, as you guys remember, the fingernails are combined with the character. So here's a quick way to do it, and we're going to select the faces, select all the phases, and then control and double-click on the body so that we deselect the phases that are connected to the body and we're only left with the faces on the fingernails. Now we'll just right-click assign existing material and we're going to use the white plastic material. Now when we Render, we're gonna get this. Seems like we change the color on the white plastic. Or do they assign the wrong one? Maybe I just turned the wrong one. So we select everything here. Right-click sign existing material, white plastic. There we go. Now we've, we Render again. We're going to have a nicer looking effect there with the fingernails. And I know, I know you guys are, you guys can't wait to add a little bit of color to the character. So let's just go right ahead. I'm gonna go to the faces right here. I'm going to sign a new material, Arnold AI standard surface. And in this case, I think I wanted to go with a blue color. We're actually let's go are green like traditional green colors. So something like this, a little bit desaturated. Other one is to be like super intense. I'm going to grab this guy's right-click assign existing material. We're gonna go for the AA standard surface three, which we can of course rename to M Green. And then with this one right here, There we go. So now if we Render, we're going to have a very nice, a little cute creature right here. Usually the eyelids of characters are a little bit darker than the color. So I'm gonna go to the eyelids. I'm going to add a new material. Again, Arnold AI standard surface. And if we go to the color, you can see that the green that we select, this is gonna be right here. I'm just going to make this darker and little bit more saturated. I'm going to call this M dark green. And now we Render, we're gonna get a nicer contrast there on the eyes because this green is gonna be slightly different. I'm actually tempted to add the same green color to the antennas so that we get a little bit more contrast with the whole character. But there we go. So now imagine we're doing some sort of like commercial for a medicine or something and we're doing the viruses. This is a perfectly good and clear way to degenerate the results. Of course, we're still missing the little islets are the I texture, but we're gonna be taking a look at that on the next couple of chapters. For now, I'm just going to say File Save Image. I'm going to save everything here with our, the rest of our elements. Look at this guys, look at this. We've been working and learning about Maya for just a couple of hours now. And you guys have already been able to do all of this little exercises. So we've got our barrel, which we're going to texture. We gather a chess set, we got to door. We're also going to texture this one. We got our hammer and now we've got our little monster. Aren't, aren't you glad that you're watching this tutorial? Well, if you're happy so far, then stay tuned because we're going to be working on more interesting things. We're going to jump into texturing now and we need to talk about the whole pipeline first. So in the next video I'm going to explain how the pipeline works. And then we're going to jump and do an actual texturing of the different elements. So hang on tight and I'll see you back on the next one. 28. Texturing Overview: Hello everyone and welcome to the next part of our series. Today we're going to be talking about a texturing and it's a little bit of a heavy theory thing, but I'm gonna be trying to simplify this and divide this into a couple of things. We're gonna be taking a look at a texturing this time around. The first thing we need to cover is something called a UVs. And the wet best way I can explain what the UV is is by using one of this kinder surprise, like chocolate X. So every single object that we have in the 3D world, you're going to open the barrel scene, for instance. Every single object that we have on our, on our environment. Well, actually, yeah, this is a perfect example of what that is, but that's not what I wanted to show you. Let's go to our barrel Render. There we go. So every single 3D object that we have in the world has something called a UV space. In the UV space is the 2D representation of a 3D object. I'm gonna make it really simple here. Let's say we grabbed this Q right here. If we grab this cube, which is just a very basic primitive, we go to UV, UV editor. We're going to see a 2D representation of the six phases that this cube has. What I can do is use this map to create a texture that will map specific features, specific, I know, taxed or logos or whatever to the different parts of this cube right here. So let's say we download any texture. Let's go for like, I don't know, like look for weird or not. Let's just something simple. Color, full texture. We're gonna get something like this, like this, perfect. So if we save this image in our source images folder, of course, it's a very weird, It's a very weird format. Let's try saving this one. I hate that nowadays everything is wet P. The problem is, the wet P is not something that's compatible with them is at the point of the time of this recording. So we might have, so if we grab an object, we assign a new material to this object. I'm gonna just going to do with a very basic Maya Lambert material, which is the most basic materials. We can go to the Color option of the material and the link with this little button right here, a file texture will go over this a little bit more later on. Just want to do it real quick to show you how this works. So there we go. When we do this and we press the number six in our keyboard, we're going to get at this, which is the cube being mapped out by the texture that we assign. And we can see the Texturing action if we go to the UV editor, as you can see right here. So depending on where the phases of this cube are, we're gonna be seeing a different texture on the phases of this elements. And we can move this thing around. And again, depending on which, where each of these phases is. For instance, if I move this face to this eye right here to the green element, there's gonna be a face, probably the one on the bottom there, scrubbing another one. There we go. This top face, you can see how the texture shifts and moves around. So the way we texture objects, so that we can create amazing looking renders ease. We find out Textures, width, texture, break texture, all of the different textures on the Internet. Or we use software such as Substance painter and a, we generate Textures that match the UBI information of our object right here. However, we have a problem. The problem is, well, actually it's not a problem when we create the basic shapes such as a cube, a sphere, a cylinder. They all have a basic UB that we can just very easily map ETEC, a texture to end generate a nice result. But for more complex objects, Let's take, for instance, at this a barrel as an example, when we start doing extrusions, bevels, and all of these different things, we start generating changes on the geometry of the object and unfortunately, the UBI cannot keep up. So as you can see, we have a UB right here. But if I were to place a texture on top of this object, you can see that we're not going to get the best texture available. So every time we finished modelling an object, we need to jump onto the next stage, which is the Uvs and the texturing of this specific object. Once we do that, we can jump onto the actual texturing. So let me bring it in my notepad here. There we go. So there are three main stages on a degeneration of a good render. First of all, we got the texturing stage, which is what we're going to be focusing on right now, which in Bob's UVs and Textures. Okay? Then we got the shading, which is the materials. The materials are the connections, the one that I showed you before about the color, all of those connections and all of those parameters that we change to make the material look more realistic, we're gonna be dealing with in the shading department. And finally, we're gonna be dealing with rendering with a lights and shadows very similar to what we did right here to get a really nice result at the variant. But as you can see on this all instructions right here, we always need to start with UVs. So I'm going to show you real quick the basic ways to create UVs. And then I'm going to show you my technique to create a final UE. So let's go for instance, to our dice. I'm going to say File Open scene. And we're going to open the very first object that we created, our dice, right? So let's imagine we're gonna do like a casino dice or something, and we want to add logos and things like that to the overall object. Thankfully, when we created this object, we're actually already have a really nice Uvs But as you can see, it's not perfect when I press number one, Number three, you can see some of these phases like generate, something like weird. So there's a couple of ways in which we can create Uvs. First of all, it is recommended that if we're going to be using a smooth version of the object that we smooth are low poly version because if the UBI of the low poly version changes drastically to the smooth version, there will be a little bit of something called texture stretching, and we don't want that to happen. So in this case, as you can see, the change from number one, Number three is quite extreme. I'm going to go to Mesh. I'm going to hit smooth. As you can see, this is going to give us one level of subdivision. We can still press number three to get an even smoother version. But this one right here is a lot closer to the smooth version. So this is the one that we're gonna be working with. Once we have this, if we take a look at the Uvs, you're going to see that the UVs are a mess. You can see that things are overlapping and we're getting some really, really weird results. So in order to create or generate a new UVs, we're gonna go to this Uvs section right here. By the way, I'm not sure I've mentioned this before, but any menu that has the dotted lines you can click and you're gonna be able to undock it. Right here we have a lot of different options that we can use to create UVs for this element. A lot of people go with the automatic version. They're like, Oh, it says automatic, I'm going to use it. Let's use automatic mapping. The problem with automatic mapping is you're going to see that we can generate a ton of different islands. Imagine trying to find a specifically which island, this little guy right here, as it would be very difficult. You can see we have like weird cots and stuff. One of the other examples that I can give you about this is this thing called paper craft. Some of you might have done this before. I've always wanted to try, but I've never done it to be honest. The paper craft is this thing where you print out a version of a little character or a little animal or whatever. And you use this flaps to glue them together. So it's a flattery presentation, a 2D representation of an eventual 3D model right here. Of course, there's gonna be characters or elements are going to be a little bit more complexity. So for instance, let's see this little like anime character right here. You can see has a lot of different partial, all the different armor bits and stuff. Now, if we go for something very simple than the UVs are going to be relatively simple. Everything's pretty much the square and that set. But there we go. For something really complex, the UVs are going to be more complex. The more complexity up is, the more complicated it could be two texture. So that's where the automatic mapping, even though it is automatic and this could potentially work, is not ideal because we have a lot of extra cuts that we really don't need. And it's just going to make our lives very, very. So. The first thing I want to do is I'm going to select the object and I'm going to say delete Uvs. That way. We have absolutely no Uvs. Know Uvs here on the UV editor. And we can start creating our own cuts. The cuts for a cube, such as this one, should be very similar to what we have when we create a very basic cube. So when we start with a simple cube like this one, if we go to UV, UV editor, you can see that it has this sort of like T-shaped. I've also seen some people that do it like a, like a cross thing, but a T-shape is usually a really good idea. I'm gonna grab this guy and before we can start creating any UVs, we need to give them a vase. We need to create a basic UVs so that we can start carving and adding the lines that we need to generate our UV map. To do that, I'm going to use this thing called Cameras base Mapping, which are going to try to go for a three-quarter view like this and do a camera based projection. This camera embrace variation is already a UV and as you can see, it's a UV that matches the camera that we use. If I go to a front view and I do Cameras based projection, you're gonna see now that the UV editor is gonna be like this. There is a small little book here instead of Maya, where you select the object and if you go to the UV editor, you sometimes might not see this thing. If that happens to you especially happens when you're in component mode. If you go to the UV editor, sometimes you don't see it, just right-click and go to UV shelves and it will show them. Okay? So if at any point you open the UV editor and using nothing, just right-click and hit UV shells and that's it. As you can see, we also have access to things such as edges, UV shell, vertex faces and UVs. But these are not the same as the ones that we have on the 3D view. For instance, if I grab a face here under UV Mouth, you can see it's going to be one of those faces. There we go. But if we move it here on the UBI view, it's not going to be moved under 3D view because this is only affecting the UV map of the object. Once we have a basic UV with the camera based prediction, we can start to finding where the cuts are going to be. And there's a rule of thumb for cuts. We always want to hide cuts in either crevices or corners are places that we're not gonna be seeing them. One unfortunate thing about using up Maps is the fact that every time you have a UV map, there will be a seem light in sometimes texture will be very obvious to see where the texture cuts and starts with another section, especially when you have patterns for things that are more organic like skin and elements like that, it's usually fine. But for things that are like wood or it has like Cloth we'd like to pattern or something. It can be a little bit complicated. So I'm going to use this option called 3D cut. And so you B2. And I'm gonna go to the object, I'm going to start cutting. I'm gonna go, Let's go to the number one phase is gonna be our main element. And I need to cut the team. So I'm gonna double-click and as you can see, the actual bright they're stops at that point. And we get this wide line indicating that we are generating a cut. We cut this. So this is like the first flap. And then we're gonna keep going down on the sides like this. Okay, so cross the cross and then we're gonna do one more right here. Right here. So this is like the top of the T or the bottom of the T, middle of the T. Top of the T. And then this is where the T We'll just like I'm flop into two different sections. So those cuts right there should be more than enough. If I now go to the UV editor, you're gonna see that the cuts are going to be there. They're going to look a little bit thicker, but the object is not unfolded. We still have the full elements, so we need to do something called the unfolded function. I'm going to right-click select the UV shell, select all of the Uvs shells right here, am going to say modify. And there's this option called unfold. If you don't have this option enable or if you click on it and the unfold 3D option is not enabled, Make sure to go to Windows Settings and Preferences Plug-in Manager. And look here on the first plugins, just going to be one right here that says unfold 3d. It should be on by default, but sometimes it gets turned off for whatever reason. Once we have that, if we just hit Apply, what's gonna happen is Maya will automatically unfold the UV that we have in the best possible way that it can. And it will generate, as you can see, the T-shaped that has a really, really cleaned up for my dice right here. The only problem is that you can see the UV is now outside of the zero to one space, which is this first square right here. If that happens, you can just scale this down and rotate this around so that it matches a little bit closer to what we have with our initial or would the cube when we first started. Now with this, we do have a proper, a proper UB, which means that if I add the texture, again, let's add a new material. New material. Arnold or Maya. Let's do a Lambert in here on the color. Let's bring in whatever color it could be, whatever color I could even add this imagery there, and that's perfectly fine. If I press number six, what's gonna happen is we're going to start seeing the texture of that barrel image projected onto the surface of our object. Remember, if we don't have Uvs, I'm gonna do UV, delete UVs even though we have the material that's supposed to have the image, we're not going to see anything. That's why UVs are so, so, so, so important for our element. So that's the basics of Uvs and the Basics of all we're gonna be doing in texturing this whole chapter. We're going to be getting the Uvs from the barrel, the hammer, and the door, and the character. So it's four different like exercises. That's why it's important that you finished them. If you haven't finished them, go back and finish them because you're gonna need them. And we're gonna get the Uvs of all of those characters. And after we get those UVs, we're gonna start talking about how we can texture them to make them look really, really, really good. So, yeah, that's it for this one guys, hang on tight and I'll see you back on the next one. 29. Uv Mapping Technique: Hey guys, welcome back to the next part of the series. Today we're going to be taking a look at the UB Mapping Technique that I like to use for, I would say like N95 per cent of the objects that I worked with. In order to do this, we're actually going to go online and we're gonna look for a UV map checker. This is a tool that some softwares include and there's a new one right here. I believe this is diem. Like any of this ones would work, but there was a new, There we go. So earlier this year, someone released a UV checker map tool. Jorge VIII is the author of this very cool tool. There's a preset, I love this one right here, and that you can change the colors. You can use different elements. It's perfectly fine, like whatever, which, whichever one you want to use, it's fine, but we need this up checker map to visualize how good our UVs are. Because there's a couple of rules that we need to follow. I'm gonna show you in just a second now I'm going to download this to K map right here. But, but, but, but bum, if I find it helpful, Thank you very much, but I'm, I've already supported before. And we get this supposed to be downloading. Okay, let's just wait a little bit. While we're waiting, Let's jump back here into the barrel. And what I'm going to use, I'm going to grab the area, light, the camera and the plane. I'm going to hit Control G. And I'm going to call this a render setup. What this will do this I can hide the render setup and I can just work on the barrel without being distracted. Let's see if this thing is. There we go. We got our little costume thing right here. I'm going to copy and paste this into our source images folder right there. And what we need to do is we need to create a material that's going to allow us to see when that UV is working properly. So let's create some very basic shapes so that they can show you how to use that checker so that we can understand what are the things that we're looking for when we're creating UVs for any objects inside of Maya. Let's do like it towards fine. There we go. I'm gonna select all of the materials, right-click and I'm going to sign any new material. I'm going to go Arnold, AI standard surface. Am I call this material M UB checker. There we go. If we go to color now and we go to the file note, I'm going to be able to bring in the UV checker that would just download it. That's one right here. And I'm gonna hit OK. And if I press number six, we should see this. So as you can see, our barrel has messed up Uvs, like this is completely not working at all. The sphere has a really good UVs. As you can see, the distribution of the letters, all of them are facing properly. We do have a little bit of distortion on the bolus. This is what I mentioned that last video. Like it's impossible to have a UV that's perfect. There's always gonna be certain issues that you might find in the case of the sphere, one of the issues is that on the poles we get this like distortion event. And some of you might be wondering, well, what if we did the trick that we did for the character? Could we create a cube and smooth at a couple of times? How would those look like? Well, if we do a cube, we say Mesh smooth twice and we add the same material that you'll be checker. You can see the UV checker or the material looks a little bit better, but we still have some issues. So for instance, in this one right here, one of the issues is that this backwards or the faces that are here on the back are upside down. So this are the things that we will have to consider when we're texturing an object like this. But you can see how the UVs are way, way, way better than what we had right here. So that's why I've mentioned that this technique with the sphere is way better. The cubist looking very nice. Again, the issue is that this face is backwards, but everything else looks very good. The cylinder, the caps of the cylinder look really good. However, the center of the cylinder, not that good. And finally the tourists, there was probably the cleanest one that we have. As you can see, the interfaces are like a compressed and the outer faces are Stretch. But in general, we're getting a relatively good distribution. Now let's group this one to start with, and let's go to the UV, UV editor. And you can see that by default the tourist has this grid-like distribution on it's up. We could grab the shell and use the tool that we use on the thighs, the unfold. You're gonna see that we're gonna get a different distribution. Now, if we manage to get this inside of the square, you're going to see something really interesting on the distribution over here. It looks way more uniform light. Now we don't have as much as stretching on the outside and not as much compression on the inside. However, we now see the seam line right here and it looks a little bit off. So that's the main challenge that we're always going to have when working with UVs, we're gonna have to decide what do we want. We want to have some distortion or do we want to have some cards and seam lines every now and then? Now, for instance, on the cylinder, the cylinder is probably the one that's closest to being perfect because the flat areas are perfectly both on the top and on the bottom, but the center is not working as intended. If we go over here again, that's the that's the error that I mentioned. You need to right-click and just display the UV shells. We can grab this one's right here and we can scale them up all the way until they touched the border of the element right around there. Now as you're going to see, we're going to get their way better distribution here on the surface of the cylinder. Look how nice this is. So imagine we're modelling Coca-Cola can or something. If we follow this process, we're going to be able to Texturing perfectly fine on this side right here. The only problem is we have a really harsh edge, like a seam here between the caps and the center of the cylinder. But again, that's unavoidable. Every single shape that we do, no matter how simple or how can flex, since we're going from 3D to 2D, we are losing and dimension and that will always cause issues There's actually some of you might probably have seen this, but there's actually a demonstration of the map. So if we look for Earth, map, distortion was just like documentary going around Facebook a couple of years ago where they explained that the map that we're used to seeing which is which is one of which was something like this, I think. Yeah, it's this one. This is the one that we normally see. It's wrong. The proportions are wrong. So for instance, eyes on or Greenland right here, looks almost the same size as Africa, and that's not the case. But we see it like this because they distorted the map so that it's easy to navigate. However, the real map, the real proportions of the map will be more like this or probably not. The, this was a little bit more precise. There we go. So this is the actual proportions. If we were to create a map that took the distortion into account. So that's the problem with bringing an object, so 3D object into the 2D world, we're always going to lose a dimension. Now we're going to talk about how we're going to be creating the UV map that we want for our little bear. Alright, so we're going to start with our five steps right here. I think it's five, which are the steps that I always follow for my Uvs. The first step that we're gonna do is we're going to select all the objects that we want to UV and we are going to delete the Uvs, UV, the lead Uvs, their vehicle Uvs gone. We have absolutely nothing and we can start working from zero to make sure that our UVs are as perfect as possible. We're going to select all of the objects again. And we're gonna go UV and we're gonna do it Cameras based projection. This will give us just a snapshot without any seams. This is important parts about the UBI projection. It will give us a base up to work with, without having any seams that we need to fix later on. As you can see, the camera please, prediction is actually very useful if we are exactly at this point. So if you wanna do like some paint over in Photoshop using this map right here, it could potentially work perfectly fine. However, for our purposes, since we want to see this as a 3D object, well, it's not going to work. We're now going to select the object right here. Remember where they mentioned about the smoothing option, while in this case the shape is not changing that much. And you can see that the distortion of the texture is actually not that much either. So this is perfectly fine. The numbers can get a little bit distracting when doing the cuts that we're about to do. If you want to hide that detect texture without having to change Materials, we can click this little button right here that uses the default material. And we're going to see this as a very basic, just like gray material. We're going to open our UV editor. And we're gonna go to this guy right here. And we're gonna go to UV 3D cut. And so you'll be tools. And we want to find where we're going to be doing the cuts. Now for cylindrical shapes like this, the usual technique that I use is to cut the caps of the objects. So we're gonna go to this corner right there, on the top part. And on the bottom part, like that Double-click to just call it the whole thing through. And then I'm gonna go, usually on the back of the elements are on the negative z-axis. And I'm gonna do a cut down the middle like this. What this will do is pretty much like the sticker off for soda or like any drink. You're going to have the label and then the caps on both sides. Once we have this, we can go to the UV shell, grab the UV shell and say Modify and unfold. What this will do is it will create this unfold option right here, should allow us to see how the new UV is. Look. Now as you can see, the barrel right here does generate a really nice UVs on the front side of things right here, it looks really, really good. But it starts distorting things on the backside, which is not exactly what we want. So I'm gonna do a slight change right here. I'm gonna go back on my cuts. And for this particular one instead of using the 3D cut. And so you'll be Tool, I'm gonna do a couple of other tools. First I'm going to cut at the corner on this top part, right here on the very Werther of the barrel right there. And I'm gonna go to the bottom one as well. And we can say UV God uveitis, which is the exact same thing as using the 3D cut and UE2 on those edges right there you can see they're white in. Then what I'm gonna do is I'm gonna go to this option right here. I'm gonna say UV shell graph, this UV shell right here, which is the label of the barrel. And we're going to use a cylindrical mapping. We have a couple of options here. These are very traditional, very old school way to do it. But for this particular elements, especially for this barrel, this cylindrical mapping will work even better. So I'm gonna hit cylindrical mapping right here. And as you can see, we get this very cool effect of a really straight line going across the whole thing. The only problem is that we're going outside of the X and Y axis, so everything should be inside that square. So I'm going to have to scale this down a little bit like this. And then to make sure that this is proportionate, I'm going to bring this down as well until the squares are well square. So something like that. Do not, and I repeat, do not unfold. Because if we unfold again, we're going to get the same result that we got before. As you can see, it's a little bit less intense but we still get this or like weird overlap on the back and I don't want that. So this one we're going to keep exactly like that. You can select individual edges and then we just unfold those elements. Only those elements will be unfolded. And we will get a really kinda clean distribution on the top and on the bottom. So first step, delete Uvs. Second step, find where the seams are going to be caught the seams of our element. And then third step unfold. With the unfold done. As you can see, we're gonna get a really nice distribution This will eventually receive a wood texture that's going to look really, really, really nice. Now, what else can we do here? Well, of course, we'll missing the rings and rings. Have you guys remember we got six rings, all of this ones right here. Now, all of them came from the exact same object. We just changed the scale, but the topology is exactly the same. So one thing that we can do is we can do the Uvs for one of them and then just transfer all of the other ones to the next rings over. Now for an object like this, the best card that we can do is a cut on the back of the ring. And then on the back of the object like this, just a single cut around and then cut like this because that By the way, the shortcut is control. You control, you will generate a super clean straight line. Look at this super clean line. And again, as long as we scale this properly instead of the element, we're gonna get the proper proportions that we want. Now that we have the, the elements for this one, I'm going to select the first one, select the secondary, and we're gonna go to Mesh Transfer Attributes. And one of the attributes that we can transfer is the Uvs. The only thing that we need to change your can see here that we are transferring UV sets like no vertex precision, no vertex on, we're just transferring Uvs sets and Color sets. In this case, we didn't have any color set, so that's fine. But we do want to transfer the Uvs set. And the only thing that we need to do is here on the Uvs set, we need to change the sample space to topology. So we want them to, want to tell during, say check your topology and make sure that the Uvs match both topologists properly. And by doing this, if I hit Apply, you can see this guy has a new UV and we can continue transferring this from one to the other. This is going to say it was quite a bit of time. So whenever you're duplicate an object and using the same object to create a UVs, we're going to be able to do this. But the only problem is all of the Uvs right now are in the exact same position and we don't want that. So we're going to grab all of them, hit Control U to unfold them. Then we're going to use a new tune, the new tool that we're going to use. And this is a final tool for our UB like preparation is called a layout because right now we're breaking a couple of rules here on the Uvs space. So before I show you the layout to lay me show you the space, but before we do that, let me just write real quick the steps that we had so far. So first step, the lead Uvs, second step, camera Mapping together a clean slate. Third step, cut Uvs. Four-step on fourth, fifth step, it's gonna be the cleanup process and we're gonna be using a tool called layout to do this. But again, I need to explain why we need to clean this up. So the reason why we need to clean this up is twofold. First of all, we do not want any of this elements to go outside of the space because when this happens, when they Asia a shell you we shall goes out of the space. Other softwares are going to have issues like I'm trying to find out or figure out how to properly work on this area right here. So usually we want everything to be here inside of that one-to-one UV space. There are ways to use. All of these are spaces. We usually use the positive one. So all of this ones right here, we'll talk about this a little bit later with something called UTMs. But right now we're just going to be using this one right here. Second room. We don't want things to be overlapping each other. And right now there's a lot of overlap between the different elements. So we will need to probably like scale all of this down and start moving them around to have a free-space and making sure that none of these guys are overlapping to each other. Third rule, we don't want one object to have more resolution than other objects. Very commonly, when do we do the unfold? Maya will add more resolution to one place than other. This is why I disagree. That's so important. If we take a look at the barrel here, you're gonna see that we have a really nice distribution. But if we go over here, you can see that this course are really big, meaning that there's a lower resolution here than what we have right here. And it could even happen with the little badge right here. Like maybe let's grab this band. And let's imagine that we're breaking a couple of rules. So we're making this super, super big and our making it outside of the one-to-one square. So if we do that, you're going to see here immediately that we're gonna get a lot of resolution on this things right here. And they do not match the same resolution that we have on the barrel. If we went ahead and texture that way, what's gonna happen? This, there's gonna be a part of the object is going to look super high resolution, and others are gonna be very low resolution and we don't want that. So in order to avoid that, we're going to be using this layout tool that solves all of those issues. It will make sure that all of the UV shells that we have right here are inside the one-to-one square. It will make sure that all of the elements way the second we have a cylinder right there, There we go. It will make sure all of the islands are inside the one-to-one squared. It's going to make sure that no islands are touching each other. And it's going to make sure all the elements are aligned properly. So the tool can be found here and modify, and it's called the layout tool. I'm gonna go to the option box again, make sure to unfold 3D option is turn on. The layout tool is part of the unfold 3D plug-in. And here's where we are going to be doing some changes. So the first changes, shell pre rotation, do we want to align this elements in a specific axis? And in this case, yes, I want them to be horizontal because I wanted to bands, especially this metal bands, to be as straight as possible. Shelf re-scaling very important and we need to preserve the 3d ratios, meaning that we want the islands to be proportionate to the way that they're being shown on the 3D world. Over here translate shells. This is telling us that we allow the object to move the shells around. That's fine. Rotate Chelsea, this case we don't really need it, so I'm going to leave it off over here. Which type of map we're going to be using, I'm going to say to 48, which is the standard nowadays. And then on shell padding, this is the distance in pixel that we want each cell to have from each other. I'm going to say give me at least eight pixels from each shell. And then title padding is that this is, we're going to have four divorced from the border. I'm also going to give it eight shells. As you can see. Finally, we have tiles U and V, which is in which area we want to go. We're gonna go from the one-to-one area, which is this one right here. If we set all of these options on, we select all of our UV shells and we hit Apply. This is what we're gonna get. Can see we have a little bit of an issue. Some of the elements are not working properly. What can we do here? Well, first of all, let's make sure that we have freeze transformation or delete History done with all of these things, especially for eastern information is the one that usually mess things up. And let's try this again. So we've got all thing hit Apply. The barrel is working properly, but for some reason this are not working exactly as intended. It could be a bug right now. I'm not exactly sure where this is happening, but if this becomes an issue, one thing that we can do is we can just combine everything into a single object. And by doing this, now we'd know is that all of the shapes should be part of the same object. And if we do again, modify and layout, everything is going to be in the same section. Now here, of course, one of the things that we can do, you can also turn off the texture by clicking here. We can line this up a little bit more because another one of the rules that we wanna do is we want to try to make use of as much space as possible. So if we can later on at another problem, this area right here to make use of the of the UV map, then we're going to have a better result. But look at this. Now, every single part is looking good. All of the letters are facing forward, all of the distance or the size of the squares for both the rings and the barrel are really close together. So no single part is going to look more high-definition than others, and every single part has its own stuff. See, for instance, this ring right here is having a little bit of an issue. So if I want to be super, super precise about this, I could go to this one and I can see that that's upside down. And of course it's upside down because if you guys remember all of this three rings, we inverted them. So I'm gonna go to UV, UV shell, this guy, we have some UV tools over here. For instance, we have the transform option. I can click on the center. And then there's free rotation here to rotate this 90 degrees that we go. Now I can see there's a little bit of stretching is going on there that shouldn't be happening. I'm gonna grab this and say modify, unfold again. Another unfold. There we go. It seems like we miss some unfolds. I'm gonna do another modify unfold except for the barrel, of course, so only this modify unfold. Then again, Control L is a shortcut to layout. As you can see, this should give us a better layout. The only thing that I'm seeing is that this guy, this guy and this guy are upside down so we can rotate them around. And now all of them should be facing properly. And that's it. With this done, our barrel is now ready. I'm actually going to grab this guy, the lid history for its transformation center pivot, I'm going to change his name is just going to call this bell. If we want, we can split this back again into multiple pieces. That's fine. Like it will work perfectly fine. We don't really need to do it right now, but we can split this back into its original piece. And this barrel is ready to jump onto the next stage, which is gonna be the texturing stage. But before we do that, I want to go over the remaining elements that we have so that we can practice a Uvs. Uvs is one of those things that you really want to practice. Because the more you do it, the more use you get to the kind of things that we're looking for to get a proper UBI. Yeah, that's pretty much it now, I'm gonna do one last thing here, this up checker material. We're going to be using it quite a bit and I don't want to be recreating it every single time we opened a new scene. So I'm gonna go to this little thing called the Hypershade. It's this little blue is right here. Don't find it there. You can also find it in Windows, Rendering Editors, Hypershade. The Hypershade, these were all of the materials live. I'm going to select this one right here and say File Export Selected network when the export this on my Assets folder. And I'm going to export this as a Maya file. So I'm going to call this just to Maya ascii, and this is gonna be my UB checker material. That way. The next time we opened the new scene, we just imported into the scene and we're gonna be able to use it on the hammer or any of the other acids. So, yeah, that's it for this one guys. Make sure to get your UVs as nice as possible and get ready because we're gonna be going into a lot of Uvs right now. So hang on tight and I'll see you back on the next one. 30. Hammer Uvs: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the hammer. So let's open it, open scene and I get the hammer right here. I'm not going to open the render scene. Of course, that's one right here. We don't need the image plane and this is the hammer. Now remember we exploited the material to last time. So I'm going to say File Import. And if we go to our assets folder over here, because I have a UV checker material, we just important, it's important. We select the whole object, Right-click, assign existing material, and we bring up our UB material check. We press number six to see the Textures. You're gonna see that this is a mess like the UVs are all over the place and this is not working at all. So let's start with the process. We grabbed the whole object first. We're going to say UV, and we're going to delete the Uvs to start from scratch. We've got everything again, UV and we say UV editor, sorry, UV and we do a camera based prediction. So as you can see, now we have some basic UVs and we need to start bringing all of the pieces. Now, this elements is a little bit more complex because you can see we have a lot of pieces. So one way I like to organize myself when working with an object like this is I'd like to create a new layer. It's gonna be an empty layer right now. In this layer is going to be called UB ready. So every time I finished the Uvs for an object before the layout, just the basic unfolding Uvs. I'm going to add that object to this layer so that I know that that object is start. For instance, let's take a look at the bolt right here. Remember how the bolts have no face on the backside? Well, when you have an object that has no faces on one side, like it's, it's a thin object that board that immediately becomes an edge right there, as you can see, it immediately as a UBC. And we technically only need to grab all of this and say Control and you, and that's it. Control you, it unfolds all of them. We can even control L if you want. It's gonna give them a lot of resolution right now. But all of this bolt already, like we really don't need to do anything else. It's a very simple asset. It already has the cut. The winnings can like a cylinder, but it already has the cut. So it's, it's thin enough that we only need to do that. So I'm gonna grab all those guys. Right-click and we're going to add the selected objects there. I'm gonna go to the cylinders. There's two cylinders you guys remembered when we did them. Very simple and both of them are also missing their faces on the top. And since this we're cylinders that we created from the very beginning, the only thing we need to add is just one section line. So we're going to grab this section right there, right here. Uv caught up edges. And then this section right, right here, UV and caught up edges. And doing that, both of this elements should be ready. We grab both of them, go to the UV editor, control you to unfold. And there we go. Go Control L If we want. And both of them are going to have perfect Uvs. Ready-to-go. Very simple again, because we don't have the caps, we don't have any of the elements right here. What I'm doing Uvs, I usually prefer to go with the simple elements first just because I can get them out of the way real, real quick. So right-click and we just add the selected objects. This one right here, another little bolt there easy, which need to unfold, unfold. Grabbed the official and control you. That's it. Will do the Liam later. So grab this guy, right-click and we add the selected objects. This one. What does this? Well, it's a very hard surface thing, but set cylinder at the end of the day, it's a cylinder with six sites only. So we're gonna use the technique that we use for cylinders, UV 3d codons. So Uvs tools, we caught the cap that you can see there's no specific like edge loops. So we're going to have to manually select all of them. Same thing on the lower side right here. We're going to manually select all of them. In. Now, we need to decide which of the six sides we're going to be using to cut this thing. And usually you want to use the one that's gonna be the less visible. So we are seeing the hammer from the front. Probably one of this side beause one is going to be better. We go to UV, UV editor and we do control. There we go. So you can see we get this or like rounded effect, we could use or do the same thing that we did with the barrel. But in this case, since it's metal doesn't really matter that much, this is perfectly fine and RGB as already, so we just add the selected object. This guy is right here. It's are a little bit more complicated because as you can see, we have a lot of geometry and load topology. But at the end of the day, they're pretty similar to a tourist. So as you can see, we have one line that goes across the whole axis of the element. And that's the line that we're going to be using. Just that one right there. That one cuts straight across the whole thing. And even though this is like super twisty and stuff, just by doing that caught and doing a control, you were gonna get the two very long strips. The only problem with the really long strips is that as you can see, the UB becomes really, really long. Which means that we're gonna have to really scale this down to make it fit into the elements. So it is advice for things like that or like this to cut, if possible to God every, a couple of coils to get a better result. So I'm gonna go to edge mode, I'm gonna go to a side view as well. So like X right here, I'm getting like one right here, one right here, and one right here. Uv. And we do manually. So we cut right there, we caught right there, and we cut right there. And what this will cause now is when we unfold, we're gonna get more little pieces. And especially when we lay out, you're going to see that we got to get more strips and this is gonna give us a little bit better resolution. Yes, we're going to have a seam line. So we're going to have to find a way to hide the seam line right there. Don't worry, there are ways to do this instead of Texturing, but it's a way to compact or create a more efficient packaging for our whole thing. I'm going to repeat it with this one. So we're just going to go UV 3D cut, going to cut right down the middle. Then on the x-axis, here, Here, and here. The whole thing control you. And then we go Control L. There we go. It seems like we didn't cut the back line right there for whatever reason, it sometimes happens because the 3d CO2 stops at the last one we're gonna go here. So it stops at the line that we already had. So we need to go here, here. And here. There we go. So by doing that, we can go back here, control you again, and then Control L. There we go. So you have that we get even more space right now, more resolution, which I think is something that we miss on this one. Some of you might be wondering, cool, we transfer this Uvs, yes, but it's such a simple object that just a couple of extra cuts here and there. They're not going to take too much time away from us. There we go. We go UV, UV editor and we control you, and Control L. There we go. Now all of this elements, and you can see when we turn this on, they have a better resolution. They better like a distribution of our UVs and they are ready. Right-click and we added to the element right there. This one, simple cylinder are very similar to each cylinder. So UV 3D cut. We got there, there, there, there, there, there. That's the cap. So I like to use this sort of like a mantra, which is cap, cap and along the height of the element. And that's the way I do this shapes. So we just do the same thing, control you and Control L. And that's it. That piece is ready. We bring it right here. We had selected object in. There we go. This one and this one, they're very similar, right? So here's where the transfer UB could work. Or in other hand, we could just combine them into a single object. You can not, unfortunately, you cannot do 3d codons, so you would tools at multiple objects at the same time. I'm going to grab a light on the bottom part right there. Then over here, Uvs 3D cut, one, that one. But you can do the unfolded multiple elements. So control, you, control L and that we go. You guys are living in an age where doing Uvs is so much faster what I was a student. This was so, so, so painful. So let's go over here. Now this one's are a little bit more complex. Actually think this is probably the most complex piece that we've done so far because it has in this, any sort of like a cylindrical shape. The way we're gonna do this is as follows. Let me turn this off. We're gonna go UV 3D cut and we're going to cut one line right there. And then we're gonna go to this edge right here. One of the ones that we use for the support edge, see that? And that's gonna be my main cuts. So that's gonna be a full thing right here. I don't want to call it a cross. I actually kinda want to work. Now. Think of it. I think I'm going to cut a cross here. I'm going to make this a flat surface, and then this is going to be a cylindrical surface. So we need to hide the corner of that cylindrical surface right there. We're going to do the same thing on the inside. So right there and right here. Let me show you how this looks. So we do control. You were going to have the flat surfaces right here and then the corners right here. Now, since this is a very like heart sure, fuzzy thing, in my note, it might not be a bad idea to give this to cuts. So I'm gonna go here and here as well. So we're going to have two halves. I think more cuts will make the full work a little bit better, but it will also make a little bit harder to hide certain seems that does. You can see that this one right here, it works fine. It's going to work fine. This is going to be a metal bits. So metal is very easy, especially with edges. It's very easy to hide the same sun and metals. Let's repeat the same thing here. So UV 3d curve, we're going to cut here. And that line right there, we're gonna do a cut right here. And a cut right there. Now, if we take a look, should get the exact same thing are very similar. It seems like we've missed one cut and this one, did we? You can even cut inside of here. We have the options over here. We go to this edge right there. We can cut. Then we can go to that sit right there. We can cut this or that we go seems like we're missing Let's turn on this elements and see if things are being displayed properly. It seems like we are UV shells which have 1234. Okay, I forgot this one right here. So UV 3D cut. So we cut that one. And now what's gonna happen is when we do the unfold here, we're going to have something that's divided. This one right here. We're missing this one right here. So I'm gonna grab one and let's just cut. And as you can see this section now as two halves, which is not what we had on the other one. But we can fix it. If we go to this edge right here, we can just say so. And that's going to bring them back, stitch them back together. And then again, when we do unfold, which would have our pieces as well, we imagined. Cool. So yeah, that's, that's pretty much it for that piece. Going to add it right there. Same for this one. And now we're just missing the blocks right here, the stones, which again, very simple, door like cylinders. So UV 3D cut, you're going to cut right there. And here on the front, actually I'm going to cut here so that the front of this a little bit cleaner. And then we're going to cut one line down here. And over here. We're going to cut same thing. They're there and one right there. Now, if we go to UV, UV editor and we unfold layout, we can to really clean stone hammer right there. Perfect. Oh, sorry. So now we have every single piece of the element properly Uvs there, Ubisoft, properly done. If we follow the list that we have over here, we've deleted the Uvs. We did our camera Mapping, we did all of her UVs and we did are all from unfolds. The last thing that we need is our cleanup. Or what's the word or layout? Again, technically, it should work. I'm going to Shift P to get it out of the group. And just a freeze transformation and everything. And let's see if we can make it work without having to combine it. So I'm just gonna go everything here and say Control L. There you go. As you can see, this now has brought all of the pieces into a single UV to a single element. And we can see that the size of the texture is properly laid out for every single element. Yes, there's gonna be a little bit of distortion. You can see it right there, but everything seems to be working quite nice, especially when we press number three, look at this. And the important thing that I want to see here is that everything has a proper human. There are some schools of thoughts, like for me this right here. If one of my artists here from the studio show me this, I'll be like, yeah, that's perfectly fine, as long as we can texture, that's perfectly fine. However, there are some schools of thought that say that in order to make the perfect Uvs, you need to make sure that all of the lines are facing the exact same way, that they're all having the same colors. For instance, all of this like little strap should be in one section of the Uvs. However, that takes a lot of time to get it to work properly. And I would say it's one of those things that you can invest like ours, making sure it works right. And you're only going to get like a oh sorry. You're only going to get a five per cent or maybe a 10% improvement in performance. So even though it is important, unless you're struggling, we'd like super, super tight budgets of performance-wise. It's usually not really death worth something like this is more than enough. We're gonna be texturing this hammer later on inside us, substance Painter. And yeah, This right here is really, the only thing I need to do here is save the scene. The scene now has the hammer with proper UVs and everything is ready so that we keep, keep going. So I'm going to stop the be the right here guys. In the next one, we're first gonna go with Edim. What are we missing? We've got the barrel, we've got the hammer. We need to do the door, and we need to do the character. So we're going to jump onto the door, which follows very similar processes to where we have right here. So yeah, hang on tight and I'll see you back on the next one. 31. Monster Uvs: Hi guys, Welcome back to the next part of the series. Today we're gonna be taking a look at the Uvs for our little monster right here. The reason we're going to be doing the monster first before the door is because we the door, I'm going to show you something called U-turns, which is a little more advanced. But we're gonna need that for that specific prop, because of something that we're going to be explaining the intellect in the next lesson. So what this guy right here, it's actually fairly, fairly simple. We're going to start the exact same way. Well first let's import our little checker here. So we're going to import our chapter material. We're going to select the whole character and we're going to assign the existing checker material. There we go. We've got number six. You can see that the UVs are completely messed up as well. And this is because, well, we didn't take them into account when we're modelling and that's usually what we do like we don't care about Uvs until we jump into texturing. So I'm gonna say UV and we're going to delete it Uvs, then going to select the whole character right here. I'm going to say UV. And we're gonna do a camera based projection. And let's start, let's create our layer right here. We'll call this ready Uvs safe. And I usually like to start again, as I mentioned from simple, too complicated. So the tongue, What's the easiest way to the tongue on the underside? So UV 3D cut and just cut that line right there. That's all we need. I'm not even going to do you unfold just yet. I'm just going to start cutting everything and then we'll do unfold at the same time. And that's it. So we add the tongue, the teeth. The theater really interesting because the teeth do not have the caught on the lower section. So if we take a look at this, you're gonna see that we could do that cut right there. It's going to be a little bit complicated. So our rather spend a little bit of extra time just cutting the square shape that we have here underneath them. Then once we have this shape cut right there, I'm going to cut down the middle like this so that we have the front and the back of the teeth. Now it's very important that we first cut the desk. I actually think of it. It's going to save us even more time. I'm just going to cut halfway through, kind of like a teardrop shape. So we're just going to go halfway through the teeth right there. And there we go. I was gonna say it was very important that we did those cuts first, but in this case it doesn't really matter. Now here, I want to work on the nails, but don't want to work in the body just yet. So I'm going to select everything, deselect the body, and go into isolation mode. And the nails are going to be very similar to the teeth. So we're just gonna go UV 3D cut and we're going to cut across the center of the knee. This is why having proper topology so important to see how fast we can go and create all of the cuts that we need for a character. If we didn't have proper topology, if we just had like topology is something automatically or whatever, this will take so, so, so long. Now the body there is really important that it's actually fairly easy. We're going to treat it very similar to how we model it. We're gonna do in sections. So I'm gonna go to Uvs 3D cut, and we're going to cut edge mode. There we go, UV 3D cut. We're going to cut the arms out. We're going to cut the legs out. Let's go. Lowered like there are going to go legs out. We're going to cut defeat out here at the ankle. And we're going to cut the hands out here at the wrist. We could of course, turn on symmetry to make this a little bit faster, but in this case, fairly quick selection. There we go. Now the arm actually let me, let me turn on symmetry object X. So just make sure it works. So the arm, we're going to cut on the inside of the arm because that's the place where we can hide the same better on the leg. We're going to do the same on the inside of the leg right there. And then the hands. Super simple, if you follow the proper topology and you did all of the little tricks and things that I showed you. It's simple, cut down the middle of the fingers. It's gonna go straight across the palm, is going to stop right here on the other side of the wrist, as you can see right there. For the foot, the foot is a little bit different. We're going to cut the sole of the foot out. All of this thing goes out like that. And then we're going to add the cut. I usually like adding the cut on the inside following the leg elements. We're going to have this flat surface of the feed going around. In that way we hide the effect very, very nicely. We do need to cut the inside of the mouth, so we're gonna cut it right there. Okay, So we have the lips on the outside. In then for the body, the body is like a peanut, right? So we need to find the best way to cut the body. Usually we caught the neck, but there's no neck on this character. So we're gonna have to do something a little bit different. We're going to cut from the arm down into the leg. We're going to cut from one leg to the other right there. Then we're going to cut across the head, right? This that way we're going to have the front part of the body, at the back part of the body, yes. We're going to have a seam line right here. But again, once we go into Texturing, I'll show you how we can hide that very easily. Now that we have this along with the nails wall, that whole part is ready for the teeth. So let's just add them right there. These guys over here, again, fairly simple. We'll just cut them in half, right there. Perfect. There we go. Select objects. This case right here, there like a tourist. So in this case we just need to add a cut on the inside. So UV 3D cut, and we got that right there. And right there. That's gonna be it. That's like objects. This one's right here. A little bit tricky. Well not tricky, but we're gonna do the cut here on the inside so that we don't see it because the I is gonna be covering. So we're going to have an outer shell and an inner shell. That's it. And finally the eyes. We're gonna do a cut on the back right here, which again are going to be inside the cavities. So we shouldn't be seeing them really. And that's it. With that done, we're pretty much finished with the whole UV. So we can grab all the character and do Control you to unfold all of them. Then Control L to lay them out. And look at this beautiful layout right here. We've got the body, we got the teeth, we got the eyes, the hands, everything's here. And if we turn on our little element right here, we turn the basic material, you're gonna see that we have a really nice distribution. Here is again, where some people will be like, Hey, I want to make this super, super perfect. Why not just like a star rotating things around. Like maybe we want the body to be straight up so we can go to rotation and just rotate the whole thing like this. It's gonna be upside down right now, but at least things are going from top to bottom. Not again, this is not super important for this kind of characters. It's more important when you're doing like products, like boxes and things. You're gonna be following me a label and you need everything to be following perfectly, perfectly fine. But in this case, this is more than enough, like this right here is looking perfectly fine. And once we texture him, he's going to look really, really, really cool. So yeah, that's it for this one, my friends, not too difficult. Hopefully you saw all of the important cuts that we have here on the arms, the hands and everything. And the most important part about this character is again, eve, everything you build was properly done, then the topology should be flowing super, super nicely. And we're gonna have a quick UV ready to go into texturing. So that's it for this one guys. Hang on tight and I'll see you back on the next one where we're going to be talking about udim so forth door 32. Door UDIM Uvs: Hey guys, welcome back to the next part of the series. Today we're going to continue with the door. We're gonna be doing the Uvs for all of this things right here. But I need to explain something called the udim process. The process is slightly more advanced thing that we, you, we do nowadays that allows us to break one of the rules that I mentioned earlier. And it allows us to go outside of the one-to-one space to fill in more islands and get more resolution. Now, you might be wondering, why will we need to do something like this? And the answer is the resolution. So imagine we have a little box right here on our scene. This little box is just like a wooden crate or something. Let's bring in our What's the word hour Materials. There we go. And we assign the material to this box right there. So if we have this box and everything is well and good, but then the artists or the clients tell us, hey, we're going to have a bigger box like at the other side of the door. Well, if we just duplicate this box and make it way, way bigger, let's say something like this. It might look like everything is fine. But when you place two of this elements together and we start zooming in, we're going to start seeing some issues that Textures on this first box are going to look really good at this distance. But the Textures on this other books are going to look very pixelated. And this is because the surface area that this box is encompassing, way, way, way bigger than this one right here. So when we're doing Textures, if we assign a to K texture to an object that's gonna be a small object like the hammer, like the character like the barrel. Usually two K is more than enough because it allows us to have the element even in full view in a render and we will never see the full 2k a resolution. However, if we have a super, super big object or we haven't objects such as at this box right here that has a way more surface area than other objects in the scene. A to K texture will not be enough. So we could potentially have a UV material for maybe this thing is right here, and then a different UV material for this things right here. But what ends up happening as we start having a lot of materials inside of our hyper shade. And it can be a little bit difficult to manage. The solution that programmers came up with several years ago was, hey, what if we could program a single Shaders, single material to go outside of the normal one-to-one space and use as many of this as we need. And this is what udim stew. Now you them's only work like properly inside the file film and commercials and renders like we can use them in game, but they're not as efficient because even though we are breaking one of the rules, we're not making things more performance oriented. We're actually making it worse because we have twice, three times, four times five times the amount of Textures that we will normally have on a single UV space. So the way you them's works, It's actually fairly simple. The first thing is we need to Uvs this traditionally. So I'm just going to grab all this things, go to UV checker, Mapp, grabbed the whole thing again, say UV, delete Uvs, grab everything again, UV and do a very basic Cameron based projection. Now that we have all of the things to start with, we can start bringing all of the elements easy. Let's delete all of this layers. There we go. Let's just add a new layer here and it's gonna be, again, you be ready. It's safe. And let's start for instance with the word right here. So the world, one of the cool things about the Woods is you can see we have lines going down the middle, right? So with those lines, we should be able to create just like the front and the back of the width. Well, another thing we could do is we can go to the top view, grubber, cut line into one line straight down the middle, just like that. Then if we want to, we can just snap this to the very center like that. And that's going to be RGB. So now we'll just go UV 3D cut and we're going to cut all of those lines right there. Yes, there's gonna be a little bit of distortion across the, the top areas of the element, like the corners of the element. But it should be fine. So let's take a look at how this looks. Going to control you, control L. Look at all of the different elements right there. Now the big question is, when we are smooth, do we get any distortion? In this case, we're not getting distortion or at least not as much distortion. So this should be perfectly, perfectly fine. So that's our UB04, the door. Let's bring it here. And there we go. So right-click and add selected objects. There we go. Now we're gonna keep going with the rest of the elements. Some of them are going to be very simple. Some of them are little bit more complex. So for instance, this one's right here. If you remember this fierce, don't have the back side of them, cut it out. We could cut them out very easily. Let's just invert the selection. Select them. And to make our UVs a lot easier, which is scrapped like the back of the faces that are going to be quite hidden, all of those, and just delete that way when we unfold those particular pieces, everything's gonna be unfolded nicely. And now the only thing that we need to cut is this ring right here. Now since it's very flat, we actually don't need to do the cap, cap and along, we can just do like two sides of a coin. So I'm going to say UV 3D cut and we're going to cut right there. And that should be it. If we go to the editor, we can just control you and Control L. And there we go. We got the little six elements right here, and the coin over here. Now, some people like to work with multiple, like when I'm working, I actually have two monitors. So I like to just bring this to the other monitor. Well, you can actually dump this into, into a section right here. So instead of having to open and close the UV editor, we can docket right here. And yes, the window is gonna be way, way, way smaller. But as long as you feel comfortable working here, it should be the exact same thing. Let's just bring, I'm gonna get a little bit more space here. I'm actually going to hide this. We don't need the UV toolkit right now because I want to see the isolate selection, grab this thing and add select objects. This one right here, the whole handle. This one's a little bit more complicated because it's a more complex shape due to the extrusion that we did for the handle. So for this particular one, again, if we want to save ourselves a little bit of what's the word of geometry. We could find. Like one of this interface is right there, like this one right here, and just delete the inner side, right? Since we're not gonna be seeing that inside part at any point, just deleting that should be more than enough. Then we can do. Let's turn off the colors and what else go to UV 3d got, we know this is pretty much like a sphere. So we're going to cut these fear from the inside right there. And then similar to the arm for the character, we're going to cut the handle from this circular shape right here. I'm also going to cut the inside of this piece right here so they don't false a little bit better. And finally, the handle, we're going to cut on the backside of the head. So we're going to have the back of the handle, of the front of the handle, and then a couple of cuts right here and their control, you control L. And you can see a really nice clean topology for this piece. Now we just add it to the selected objects at that selected object. And there we go. Let's go with this pieces right here, all of this guy. So I'm going to just quickly select this guys. And let's start with this one right here. This one is fairly simple because we already have a line going down the back against this is a very flat area just to cut down the back should be more than enough. This one right here might be a little bit more tricky, because as you can see, it's a little bit more of a complex shape. So in this particular cases, depending on how we want to save our edges, one of the things that we can do is just again cut all of the back part. So that guy right there, that guy right there, and then follow this edge along the, the border and cut this back part out. Just like that. Now, to unfold this a little bit better, I'm actually going to cut the corners right here. That's something that we do every now and then we'd square shapes like this one. Because instead of having a very Stretch, that curvature here, it's going to have the T-shaped from the cube on die. So when we do control you, you can see that we get that sort of like control or T-shape that we want right there. So yeah, that seems to be working fine. Now, we're gonna go to that was the first one. This guys right here. This guys right here. I don't remember if I cut the back part. Yes. Oh, no, I didn't. Okay. I actually don't want to cut the back part and this one's, so what I'm gonna do here is I'm just going to select all of them. All of this like circular shapes. Isolate them, might as well just combine them into a single element to make this whole thing easier. If we go again to UV and 3D cut, we could just got on the back border, right? Remember you always want to hide the same lines as best as you can so that we don't see them on the final texture element. There we go. So that one's done, that one's done, that was done. Let's go with this two pieces right here. This one's fairly simple. Again, just a, the back of this, of this thing. So let's go UV 3d. That one right there. Again, we can cut the corners just to help on Stretch some of those elements a little bit better. There we go. And this one, this one they say more traditional cylinder. So we're gonna do the traditional technique that we do, which is at the top, the bottom. And then of course on the inside, because we're not going to see it all the way across. And we got this extra cubes that we added here. If we want to be a little bit more precise for those ones, for instance, we could just delete for forward-facing faces and the backward facing faces. So we're just going to be left with this beveled cubes. Then it's just a matter of cutting one-quarter number here. Just control you. There we go. Cool. So this guy, this guy, this guy, this guy is, and this guy already. And we add select objects. Now we're left with the French right here. And again, the frames are fairly simple because they're fairly square, everything is fairly squared, right? So ideally with this sort of thing, if you go to the top view, you can see all of them go through the middle section Especially not really the, this box right here, but everything else, like all of this pieces. It might not be a bad idea to add the code line on the center so that both sides of the elements are a little bit easier to manage. So I'm gonna grab all of these guys. And I'm going to combine them into a single object to work a little bit faster. Let's isolate. Let's go to the top view. I'm going to add one line across the center and make sure that that line, I'm going to snap that line to the very center. There we go. That should allow me to go UV 3D cut and just go to all of the different pieces and cut them in half. Since that section line or that seem like there's gonna be hidden beneath the door because it's the very center. That should also allow me to not struggle as much. There we go. So if we do unfold, yes, we're going to have some areas, especially the corners, are gonna be a little bit stretched. Stick a look there. But as you can see that it looks really, really good. Some of these pieces are not perfectly like this one, for instance, might need an extra cut here on the corners. But to be honest, since we're gonna be Texturing, we'd like stone materials. This is more than enough. Of course, one of the things that we're eventually going to do is we're going to do the layout so that all of them shared at the same proportions. And as you can see right here, this looks really, really. Finally, we're just gonna go with this blocks right here. And the Daryl kind of like cylinders, right? Even though they don't look cylindrical, we can count them as cylindrical. So we're gonna go cap. Let's go, let's go to this, to this lower one. So we can use an edge loop. Lower one and that corner here. So lower one, lower one in a corner. And then over here, lower one, lower one corner. We go cap. Perfect. So there we go. With this done now, all of the pieces are ready. So here's what would happen if we don't do you them's if we just go like the traditional way we've been doing all of the Uvs so far. And we'll just say, Hey, you know what? Let's do a Control you to unfold everything and then a control L. Yes, everything is going to fit in a single element and it's gonna be proportionate and everything. But look at how big the numbers are, right? So we can't really go that close because as soon as we start going a little bit closer like this, you're already going to start seeing the the, what's the work? The different like a resolution or pixelation of the elements. So what I'm gonna do, so I'm going to grab all of these pieces right here. We're gonna go to the Modify layout options, and we're going to change the title distribution to three. So we're going to bring the total amount of surface area three times as much as what we have right now. I'm just gonna say three You V1 and hit Apply. And what's gonna happen, as you can see here, is it's going to make the whole island is a little bit bigger. And now we're going to be able to occupy more space. So again, it's kinda like, like bringing this like three times. Let's do four times sexually. So we're gonna do four times right here. There we go. So now what we're going to end up having here is gonna, we're gonna have 42k maps for all of these sessions and look at the resolution now that we get, now we can get really, really close and we're not going to see the same amount of pixelation because we have way, way more resolution. Usually this udim thinks like, I've seen some people push this guy's like all the way to something like, I don't know, let's say like 5.2. And look at the amount of resolution that we can get here. Now there's a smile, a slight little problems. You can see this piece right here. This object is not giving us the proper size and that's messing everything up. So I'm going to grab everything here. I'm going to combine it into a single object. Later on we'll bring it back together, will separate it again. And then now let's try it again. Let's try a layout. And we're still getting an issue here. So as you can see, even though we like freeze transformations and everything, history, even though we have this, there seems to be an issue with that piece rate that ideally every single piece should have the same amount of resolution. And I can see some of them are not having it. So that's probably means that there's some cuts that we're missing other than nothing done properly. That one does seem to be working fine. For this one. Really weird. It's really weird that we have different amounts of, I mean, sometimes this also happens when the objects are not. What's the word there longer than others? Remember how we talked about this with the straps on the hammer? So first let's try it. Let me try something here. Going to go back to a single udim. And let me see here real quick what we're going to try to diagnose whether or not we have an issue here. Oh, sorry about this. So I'm trying to see if there's any pieces that look like ILO place. But so far nothing looks looks that wrong. I think this looks a little bit better now. Okay, Let's do another like clean up on the whole meshes and let's try doing for you limbs. And let's see the distribution. There we go. That distribution looks a lot closer. You can see that the size of the squares. There we go. Cool. So, yeah, now with this 4D you, them's that we have we're going to have a slightly more heavy file actually later on when we're gonna be working with Substance painter. If you start having interested in substance Painter with this sort of stuff, make sure to only use as a thing. This is again, a more advanced technique, but we're going to be able to get so much more resolution. And this thing is going to look super, super cool. So that's it. My friends with this, we're pretty much done with the UV side of things. All of the acids that we are now UVs. And the next step is we're going to jump into actual, the actual generation of Textures. Now, as I've mentioned in lately, we are going to be using a different software where maybe using substance Painter. The reason why we need to use the software is because it's really good. Maya has some texturing elements that we can do here, but substances just like miles above the competition. So I want to teach you guys to full pipeline and I want to make sure you get some amazing results and we're gonna be using a substance. No worry. If you don't own a license, I'll show you how to get one for free. There are a couple of options, legal options that you can use to continue with this elements. Now, if for any reason you can't Download, if you're having issues with substance Painter, don't worry, all of the textures that I'm going to be generating, we're going to be including them under Project Files. So even if you can't follow the Texturing side of things, you're gonna be able to connect everything and get the proper renders for your elements. So, yeah, hang on tight and I'll see you back on the next video. 33. Understanding Shaders: Hello everyone and welcome to this next part we're going to start with before we jump into Substance painter, I want to go over a basic understanding of the Shaders. Because as we mentioned the first Texturing video, there are three main components that we need to do in order to get proper materials inside of our 3D renders. Those are the Textures, the shading, and of course, the light and the render. So we're gonna do something, we're going to move forward a little bit. I just want you guys to follow along and I'll explain why what this does later on. But we're going to bring in something called an HDRI. There's this site called poly haven, one of my favorite sites out there, human poly haven, we can get access to HDRI, Textures and even models that we can use for our renders. Most of the stuff that you see here is commercial, commercially available. So you can use this for your own work if you need to download that one HDRI and NHGRI is an image that we're going to be using to recreate a delight environment inside of Maya. We're gonna go to Arnold lights and I'm going to create this sky dome light, which should be this huge like sphere right here. And once we have this, if I press Control a, I'm going to jump into this part right here. Let me make sure that we have Karnak enabled. So Control a will allow us to go into the attribute editor. And here on the color information of this thing, I'm going to click on the little checkerboard pattern to connect a note. And we're going to go to the file node. In this final note, we're going to connect this pi attic for K. What's gonna happen now as we're going to get the image here inside of Maya. And if I press number seven, you're gonna see that we're actually getting light into the scene that is mimicking what we have here on our little element. Although thing we can do is we can go Arnold Lights. I'm going to create an area light that make this error life a little bit bigger, going to rotate down so that it's pointing towards our element. And we're going to increase exposure to something like a 12th, maybe even more, 15, 18, you can, it's a little bit too much. Let's do 17. There we go. So as you can see now, we have our lights. We can even turn on our shadows as you guys know. And this is real-time rendering right leg. We're not seeing anything, we're just seeing the real term rendering of our scene right here. What we're gonna do, and I'm using this real-time setup, I'm actually going to save this for you guys in case you're having issues. I'm going to call this Textures setup. You could just open it from here. What I'm going to show you is how we can connect Textures in order to get a nice result. So the place where we're going to be doing all of the magic is this little blue sphere right here, which is called the Hypershade. The Hypershade is where we manage all of the things that have to do with Shaders and with textures and materials and all that stuff. If you don't have the shortcut right here, you can find it on Windows, rendering editors Hypershade. Now, a shader is just the interpretation or the mathematical model that Maya uses to create or replicate the materials that we find in the real-world. As you can see on this side, we have two options, Maya shaders and Arnold shaders. We're going to be using Arnold shaders. So I'm going to click on Arnold and then click on Shader. And these are all of the available shaders that we have for ourselves here instead of Maya, they each have a specific function. We're not gonna be looking at all of them. We're just gonna be using this AI standard surface, which is the basic shader that we have right here. Now, as you can see, the shader has a lot of parameters, all of the things that we can change to change the physical way in which this element behaves and therefore generate a different result. Now, all of this parameters that we have right here, the base color, the specular transmission. All of these things, as you can see, has, they have parameters as well that we can modify, such as the way the colored roughness mentalis, all of these things right here, these are the things that we modify in order to keep the objects disorder result that we want. So I'm going to change the name of this thing. I'm gonna call this M. I would Material. Now, usually, usually there are four main things that we're going to have for any Shaders. This are the four main Maps that we use. So I'm going to write them down here for you. The first one is the diffuse, which is the color of the object. The second one is the mental illness. We're going to be using something called the metallic roughness models. So the metal now this tells us, tells us in a such sort of one or off, like on or off method, whether an object is metallic or not is metallic. Then we have something called the roughness, which tells us the quality of the surface. Is the surface a really clean surface there? Therefore, it reflects a lot of light, or is it a rough surface therefore reflecting very little light? In finally, we're going to have a normal map information, which is going to change the details of R L. Now to make things easier for you in this first video, I actually have this little Textures basic element that we have right here. And we're gonna be using this three Textures. Let's start with the first one, the diffuse. So we're just literally just going to drag and drop the diffuse or right here. And this is going to bring in the reference of our color into our Hypershade. Now, how do we connect this? You can just literally like drag this little Green icon from out color into the base color. And now as you can see, this material has the word color that we have right here. Okay? Another way to do this is to middle mouse and drag this node right here in the color, and they will automatically connect to color into the color. Note, those are the two ways in which we can connect elements. We can also, by the way, create a new node. So if we select this guy and say Color, and we create a final note, as you can see, we create the final right here in the only thing we're going to need to do is point this file node to the specific texture that we want to use. All of those are ways in which we can connect Textures here inside of our hydrogen. So as you can see, our color is connected. And if we go over here and we press number six, you're gonna see that we get are very nice color as long as soon as we assign the material, right? So I'm going to select this two objects, Right-click assign existing material and we're going to assign the M width. And if we press number six, there we go. As you can see, we get this very cool looking with, let's turn on the light. And as soon as we turn on the lights and shadows, you can see how nice this material looks here inside of Maya. However, one thing that you might know, this is the fact that this thing right here has a lot of gloss like Scott, like if it had a varnish, but it's a perfect garnishes, absolutely no imperfection whatsoever. Well, this is where the second map comes into play. We're going to be using this map, which from poly Haven it's called the arm map, which stands for ambient occlusion rough this metallic map. And this is a really interesting map because as you can see here, there are colors embedded into the channels of the image. You guys should know by now that every single image that we see on the digital world is made out of RG and B channels. Well, what's happening here is the R channel, direct channel is holding certain types of information. The green channel is holding another type of information, and the blue channel is holding another type of information. I'm going to show this inside of Photoshop real quick. I'm going to open the texture right here. And if we go to the channels of the element, you're gonna see that the red channel has certain type of information. The green channel has other types of information, and the blue channel in this case has no information. By combining these three information, we get this image that looks a little bit weird, but it's gonna be super useful for us inside of Maya. So if we go to this guy and we'll just drag and drop it right here. We're gonna get a reference to that image. And if we go to the out color, you're going to see that we can actually split the color information and we can select R, G, or B depending on which channel we want to access. So if we want to change the way the wood looks in the roughness department, like which parts of the woods are rougher and which parts of the wood are smoother. We're gonna be using the G channel because remember, RAA stands for ambient occlusion, which we're not going to be using right now. R stands for roughness and then for metallic. So from the green channel we're going to drag and drop this into the specular, or sorry, into specular roughness right here. What's gonna happen now we can see is that my color is going to change dramatically and now we're going to get a slightly different result. Now the woods not going to look perfect. We're actually going to see a very rough wood, but certain parts are going to be a little bit more glossy than others. Now there's this model thing here. We're gonna go over this later on, but just, just, for now, just follow me. We're going to change the color space on this thing from sRGB to utility wrong. This is going to give us more precise colors. Right now, you might not see any change at all, but it's going to change the colors. So as you can see now, the wood looks like more like natural world because we get this very nice planks and the roughness is gonna be changing slightly how it reflects the surface on different parts of the element. That was the third or second texture. The third texture, as I mentioned, was the metallic texture, which right now is an IRB can, we can connect this to mellowness right here. We're not going to see absolutely any change because this object is not metallic. But if this object was metallic than the way that's gonna be reflecting light might change a little bit. We will see this a little bit more once we do the Textures for the hammer. So that's texture number three. So texture number one was the diffuse texture number two is this arm which is me who roughness metallic and we're using the green channel to get the specular roughness and the blue channel to get the metalloids, metalloids of the elements. Finally, we're going to use this one right here, which is called the normal map. But the normal map is a little bit different because the normal map is actually not a texture that we use for the colors. It's a texture that changes the geometry of the object, but it's not going to actually change anything on the geometry here. It's just gonna be a fake way to change the geometry. So how does this work? Again? There we go. How does this work very easily? We're going to need a new note here to input this normal map information into this normal Cameras effect. We can't just plug it like this because it's going to look very, very weird. We're gonna, we're gonna be using something called a bump to denote the bump to the node. We're going to grab the out alpha of the EX are, and we're going to use the bump to denote. You can see how we get this sort of like would affect. And we're going to use this out normal to get it into the normal camera. Okay. So how did I get this bump to denote? Just press the Tab key on your keyboard and you can write here, bump to D. You can also look for it. It's gonna be up here, it in the Maya options. I believe it's one of this. You can just also type it here. The weakest, the bump. The bump to denote we're going to change the options to tangent space normals. Very important. And we're going to plug in the out alpha to the Bump Value and the normal to the normal camera As you can see now what's gonna happen is if we go over here, there will be a little bit of an effect where it looks like we're actually pushing the geometry. You can see it right here, especially if I move the light. More like a side view effect right here. You can see how it looks like the war that's actually pushing in, into the element right there. And this is thanks to the bump information. Take a mental picture of this thing right here. Let me go over here. We might not do the mental picture. We can just have it like right around there. And if I disconnect this, you're going to see how the surface changes. See that. There we go again. So that's width bump information and this is without pop information, without bumping information interests perfectly flat. But if we insert this in, we're gonna get a little bit of relief. We can of course like Make this way more intense. So for instance, this bump that we can go to a ten, it's gonna be really, really intense. This is not what we do because it's way too aggressive. But if you want that you can change it. Maybe look at five or something. It's gonna look like really, really rough with. So thanks to this four elements right here, we're now able to generate an object or an element that looks really nice here in our viewport. Of course, if we render this, we're gonna get an Uber like software and nicer effect. Let me show you here real quick. So we go like right around there and we do a Render. So now I said it's going to convert the Textures, is going to create something called a TXT file. So it needs to process the Textures, but once it's finished processing them, we're going to get the result with more calculated lights. That should give us a nice display. So let me pause real quick. There we go. As you can see, this is the render that we get. There's of course a little bit of sampling going on right there. But once we're finished with this, once we have this thing complete, you're going to see that all of the bump information and all of the elements are looking quite, quite nice. So this are the principles that we need to understand in order for us to apply all of this elements to our objects, I can actually bring the barrel right now. So if I bring my barrel render right here, I don't need the render setup. The parable should be right there. It's very small barrel right now. If I assign the same like wood material, thanks to the fact that we already have, what's the word the Uvs. You're gonna see that the viral is going to be started looking very nice. Now of course, the size of the planks and everything's not like matching perfectly. Of course the rings don't have the proper information that we have, but you can see that the rest of the maps are looking quite, quite nice. So what we're going to do in the next chapter is we can that they were in the next video. We're going to take a look at substance Painter. And we're going to use substance Painter to generate this texture maps that we're talking about in a way that they perfectly fit what we want here with our barrel, our rinks, and all of the different assets. That's why substance Painter is such a powerful tool because unless we want to do a lot of this kind of work into the Photoshop, trying to texture an object that has more precise coordinates for SUB would be very difficult to do. Traditionally actually, when I first learned 3d substance Painter didn't exist. And we have to do all of these things instead of Photoshop. So we would go on line graph images of wood and steel and stuff like that, and properly calibrate all of those values instead of Photoshop to then transfer them into an object here inside of Maya. But thanks to advancements in technology now we have Substance painter and we can do this very, very fast through that software. So I'll show you real quick how to get substance Painter completely legal and make sure that you guys are ready to to work with it. And we're gonna be doing the barrel. That's gonna be our first element that we're going to be working with inside of a substance to get a really, really nice texture. So, yeah, make sure to do this little exercise just to get used to the light and to the Hypershade because we're going to be using those as well later on. And that's pretty much it guys. I'll see you back on the next video. 34. Substance Painter: Hi guys. Welcome back to the next part of the series. Today we're going to start with Substance painter. And I promised I was going to show you how to get the software for free illegally. And then this of course, is going to Adobe side to the Adobe site. And if you have access to a dot EDU email, you should be able to get access to this, the students and teachers option, which is an education license that you should be able to use. Perfectly, perfectly fine. You can, of course, try this out. I believe they give you a 15 day trial or it's like a ten-day trial should be more than enough for the exercises that we're going to be doing during this course. So you don't have an EDU, you to be able to get the original one and just try it out. Or if you want to, you can of course, subscribe to the planet. This is actually the one that I have. Substance 3d collection. There used to be another option that have only Substance, Designer, sampler, and Painter, which are the ones that we actually need. We don't really need substance 3D modeler stage here are the 3D assets, action or access to them. But if you can afford them, then it's not bad to have them. Once you get Substance painter, I believe you can also get it from steam by the way. But once you get substance Painter, we are going to jump straight into the interface right here. There we go. This is the substance 3d Painter interface. Before we can actually use it, we need to, of course, go to Maya. This is our variable option. I'm going to select the barrel and we're going to say File Export Selection. And we're gonna go to assets, to our assets folder in our project inherent instead of props, I'm going to export this as an FBX. Very important that we export as FBX. As you can see, we have the right there. Now, if you don't have X DX available, you can go to Windows Settings and Preferences Plug-in Manager and make sure to look for FBX so that we can take a look at this, make sure both of them are loaded and you should be able to export as an FBX. Once you have here instead of substance Painter, we're gonna go to File New. We're going to select the file that we're going to be using, which is the barrel on the templates, other things he's going to ask us which kind of Textures we're going to be working with. And as we've mentioned before, we're going to be using this PBR metallic roughness, which is the type of shaders that we're going to be using where we define how, whether or not an object is metallic and how the roughness is gonna be applied to it. The document resolution is gonna be two K, the normal map format. We're going to change this to OpenGL and that we actually don't need to select them. You make sure everything is exactly like this and we're going to hit, Okay? And if we do this and things are working properly, this is what we're going to have our barrel ready to be. A texture here inside of substance Painter. The interface is Substance painter is actually very, very easy. It's way, way easier than Maya. We have the most common tools here. On the left side, we have a shelf with all of the materials, the smart materials, mask, brushes, and all this stuff right here. We're gonna be on this material tab for now. We get the view-port options up here. So for instance, right now we're in the paint tool, which is this first one. You can see the size of the brush, the flow, the opacity, all that stuff. Over here we have the texture set list, which is you can see it registered the What's the word? The material that we have for the barrel, which is the UBI checker, which is fine. Here's the layers we're going to be building. Everything, texture sets the things, is all of the specific things about the textures that we're painting. As you can see, we're painting base color, height, roughness and metallic and normal, which are the maps that we talked about before, except for HIV. We didn't talk about height. But I'll explain what that is shortly. And finally the property. So if whatever we're doing, so if we're in the paint mode right now, which we are, we're going to have the properties of the paintbrush. If we, for instance, drag and drop this aluminum material here into our layer stack, you're going to see that the properties are going to change depending on the material that we have selected. Over here, we have said things. These are the display settings, these are the Shaders settings. This is our history and this is our log. We're going to be using the display settings probably just to change the environment. I'll explain how this works in just a second. And that's pretty much it. Asked for movement. It moves exactly the same as in Maya. So Alt and right-click or left-click is just normal movement. Alt and middle click and then Alt and right-click or the little scroll wheel. Those are gonna be the moments that we're going to see. Now, you can see that rhino on the interface there is light information there. There is a rendered going on. This is thanks to the display options right here. So if I go to the display options and they changed the environment opacity all the way up and the environment blur all the way down. You're going to see that we have something very similar to what we saw inside of. Instead of Maya, we have a dome which is an HDRI That's Lighting arsine and creating this thing right here. If we want to, we can change this. There's a lot of setups right here or presets. We got this like a desert one right here. This is escape entry. There's this awesome thing and I'm going to show you in just a second how we could even import the one that we were using inside of, inside of Maya. The reason why this important to import another element is because if we're texturing the asset specifically for a render shot, then knowing what type of light we have is going to give us way, way more advantage. You can change the exposure as well, lower it or increase it. I'm not going to modify anything right here. I personally don't like working with the opacity of the environment, but if you guys like to see it, again, change it right here Quick little shortcut. If you press Shift and right-click, you can rotate the D HDRI around so that you can see how the light reacts to different parts of the model. And this is very, very handy. Now, how could we bring one of the Shaders in here? Very easy. If you go to your ESR and you just drag and drop it here into the shelf. We're gonna get this element that tells us, hey, we just find an asset. What do you wanna do with this? I wanted to find this as an environment and they want to import this to my current session. So only available for the time that we're gonna be working on this barrel if we want them permanently added to your library, you can also go here to Library and say Import. Now as you can see, we're going to have a new environment over here. So if we go to our display settings again, then we go to environment maps. We're going to have the pint attic right here. And if we bring it here, we're going to have the exact same elimination that we have inside of Maya. Again, very, very handy when we're matching specific light situations to our element on the display settings, we can also activate shadows if we want to. I don't particularly like them because as you can see, it's going to try to find the highest light source and it's gonna give us a really dark effect. And even though it's set to live with, it's still, It's a little bit on the performance. You find them necessary, that's fine, but I usually don't work with the shadows for now. So we have our model here, a couple of extra shortcuts that we should know. F1 will show us that 3D view and the 2D view so that we can see the UV. F2 will show us the 3D view. F3 will show us that the 2D view and F4 is going to be back into a 3D view. So we're gonna be in the F2 right now, which is our 3D view. But if we want to see again our UB F1 and F2, it's a good way to switch from this and the other. Now, in order for all of this Textures and all the tools that we have here instead of substance Painter to work properly, we have to do something called Generation or map generation. This we're going to be doing in this little cross something which is the baker. So if we switch to the baking options, you're going to see that we get a lot of the third thing is right here. Don't worry too much about this. This is a little bit more advanced. It's something that we use a loading games. We're not going to be going through all of these things right now. But I do want to I want you guys to do the following. First, we're going to change the output size to K so that we match the document size of our texture resolutions. And then we're just going to hit bake selected down here. What this will do is it will generate all of this Maps right here, which are called Mesh Maps. And this mesh Maps have information about our objects. It tells our objects. Where's your position? Where are the objects that are close to each other like with the ambient occlusion, which parts are the corners or the or the crevices of our object, which pressure thick and which parts are thin like this or information, or it's information that we have from our Mesh. And we need to extract this information by doing this quick bake process so that we can get are, so that we can use some of the Generators that we have here inside of a substance. Later on, if you continue learning from me, I'm going to be explaining a lot more in depth, a lot of these things that we use for games, for characters and more advanced props. But we extract information from high Polys and project them into low Polys to generate more advanced set Textures. As you can see right now, just by doing that vague, and this Borough already looks really good. And the reason it looks a little bit better is because as you can see, we have a little shadow on the objects that are touching each other. The shadow is called the ambient occlusion. Remember the map that we saw last time that had the arm and arm? Well, the a is the empty location that we can extract precisely from those Maps right there. So now that we have this, we can very easily assign a material. So if, for instance, if I look for a wood material, you're gonna see that we have three words right here with American cherry, wood rough and wood walnut. I'm going to use wood walnut and I'm going to drag and drop it here onto the barrel and look at this. We get the width element being projected on top of our barrel. As we mentioned on the Uvs section, we have a scene. It's impossible, it's unavoidable to have this seems, but there are tricks I'm going to show you some of those tricks to hide those seems a little bit better. The first one here would be to change the direction of this would because as you can see, the direction of the lines is going in the opposite way that we need. We needed to go from top to bottom. And right now it's going from left to right. So if we go to this part right here, and we could do the properties, as you can see, we're going to be able to change properties that had to do with the transformations of the UB. One of them is their rotation. So again, click on the material here. And if we go to the rotation, we can rotate this 90 degrees. And if we do that, as you can see now, the lines of the barrel are actually going to be going the direction that we want. And look at how nice this looks. Now, we can change the color of the barrel. We can make it more like a like a cherry barrel or something. We can make a really, really dark, we can get really light. I'm gonna go for something like this, like a very traditional orangey, dark brown bear. There we go. Another thing we can change the roughness. Remember that we talked about the roughness. What is the router? This is the quality of the surface. So the lower the roughness, the more shiny and more clean the surface would be, the higher the roughness, the more rough it's gotta be. And therefore, the more matte It's gonna look, it's not precisely dirty, It's just rough. So imagine materials that are really rough, like The street or like a rock or something, we're going to have a really high roughness and materials that are really clean like plastic, they tend to have a really low roughness. I'm gonna go with something like this. The thing I want to go like a 0.3 roughness, a semi new barrel. And this is what working again. Now, let's add in other materials such as a metal materials. So I'm going to look for metal. You're gonna see that we have all of these metals. And we have this steel rod. We have this iron rod. Both of them look good. I think I'm going to use the iron rod right now. So I'm just going to drag and drop this on top of the woods right here. And look at that. We get a metallic abuse. However, we have a couple of problems. First problem is that at this, Iran, Iraq is overriding whatever we have here with the wood, not overwriting everything because as you can see, the word is actually like we can see the details of the woods going through the iron rod and that's not what we want. So I'm going to turn off the iron rough or just a second by clicking on the little icon right there, this opens or heights and unhide the layer right there. And if we could to the Woodward not I would like to only be present on the actual barrel. How can we do that? Well, what are the big things that we're gonna be working with here inside of substance are masks. Masks are a way to hide certain parts of the elements very similar to what we have in Photoshop. So I'm going to right-click this would walnut and I'm gonna hit at Black Mask. What this will do is it's going to add a black mask that's going to hide everything that we have in the layer. But now if I click on the mask, since we have this white brush, I can actually paint and reveal what's underneath that mask. And you show again the word that we're hiding. Now of course I'm not going to spend like 20 min painting and trying to perfectly match the word of the barrel, There's, there's faster way to select specific parts of the object. And one of those is by pressing the number four. If we press number four, we're going to jump into this tool, which is called the Selection Tool or polygon field. And we can select specific phases of the barrel. Or we can go to this option, which is called the Mesh option. And it will select all of the phases that are welded together so the island. And as you can see, this allows me to select the whole barrel very, very quickly. If I want to hide it again, I can press the letter X to switch 1-0 right here and go into black Mouth. And I'm going to be like, Hi, these white is going to show, black is going to hide. So we go to white to show all the elements. And there we go. I'm going to press number one again to go back into paint mode. I'm gonna go to the iron rod damage and we're going to repeat the same thing. So right-click black mask to hide all of the raw iron damage. And then number four, to go into the selection filler polygon, fill this one right here. We're going to select objects, and we're going to select only the rings right here. There you go. Number one again, to go back. And with this, as you can see, we have successfully added specific sorry. Oh my God, me and my allergies. We have selected specific materials for the different parts that we want here for our barrel. Now if I press F2 or F1, this is where we're actually getting here. This is the map that we're gonna be exporting once we're finished with the Textures. And you can see we have all of the metal on the rings and I love the width on the wood panels of our barrel. This is what we would traditionally need to do instead of Photoshop match all of this things with proper Textures to get this result. I'm gonna show you something real cool, real quick. If you press the letter C on your keyboard, we're going to jump to the channels. So we're not gonna be seeing the final render results. We're actually going to be analyzing what's happening on each of the channels that we have. Remember the channels that we mentioned here on the Textures that setting, well, here's where we can see them. So for instance, from the base color, you can see we have the colors on the height information. There's a little bit of hide information, therefore the metal on the roughness, this is the roughness information that we have. The darker the color, the shinier it is, the wider illness that refer it gets. This is the metallic, which parts are metallic, which course are non-metallic. This is the normal map, and this is the normal map Proust the height which you can see right there. We've got a little bit of detail with the width. Go back to material and you just press M, and that's going back to material. Or again, you can select it right here and the single channels or the material chance. So that's it guys. This is pretty much the beginning way in which we're going to be working here instead of Substance painter, as you saw, the interface is very, very easy to use. We can even import our images. We got all of this elements ready. But now in the next one I'm going to be talking about Generators because this are the things that we're going to be using to generate better results here for our barrel. So hang on tight and I'll see you back on the next one. 35. Substance Generators: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the Generators, which are a very, very cool tool that we have here inside of substance Painter to allow us to generate well better Textures for our elements. So as you know, where, as you can see right here we gather wood and our metal ready, I'm gonna go to the metal and I'm actually going to bring the color Download button. I wanted to make this a little bit darker, something like that. And I actually wanted to make this just a tad bit rougher. There we go. I think the word social a little bit too shiny, so I'm going to bring the roughness up as well. Now, Generators work by creating specific masks that are gonna give us a lot more detailed than what it will take us to manually paint them. Let's say I want to add a little bit of rust. So I'm going to bring a Ross layer all the way to the top here of our barrel. And if we go to the right-click and we add the black mask, we can then right-click again. And that a generator right here, which is one of the elements that we have available in substance. And in degenerated, we have a lot of preset Generators that we can use. For instance, we can use this one called dirt. If I just click this one right here, you can see that we immediately get this very cool effect where Rust is being added to all of the crevices of our object. So every single place where we see a 90 degree angle for elements, we're going to get a little bit of rust. Now, the cool thing about Generators is the fact that we can actually change the way they work. What do I mean by this? Well, if we increase the dirt level here, for instance, we may modify this into getting us way, way more dirt. So again, by increasing the dirt level right here, we can get more dirt. We can change the contrast. We can go for a really hard dirt like this, or we can go for you to really soft dirt depending on how we want this to affect our element. We can change the seed. So all of this are randomly generated. So if we want to look for something slightly different, we can change the seed until we find something that we'd like. And we're going to be inverted. In this case, it's not something that we want, but this mask right here, it's a black and white mask that's being generated all of this parameters so that we can add this effect where we want. Now, I usually like to change the blending mode here to something like an overlay or something like that to make a little bit darker and to make it blend a little bit better with the colors that we have underneath. Another thing is the dirt layer is really good, but it actually has this thing called a crunch amount, which adds a lot of grunge on areas that have no crevices. So I'm going to bring the crunch amount down a little bit right there. I might increase the dirt level just a tiny bit, but I'm going to bring the crunch down or I might increase the crunches scale so that the heels a little bit finer. As you can see right there. There we go. The cool thing about this Generators, as you can see, is that we don't have to manually paint any of this elements and we automatically get this effect. But what if you did want it to paint something like maybe we want to remove a little bit of dirt from certain places or we want to add a little bit more jerk in certain areas. Well, if we right-click again, we can add another paint layer. And if we go to the little brush right here, you're going to see that we have a lot of brushes that we can use. I personally like using this dirt Chu which is like a hard brush for dirt. And if I start painting, as you can see, I'm going to start adding specific elements of dirt in certain areas of my barrels. So let's say all of this thing right here, like a stain. If I press X to switch from black to white, I can bring this down and start removing a little bit of this elements from certain areas. Now, if you have a tablet, like awaken tablet or pants split or something, you can actually use pen pressure, but you can also play around with the opacity over here. So if I bring the opacity down, you can see the opacity is going to be a little bit less intense. And that way I'm going to be able to start building up this a little bit nicer by going and adding this sort of effects ourselves. As you can see, we're going to be able to get a more interesting result that is going to be very different from whatever everyone else or anyone else can do in this program. That's one of the things that I always tell my students about. The Generators. Generators are really, really, really good. But the problem is anyone who does a barrel and thus generator, we'll get the exact same result. If we then start removing certain dirt or adding extra dirt in specific areas, we will get a detail that looks a little bit more unique, more like our own. Okay, so let's add a little bit of dirt over here, for instance, let's remove some stuff over here. I'm using Shift and right-click to move the camera or the light around to be able to modify this, this thing right here. And there we go. Go. And we get it just like yeah. And you can spend as much time or as little time as you want them, this part of the texturing process. But as you can see, we're going to be able to get something really, really cool. For instance, maybe here on the top we don't want to have as much dirt, so I'm going to remove a little bit of this or at least we don't want it to be asked you in the form, so we'll just remove it just like that. So that's the first generator. The generator really good at any point at this layer is again, they work very similar to what we have in Photoshop. So you can bring the intensity of the dirt down a little bit. It's like a 90% or something and that's going to remove. But look at how much difference we get just from adding that simple layer A couple of extra layers here on the results. Let's add a new layer and this one's going to affect the metal a little bit more. So what I'm gonna do here is I'm going to create a new fill layer, this little bucket right here. The field layer is the layer that's not precisely programmed to look like a material, but we can create our own materials. So right now you can see it's a white material. It's non-metallic. So I'm going to bring this all the way to metallic so that we have a metallic material. And from here we're going to be adding something called the Metal Edge way. So the middle edge where is another very famous generator that we can use. And I'm actually going to create a layer first, I'm going to add a black mask. And before we add the generator, I want to select only the ranks because I only want this effect or degenerative to affect the rings. So we're going to feel the rings, they're going to look really, really shiny. Now we go. Once we have this, again, I'm going to right-click add the generator and we're going to add the metal etch way. So what's gonna happen here as even though we did select the rings, it's actually affecting everything. You can see the mental edge we're affecting the barrel is what I'm gonna make this a little bit more intense so that we can see it. So the way we're in the fixed this is we're going to grab this middle edge where we're going to multiply this. So what's gonna happen now is this middle edge work is being multiplied against the original mass that we have right here and tomorrow toy multiplication where it finds black, that's zero, so we get nothing. And when FY21, That's where we're going to see the result. Look at how nice we get now this metal issuer, we're getting this very nice effect where the metal is not as new in certain areas and it's very, very new in other parts. I kinda wanna go back here and make this even darker. So at the middle edge where it looks more contrasty, there we go. That's it. Now of course, as with everything, we can reduce the intensity of the effects so we can bring the middle edge, we're down a little bit. So that is not as asymptotes. There we go. Look at that. This barrel is now looking really, really, really good. I'm gonna show you one more trick. I wanted to do some scratches on the width. So I'm gonna bring here and I'm going to add another field later. And they can imagine that the wood underneath the barrel, It's going to be a little bit more like this, like clear with something like that. But in the roughness is going to be really rough because usually would on the inside of the planks tend to be or tends to be very dry. So I'm going to add a black mask here. And instead of having a generator, I'm going to add something called a feel. You feel layer allows us to feel the whole mask with either white or black. But the magic here is that we can click over here and we have more Textures and more Generators like see this atom right here. If I click it, what's gonna happen this now we're going to project the atom on top of the Uvs of the elements. So if we go to number F2, you can see that the atom fits their very nicely. Of course over here it's going to look really weird because the UVs are not align with the, we could theoretically projected texture like this into the element. Now what I'm gonna do instead, so I'm going to look for scratches. And we got this grungy scratches right here. That as you can see, allows us to create some very cool scratches on top of the whole element. Now, let's say we want to make the scratches go into the Berlin. We want to push the scratches in. What we can do is we can go back to the original layer and on the hind information, if we push the hide information, see that we're actually creating detailed. It looks like we're treating detail on the model, but this is all in the normal map. Remember we talked about the normal map and how it gives the impression or the illusion. This thing is going in. Well, it's exactly what we want. Now. I'm going to go to the garage scratches. I'm going to increase the tiling a little bit so they're smaller and I'm going to bring them down. I don't want to have as many. So something like this. Another problem that you can see right here is unfortunately we have scratches on the rings and we didn't create a layer at first so that we can multiply against this. We could go back and create it. But there's another way as well. We can just right-click, add another paint layer and just fill this with black. So the, we pretty much tell the, this new layer to overwrite the initial grunge scratches and we get this right here. I think the colors a little bit too saturated, so I'm going to bring a bit more like this. Then we're going to reduce the intensity a little bit on the color. The color is fine. I think the high this a little bit too much. I'm going to bring the height. Something like there. There we go. And look how nice our barrel looks. Now, thanks to adding this very, very simple layers, we went from having a really, really clean barrel to Eastern per dirty one that we're going to be able to get the render out inside of Maya. But that's another, I want to show you one more thing. Let's say we want to add the little bolts that we sometimes see on the barrels. Probably seen them like a like just as simple bolts. I'm going to add another field layer. But this filler, I'm actually going to turn off all of the things right here. So I just want to have height information and I'm going to add a black mask. Then while only having hide information in this new field layer, I'm going to push it up. And if we go to the brushes, I can grab something like the basic hard brush. Just double-click to select it. Here on the mask. We can paint a bolt, look at that. So by doing that, we're painting the effect. We're, we're, we're making it look like there's an effect there where this thing is pushing up. If we go to a basic soft brush, which is a little bit of follow up, you can see that this is going to look more like a little detail right there. This detail does not exist, It's a fake thing. But when you see it from certain angles, we're going to be able to know this. A very interesting effect. That's not all. We can push this to make a little bit more intense or a little bit more visible like that? Or we could go to this option right here, which are called D or E, right here, the alphas. And while selecting our soft brush, we can select an Alpha such as this, like a bolt element of this circle element right here. Now if we do it, Look at that. It looks like this thing is actually being carved Like, like a nice element, right? Like a nice effect into the Uvs of the ring. We can again increases or decreases depending on how I wanted. But this could potentially be used or could really help us in this case, on the areas where we have the same lines. So you can see we have a couple of seam lines. And if we notice where the seam lines are, we can use the same lines as a sort of a disguise to blend this with the rest of the, of this screw elements. Actually not seeing the seam line on this one. Very well hidden. Right there we go. And thing we're just missing one. Now we got it. So one. There we go. So the height information, it's kinda like a way of sculpting things inside of the texture. We don't want to make this super intense. I'm actually going to make them the other way around. So they're gonna go in. I'm going to keep them soft, something like that because we don't want to make them super, super extreme. And that's it. Look at how nicer barrel looks. Now this is the one thing that I love about 3d. When you do things the right way from the very beginning, as you keep moving forward and forward into the process, things just look better and better, and better and better. And the more time you invest into something, the better the final result is gonna be. We spent what like 20 min Modelling this barrel. When we first model it, we've just, we have spent about 20 min doing this. Now imagine 20 more minutes on the rendering or Animation. And as you can imagine, we're gonna get a really, really nice result. Now, before we finish this, let's go back to or let, let me show you how to export this. Of course, to save this, to just save this, It's going to save a Substance file. I'm not sure I'm gonna be able to share this because they sometimes get a little bit heavy on the size. But if I am there gonna be there on the Assets folder, and I'm just going to go File Export Textures. And we need to decide where we're going to export this. And we already know where on the source images, if you want, you can create a new folder on source images called barrel, because we're going to have a lot of Textures and that way we're going to keep things a little bit more organized. Now, the output Template, this is very important. We're going to change this to Arnold AI. Stand. There we go. So the Arnold AI standard template is the one that we're gonna be using for Maya because it exports the elements in the way that we need. Five tap PNG is fine. You can change this to target, some studios like JPEG. So it depends, PNG is just fine and you only thing we need to do is say Export. And what's gonna happen is as soon as it exports, we're gonna get all of this Textures. We're going to have our base color. Look at how nice this base color looks. We're going to have our height information. We actually don't need hide information. So this one we can delete. We don't need that map, will have a metal notice that tells us which parts of the object or metal. We're gonna have our normal map which gives us the details of the scratches in the world and everything. And we're going to have our roughness map. This are the four main Maps that we need to properly shade an object inside of Maya. Okay? So since we're already here and we've already done the export of the Textures. Let me show you real quick how to connect them are actually no, I'm gonna do that on the next one because we want to show a nice render. So we'll explore how to connect Textures and connect the Shaders properly in the next video. So hang on tight and I'll see you back on 36. Texture Connections: Hey guys, welcome back to the next part of the series. Today we're going to continue with the texture Connections. We were able to export this for Textures. And now we're going to jump into Maya, into the scene where we have our barrel, which is this one right here. And as you remember, I already have my render setup right here. So the only thing I need to do is I need to create a new material for this character right here, this element. I'm going to press number three. We're gonna go to Hypershade and I'm going to replace the UBI checker. We don't need it anymore. So I'm just going to change his name is going to call this M. Okay? So this is gonna be the new material for the barrel. Now, if we want to see how the connections with this thing are working, we can click on this little element right here, which shows input and output Connections. And as you can see, we have our material, our shading group, and the texture which originally is pointing to the UV checker, which is great. But in this case we want to change it. So we're going to grab this UV and we're gonna go to the files to our barrel. We're going to graph our base color and just hit Open. And there we go, this little sphere right here. This is a previous fear. I sometimes have this off with the Medicaid, but on right now. The reason I like to keep it off, sometimes it's because it does use a little bit of resources from the computer. You can even change this to Arnold and you're gonna get the actual render of how this thing is going to look inside of Arnold. However, as you can see, it's really heavy. It's trying to do the whole rendering process in here. I don't really recommend. So that's my first texture. The, what's the word the color texture. Now, if we go over here to a Textures, we can drag the next ones. I'm going to grab all of them. So I'm gonna grab the normal, the roughness and the gentleness, and we're going to bring them right here. So as you can see, this one's the way it exported from a substance. This is slightly different than the one we got from poly Haven. It's the exact same thing. Just instead of saving a little bit of space by combining these two Textures, we're getting the two Textures as a separate elements. However, there's a very important thing that we need to consider here. And here's the, here's the deal. So if I connect the roughness map or if I try to connect the roughness map to the specular roughness, you're gonna see that I cannot do it. The reason why I cannot do it to the specular roughness is because this out Color has three values, R, G, and B. In this specular color or specular roughness is expecting only one value. Because the specular roughness only tells us 0-1 how intense some element is. In this case, the out color has three zeros to 11 for R14 G N14. So we're actually going to be connecting the out alpha into specular roughness. However, to make sure that this actually looks exactly the same as what we have in substance Painter. We need to go to denote and change a couple of things over here. First of all, we're gonna change alpha is luminance and we're going to turn it on. You can see how it definitely changes things by just turning the Alpha's luminance on. Then we're gonna go to the color space and we're going to change this to a utility rock. This is also going to change the effect, but now we should have the proper roughness that we're expecting by changing again the color space to rock and setting Alpha's luminance to on. Now, this should be pretty much the exact same thing as if we grabbed the R channel. As you can see, it doesn't change that much. So I'm just going to grab the alpha channel and that's the way we do. Let me explain real quick why we're doing that. This is a little bit of a technical thing, but it's important for me to explain it so that you guys to understand. So usually images so that the monitor you're watching it or the screens are watching this. They're using a standard called the sRGB standard. And the sRGB standard tells us the software or the screen to display colors in a specific way. We would expect a zero to be a zero right here. And they want to be a one layer right here and have a pretty, pretty straight gradient, 1-0. However, the sRGB actually pushes the values a little bit more like this. It creates a slight curve to make the blacks a little bit darker and the whites a little bit more intense as well. So it changes the way the values of the colors of an image look, and it gives us the different result. If we leave the sRGB turned on here on the texture elements, what's gonna happen is the Maps that drive the roughness and the mental illness will be slightly modified and we will get slightly different results. So what we need to do is we to tell it, Hey, do not use this, use the raw line. So use the raw colors. Do not change the color correction on this thing and give me the values as they are from substance Painter, there's something that we do in a lot of software is not only here in Maya, we change the information so that we get the pure color on any map that is black and white. So the metal, this is also black and white. If I were to try, first of all, I cannot plug this into the maintenance map. I need to plug in the alpha channel. I also need to change this to Alpha's luminance. And I also need to change the color space to utility's raw. And this will change it so that the rings on the elements, you can see them right here. They started looking more metallic. Otherwise, this is not going to work. You can see without the Alpha's luminance, the metals are going to look slightly, slightly weird. Or also if we change this to sRGB, you can see how the colors not match what we have in substance. So that's it. Metal, this goes to medalists. Alpha is Luminance turn on, and we do the Iraq Color Space. Finally, the normal map, if you guys remember, we need a bump to D, so half bumped udim. This is gonna be a tangent space normal. We also do alpha goes in here And this one goes to normal. This will give us like the scratches and stuff, very important. This one also needs to be changed from sRGB to utility raw. As you can see now, things are displayed properly and you can see the scratches right there. How they're looking really, really nice. So yeah, that's that's pretty much it. Now we are having here like I grab a different color. There we go. So now the only thing we need to do is go over here. You can see everything is looking quite nice. Yes, we can turn onto lights and we're gonna get a nice result. It's not going to be the best result and I'm going to explain why. So let's save this real quick and I'm gonna go to Render. We're going to look through selected. Let's go for a render right here. Let's Arnold and render. We would expect to have a nice result, but you're gonna see as soon as the render finishes, it's going to do a conversion of Textures. Remember anytime we input a Textures, Maya will convert them into something called texture files, and this is what we're gonna get. So the first thing that I'm noticing is there's a little bit of texture stretching on the, on the border right there. That could be the metal edge where something, but everything else looks quite, quite nice. The problem is the metal doesn't look as nice as it could. The reason is, whenever we're rendering things that are metallic or do they have a lot of reflection? We need an environment because the metals will reflect the environment they're in right now. We have absolutely no environment. So what we can do here is we can do Arnold Lights at a sky dome light to this scene. And then on the sky dome light, we can input the pint addict that we have right here now. So you thought we'd already converted it to a texture file. That's great because now when we Render It's not going to take us long to bring this connection in. So now when we Render, look at the difference, I'm going to click this little snapshot over here to save the different elements. And we will render, of course, we're going to have more light. So it's going to look way more. Let, because we have an HDRI, but the metal is also going to look way, way, way more realistic because now we actually have an environment that we're reflecting. This looks very, very photo-real, even look at that really, really good. Now, the only thing that we need to do is go back to the camera, find a better frame right here, something like that. And there we go, You render once more and look at how beautiful this render effect looks. Again, we could go back and fix a little bit of this. It might seem or it seems like there might be a little bit of an issue with this ring. So that's something that I will probably need to fix inside of substance matrix. It's not the end of the day for something like this. One thing we could do is just select those faces and rotate them slightly. Let's see if that fixes the error or less. Heights in a little bit better. Yeah, it does. It's a little bit better. We could even delete that ring and just duplicate another one of the Rings to, to take its place as long as it fits right there. It should look very nice, but look at this, not bad, right? Let's save this real quick. You can see we have our barrel Render there. Let's call this barrel Render Color. I want to replace this, going to be named Color. And let's very quickly navigate these. I want to see the renders here. We can compare and look at the difference is very basic model. It was a great model like four or 5 h ago when we were working on the Basics of modelling. Look at the difference. Now, this is what we're talking about. This is the magic and the power of the 3D world. So, yeah, that's it guys, make sure to get to this point. Make sure to get this amazing random from your barrel. Make sure to show it off on with your friends and your family. I'm sure people are gonna get really excited to see all of this improvement in just a couple of hours of study. And the next thing that we need to do is we need to texture the hammer. We need to texture the door. At this one, we're actually going to be talking about Shaders a little bit later. So we're not gonna be texturing this one. We're not going to be doing. We don't even have UVs for this one, but that doesn't mean that we can't get a better render from it as well. So yeah, that's pretty much it for this video, guys. Those are the connections for the texture. Make sure to bookmark this video because it's a very frequent question that we gather about how to do the proper connections. Well, I just show you the specific things that you need to do in order to connect the Textures here inside of, inside of Arnold. So that's it for this one guys. I'll see you back on the next one when we continue with the hammer 37. Hammer Textures: Hey guys, welcome back to the next part of the series. Still there, we're going to continue with the hammer Textures. So we exploited the hammer from a Maya in the same way that we did the barrel. We're just going to select it here. Hammer hit Open. And we're going to change this to two K and OpenGL that we can hit. Okay, and the hemorrhage should be here, ready to be up. Before I do anything, we need to do the base of the elements of you as you guys remember, one more thing, I need to check. My God, I need to check to make sure that UVs are the UVs are properly laid out here. So everything seems to work, working fine. Also over here on the Textures, at least, I need to make sure that you only have one material because we're only going to be using one material right now. Once we have this, I'm gonna go to a little croissant. And as you guys remember, we're gonna go to K and we're gonna do a bag like that. Just generate the maps that we normally have, such as the ambient occlusion and all that stuff. And we are ready we're ready to start a Texturing. We're gonna go here to the paint layer, and this is a little bit more complex. Write this, this asset, it's a little bit more advanced than the barreled barrel only had to Materials. And in this case we have a four Materials. We got a width, I'm going to use width for the center of the hammer. We got leather, we got metal, and we got rock, which is gonna be the other part of the hammer. So the way I'd like to do this, as I like to create a groups first, because by having groups, we can work in specific parts of the element without affecting other areas. Let's start with the width. I think that's the first one. I usually like start from the thing that's lower than the heirarchy or the, the thing that's closer to the center of the object. And then we go to the things that are outer into them in the outside part of the element. So I'm going to be using the wood walnut again, going to drag it right here. And what I'm going to do something that control G to create a new group, and this is gonna be my group. So anything that I want to modify Underwood is going to be right here. And in a similar way to normal layers, we can also create elements right here. So I'm going to Control G, or sorry, right-click, create a black mask and then number four. And with polygon fill, I'm going to fill in the woods sections right there. Look at that view. Then I'm going to look for leather. We got this leather back to the thing is going to work nice. We could also use this leather rough. I think leatherbacks going to look a little bit better. So I'm going to drag it right here. Control G, right-click black mask number four. And we select the two bands right there. We'll change the color shortly. Right now we just want to create the basic grouping of the layers. This layer one we don't need anymore. It's just there as a, as a placeholder. Now we're going to look for a metal. So I'm going to use, I think the iron rod right here, Control G, like Basque. And this one's a little bit more, gonna be a little bit more complicated because we have a lot of small things. Here's a trick. Just select everything else and then press X. And when deselect the things that we don't want. All of this case right there. Because you can see that makes it for a faster selection because we just need to go to those specific areas. And this is gonna be our metal layer. Layer. There we go. Now we're going to add finally, the rock. Now we don't have rock, or at least we don't have a rock material right here. If you have access if you have access my lo-fi playlist to Substance 3D assets. If you're subscribed to substance in your pay your monthly license, you're gonna have access to this and they have Materials and we can look for rock, for instance, rock material. And we're going to find a lot of different options that we could use for this rocks. Unfortunately, I cannot share this with you. It will break the um, what's the word? It will break the license that I have. It's only for commercial use but only for your personal use, right? So I'm going to grab this cracked canyon Rock to show you how we could use some of this instead of substance. However, there is some something called Substance share. So if we look for Substance share, this is like the the community driven element that we can use. And second word, since substance that real community assets. You look for Substance 3d community assets, we might find some rocks in here as well that we could use. There we go. So there are some that could be useful. Even this, I think the stylists rock actually looks even better. Let's just that one. I'm just going to download this stylized rock. You can download it as well. And if we drag and drop this into substance Painter, We're gonna be able to import this as a base material. Again, Let's see to our library and say E port. So now we got this, a stylized rock over here. So if we drag and drop it, we're gonna be able to see how the stylish ROC looks on top of our object, which looks really good. I'm going to again Control G to group it either Black Mask, let's call this a rock. And we're going to select this elements right here. The rock hammers. There we go. Now of course, we can change a couple of things. For instance, let's start here with a stylized rock. One of the things that I want to do is change the tiling, going to increase the tiling a little bit more. Let's say something like cat like a two or three. You can also see that the height information is a little bit too intense. So you can see it really pushes same for the normal information. So if we don't want to have that information, we can literally turn it on or off. And there's one more thing we can do. As you can see, there's a seam line here that I would love to have removed. So I'm going to change that up projection to try planner projection. This is going to change the way this works and it should make it look a little bit less obvious. Here I'm going to bring the tiling back to something like a WAN or WIP 1.5. There we go. That should give us a more interesting look. I think in number one might be good. That looks, that looks interesting. I do think I'm going to bring the height down for the normal map. Kinda want to only keep this, maybe keep the normal map. I'll keep the normal map just to keep it a little bit more visual interests. There we go. Now, it's time to start going into the different elements and change them so that we can match things a little bit better. So for instance, that would, We can go to the color and we can actually sample the color of the woods so we get the exact same tone. And I don't think we really need to add any dirt or anything to the word that. It's a fairly simple elements, so that should be more than enough. Let's go now to the leather. And on the leather, we're also going to sample the color of the leather. Never go for the highlights, for the shallows, you always want to sample the center of the color, the more neutral color in this, I can definitely see it's a little bit too saturated, so I'm going to bring it down and just changed a little bit. And I am going to bring the tiling a little bit up, something like a three so that we can see the tiling of the leather a little bit better like that. I do think I'm going to make it a little bit darker. I'm going to keep it saturated but just a little bit darker on the color. There we go. Then the metal. I kinda wanna go a little bit more into the warm tones for the metal. Kind of like a bronze color, something like data thing looks good. And roughness wise, we definitely want to increase the roughness a little bit. Now we're going to have a rust and stuff like that in just a second, but just changing the roughness there is definitely going to help. And finally, the rock, as you can see, we do have the option to 38. Completing Hammer: So let's continue, guy. So unfortunately the recording software crashed and when I was doing the changes, I wish I could never get rid of this one. I mean, you can try if you want. I'm going to show you the other one. Let's see how this looks. The the, the other a little bit more advanced. So there's the crack canyon Rock also going to import this. It's a little bit heavier on the beginning, but should look very nice over here. And since we're getting for this sort of like realistic look overall, I think this might look a little bit better. There we go. Let's also try that. Try planar projection. Look at that. It looks really, really good, way better. Let's change the title into two. Not bad. And now is just a matter of playing a little bit with the color here. So I am going to saturate a little bit more. You can see right here that's color one. Color two is also going to be a little bit more saturated. Color three that we can change as well. So we go into this, like oranges effects. There we go. Now that we have this, we can start playing around with the effects, right? So let's start with the leather. I'm gonna go to the leather and I'm going to create a field layer because I wanted to do a metal edge where on the leather I know the letters on metal, but we can still add this effect. So the color is going to be the exact same color as the letter. It's going to be a little bit lighter, something like that. The roughness is gonna be really, really rough. Then we're going to add a black mask right-click generator. And we're going to have a metal edge where generator we go. It can increase this a little bit more. And this I'm gonna change to Linear Dodge so that we can really see the highlight right there. I'm going to desaturate this a little bit more, just a tad bit. And we can play a little bit with the effect right here, again with the, with a mental edge where the contrasts we can make a little bit softer. Just play a little bit here. Not bad, right? Just a very simple change and it already looks really nice. I'm going to do the same thing here on the iron rod. But first, I want to add a dark pass on the iron rod. So actually I'm gonna make this Iran a lot darker. And then I'm gonna duplicate the exact same one, but they didn't want to hide anymore. I just want Color and roughness. And this one's gonna be a little bit lighter. Then this one, we're going to add a black mask. And we're going to add a middle edge where to give the very nice effect right there. Look at that perfect, really cool looking effect right there. Of course I'm going to go to this one. Just push the color a little bit up. I don't want this to be like super, super dark. And that's going to give us a very nice effect on the rock. I'm going to do something similar fill layer. I'm going to grab the highlights of this rock right there. This is gonna be really rough. Black mask, the generator. And another middle edge, we're right there. A little bit more intense. And this one's gonna be also linear dodge. And then we can bring this down a little bit to soften the effect that we might have right there. But yeah, that looks really, really cool. Now, for instance, for the rust, if we want to add roster to this thing, I'm going to add this on top of the layer stack. One thing that we need to understand is that all of the stack, the stack that we have right here, they worked very similar to Photoshop. So whatever is on top is going to overwrite everything else. So I'm going to add a black mask here. I'm going to add the generator and we're going to add a generator. And as you can see, we're going to get the Rus pretty much everywhere, which looks really, really nice. However, there's a problem. This is something that I tell my students very frequently. The problem with Generators is that even though they do an excellent job by adding this like detail everywhere, it's not normal or it's not usual that we're going to find an object on the world and the real-world that we will have damaged uniformly across its surface. So that's the same thing is going to happen here. Like, I don't want this thanks to be affecting every single bit and Kravis of the element. So what I'm gonna do here, so I'm going to have a fill layer. And then I'm going to look for some clouds like this Klaus to, for instance. And what they can do right now this clouds are overriding the other thing. But the way I can do so I can play around with the attributes. Let's increase the tiling here a little bit. For instance, let's bring the balance down. That's how we're creating like this or like noisy pattern or effect across the whole thing. Well, what we can do is we can multiply this against the original dirt layer and look what happens. We're combining two different Generators, one being detergent error and the other one being the clouds generator. And that way we generate a breakup on the texture that allows us to have a way, way nicer effect. Now, other than this, I can also add a paint layer and I can go for a dirt brush right here. And I can manually remove like maybe I don't want to have rust on the handle. It doesn't make sense to have rather than the handle because there's no metal, right? So maybe on the borders of it we might have a little bit, but on the other, other ends, we don't want to have anything. So we'll just remove the rust from there. We might want to add a little bit here on the top where it meets the metal and we might find some rust. Maybe a little bit here and there, but just very briefly and we don't want to add too much. Same thing here, like maybe we will not remove some of the rust on this areas because this will be areas that we will be cleaning or polishing more frequently and we'll leave the rust on the areas that we don't take as much care off So the artistic can't of going in here and removing or adding rust in certain areas. That's very important, very important part of the process to make sure that our assets look as nice or as clean as they can. For instance, I wouldn't expect there to be a lot of rust up here. Russ usually accumulates on areas where humidity gathers. All of the phases that are like pushing are facing down. That's the place where we might find a little bit more rest. And look at the difference. This is just the very basic dirt. And as we add the clouds and we add the paint, you can see how we increase the complexity. And as I'd like to call it the visual interests of the whole thing. Now, later on, this thing right here, I'm actually going to change it so that it looks more like a gemstone or like a glass. But that's something that we're going to be doing on their Render Settings from the shader themselves. So, yeah, that's, that's pretty much it for this one. My friends. In regards to texturing, Let's continue now with a couple of extra filters. So I want to add the filter. Usually when an object is on the ground, they're gonna get a little bit more dirt on the ground, right? So I'm gonna go over here and we're gonna look for a Morcher wall layer. It's kind of like Mouth going to make this like a dark moths, something like this. You can also use this as a stone if you want. It has the effect. I'm going to show you this over here. We have something called Smart masks and some more to master really cool because there are presets for things such as the third ground right here, which is the one that they want. So I'm going to grab this a dirt ground and drag it into the mortar wall. And as you can see, it applies this mask builder thing that gives us this or like dirt only on the lower sections of the element. And we can change this around, can change the blend right here. We can change the contrast. We could choose to try plant or blending. We can change how much it affects the ambient occlusion. We can change how much of the fence, the top-down gradient, look at that. Beautiful, right? So thanks to this, a mass builder that we have right here, we can generate some really, really interesting, interesting effects that we'll take a little bit longer to do if we were to do them manually. So look at nether. Not bad, right. Like a little bit of dirt on the lower portions of the hammer. And we get a really nice effect. We can of course change this thing a little bit here. We can go to the Ross, for instance, and changes to overlay, which is going to modify the color slightly. Like there's several things that we can do. Some of you might be like, Hey, could we add maybe like a little bit of scratches to the metal? Like maybe one of those scratches to be like shiny metal to make the whole texture like punch a little bit more. And the answer is yes. If we add a new layer, Let's make this metallic layer really shiny like that black mask. And we have a field layer. We can look for scratches. There we go. Let's style this a little bit more. And then what they can do as they can do a black mask and only select the main sections of metal. And then again, let's set the fill layer scratches and we multiply. So they're only on the metal. We change the timeline and look at that. We could even go here and use the height information to push the little scratches in. They're going to start looking very similar to what we have over here. That should interest to Linear Dodge. I'm going to bring the intensity down a little bit on the color. There we go. Now we have scratches all over elements. Very, very cool looking hammer right here. And now we're, once we're happy with this, if we liked the way this is looking, we could just save the scene of course. So File Save, Let's say this is our hammer texture. As you can see, substance does have all the safe, so you'd leave dose after you're ready because we won't be using it later on file. And we export the Textures. We're going to export this, of course, to our source images. We're going to create a new folder over here. And we're gonna call this hammer. We're going to export. We already know this as AI or AI standard. Png is fine and we hit Export. Always check the directory to make sure that things were exporting properly. We don't need the height information. I'll explain what height does later on on the shared things. So yeah, that's it that you can see we have hammer, you'd be checker material add up trickery scholar. We can rename those if we need to, but this is ready. So let's jump really quickly into Maya to attach all of this and see how the render looks. Because there's nothing more exciting for me. And then to go into Maya and actually see this actually happened. And also I'm going to talk about that glass material that I was mentioning. So let's go here. Here we go. We're going to say File Open Control 0. We're going to open our hammer render that we have right here. This hammer render is the exact same scene. I just like move the hammer a little bit. Actually. I don't think this is the one that we need because this one yeah, this one does not have the UVs. So file open scene again, let's open our hammer scene. There we go. We're going to just check the change the material. This material is now going to be M. M Hammer. And we can go of course to the Hypershade and start working here. So let's close this. We don't need it anymore. Let's delete this one. And we're going to drag and drop all of her Textures right here. So that's the metal miss. That's the normal. That's the roughness. And this is the base color. So base color is CS1. Scrap base color goes directly into base color. Metal NUS. We got the alpha goes into madness. But one very important thing here, we're going to change this to utility row and Alpha's luminance to make sure that the metal beats look like a metal. Roughness, alpha specular roughness. We also change this to utility rock. And we also make Alpha's luminance on. And finally, normal map. We're going to need a bump to denote number. You press Tab to get the little option right there. The alpha goes here. This one is tangent space normal, and the abnormal goes to the normal camera. And very important over here, we also change this to you to draw Alpha's luminance so that we get the proper details. And if the sphere looks good here, that means that it's gonna look good on the hammer itself. Look at that. Beautiful, beautiful, beautiful, that looks great. Let's bring into renders. I'm going to say File Import, and I'm actually going to import the hammer render scene. Sorry, not the hammer render. Made a mistake right there. Let's delete this, the barrel render. So File Import, we're going to import the barrel render. As you can see, we're going to have the HDRI, we're going to have the barrel and everything. This barrel. We can of course delete it. We don't need array now, we need everything else. And then the hammer, I'm going to grab all of the hammer elements, just Control G. I'm going to make a little bit smaller. Let's change the resolution here to two K squared. And we can change or rotate this group a little bit. So we can really see the hammer. That's a full element right here. Let's save this real quick. I'm going to save this file, Save Scene S, hammer Render. There we go. Now if we render, well, let's just make sure on the options here that the system is GPU. We Render. We're not done. I'm going to show you one more thing about the crystal thing that they weren't to do. There we go. Yeah, that looks really good. Now, I think right now what we don't need to of this, I'm not remove one. We only need 1.1. Thing that we can do is we can bring the intensity of the HDR a little bit lower. So if we go to the HDRI and we go to this exposure, we can bring this to a minus two. That's going to make the whole light like the environment light a little bit less intense. Minus two. There we go. It's going to look a little bit nicer. There we go. Look at how nice this render looks. Really, really cool with all of the texture too, we're adding. Now here's where the magic is going to happen. I'm gonna do, I'm gonna, I'm gonna change the material for this two elements right here. So I'm going to select those two elements. I'm going to assign a new material. It's gonna be an Arnold AI standard surface. I'm going to call this M crystal because they want this rock to be more like a, like a toe path or something. So it's going to be more like glass. So if I change this to M Christel, One thing that we can do them, we can do it here or we can do it on the hyper shade. I'm going to do it under high pressure because this is where we've been working. As you can see right now, this is a little bit dirty, so I'm just going to click this little button right here to clear. Do not delete them. Like do not make the mistake of selecting everything and then delete it. That's going to delete the object. Let's select this M crystal. And what I wanted to do is I want to make this a glass. So to make this glass, I'm gonna, I'm gonna have to go here to the base color. I'm going to bring the base color down because we're not going to be using diffuse, we're gonna be using transmission. And we're going to bring the transmission up. And as you can see now, this becomes like glass. And as you can see, this transmission also has a color. So we can direct the exact same color here at the base color of the object and use the scholar on the transmission color. So now as you can see, the class is going to change colors. And if we go over here and we render, Let's take a look at how this will look. Look at that looks like really, really, really shiny metal or glass. Now we can increase this, we can make this a little bit more intense. Because right now you can see that the transmission color, it is working, It's a little bit dark, right? So one thing that we can do here is we can bring the scatter up and we can use something like that, like a, like a nice orange material right here. And if we do that, should change the intensity of that glass right there. Look at that. We started seeing a little bit more of that orange color. Let's really pushed this up. I think the color might be a little bit too much. One thing we can do is the specular. We can also make the specular like this amber color There we go, That's looking a little bit better. And another thing that's definitely going to help is a normal map right now, because right now it's, it has no information. So if we go over here and we bring the normal map information, we can bring at bumped to D map as we use with the other material. We also need to change this to utility rock. And this one's gonna go right here, see how it changes the texture now of the whole thing. That's the kind of stuff that we're going for. We can play with other things. Let me try this first and see how this how this looks. I'm actually not seeing the normal information that we let me just make sure that I oh yeah, we need to change this as tangent space. There we go. So tiny space, normal, raw of illuminance. There we go. Give it a shot here on the Render. There we go. So now as you can see, this definitely changes the way this thing is looking. Now it might look a little bit too glossy right now. So one thing we can do again is going over here to the specular roughness. We can bring the roughness up a little bit. It's going to make it look a little bit more like a matte surface. We can also change the index of refraction. If we bring this up to like a five, it's going to be really, really, really, really shiny. We're breaking a couple of rules from like how things work in the real-world. But it's gonna give us a really nice effect right there. Look at that. The sort of like gold molten metal. We can of course, like push the roughness even higher. And this is going to look like a rough surface. There we go. So it's starting to look a little bit more like glass or two like metal rather than glass. So we probably need to bring the IOR lower. I feel like the transmission color might be affecting it. So I'm going to break the connection here. I'm not going to be using the color, I'm just going to be using the element. I'm going to change the color here to the amber color that we have. And let's see how this looks. Kinda want to make it look like transparent effect. There we go, That looks a little bit better. So instead of using the color that we have from the Textures, we're just using the, the elements right here. This thing that I'm doing right now, by the way, this is called how did they call it in the industry? I lost the word loop deaf looked deaf. They play around with the Shaders. They play around with the Textures and they find out what kind of things look good, in which kinda things look. Now That's good. So this is a perfectly good and valid way to start looking for different results. I'm gonna go back to a white color here on the reflection. So it looks more like less. There we go. Look at that. Now this is looking like actual, like an actual gemstone. And you can even see the diffuse color going all the way back there into the wall. So yeah, that's it. My friends were using the normal map information from the rock and we're making this into a glass by changing this elements right here. Make sure to pause the video if you want to know the exact values that I got to get this result. But that's it. We're finished with the texturing here of our hammer. So the next video, we're actually going to go into the texturing of the character. I wanna do a very simple cartoon looking like Painter texture on the character without using materials. We're gonna do it from scratch. And after that, we're going to pretty much apply all of the things that we learned for the final Textures, which is gonna be the door. Yeah, hang on tight and I'll see you back on the next one. 39. Monster Textures: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the little monster. Here are some UGA and we're just gonna grab the whole thing. What happened here? Like something having here whether UVs, but that's fine. We already have everything cut. So we're just going to control you, control L. We have the udim option selected. Let's change that. So modify. We're gonna go to our lay adoption and we just want a one single island here. And there we go. So that's it. All of the elements have a proper UB and we're ready to go. So I'm going to grab the little guy right here. I'm going to say File Export Selection. We're going to go to Assets, props, I'm sorry, not props, acids and FBX. It's props and the students going to be monster. There we go. And we jump into the substance Painter. So the character here is, it's going to be fairly simple. We're going to do everything more hand painted. We're not going to be doing or using any of the materials from here because we want this to be a little bit more stylized, right? So file new to K is fine. We can select and select a little monster here. We're going to do OpenGL, and there we go. That in. Now, there's a little problem here. As you can see, some of the faces are looking like very faceted it, and that's not what we want. So I'm gonna have to go back over here. And since I don't want to be exporting this guy right here, I'm going to combine everything into a single object. I'm going to say Mesh and smooth. Once we're just going to give it a one subdivision or once mood element right here. Now you can see we have a couple of extra lines that we don't want. Retard the extra vertex, remember, we're going to have to collapse the center. Some of this guys, it shouldn't really affect the UV because we're doing everything very cleanly. So this guy are just two guys. There we go. We're going to see hopefully it doesn't affect that you've been getting it shouldn't. And that unfortunately happens with the mirror option. That we go. Make sure all of the all of the points are fixed. We shouldn't have any extra elements where we don't need them. Perfect, Okay? So as you can see, this is gonna be a little bit more dense than usual. It's not that bad, like something like this is perfectly fine for animation. We don't want to go any higher though, so don't do to subdivision levels. This should be more than enough. Now we do need to do another unfold because they UVs are, the geometry changes slightly and another layout. And there we go. And now we're ready to re-export this thing. Make sure to also go to Mesh display and select soft and edge for all of the edges, this is very important. So File Export Selection and we export our little monster again. We go File New select monster, okay, to K OpenGL. And there we go. So ideally, we won't have that issue anymore. Perfect. So we're going to go to our baker. Of course first, we're gonna do a two key bake, and we're just going to bake to get me the solution. Some basic stuff to curvature, thickness elements like that. Now we go, we go back to our paint and we can start painting. So we're going to do something very similar to what we did with the hammer. We're going to create some groups. First, I'm going to start with the body. So I'm going to create a new layer here. And one of the things that I want to do is I want to be modifying or controlling everything with pure color. I don't want to have any roughness yet. We will have a little bit of roughness later, but right now, we want to keep it really, really simple. The color is gonna be the sort of like green color. There we go out of black mask and we're going to have it on the object, the whole body right there. Then this is gonna be called the body. We're going to duplicate this. We're gonna make it slightly darker. We're going to call this eyelids black mask again. And it's gonna be on the geometry. This guy right here shouldn't be really weird. Maybe I'm double-clicking or something. Let's add a new layer. This is going to be called ice black mask. And it's gonna be this one right here. Well, that's really weird. Why did that happen? Yes. You can see there are different here with for some reason it's grabbing them both. So let me show you another option we could go to up option and that we were only going to be selecting the Uvs that we have here on the front. There we go. Then we're going to create a new layer. We're going to call this claws or teeth, or going to go for this or like bone Color, Black Mask, let's call this bone. And it's gonna be all of this little bones right here. Let's go to object mode. We're going to grab all of the teeth here, little toenail. And there we go. I think the little hair dark. It's a good idea. And finally, we're gonna have one for the tongue, which is gonna be sort of like pinkish hue, something like that black mask That's the perfect. So as you can see, we've got the really nice base for the character right here. And now we can start doing a hand painted approach for some of the texture that we're going to be adding. So let's start with the body. We're going to work on top of the body so that we're not affecting anything else over here. On the body. I think especially on the back. I would like to add some dark splotches or something, so I'm going to add the New few later in the color as well. And we're going to add dark elements like this black mask. And if we go to the Brush option, you can see we have this adults that we have right here. And we can use this to add this sort of like interesting texture on the top of the half. You can do this symmetrically by clicking this option right here, which is gonna do symmetry line. But in this case I actually don't want to use symmetry to make him look a little bit nicer. So we're going to start like this and we're gonna go all the way down. We don't want to overdo it though. It's just like a, like a nice little detail. I'm going to make the brush smaller by pressing control and right-click. And I'm going to add some dots here on the front. So when we see it from the front, we see a little bit of that effect going here. Like a reptile skin, right? A little bit here on the chest. That's very, very simple. Maybe we can add a little bit of a little bit of elements here on the hands, a little bit on the arms as well. It's going up the same thing on the other side. And this is a cool thing about having independent Uvs, that the spots can be slightly different from one side to the other. And that gives a character a more in more unique field. And then we go. Now usually the belly of characters tends to be a little bit lighter. So I'm going to do another field layer and start with white, that's fine. Black mask. I'm going to change my brush to this. A basic soft, they can do is I can just add a sort of like light effect right there. And then we can change this to Linear Dodge and decreased intensity. So we have a nice lake, clean green color right there. Not bad, right? That looks good. Now, I want to go forward the Cloth, so I'm gonna go all the way to the class right here. I'm going to add a new layer. And something I can do is I can actually copy the mass from this one. So add black mask or sorry, right-click and I can say copy mask. And then I can add a black mask here, right-click and paste into this mass right here pasting to mask. So now what I can do second and black mask. And if I want to make the tips of the, of the class a little bit lighter, I can just paint them later right there, because this layer right here is a little bit lighter, right? So we can do there. Make the brush really small. Go. That way. We create this very nice, again, hand painted, very, very stylized, similar to what we would see in kids, shows, right? Very stylized effect for our character is the same theorem, the teeth. We could do, number four and just feel the tongue back within normal color. There we go. We've got a very, very FUN transition here for our character. The last thing I want to do, and I want to show you what the character here with the Textures. Because again, we're going for very, very simple texture for this guy right now. But the last thing I want to show you is how we could add the cartoon I to the character. So I'm going to add any new, I'm going to look for new thing right here. I'm just going to look for Cartoon. You're gonna see, we're going to have a lot of this options right here. I'm going to look for cartoon iris, which is this sort of thing right here. Something like this is what we're looking for. And ideally, we want to find a square, a square selection. And also ideally we don't want to have any reflection information. So I'm going to grab this one right here. And I'm actually going to edit it inside of Photoshop. I'm going to create a new file in Photoshop. Very important, it should be squared, so 1024 by 1024 should work right here. I'll make it a little bit bigger. There we go. Then I'm going to manually fix some of the stuff. Again, we don't want any of this reflection because that's the reflection that we're going to have in the character itself. Just a trick that I'm going to show you. I'm gonna go to my Elliptical Marquee Tool. I'm going to select the eye as cleanly as possible right there. And then control I, actually something like that. Control, I, Control Shift I to invert the selection and I'm going to delete. And then when I'm gonna do is I'm going to duplicate this layer and delete half of it. And then delete the half that I don't want, which is this one that has a shadow. Then this half, I'm going to Control T. I'm going to rotate to the other side. We're going to have to do a free transform right here, right-click and free transform. Or we can do the warp. Tried to make this fit nicely as possible. So you can see it's not a perfect circle. As long as the outer edge fits, we can recover the inner edge. There we go. Then I'm just going to grab a hard round brush and just fill that in. There we go. Paint everything white. And this is our iris. So I'm going to save this for you guys on their files. There we go. Well, this iris. And we're we're gonna do is we're going to import this texture into substance. So by going into our images and dragging and dropping it here, we're going to import this as a texture. Just the current session are listed library. That's fine. Now what I'm gonna do is I'm going to use a different type of layer. This is called a paint layer, which is this one right here. When I bring a paint layer in. And if we go to number three, number three is projection mode. We can select this guy right here and drag and drop it into the color. There we go. And now this works us in a stencil. You can press the letter S on your keyboard and then middle or right-click. And we can bring this down. Fine with middle mouse button. Find the projection where we want this to be. I am going to turn on symmetry. And that was, you can see, if I just paint this, I'm going to be able to paint the little eyes for my character. Not bad right? Now we can go to number one, and I definitely want to paint all of this UVs. So let me first paint the Uvs white. There we go. Now I'm gonna go back to number three, which is projection mode. I'm going to find the center of the eye. And now we're going to paint the eye. And that way the texture is going to be directly on top of the carriage. And that's it. She MUGA here, he's ready to go into the rendering stage and get some nice Shaders. I'm actually going to be showing you some cool shaders. And I'm going to divide this into a different video because I want to show you how to do skin shaders. So there's certain things look a little bit more like skin. So that light is actually going through the character. And we're also going to do some glass shaders for the eyes so that we can see the very, very clean reflection that we normally get in this type of characters. So, yeah, that's pretty much it for this one guys. I'm just gonna go File expert Textures. We're gonna go of course, to our source images right here, create a new folder called us monster. And instead of this monster folder, we're going to export everything as AI standard, Arnold, AI standard that we go, we export, we check the directory. As you can see, we've got all of the Textures there. We don't need to hide information. Technically, we don't need the metal this information either white because everything is black so we don't need to connect anything. We just need the roughness, the normal and the base color. You can see the roughness is very uniform. We actually didn't add any roughness. It's very plasticky just like a full, full simple color for the whole character, which would also ignore and just play with it independently. That's it. My friends, I'm going to save this one as well. So this is gonna be my monster texture. Of course, as you can imagine, there's way, way more techniques, more advanced techniques for painting scheme for a character like this. I've actually teach, are taught this sort of stuff in more advanced of places. But yeah, this is the one that we're gonna be using, red right now. So we're just going to come listen monster texture. And there we go. So on the next video guys, we're going to be going over the Connections for the monster Textures. Hang on tight, and I'll see you back on the next one. 40. Monster Materials: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the monster Materials. And first of all, we need to set up the basic Materials. And then I'm going to show you some very cool materials that we can add on top of them. So I'm going to select the whole character right here. I'm going to assign a new material. I'm going to call this Arnold as to under surface, I'm just going to call this M monster. Sorry for the spam right there. It's the thing that we use here. So I'm gonna go to the Hypershade, of course, and we're gonna grab this M monster. We're going to use this little buttons right here to show all the connections. And then if we go to our Textures right here, we have this three Connections is very simple Connections. We got our neural map, which we already know how this works. We need a bump to denote. There we go. So we got the out alpha right there. There's actually I don't think there's any bump map. Do we have any bumper? Can see a loop the bone marrow normal map, but I don't think we have a lot of bump map. I'm just going to do it anyways. So a normal camera goes right there, and this is tangent space normal. This one should be set to utility raw and alpha Islamists. Then this one is the roughness. As you can see, we don't have any reference, I'm not going to use it. It's perfectly great and the color is the one that I'm mostly concerned about. So base color goes into base color. And as you can see, we've got a little bit right there. Let's bring in the barrel. So I'm gonna say important and we're going to import our barrel scene. I believe it's the bear or Render. Go. And we're going to actually let's keep the barrel. Like why not? Right? Like we already did that work for tobacco were so why not? Why not? Just keep it? And if we grab the monster here, we can make it a little bit smaller and just position him in front of the barrel. So let's just actually want to make him a little bit bigger than the barrels. So right around there and we just push it forward a little bit. There. We go. Let's go to her camera panels. Lucas selected. And we can go of course to our square render. Square root is the format that I like to use because nowadays with social media, There's a lot of like most of the stuff is in this square format. So if we render just like this, Let's save this as monster Render. We're gonna get a good result. Like I know from experience that this is going to look good, but it's not going to look perfect. So I'm going to show you how we can make this even better. Let's go to our shotgun right here. There we go. And we can do the exact same thing we did with HDRI. We can go to the options and bring the exposure a little bit lower. Minus two is usually a good number. Let's close this for just a second. And there we go. As you can see, this looks okay, but it looks just like a plastic toy and I would like to monster to look a little bit more alive. Wasn't gonna do, is I'm going to grab only the body of the character, only that the green stuff and maybe even the eyelids, the eyelids are a good idea to do this as well. So the eyelids and the green stuff, and I'm going to assign a new material. Right-click assign the material. It's gonna be Arnold AI standard surface. So as you can see it, this is white right now. But what we can do is we can connect the same color texture to this element. So the history, this, we're gonna call em SSS, subsurface scattering is one type of shaders that we have inside of the 3D engines that allows us to simulate how skin, like Jell-O, this surfaces that let some light through happen. So what I'm gonna do here, so I'm gonna go to subsurface and I'm going to turn on the weight of the subsurface, but I'm going to turn off the weight of the color because we're not going to be using color. Now, as you can see here on the subsurface, we do have a subsurface color. This is where we're going to be connecting the same color that we have here with our monster. So we're gonna go off the base color right there and hit open. So even though it looks almost exactly the same, if we Render now and I'm actually going to save a copy of this file right here. If we Render now, you're gonna see that it looks really different. Look at this. He looks semi-transparent, kind of like a jello. You can see the arms that are way, way thinner. They look almost transparent, and everything else looks a little bit more like solid. So this is the magic or the great thing about subsurface scattering. The fact that we can get this element. Let me just, I'm going to change this to GPU. Cpu uses too many of my resources for encoding. There we go. We're rendering out. You can see this is what we get. We're getting this sort of like a jello effect, where the character looks a little bit squishier and it just makes it look a little bit more natural instead of looking like a plastic toy, which is perfectly fine if that's the thing that we're going for, it make you sick look a little bit more interesting. Now, this we can control by going into the shader itself and we have a radius and we have a scale. If we increase the scale, let's say something like a five. What's gonna happen is a D effect. The effect of the subsurface is gonna be way more intense, but he knows is going to look at that almost like a transparent gummy bear where we can see straight through him because we're letting this subsurface effect him really, really intensely I'm gonna bring the scaled back. Now, the radius talks about the kind of color that we're living through. That's why he has a sort of like bluish or greenish hue. I'm going to change this to eat green for instance. And what's gonna happen now when we render is, we're going to see a little bit more of a render or for a green effect going through that gummy element, look at that. So we get this very cool looking effect. And he looks like a green gummy bear. Now, if you change the color, this color is of course, is going to play with the color of the object. So if we go purple, for instance, yes, we're gonna see a little bit of purple, but the original green color of the character is still going to be there. So we get this sort of like interesting mix between the different elements, which can result in some interesting things. Now, in my case, thing I kinda wanna go green, but I'm going to push it a little bit towards the blue colors just to get a little bit more interests. Now, this is not something that we can texture instead substance Painter. We can play around a little bit with subsurface scattering instead of substance Painter. But this is the kind of stuff that you are gonna be working with directly under render engines, like what we see right here. So as you can see, this looks really, really good. We get a nice result here for the skin. Now if we want to reduce the intensity, we can bring the scale down to something like 0.3 for instance. And this is going to lower the effect of the subsurface scattering so that we don't see their arms like super, super transparent. As you can see, we're still going to get a little bit of that effect, but that's not going to be as noticeable while still keeping it really interesting skin tone overall. So that's subsurface scattering. Let's do one more thing here. I wanna go to the eyes. And I wanted to add the like glass thing that we normally have on top of the eye. So I'm going to select this guy right here and this eye right here. And I'm going to say edit mesh, edit mesh and duplicate. And we're going to duplicate those phases and we're going to extrude them out a little bit. There we go. Now, we're going to select those new faces. I'm going to sign any new material, Arnold AI standard surface and this material we're gonna call em glass. A very important we're going to make this glass eyes. Now again, we're going to remove the color. We're going to keep specular, but in this case we're going to turn on transmission. And the roughness of the specular is gonna be really, really low because we want those glasses to be really intense. So now if we save another copy of this picture right here and we Render, look at this. Now the eyes are going to look way, way, way, way, shinier than what we have right here. This is the first one, this is the second one, and now this is a third one. As you can see, we go from plastic looking skin like no subsurface at all, to subsurface scattering right here. And then right now to a glass effect on top of the ice, making him look way, way nicer. We could, of course, at individual shaders or materials through the rest of the elements like the tongue or the teeth, we're gonna get a slightly different result. Now, can you see how noisy this thing is right here? This is because right now, if you remember, we're using this, the noisier. And the problem with using the denoise or is that the noise or we'll try to solve the problems that the subsurface scattering is giving us. Surfaces scattering is a really cool tool that we have here inside of the 3D engines. But the problem is, it is very noisy. So even though we have the noise, your active, it's very difficult for the denotion to solve something that's this noisy. How can we prove this? We're going to talk about render optimization later on. But one of the easiest things we can do is go to render setup right here. In instead of Arnold renderer, we can go to adaptive sampling and just enable that. This will tell Arnold to go all the way up to 20 samples per, per pixel or two, that the adaptive threshold is 0.0, 15 under noise, it's going to take a little while. I actually like to lower this all the way down to ten. But now if we Render, you're going to see it's going to take a little bit longer, but without the noise here, we're gonna get a cleaner image. This is what we do normally at the end if we see a lot of noise. But again, this usually only happens with materials that are really complex, such as this surface and the glass materials that we have right here. So as we leave the computer, keep on like cleaning it and solving all of this issues, there will be a point where it's gonna be a lot cleaner. And once that happens, we can enable again our denominator here to get a cleaner software result for the skin of her character. So yeah, that's pretty much it guys. That's the quick overview of subsurface. We're going to take a look at it again once we do the chess set later on during the rendering stages or the rendering chapter. But I wanted to show you how we could use it to give this character a very nice to finish. I know it's a simple character. I know it's a simple texture, but as you can see, we can already get a really professional result without having to spend that much time. So that's it, guys. I'm gonna I'm gonna stop the video. I'm actually going to hide the barrel. So I want to have a single render of this little guy without the, without the barrel. And once I have the render, I'm just going to save it on their files and we're going to continue now, we the last thing which is our door, Don't worry, I'm gonna make it brief. I'm going to show you something that's called smart materials so that we can move really fast and create a nice looking texture for that particular asset. So hang on tight and I'll see you back on the next one. 41. Udim Texturing: Hi guys. Welcome back to the next part of the series. Today we're going to continue with udim Texturing and we're going to be doing the fantasy door that we have right here. So as I've mentioned before, don't worry, this is not gonna be that difficult. I'm actually not going to be showing you or we're not going to be doing layering and stuff like that. We're gonna be using something called Smart materials. So I'm gonna grab the whole like door right here. Let's change his name. And the one thing I'm gonna do is I'm actually going to change the name of the material. We're going to call this M fantasy door. That we go. And we're going to select this File Export Selection. And we're going to export this as our fantasy door right here. We're going to bring this into substance. So we're going to open substance real quick and the process is almost exactly the same. Like there is just one thing that we're going to be changing. And that is when we started project. We're going to change a couple of options here. So we're going to select here are fantasy door. There we go. We're going to change this to two K. Opengl is fine, we don't need this. And here's very important and we're going to change this to use UV tiled workflow. And this is the thing that we're gonna do, preserve Uvs Galileo per material and they will printing across tiles. That's what we want and we hit Okay, if we did everything correctly, this is what we should have. And as you can see, this looks good. However, we have the same issue that we had before. I'm not going to do a smooth version of this. I don't think it's necessary because we're going to go really, really high into triangles are quite high. But I am going to say mesh display and then Software nach to make sure that everything is soft. We're going to say File Export Selection again, fantasy door. There we go. We could substance so File New, select, store, udim. And we hit Okay, and this is what we should get. There we go. Now how do we know this is working properly? If we press number or F1, we should see all of the you didn't tell us right here as we had them prepare, which means that we're in a good position. We're of course going to do a bag. And this is where things get a little bit tricky because even though it is a single bag, we have for UV tiles. So this becomes a little bit more heavy for the computer because it needs to save all of the information for each of the different tiles. So us, as we mentioned earlier, udim, sort of really cool way to work with a big assets are assets are recorded a lot of surface area, but they will hit you on the performance a little bit because there's way more Textures that we need to take care of. Now other than udim. And the cool thing about this udim thing is that if we want to paint, as you can see, we can literally paint across the door right here. And if we go to the UV, you can see that what's the word Substance automatically knows where to place a stroke so that it's perfectly matches here. This is something that would've been impossible to do instead of Photoshop, because we will need to perfectly match everything in bold. That's just way, way, way too difficult. Now, as I mentioned, I don't want to spend too much time here on the Texturing. We already covered the basics and hopefully you guys already know some of the stuff that we can do. So we're gonna go to this things right here. These are called smart materials. And smart materials are a collection of materials that already have things such as the metal edge where the dirt and stuff like that, so that we can literally just drag and drop them into our assets and get something that looks good. So for instance, if I look for, with over here, you're gonna see we have a couple of ones like this, a wood walnut wood shape hold, hold, beach, vein or something. And then we got this like with a chest, the stylized. So I'm going to use this, a weird shape hold Alt and I'm just going to grab and drop it right here. And as you can see, it's going to give us this very nice would affect pretty much everywhere. So what we can do here is we can also add the black mask, and we can use our selection to start filling in all of the pieces that are going to be made out of woods. So in this case, all of this elements right there. And look at that. Like it's pretty much doing the job for us now, this doesn't mean that we're not gonna be adding some extra layers. We will add a couple of extra things in a second. But this, you can see this is not bad, not bad way to create something cool. Now, I do want to change slightly the color of this like upper elements. So here's a trick. I'm going to have the PHY layer at the very top of this stack. I'm just going to be playing with color. I'm going to add like a nice dark color here. I'm going to change this to overlay. Then I'm going to add a black mask. And as you can imagine, there's going to select those right there. Then of course we can play with this too, to change the intensity of the woods Color and get a slightly different result. Here we go. That looks good. Now let's look for stone. Let's see. We have some stone, not really have like concrete or rock. Know, Let's see what we have here that we could use for something like that. We have metal of course. So we have, for instance, this still ruins, still staying. We got this still Painter BRAF damage. I think this one is the one that we're going to be using. So bring it right here at the Black Mask. And I'm going to add it to most of the elements right here. All of these little guys. Now, of course, if we want to use the traditional approach that we used before and manually paint and create the layers. That's perfectly fine. Also another thing that we can do, for instance, let's say I do like it, but I feel like the black color is a little bit too intense. Well, here's the metallic paint. This is the one. So if I find the material, I can go to the material and just modify the slightly to get something that's a little bit closer to what I'm looking for. Something like that. I think it looks good. I'm going to use a bronze color or something. I dislike bronze armor I really like, so I'm going to bring it on Louis to the top. I'm going to add the black mask as well. I'm going to make this things bronze, little spheres In this little spheres right here, that way we get a little bit more contrast on the paints. We can also go to UB and say, Hey, you know what, I wanted to the handle to be be branched. Does that look good? Now I think actually that doesn't look as good. That looks a little bit better. There we go. Now, I'm wondering if we have Iraq. We've got this bronze statue. Should be some sort of we got leathers and stuff over here. So if you want to go back to any of the old ones and change them by using some of this. You're also welcome to do that. It seems like we don't have We had some rocks or something but we don't. Okay, Here's a trick that we can just look at this iron old, it looks really cool. It has some nice texture that looks kinda like rock. So if we added over here and then we add a black mask, we can use it to generate the effects over here. Then the only thing I need to do is I need to go to the properties of the material itself and change it from, from Iran, something that's not iron. So as you can see, this is the main Iran here. So I'm going to remove the metal effect. And as you can see now, by removing the metal effect, we've successfully like pretty much changed this into a stone. Although it's a very glossy stone and I don't love this glossy glossiness. I would like this to be a little bit flatter. Also the color, I don't like the color as much. I think it's a little bit too light. So one thing we can do here, also here on the edges, I'm also going to remove the metal miss. It becomes like a flat effect. So I'm going to have a PHY layer here that's only going to control the roughness and I'm going to increase the roughness. And as you can see, this brings the roughness of everything on the element down. So it looks a little bit more like stone. Now, we already know that if we added a little bit of dirt right here, it could make it look quite a bit nicer, right? So we're gonna go back to the Rusk fine right here. And let's add some black mask generator. And let's add generator. That's what I'm going to change to overlay. And there we go and look at that. That immediately that disrupts immunity, makes everything a little bit more contrasty and it gives us a really, really nice result. I'm going to lower it a little bit more right there. And there we go. Now, I want to add a little bit of dirt on all of the underside of the door. So a little bit more global for the whole thing. I'm just going to say file. Sorry. Over here on the Materials. Let's look for the month or the what's it? Oh, forget about the name. It's this mortar wall. I'm going to add the more toward the very top. Then we can go to the smart masks, remember? And we're going to use this ground, dirt. I just drop it right there. Look at that great. Of course, overlay. Look at how cool this door looks. I mean, that's it. Like we can of course, add more stuff or make a little bit better, but I think this looks really, really, really freaking good. So yeah. Now it comes to time of exporting, right? Like we need, I need to show you how to export this and how to connect everything inside of Maya because the connection is a little bit different. Okay, want to say File, I'm going to say export Textures. We're going to go to our source images. And let's call this fantasy door. It's creating new folder door. And then we go, we're going to export this for AI or sorry, popup up above. There we go, Arnold, AI standard and we just say Export, As you can see. And this is the interesting thing about the udim workflow. We're going to get for Textures or for texture for each. Udim says you can see this is a lot of textures that we have right here. The Medalists for, for you them's the color for Forgive them is the highest preferred you them's the normal and the roughness. We don't need the height as we've mentioned before for this particular case. Later on, again, I'm gonna show you how to use displacement Maps. But so far we just need this right here. But as you can see this or at Textures, and it will be really tedious to connect 16 Textures instead of Maya. So there has to be an easier way, right? That's a question that I frequently asked myself. And whenever you ask yourself a question like there should be an easier way to do it. There usually is, there's usually a plug-in or a tool or something that we can use to make our lives a little bit easier. So I'm going to close this for now. We have a very nice result here on the texture, and we're gonna go back here. Now, there is a plug-in actually that works hand in hand with Substance painter. It's called the substance blogging. You're going to enable this by going Windows, Settings and Preferences Plug-in manager. And if we look here on the search breadth-first substance there, this is gonna be right here. So I'm going to load this. And I'm actually going to set this to follow because I do use it frequently. I had it set to off because I want to show you how to optimize Maya, but they actually do use this quite frequently. So I'm going to say Close and there we go. So what's gonna happen now is over here, we're going to have the substance tab also around here. And one of the things that this thing has is it can automatically create a material, connect the colors, and set everything exactly as we need to set it up so that we can get everything to work. And we're gonna be using this button right here. It's called applied workflow to Maps. So we click right here. We said we're gonna be using an Arnold waffle and we're going to tell it what that we're going to select multiple Maps. We go to resource images. And if we go to our fantasy door, we're going to select the 1001, which is the first udim of each of the Maps. So that's roughness Normal mental illness and Color only those only the first Maps we're going to use and we're going to hit Select. You should see them here, like they should be linked the base color to the base color, the normal to the normal roughness of the roughly metallic. Metallic. If we have more Maps, we can also leak the ambulation height and the Mississippi, but we're not using them right now. We're only using this one's. And when we hit Apply, what's gonna happen is a new material is going to be created right here, this AI standard. And as you can see, everything is already connected. We got the roughness set to raw Alpha's luminance. We got the bump map with a bump to D, we get the color like everything is here. This extra note is when we use the the ambient occlusion, but since we're not using information is just passing through and we're not going to have niche. Now we're going to change this to M fantasy door, which is gonna be my new material. We're going to assign this to our door. So right-click, assign existing material and fantasy door. And there we go. So as you can see, some parts of it do look good, but other parts look awful. Why does this? Because even though we have correctly linked everything to the material, the way we needed to be, we haven't told this material that it's supposed to be a udim material. So we need to go to each of the file nodes right here, where it says UV tiling mode. I'm going to say UDIM Mari. I'm going to say you didn't marry. And as you can see, it will automatically say, hey, yeah, that's right. I found four tiles for you. I'm going to change the preview quality, too low quality and generate preview so that we can see them. I'm gonna go here to the same thing, changed UV tiling motor udim mark. It should find that you can see it's looking for the 1001 information on the name of for Textures. And once it finds it, it replaces it with this flag that tells Maya that this is supposed to be a udim workflow. Then we're going to go to mental illness. Same stuff you them. We don't need for high-quality, low-quality, that's fine. Because this is just a preview and the normal, we do the same thing. You them quality January. There we go. So by doing that, the previous should have been generated and now we should be seeing the proper Textures here. Inside the first thing, look at this, a beautiful door grade, right? We can even press number three. You can see the Textures are going to be respected very nicely. This is gonna be working super, super nicely. Now, the only thing that we need to do is bringing the render. So let's go file. Actually let me delete this because it was the, the hidden renders and we can say File Import. We're going to import our barrel Render again. Let's, let's leave the barrel. We don't need it right now. And if we go panels, look through selected, which needs to find a nice setup right here for our door. Now, keep in mind something that's very important with this. I'm going to be doing the render right now and it's going to look really nice. But keep in mind that we are using four sets of two K Textures. So this is pretty much the same thing as if we had divided this door into four different objects, texture them separately, and then rebuild the Materials. People sometimes think that when we use the udim things, we're making things more like performance, savvy or something and that's not it like the performance. It's pretty much the same thing as if we have four different parts of the door and we texture those individually. The reason why udim are so good is because they allow us to save a lot of time on the Connections. We only need to connect one or two or three Textures and it will automatically load everything else. Imagine like a big character that has like 50 you them's, it will be a nightmare to try to read, set everything up. And that's why udim start show so helpful. So let's save this real quick. Let's make sure that we are eating GPU here. There we go. And let's throw in the render. Let's see how this looks. Get a little monster right there. We're going to be rendering from the perspective shape or the camera, the shotgun. Remember that all of the textures that we have are going to be converted to TXT files on your source images. This is not what you're going to find or what you're going to have on your, on your files when you download them. But the first time you do the render, all of the Textures will be converted to this dot TXT file, which is the file that Arnold uses to be a little bit more efficient on the creation and look at this. That looks really **** cool. So I'm gonna go to the image right here. I'm going to lower the exposure a little bit. Let's do another quick render right there. Oh my God. That's just look at that. Come on, dude. I gave you guys are doing this on the first ten or 15 h of using Maya and Substance, you guys are going to be doing home runs as soon as you get to the industry. So yeah, that's pretty much it guys. Hopefully, all of this information has been really good for you so far. This is the end of this chapter, chapter for all of the Texturing is now covered. We went over UVs, we went over all of the texturing process is Substance, all of the connections than we need. Now we're gonna take a detour. We're actually gonna be taking a detour. We're gonna be taking a look at other parts of Maya, such as rigging, animation effects and things like that. And then we're gonna go back at the end we'd rendering so that we can just get more renders out of our elements. We're actually going to be coming back to this one because I'm going to be showing displacement. We're going to be adding some brick walls and stuff on the back to make this look like an actual castle door. And yeah, so make sure to get to this point, make sure to save your renders. This, it's are going to be a great example for you as you keep growing into 3d industry because you're gonna be able to see where you started and where you're going to be then. So yeah, that's it for now, guys. I'll see you back on the next chapter. 42. Groups and Transforms: Hi guys. Welcome back to the next parts of our series today we're going to start a way that joints and we're gonna be doing a very cool exercise. So you're going to open the scene called Solar System. And this is the system that we're going to be using to learn a little bit about the whole process of a joints, how joins work, and how we can use them. Now, I did include the whole solar system for you guys to play with. However, I'm just gonna be using the sum. I'm using a Mars actually let's use the Saturn. In this case, I'm going to grab saddle right here, combine it with a little rings very quickly. There we go. So I'm going to use the earth, we're going to use Saturn, and we are missing the moon. So let me show you real quick how I did all of these other planets. We're going to start with a very simple sphere right here. And then to this fear, we're going to assign a new material, Arnold AI standard surface. And on the colors of course, we're going to assign a color map. All of this color maps should be a billable under the solar system folder on your files. And we got the moon right here. There we go. So that's it. Now, as you can see here, we are dealing with something a little bit more complex. Again, I'm going to leave all of this for you guys in case you want to complete the exercise, can look a little homework for you to play around inquiry the full system with all of the planets. But as you can imagine, we're now dealing with a lot of local rotations, local translations, general rotations, a general translations and trying to deal or recreate a system with only groups will be very, very complicated. This is where joints come into play. If we go to the rigging tab, you're going to find the second button right here, which is a joint. The joint is a special component or a special object instead of Maya that has a transformation matrix. So we have translator, rotation and scale. We have access to those values. But not only that, it's actually visible on the viewport. And when you have two or more bones combined or parented to each other, you can see we're going to have a visual connection as well of how this elements are moving or interactive with each other. So bones are super, super important for the creation of more complex Rigs. If we're thing, something simple like the door or even just like a sphere or something, you might not even need the bones. But for something a little bit more complex like the system right here, we're definitely going to look a little bit more help. So let's go to the front view right here and let's start planning out what we want to do with our system. I'm gonna go with my blue pencil here to just get a general idea of what we want. Well, we know that there's gonna be a bone or a joint on the center of the whole block universe or whole solar system. And if we move this bone, we want the whole system to be moving around as well. At the same time, each planet will have its own little joint on dissenters. So if we move this joint around, the earth is going to be rotating around its axis. Same for Jupiter right here. And the moon, for instance, we want to have a joint on the moon. There's going to allow it to rotate around the earth, right? And at the same time, we need the Earth to rotate around the sun and Saturn to rotate around the sun as well. You can see there's a lot of rotations and translations going around. And it will be very difficult to manage all of this with a single group. So we're gonna be creating something a little bit more complex. I'm gonna go here to my join section and first we need to create the joints for the planets. So I'm going to start with this one right here. The **** is this about sphere? We're going to start with this point right here. We're going to snap it right there to the center with X to the very center of the world. And we're going to call this some joint, okay? Then I'm gonna duplicate this and move it to the center of the Earth. I can press V and center right there on the pivot point. And we're going to call this earth joints. We're gonna duplicate it again and we're going to position this on the center of the moon. Now, we don't have a special like a point to do so. I can press V and snap it to a point right there. And then if we go to the top view, they can press B again and push the blue arrow to snap it right there on the center is very, very important that the joints that we're adding are on the center of the grid so that we can move them as we're expecting. Then we're going to grab this one right here and we're going to snap it on the center of Saturn right here. The top view, and make sure that it's right there on the center. You can see Saturn, it's a little bit off-center. So that's why we need to manually place the bone where it's supposed to be. This one is gonna be called Saturn joint. This one's gonna be called moon joint. And this one's Earth joined. Urgent, as you can see, it's outside of the place as well. So let's snap it right there, and it should be on the center of the earth. There we go. Now that we have all of the joints in their respective places, we need to parent the geometries to them. So if I grab the moon and then I grabbed the joint and hit the letter P. Now, the joint, we'll drive the position of the moon very similar to what we saw before with the groups. So we grabbed the Earth, we graph this guy right here and we keep P. We graph the planet. We got to Jordan, we hit P. And finally, we grabbed the sun The joints also not we're supposed to be so we got the sun, we grabbed the joint and we hit P again. There we go. So now we'll, we can do here as we can start thinking about how we're going to be animating this. We know, for instance, that the earth is going to have a rotation along its axis. Okay? So why not generate its actual rotation right now and see how it will look as it goes around the whole element. So I'm going to grab this joint right here. I'm gonna go to frame one and hit S. And then we're going to go to frame 120 and hit S again. But this time I'm going to change the rotation to 360 on the boat. What that will do, as you guys can imagine, is we're going to generate a rotation like this. However, there's a slight problem with this animation. You can see that emission starts slow and then speeds up and then slows down as it finishes the rotation. And that would like this to be a constant rotation. So what they need to do is I need to grab the joint. I'm gonna go to a place called Windows animation Editors, Graph Editor. We're going to talk about the graph editor a lot more in depth once we go into Animation in the next chapter. But I just wanted to touch upon some very basic things. The animation right here talks about all of the different attributes that we can animate. And right now we're animating the rotation. And why you can see this green curve right here describes how the transformation of that rotation is happening. How we slow, it starts to slow, speed up and then slow down as we go all the way to the end. I'm just gonna grab the whole thing right here and make this linear. That way. The rotation is gonna be completely linear. And as you can see, the air will just keep spinning round and wrap. There we go. Now for instance, I would like Saturn to do the exact same thing. But I want to rotate Saturn a little bit on its axis. I'm going to rotate this a little bit on the c-axis, let's say seven degrees. And then I'm going to grab the joint again on frame one, I'm going to hit S and unframed 120. I'm just gonna make this one spin a lot faster. So the rotation of why, I'm going to say 720, so that we can a lot of rotations. So now if we take a look at this, you're gonna see that Saturn is rotating twice as fast as the Earth, which looks interesting. As you can see, the rotation of Saturn is also non-linear. So we're going to grab all of the graphs right here and just hit this button that makes all of the elements linear, so the rotation is constant. Now, the moon does not actually rotate. Well, it does rotate on its own, but it isn't something called tidal lock with the Earth. So that's why we're always seeing the same face of the moon. So what I wanted to change right here is I actually want the moon to move around the Earth while still like we're always looking at the same direction. So we're gonna go to top view. And I'm actually going to grab the joint from the moon. I'm going to separate the moon from the joint first, so Shift P to get it out. And I'm going to grab the joint right here and then going to snap it to the center of the earth. And then I'm going to repair and the moon back to the joint. So now as you can see, the moon rotates from the pivot point of the Earth. And we're creating a little chain of command right here. So I'm going to grab the moon joint right here, and I'm going to animate that as well. So we're gonna go hundred and 20, and let's go twice as well. So 724, the animation right there hit S to set a keyframe like what we did with door. And there we go. We're also going to go to Windows animation Editors, Graph Editor. And we are going to just make all of this linear. There we go. That's it. Now, if we hit play, as you can see, the Earth is moving around. The sun. Seems like I did not change the rotation. With an animated. Let's go here again. So 720 Enter and we select the joint and just hit S to save that Animation and then we go. So now if we hit play, as you can see, the moon will rotate around the earth. While the Earth is rotating on its own, had a different speed because it's one turn for the Earth and church runs for the moon in this amount of time. And a Saturn is rotating on its own as well. So that's how we can create a very simple heirarchy. But right now we haven't done anything different from what we did with the, what's the word with the original element, right? Like the original system inside of the door. So I'm gonna go back to the sun. And I do want the sun to have its own rotation as well. We could animate that one, but I actually don't know if this arm rotates on its own, but they will definitely be a lot slower. So what I want to do here is I'm going to go to my Rigs here and I'm going to create two more bones. One, and we can just duplicate this one. And there we go. The first one we're going to call this earth translation. And the second one we're going to call it a Jupiter translation. And we're going to move both of these joints with X to the very center of the sun. Then what I'm gonna do is I'm going to parent by middle mouse and dragging Saturn joint to Jupiter translation actually supposed to be, sorry, my bad. There we go. Same thing here. I'm going to move the Earth translation to the Earth translation joint. As you can see, two new joints appear right here on the scene. This one will control the rotation of Saturn around the sun. So maybe I want in this timeframe, in this 120 frames I want at this joint, the Saturn translation to do one or 111. Turnaround this out. So we're gonna do a rotation 360. There we go. If I hit Play, you're going to see how we rotate around the sun in the same time, saturn is rotating twice around its axis. Of course, that rotation right now is looking a little bit weird because we don't have a linear tangents. So we're going to grab this thing here and make this linear as well. Now, if we hit our plate, we're going to get this very cool rotation right here. Okay? Now for the Earth, I'm actually going to make it good to go the other way around. So I'm going to grab the Earth right here. I'm going to hit S on frame one. And I want the Earth to do two turns around the salt. So it's gonna be 720, but it's gonna be minus 720, Y minus 720 because with minus 720 is going to go the other way around. I know this is not the way it works in the real-world. That you want to make it, make it happen like this. So as you can see right here, when we do this, and also we need to grab this guy right here and make the tangent linear. When we do this, what's gonna happen is we're going to start getting a really interesting system where the planets are rotating around themselves and they're rotating around the sun. At the same time, we get independent rotations going on thanks to the heirarchy of joints that we have a sign. But this is not over. Let's now say that I want to because you can see that we have a little issue here. The little issue is that the joint from the moon is not going anywhere. It's just floating here in the space. So I'm gonna go to the first frame and I'm going to select the moon joint. Am going to parent that moon join to the sphere or to the, to the Earth translation as well. So that when the Earth moves around, the joint will also follow as well. But as you can see now, the problem is, the joint is rotating, but it's not rotating around. The Earth is rotating out a little rounded, different axis. So that means that the heirarchy is wrong. We need to be very careful about how we connect things because otherwise the characters are not going to be working as expected. So this one actually, I'm going to parented to the Earth's rotation like this. You can see there's a little bit of a distance. You might have the joint exactly the same position, that's fine. But the important thing here is on the outliner, the Earth join is going to be the parent of the mortgage. So wherever the Earth joint moves, the moon join will follow, but the moon joint will have its own rotation, so it's independent of the rotation of the earth. And what's gonna happen is we're gonna get this effect where the Earth goes around. And oh, what is happening there? Why is the moon doing that? We're thing, because we're getting something called a double transform. So it's creating a dolt transformation because it's rotating from its own little axis right here. And it's also rotating from the axis on the Earth right here. Let me go back here. Actually that shouldn't be happening. Let's take a look at the elements right here. So let's just make sure that this thing is moving the Earth, the moon properly, okay, that is moving to the moon properly. Think whether we need to do here. I'm sorry for this small mistake. We're not going to parent this to the joint. We're actually going to parents that joint it to the sphere itself. Let me see if that fixes it. Yeah, that fixes it. So as you can see now, the more rotates around the Earth, the only thing or the reason why it looks weird is because the moon is rotating in a counterclockwise fashion. So I'm going to grab this moon joint here. I'm going to change the rotation from 72 minus 720. There we go. So now they should both be rotating. There we go, on the same direction. And that's it. So as you can see by generating this little chain of commands right here, we're getting this effect that lets us generate a more complex solar system. And that's not all. Now, I can grab the Saturn translation and the earth translation. And parents, both of those to the joint and for instance, the sunshine. One of the things that they can do is I can start doing a like a 360-degree churn as well. So I'm going to C, S, and I'm gonna go to one-twenty. And we're going to rotate this whole system once minus three-sixths. I knows this is looking to look really, really freaky, but it's gonna be an actual, it's gonna be a cool effect. Look at this. So now everything rotates, but it keeps rotating on its own plane. It might look a little bit weird. But if you take a quick look at the planners, you can see that they never leave that sort of like playing that they have at the beginning because they are following the local rotations of the joints that they have. Again, I know that this rotation for the sun is really, really, really complex, but I just want to illustrate the idea of what we can achieve. I'm gonna go back here and I'm actually going to remove this information here. What I wanted to show you, let's, let's do a very basic up and down motion. So on Frame 60, the sun's gonna go up. Unframed 120, the sun is going to go back down. So by doing that, we can generate this very cool effect where the whole solar system is going up and down the planets. As you can see, they can continuously rotate on its own axis. They have, their moon is rotating around them as well. And the whole system is just like moving unfolding around. So this is the cool thing that we can do with Joyce's. You can see we're creating a whole hierarchy of elements over here that allows us to create more complex movements and interactions inside of our sins. It is a little bit tricky, but don't worry, we're gonna be taking a look at this a little bit deeper. And we're gonna be using joints to generate a small rig for a little claw machine. Okay, Now, as I mentioned, there's all of these other planets. So if you want to practice this and want to make sure that you understand what's going on. Make sure to try to add a couple of more of this elements to their system. Remember, each planet usually will have its own center joints that's going to drive its rotation. And that data center joints gonna be attached to another joint that's gonna be on the center of the sun, which is the translation joints. This one's right here. And this joints are the ones that are going to be moving the planets around the sun. You can of course, increase the amount of time here on the timeline right now, it stops at 120. But if we want this animation to keep going, we can make it longer and play around with different rates of motion. But this is the reason why joints are so important. Joints will allow us to get more dynamic systems without having to rely too much ingroups. And another very important thing about joints later on is the joints will allow us to create something called a skin, will be able to bind the geometry of an object to the skin of that object and the format with the movement of the joints. So this is it for now, very, very quick introduction to rigging into joints. In the next one, we're going to keep going or we're gonna keep learning about joints. And we're gonna do as model or robotic rig. So hang on tight and I'll see you back on the next one. 43. Joints: Hi guys. Welcome back to the next part of our series. Today we're going to start with Chapter five. We're going to start going into a more of a theoretical side of things with this chapter because we're going to be talking about rigging in rigging easy, super, super important part of the whole process. Do you guys remember the little like 3d production pipeline that we saw at the beginning of the series. Well, if you remember this, you probably remember the little bunny here with the Puppet setup and the reading, as you can see right here, is really, really important. Even though we've been going through several chapters. I sometimes feel like this first section like modelling UVs and Texturing. They feel like part of the same thing even though there are different elements, because we saw modelling, texturing, and even lights and Render. So that's why we now need to jump into this intermediate area to look at some of the other production pipe parts of the pipeline. So I'm here on the fantasy door. As you can see, some of the Textures are not working properly. And this is because every time we open it, you might need to generate the previous for the Textures. It's thing that Maya does to save a little bit of resources. So we're just generate everything here. As you can see now, things are looking good. Now, what I'm gonna do here is I'm actually going to grab my sky dome light. I'm going to keep the sky dome light just because it looks nice. But all of the other render setup, I'm just going to press H to hide it. And this is what we're going to have. Another thing we could do is we can go here to show viewport and we can say None. And then show viewport and just show a geometries. So if we go here, two surfaces, it's polygons though, one thing that we want, so as you can see, we have our light, like our light. This is actually visible. And that allows us to see that or in this very nice way with all of the Textures. But we're not seeing all of the other elements. Now. Well, we're going to talk about right now our groups and Transforms. If you guys remember, this door right now, is a single object, and of course it has a pivot point right here on the center because we center the pivot point. But if we want to rig this, if we wanted to change the way we're going to be organizing this, we need to pretty much destroyed the current organization and do something a little bit different. So I'm going to say Mesh and separate to separate every single element out the door. As you can see here, we got 30 elements or something into an independent object. And now we're gonna do a, we're going to think about how we want to organize this. So I definitely want all of this elements right here that I'm selecting to be part of a single object, including this thing right here. All of this elements are going to be part of the door. So we're gonna go Mesh and combine, will change the names and clean everything up shortly. Then we're going to have the handle. And then all of the outer things right here, they're never going to move, right? They're gonna be a single unit. So all of this elements right here, we want to keep them as a single element as well. So we're gonna go again to Mesh and combine. There we go. Finally, this thing right here that the metal beam that's going to be moving around all of the pieces that make up this metal. We definitely want to keep them as a single elements as well. That's weird. It does look a little bit weird. Okay. I'm not sure why that happened, but that's fine. We just rebuild them or just duplicate one of this objects in and do it again. There we go. So we're gonna all of this elements right there. And we're going to combine, show Mesh. Combine everything here, Shift P to make sure that they're outside of a group. And we're gonna go through our options right here and we're going to delete history. As you can see, we're gonna be left with this a poly surface right here, which we're going to call door. Then this is gonna be our frame, this is gonna be our lock, and this is gonna be our handle. So what we're going to be doing here is we're going to be creating a hierarchy of groups so that we can control all of the different elements that we have here in our scene. Now, what is the part that's gonna be the most important? The door right there could because the door is the thing that's going to be moving. So what I'm gonna do here is I'm going to select the door. I'm going to Control G, am going to call this group adore group. Now, as you can see, the door group has its own transformation. This is the great thing about groups. Groups are pretty much a, an invisible like a null object instead of Maya that has transformed information, you can actually create an empty group by saying Control G. And there we go. The group is right there. It's invisible, but it is a transformation. Know that we can use to store information. So this door group right here will store the information of all of this element right here. Now, why do we want to create a group and not do it on the door itself? The reason is there are other elements later on such as skinning, deformations, effects like imagine if we want to destroy the object and things like that, we will be doing things on the geometry and we want to keep the geometry clean. That's one of the rules about rigging. You always want to keep the geometry clean. So instead of directly modifying the Transforms of the geometry, we're going to be modifying them by using this group right here. Now, this group is really important because this group is going to tell us where the door is gonna be moving or rotating from. Press the letter D. I'm going to move the pivot butt back and up here to the center so that it's like a little bit further back, like right around there. Why? Because when I select this group and I rotate this, this is the group that I'm gonna be using to open the door. Now, the next thing that's very important is gonna be the handle, of course, because the handle is the thing that the character would be interacting with to open the door. So I'm gonna go to the handle here. And I'm going to say Control G. We're going to create a handle, a group In this handle group is, you can see that bullet point is right there. If we sent to the point, it's going to center the pivot point to the volume of the object. Remember that we have something called a bounding box. Well, if you can imagine the boundary box, this thing right there, false, right there on the center of that bounding box. But I don't want it right there. Actually wanted on that center point right there because it makes a little bit more sense to rotate from that specific position. So I'm going to press a D and a V to snap this right there. Let me turn Karnak again. There we go. So now with that done, the handle of this group is gonna be right there on the center. And when we rotate this, this is gonna look like it's rotating properly. Here's where the fund begins. This object will always be attached to the door, right? So when we grabbed the door group and move it back, I want at this object to be moved as well with that door. But I didn't want to combine the objects because I want to have the ability to modify their transformations of the objects independently. That's the, that's like the nuclear option or the nuclear thing about rigging. We want to have control over the geometry in a way that allows us more flexibility than just having the objects all combined together. So I'm going to grab this handle group right here. And with middle mouse, I'm going to drag it on top of the door geometry. So what this is doing, it's telling, hey, door geometry, you are now the parent of this handle group. So wherever this door goes, the handle group will follow. Therefore, if I grabbed the door door group, which is the father of the door, and I move this, the handle will follow as well, but the handle, the handle group, will have its own independent rotation. So as you can see, I can rotate the handle without affecting the door while still keeping the door right where I need it, right? So we're gonna do the same thing for instance, with this guy right here. This guy right here. So this guy right here, we're going to control gene and we're going to call this lock group. And then we're going to move the proof point of this log group to a place that makes sense. And I think this little sphere right there or even the handle makes the most sense. So I'm going to press V, I'm going to move this to the poll there on the handle. So again, the V and snap it right there. And then I can press or just move this down to have close to the center right around there. There we go. So as you can see, the bullet point does not change the transformation. And this is the point from which the character again is gonna be interacting with this lock. Now we already know that we want the log to stop like right around there, right. So as soon as it releases or stops hitting the wall, that's where we wanted to lock to finish. This guy right here is also going to be the log group is also going to be parented to the door geometry. So now the door geometries parent to two things, the Handel Group and a lot group. But both of them are independent of each other because they both have their own group. And therefore, we're going to be able to control them and animate them in a nice way. So finally, we're going to grab the frame. And what we're gonna do is we're going to, of course, the frame. So that's going to be our frame group. And we're going to grab the door group and middle mouse and drag this into the frame geometry right there. Now what's gonna happen is the Frame group is gonna be the master controller, right? So if we wanted to move this door anywhere, we can move it like this. But here's the cool thing. If we rotate this around and moving around each individual element, if we go to the groups that control them, will still have the rotation aligned, as you can see, to their local rotation to the c-axis. So even though this is not lying to the world access anymore, due to the way our heirarchy is working, we're able to create this very nice control for the whole door. So what do you guys say? Should we do a little bit of an animation right now? I think we should. Let's do it. So I'm gonna do a very simple open or Animation of opening animation for the elements. The way we're going to do this is we're gonna be animating the groups. Remember how I mentioned that the geometry should remain completely clean. Well, there's one more thing we can do actually for the geometry, I'm going to select all of the geometries. And I'm gonna go here to the, to the attributes and we're going to right-click lock selected. That way. If I select the geometry and I tried to move it, I won't be able to move. This is something that we'd very, very frequently do with Rigs. So the animators cannot modify the geometry and they have to go to the groups. Or later on we're going to see to the Controllers to make sure that everything moves and rotates the way they want. So now that we have lost control of her geometry, if we want to animate this thing, we're gonna have to use the groups right here. So we're going to do a very simple animation. Down here. We have the time range, which is the area where we do our Animations. I'm going to change this number to one. I'm going to bring this all the way down. I'm going to change this number to 120 days or 5 s. So usually we animate in 24 frames. A second. Animation is super, super simple. I'm gonna go for the handle first. And what I wanna do is I want to hit the letter S on the group, on the handle group, I'm going to hit the letter S. And as you can see on this part right here, we're gonna get this red color that's going to create a keyframe animation for the handle. If I then move this, let's say to frame 30, and I rotate this down. Let's rotate the ulna like 50 degrees. -50 degrees. I wrote it this -50 degrees and I hit the letter S again. Select the group hit S again. I've now saved the information of the transformation from frame zero or frame one to frame 30. And if I scroll through this, you're going to see how it looks like this thing is just like moving and animating. Now, what we can do is at the same time that this thing is moving like this. We want to move the handle back, right, or the lock. So I'm going to grab the lock group, not the lock, because remember we don't animate the geometries, we animate the groups. And I'm gonna hit S. And then we're going to move to frame 30 again. And I'm going to push this in right around there and hit S again. And what's gonna happen now is we're going to have this animation where as we move the handle down, the lock is moving down or it's on locking as well. Very cool. Right? Then after this, we could grab the door group. And let's say you Frame 35. Let's give it a couple of seconds. I'm going to hit S. And from Frame 35 to Frame at, we're going to make this a slow opening. We're going to push this back. Okay? And we hit S again. So now if I go back on the timeframe with this little button right here and I hit Play. I'm going to be able to see my whole Animation working. Very, very nice. Look at that. Beautiful, right? Well, this thing that we just created here, this is a simple rake, whereas using groups and we're using Transforms to create the controls that we need in order to animate our very cool looking door here and making a, an opening Animation. Now, remember that we can of course press number three to make this look smoother. We can bring the whole geometry in. Touch upon a couple of things because a very common issues when people hit play, it runs very fast. If that happens to you, go to this little guy right here, the running dude, make sure that playback speed is set to play every frame, 24 frames per times one. Also, I believe I've mentioned this earlier, but if we go to Display, you might want to change this to Direct X 11. For now, later on we're actually going to go back because there are some tools inside of Maya don't work very nicely with direct X11. But if you have a graphics card that you change this to the X X 11, you will have a little bit more or better performance. Also, under display, heads up display, we have this thing called Frame Rate, which I have here on my lower corner, so that when I hit Play, I can make sure that it's running at 24 frames per second. And that means that the animation, I'm saying, it's the way it's going to look on the final Render. So yeah, that's pretty much it guys. With this, hopefully you understand now that there is possible for each individual element of an object to have its own group and its own control so that we can animate and modify them independently. We're now going to be talking about a couple of other heirarchy, more parenting and stuff. And we're gonna be doing a very cool exercise with a solar system. So yeah, hang on tight and I'll see you back on the next one. 44. Contraints and Controllers: Hey guys, welcome back to the next part of the series. Today we're going to be talking about constraints and Controllers. And now what I get this rig right here, this little model that we're going to be using. Now to make this a little bit more interesting, Let's just quickly go over how to create a material from Substance without having to do all of the connections. So remember, we turn on the substance plug-in and then we go here to make map for workflow. And we select multiple Maps. And if we go to our source images, we're going to have this one right here, claw, we got the rafters, normal, the mentalist and the base color. I'm just gonna say select and hit Apply. And the, Unfortunately the only thing that I think that elements is missing is for us to be able to name it some specific name. In this case, I'm just going to right-click assign existing material. And I know that it's this AI send their surface because that's the one that gets created. So this is gonna be our little effect right here. I can get the whole thing again, go to its material. I'm just going to call this M Cloth to have a property. Cool. So we want to rig this thing right here and we want to rig it in a way that weekend, make sure that everything works and behaves exactly as we want. I'm actually going to go out of the texture mode for right now. Now, whenever we starting a rig, the first thing that we need to try to understand this, how, what is the type of movement that we want and how we're gonna be achieving that moment. So for this particular arm right here, I know that I want to have a 360 degree rotation here on the base. And then I want to have some rotation along this axis right here. And then I want to have another sort of rotation along this axis right here. I want to have a 360-degree on this area right here. And then finally, we're going to have a little bit of rotation in this area. And we can add the class moving up and down. So this tells me for a specific thing that I want to create, that means that I'm probably going to need some sort of joints, right? So usually we're going to have something called a root joint, which is going to be domain joined right here. Then I'm going to have a secondary joint right here, which is going to drive my rotation. Another one right here, another one right here. One more right here to rotate this part in that specific area. One more right here to rotate the head of the Cloth. And then we're definitely going to need to joints right here, one for each claw that is going to allow me to rotate the clouds out and then back into create the whole element. This is the way we want to build our stuff, right? So we're going to start building our skeleton. I'm gonna go with my rigging options right here. I'm going to start creating my first joint. And that you're right, there's gonna be on the center of the gradient, that's gonna be my root joint. As you guys know, we can change the size of this thing to make it a little bit bigger. Now there's one thing I need to mention about joints that we haven't really covered before, and that is something called a local rotation axis. So we know that the joint is nothing more than just a group with extra, extra things right here. The thing is, joints have something really, really interesting. We can actually rotate joints around and freeze the transformations of those joints to keep the information clean. And it will still remember, you can see the little lines right there. It can still remember the original rotation it had because it saves that in a specific place here on the attribute editor called the joint audit, which has this one right here. So that thing that it's saving, it's called the Local rotation axis. And we can actually enable it if I grab this thing right here and they go to Display, Transform Display Local rotation axis. We're going to be able to see how this joint is like locally rotate it. This on not only applies to join to the place to every single object. So if we again rotate this joint and then we freeze transformations to keep things clean, you can see that the local rotation axis remains at that specific point that I left. Now, why is the local rotation axis important? Well, it's important because when we're building a rig, well, other things that we're trying to look for is we're trying to look for a rotation that makes sense. For instance, we want all of the joints to be facing are pointing to specific direction. Normally, when we build a joint chain would you haven't done yet, but when we built a joint chain, each specific joint that we have right here will be pointing in a specific weight to the next joint. And then we select all of the joints here and say Display Transform, Display Local rotation axis. You can see something really interesting. Every single joint is gonna be pointing to the next joint with the x-axis. And that again, quite important. So in our case, we want to build a joint chain that has a very specific or precise way of moving so that we can pretty much ensured that all of the transformations are working in a nice way. So in this case, I want most of the joints to be very similar to the way that our world is oriented. So I'm going to keep this joint right there. Then I'm gonna duplicate this one. I'm going to position and the word, the first rotation is going to happen, which is right here. I'm gonna go to the top you to make sure that it's right there on the center. There we go. And I can turn on this little button right here, which is X-ray joints that allows me to see the joints through the geometry. Very, very important. And we're going to start renaming this for join is going to be called a root. This right here is going to be called claw section a, because that's the first section. And then joint G and T. Let's call this a root underscore joints as well. There we go. So this one as you can see it, whereas you can imagine the will rotate in the same way as the world works and it will rotate the whole thing like that. Then I'm going to duplicate this one and I need to find where this thing is going to be positioned Since this is the next section that I'm going to be moving, I want to make sure that this thing is position on the pivot point of that object. So right around there. And that joint right there is gonna be section a B, sexual be underscored joint. There we go. So this one, when we wrote it in the x-axis, as you can see right here, this whole thing is also going to be rotating. Then we need another one Control D. We snap this one right there. And this is gonna be my section SI joint. Now, one very important thing I need to go to the top view and you can see here that the joints are actually moving in position. Is this a bad thing? Not really. We can, We can definitely make this work. Especially like you can see, joint a, join a route a and B. They're all in the same, the same positions are in the same plane. But this one right here, which is going to be moving in this part right here. It's an, a different position. Again, another big problem, but just, we just need to keep in mind that the position is slightly different because of the way where the point where we place it for this particular element, for this particular claw machine, it doesn't really matter as much where we place. It could be at any point in this step, as long as it's on the pivot point right there so that the rotation is working. That's what we want. I'm going to duplicate this again. I'm going to move this forward. And then I'm going to snap it to the point right there, because this one is gonna be rotating on the z-axis to rotate this thing around the whole thing. I'm going to grab this one now. I'm going to press Control D again, and I'm going to snap this on the front. And this one's going to be right there. That seems about right. Actually be a little bit lower. There we go. This thing is, you can imagine is gonna be rotating all of this elements in a 360-degree angle. Again, in this case by rotating the x-axis. When we wrote it the x-axis of this joint, we're gonna be moving that specific point. Then finally, this is where things get a little bit interesting. I'm gonna move this joint down and I'm going to position it where one of the clause will be moving, which will be right around there, okay? The size doesn't really matter. Don't worry about the size. Remember that this is just a visual indicator if it bothers you too much, don't worry. We can make this a little bit smaller, say number two. Now, here's the interesting part. I know that if I rotate this positive or in this case is negatively, I'm going to be opening the clot, right? Because you can imagine by rotating this like this, this thing is gonna be rotating up. But the problem is if I just duplicate this one and position it right here, and I do the exact same rotation. The negative rotation of this one will actually be bringing the claw inwards. And that's not what we want. I'm actually going to show you here, let me move the pivot point of the clause to roughly the point where they're going to be. There we go. We move this one roughly around. There we go. So if I wrote it, this one like this, as you can see, that's positive rotation on the c-axis right now, what we're going to be achieving is we're going to be creating this element right here, but we will need to move this a negatively to obtain the same result on the other side. So this joint cannot be like this. I'm going to have to Control D, This guy. Move it to the site who again to the center of the clock and then rotate this in. Why 190 degrees? You can see the axis, the c-axis is pointing the opposite direction. And that tells me that when I rotate them both, they're going to be mirroring the rotation. And by mirroring the rotation, I can ensure that the clause is gonna be opening and closing. So that pretty much creates our rig here for our element. Now the next thing that we need to do is we need to connect all of these guys. But before that, let's do a little bit of cleanup. So there's gonna be Section D, this is going to be Section E. And then this is going to be claw a. And this is going to be claw be. Gotten rid of the numbers. We don't really need them. A little bit of clean up here. There we go. Let me turn on Karnak real quick. Now. Now, as I mentioned, the only thing we need to do is we need to start parenting things. So I'm going to grab this to joints right here and I'm going to parent them to the top joint. Then I'm going to grab this term right here and I'm going to parent it to disjoint right there. Then I'm going to grab this one right here, and I'm going to parent it to this one right here. Grab this one, Shift and then P to the next one. Grab this one, or here P and there we go. And finally from here to heat, we hit P and there we go. So as you can see, we've successfully created our Rig. Again, don't worry about the fact that this is going across. We are never going to see it on the render. And the only thing we're worried about is the fact that these things are going to be doing the transformations that we need. So what are those transformations? Well, for instance, at this guy right here, I'm going to parent it to that point right there. And this guy right here, I'm going to parent it to that guy right there. So if I grab this two bones and I rotate, look at how nice we can get this rotation to look. And this is what's going to allow us to control the whole rig without actually touching the judge. I'm now going to grab this block right here, this one right here. And both of these pieces are gonna be parented to this guy right here. Again, just a quick test and as you can see, due to the order of operations, we can rotate this guy around and of course, the class are going to follow. Now we go to the next one, which is this whole piece right here, that's gonna be parented to that one. This whole piece right here is going to be parented To this one right here. This one right here is going to be parented to this one right here. And then this one right here is going to be parented to this one right here. And finally this one right here, It's gonna be parented to the root joint. So if I were to grab this guy right here, that the bone and rotate in Y, you can see that we get the proper rotation if we were up the neck joint and we wrote it on X, we get the proper rotation. But not only that, we can actually grab this guy, for instance, and the next one and rotate them both with the x-axis and look at how nice the movement starts looking. This is called a double transformation because we're rotating this one and then we're also rotating this one, which allows us to get this sort of like full range of movement. Now, the only issue with this setup so far with the fact that we've successfully created the rig and as you can see, parented all of the joints, there should be the hurricane that you have right now. The only issue with this one is that it does become especially or particularly difficult to select the bones without really like selecting other things. And even if we let, we don't have x-ray turned on, it might be even more difficult to do so. So the way we do this is we actually create something called a raid controller it control rig, which are curves that are going to drive the bones. Those bones will at the same time drive the rest of the element. Okay? Now, I'm going to try to make this as simple as possible. But I do want to mention that this is a little bit more of a complicated topic. We're actually only going to be using real control curves for this rig. In particular, we're gonna do the character on the next video where I'm going to show you the skin or skin rigging with the character on the next video. And that one's gonna be a little bit different. So for this one right here, Let's say we want to create a curves. So I'm gonna go to Create curve tools or sorry, nerve primitives. And we're going to create this circle. I'm going to scale the circle up. So that's really, really, really big. Now, as you can see, the local rotation axis of this circle matches with the local rotation axis of our joint, which is great. I actually did not change any of the local rotation axis except for this one right here, to make sure that we don't have any issues with this one. I'm just going to do a quick freeze transformations so we don't have anything on the scales. And if we grab the curve and we tried to parent the curve to the bone, this is not going to work. So we need to find a way to connect this curve two disjoint right there, which we know that joints already controlling everything else, but we need to control it are connected in a weight that does not involve parenting, because as we know, objects can only have a single parents as I start parenting more stuff on top of other things, we're not going to be able to connect. This curve right here is gonna be called route control. And we're gonna be using something called constraints. Constraints are super, super useful tools and they are indirect connections from the properties of one object to another. So if we jump into rigging and we go to the constraint options, you're going to see that we have several constraints right here. The one that we want to use right now is parent constraint. So we're going to select first at the driver who is going to be controlling the constraint and then the driven, okay, who's gonna be controlled by the constraint. So we first select a curve and then we select the joint. And we're in the use of this thing called a parent constraint. Where the parent constraint does, is it connects the translation and the rotations, as you can see right here, translation and rotations of the object. I'm going to keep and maintain offset. I'm actually going to turn this off. I'm gonna hit Apply. So what that did, as you can see right here, is now the root joint has this light blue colors on its translations. This tells me that there easy constraint connection going into this elements. And now I should not be moving this bone or rotating it by selecting it, I should move it by selecting the curve. As you can see, when we select the curve, even though the constraint is active, it's not actually affecting or it's not selecting anything else. So if I grab this and I move it, there you go. The whole thing is moving. If I rotate it, there we go, the whole thing is rotating. So we've successfully created a connection from this curve to that joint. We're gonna repeat this several times. So let's go, let's start with a new curve right here. I'm going to make a little bit bigger. One thing I'm going to do here, so I'm going to press Alt and one, sorry, alt Pt2 to hide the geometry. And I'm going to grab this curve and I'm going to snap it to the joint right there. Again, the local rotation axis of this matches the local rotation axis of the bone. So that means that we can just freeze transformations. So I'm gonna go to modify, freeze transformations so that the curve is perfectly clean. We do the same thing on the next one. There we go. Then on the next one. And you can see all of the constraints are exactly where they should be on the next one, on the next one, on the next one, and until next week. So every single bone now has its own curve. However, they look really ugly. So let's start fixing some of them. I do want this curve to be like this round around the whole thing. And I can actually already do the constraints so I can grab the curve, grabbed the joint and say parent constraint. Now if I rotate this around, we can see things are working properly. Then we can go to this one. But I don't want to curve to be like this because we know that the axis that we're going to be modifying is the x-axis. So it will make a little bit more sense if the shape of this curve was facing the x-direction. Now, I cannot rotate this around because if I rotate this, I'm going to lose the local translation and things are not going to match anymore. So here's what, where I'm gonna do. I'm gonna go, Oh my God, sorry. I'm gonna go to isolate, select this curve. And the curve has components. We already know this. We have the control vertex We can actually move the control vertex. And if we turn on our scale rotation, Let's create rotate. We can do this to make sure that they're perfectly aligned. I think I've already shown how to do this. You just press E and click and you select the screen to rotate, which is the snapping tool. And we'll just rotate it like this by modifying the components, we keep the origin of the element like clean. Another thing we can do here, and it's actually advisable is to also scale this down because as you can see, this is really, really big. So let's keep it a little bit smaller, Something like that. We're gonna do the same thing with this one. We're going to grab all of the components, rotate them around so they perfectly flat and 90 degree angles. And then we can make them a little bit smaller just so they are closer to where we want. Same for this one. We're going to isolate it, select the vertex, rotate them around, and then scale them a little bit so they match this area a little bit better. Same for this one. We're going to isolate, go to component, rotate the Components, scale them down. A lot smaller because it's a small piece usually as we get closer and closer to the final points, curves become smaller and smaller. So this one right there, that's the one on the front. So we're going to scale this down, rotate this sideways. Now to perfectly match the size because as you can see here, we get slightly different sizes. By the way, we can actually push this out as long as we're modifying the compounds, we can push them out and it's gonna be perfectly fine. This one is right there. What's supposed to be? I'm going to delete this one. I'm just going to Control D. And here's the thing. This one right here needs to match the position of this one because you can see the axis are not matching. So first I'm going to snap it to that point or to the joint. And then I'm going to rotate this around so that it matches the new translation. So this thing right here now the translation or the negative, if I grab both of them and I wrote it with X, you can see that they're gonna be rotating in the exact same way. However, we do have a little bit of a problem here with the y-axis. Actually it's not that big of a deal. So in this case you can just do not confuse anyone. I'm going to keep it like this. So all of the Curves are ready. Now we need to start doing the constraints. So this one to this one we parent, and let's just do a quick test. There we go. This one to this one, we parent, parent constraint. And there we go, perfect. This one, this one we parent. And there we go. It's working nicely. Now, you might notice that when we do this, the claws are not following. I'll explain why that's happening. It just a second. So this one, this one parent constraint. We rotate. There we go. There's 12, this one. Joint parent constraint. There we go. Finally, this one to this one parent constraint. And there we go. So the reason why things are no longer following each other is because we pretty much broken the connection from the different elements. We've, we're now telling each section of the bones that they should be following the curves. But now we need to tell the curves that they should be following each other. So this guy's right here, we're going to parent it to this one. This one right here, I'm going to parents to this one. This one right here, I'm going to parent to this one. I'm just selecting and then shifts selecting the next one. And we're just parenting one of the curves to the next one. And as you can see, this is going to create something called a hierarchy. Already, we've seen before, and this is what we should get. So now if I rotate this one right here, you can see that we're properly controlling the rig that we want. If we rotate this one right here, we're properly controlling the rig. It we're grabbing this guy right here. We're also like properly controlling the rig and we can even go to the little small curves right here. And opening clause, the clause at any point. And remember all of this, this has nothing to do with Textures, but we can now see the texture is actually in motion. You can see how all of these things can start looking really, really, really cool. So this my friends, is the Basics of rigging a properly regulate what we have right here involves having meshes attached to bones. This is a normal parents attachment, but we're going to see skin in the next video. And then we use Controllers to drive or move those bones. That's the way, again, in general terms, that's the way how rigging works. And hopefully with this little tools that I give you, the ones that we saw with the door. There's ones that we're seeing right here and the ones that we're going to be seeing on the next video, you can try and create some small simple Rigs. However, I do need to warn you, rigging is one of those things that's very technical. In order to do a proper full production rate, we're going to need a lot more classes. So we're probably going to have to cover that in another lecture or in another course. But again, this should be basic enough tools and the fundamentals of how reading works inside of Maya. I'm going to stop the video right here, guys. And in the next one we're going to take a look at skinning because it's an important part of the processes. Well, especially for characters. So hang on tight analgesia back on the next one. 45. Skin Clusters: Hi guys. Welcome back to the next part of the series three. We're going to be taking a look at skin Clusters and we're going to be doing a simplified exercise where you simplified version of our monster character. So you can find this file as monster arms. I'm actually going to save this as monster arms are Rig because we're gonna be finishing on this one. And we're going to talk about how to create a proper rig for this thing right here. So the first thing we need to do is I'm actually going to duplicate this arm because we're going to be using a copy of this arm to showcase something a little bit more interesting on the next video. Now, we're going to go to our rigging option right here, and I'm going to start with a simple adjoint selection. I'm going to start drawing my joint at the shoulder. Then I'm gonna go to the elbow and then I'm gonna go to the wrist right here. As you can see, I modify the arms slightly. I give it a little bit of a bent again because of something we're gonna be doing shortly. And that's it. That's all I need. The next thing I'm gonna do is I need to create a chain for the fingers. But something very important. Remember that we talked about at the local rotation axis, which are the axis in which bones are rotating. Well, if we take a look at the local rotation axis from this one's right here, Display Transform, Display Local rotation axis. You're going to see that every single bone is pointing to the next one with the x-axis except for the wrist bone. Now, it doesn't really matter that much because the respondents not gonna be affecting us that much. But one thing we could do if we want to make sure that the wrist bone, it looks a little bit nicer, is a week could match the rotation of the wrist bone with a D rotation of the elbow bone. Here's how we're gonna do it. I'm going to shift P two on parent the bone right here. And then I'm going to select the parent driver and then the driven. And we're going to constraint using an orient constraint. What the Orient Constraint we will do is you can see is it will copy the exact rotation that we have on the elbow and it will give it to the wrist. Now, this constraint we don't need anymore, so we're actually only using the constraint to get the rotation. And then we just parent this thing back. There we go. Now if we go to the first one and we freeze transformations, all of the information on the rotations and things of the bones are going to be erased and where we're ready to go to the next part. So as you can see, all of the joints are pointing in the same direction. They're pointing with X towards the, for the foreground or the, towards the hand. In this case, I'm going to move this thing up. Let's go to the front view. Tried to get this as close as possible to something like that. We can even rotate this a little bit. Or actually, I'm just gonna keep it like this. I know there's a little bit of rotation there, but again, it's not gonna be a big deal for this exercise right here. So let's go to the top view and now I need to create a the bones for the fingers. And as we know, fingers have the metatarsals right here. And then we got the actual finger bones. We're going to have like this. So as you can see, it's four bones that we want starting right here. Some people actually like to ignore the metatarsals. That's what we're going to do. So I'm going to start with my ring bone and I'm going to press one and then Shift and click the next one, shift and click the next one right there, and then Shift and click all the way until we hit a little nail. And that's it. Now, why do we need to press shift? The reason why we need to press Shift is because we wanted to make sure that all of these fingers are perfectly aligned with each other. If we go again to display it Local rotation axis, you're going to see that all of them are properly placed. Going to bring this all the way to the top. And now we can start positioning them where they're gonna be, like moving the elements. As you can see, the fingers not perfectly straight. So what we can do is we can slightly rotate at the elements here so they match a little bit better. Once we're happy, we again go to freeze transformation. And as you can see, that's going to clean up our transformation. Now this one will just duplicate, which is duplicate this whole chain. Let's go to the top view. And we're going to position this on the center of the next finger. And you might see here that we need to move these things a little bit. Now we know that we shouldn't move the bones because if we move the bones, we break the rotations right there. But one thing we can do, we can scale them a little bit to, for instance, I'm a scaling that one a little bit, them in skilling this one a little bit as well. And there we go. So now that we have this again, we just freeze transformations and all of that information is gone. Finally, for the thumb, and this is very important that we're gonna duplicate again, go to the top view. I'm going to move the top bone right here. We're going to rotate this around, so that's on the center of the thumb, right around there. And we are going to have to position it properly. So we're gonna go to the first bone. We're going to rotate this down. And you can see that the axis of the bonus not perfectly matching the thumb. So we're going to rotate this a slightly, something like this. Let's turn on X-ray so that we can see them. And then we are, we're going to bring this back. We're going to push this a little bit further up, right around there. There we go. With this one. We're also going to push this back. There we go. We're gonna do something like this. Perfect. Again, we're going to freeze transformation then this guy, and now we're going to grab all of these three guys and we're going to parent them to the wrist bone. This is how we create a simple rig for this are now the title of this video as another skinning or joints, it's actually scanning, right? So we need to create the skin because what we wanna do instead that we want to modify, We want to move around this whole thing here for our hand. The problem is that we cannot do it easily, like what we did with the robot, because every single piece of this arm is connected to each other, right? So with a robot, it was easy because parts were segments of each other and we could just parent them to the bones. In this case, we cannot do that. Now, one thing that we definitely need to do is we need to rename this. I'm going to call this our shoulder or elbow Elbow and then our wrist. And then we start with the fingers, now the thumb actually, I think we have more divisions that we need on the thumb. The thumb usually has only two divisions. So I'm going to push this forward. It's gonna be the first division. We all know that's fine because we have this, okay. This section right here is gonna help us with the thumb, is going to help us do this or like a cup shape. But the finger, It's actually starting like a little bit further out. That's fine. We can leave it like this. So this is gonna be our index one. And I'm just going to copy the name and it's going to be index two, index three. And this is gonna be indexed for, this is gonna be our thumb one. There's gonna be thumb to, there's gonna be thumped three. This is going to be thumb but four. And then this is going to be, we're gonna call this middle. So this is gonna be our middle one. Needle, one, needle to middle three, and middle four. There we go. So now we have everything here, are ready. Now again, I'm gonna duplicate the whole system here and I'm going to move it back so that we can have it for this other one because we're gonna be doing something very, very similar, or I'm gonna be explaining a difference in rigging shortly. This is we don't need, there we go. So the way rigging or skinning works is we need to select all of the joints that we want to modify a specific geometry such as this one. Let's leave the geometry or freeze transformations on the geometry that's very clean as well. And this is how we do it. I'm going to select the shoulder, the elbow, the wrist, and all of the fingers, all of the elements except for the tips. We're not going to be selecting the tips because the tips are actually not doing anything. They're just there as a visual purpose so that we know where this bone is pointing towards. But we're not going to be actually adding any way to, to those particular types. So we select everything except for the tips. Then we select Shift, select the geometry. If we go to the reading options, we can go to this option called skin and we can do an option called Bind Skin. Now the options that I usually like to use our bind to select the joints bind method, geodesic boxer, which is a final one, and max influences set to three. By default, these are the elements, so we're going to change closest distance to geodesic box hold and match implicits. I like to use three. The more influences you have, the more like some the whole weight can be, but it also makes it a little bit more complicated. So I'm going to keep my max influences to three. In this case, I'm gonna hit Apply. Now, as you can see, what happened is my joints change color and if I select any of my bones and they move them around, you can see that they're actually going to be moving certain parts of the geometry like this. If I grab this one, for instance, and they move it, they're going to move the finger like this. However, there's a little bit of volume loss happening right here. And that is because every single vertex that we have in our elements will have a specific weight assigned to it. And we need to check how to modify that weight in case we want to modify the way this looks. So as you can see, for instance, when I do this right here, we're listening a lot of weight here on my little knuckle, right? So what I'm going to do, so I'm gonna select that the skin, I'm gonna go to skin and then paint skin weights. And I'm going to double-click this tool right here. The paint skin weights tool is a rather complicated tool, but it's, it's what we need to use in order to fix the skins on our character. So let's say we will go to our index two, which is this one right here. As you can see, there is an amount of influence that this bone is exerting over all of this vertices right here. I actually like to go down here to the geometry Color and change this color ramp. So that's a little bit more obvious. And you can see here that there's a little bit of a gradient going in this direction. Now, if we want to make the knuckle not lose as much influence, what we can do is we can add a little bit more weight to this, our index two. Going to the paint mode, we're going to go to Add, I'm going to start with a value of something like 0.1. I'm going to also go down here to the brush options to stroke and the brush radius. I'm going to minimize it to like 0.5. So if I start to click here, you can see I'm adding more weight to this area. And this is pulling the vertices from the previous part of the finger and getting it closer to this section right here. I can also do it, for instance, on this area right here. And it's gonna make the finger a lot more puffy, which is going to look quite nice when I press number three, because as you can see, it's gonna give us this very natural look of how we have or how fingers look when they bent. Okay, let's go back here. And another thing we can use for instances, we can use the smooth option to smooth the weights a little bit. And that should give me a little bit more of a relaxed effect. Now, let's bring this thing back. Let's, you can see now with fixed the weights, they're a little bit, Let's bring this thing back to a zero rotation. And one of the elements that very frequently gets problems is the tips of the fingers. So you can see by doing this, we're also losing quite a bit of a volume right there. So let's go right here again to our paint tool Instead of going to the index two, we're gonna go to index three, which is the final one we'll wanna do is we want to give this, I'm going to go to F, and we're going to give this a little bit more volume, especially on the round sections of the finger. All of this, I definitely want to have pretty much like full volume light ray, full weight control on all of these areas. This is telling the bone that all of this parts of them are bending, should be moved when that finger moves. Let's go to this mood option. Smooth a little bit here on the top part. A little bit of influence on other parts of the fingers is usually good because there's things that are usually moving around them and model from. But look at that as you can see, data movement right there. It looks a lot better than if we compare it to this one right here. Move it, it looks a lot more wonky, right? So as you can see, this one looks a lot more natural. Now, remember when we were doing, earlier in this video, we're, we're doing the bones. And I told you that there was very important that all of them were very straight. The reason why we want all of them to be very straight is because when we wrote it the fingers, we want to only rotate one single axis, as you can see right here. In this case the c-axis, we only want to rotate the c-axis to make sure that everything moves as expected. And look at how nice that whole thing looks. This system that we just built here for the hand is called an FK system. Forward kinematic meaning that if you want to move the nail and make it look somewhere else, we first need to move the base of the finger in the middle of the finger, and then we do this one right here. But as you can see, this allows us to create a really nice cartoon looking skinning and the generate deformations that would be impossible to molars called. So, yeah, that's pretty much it guys. Let's do one more exercise. For instance, here on the elbow. If I move the elbow, you can also see that we lose quite a bit of volume. So I would like to fix that a little bit. We're gonna go to our paint skin tones. Let's go to the elbow. And one thing I can do is I can say, Hey, all of these points, Let's add a little bit more value to those points. So at the elbow looks a little bit straighter, same for this things right there. Then we're gonna go to the shoulder, which is the first one. And we're going to add some volume to the shoulder right there. That's why we added remember how we added some initial divisions when we were modelling this thing, those divisions were precisely to generate a more like a nicer effect when we do this advance right here. There we go. So the shoulder looks a little bit better now the elbow definitely needs to be fixed. Let's go to the elbow again. I'm gonna make my brush really, really, really small. Let's go to a 0.01. So we're only painting disguise right there. And we need to paint them a lot closer. They're painting weights unfortunately are now unfortunately, but it's one of those things a lot of people hate doing or don't like doing as much because he definitely SEE time-consuming process. But it's a very, very important process of the whole rigging situation because thanks to this process, we can create a very nice informations for our characters here. How wonky it looks in certain areas, in certain areas right there. I'm going to be using, again my element here to create a nicer cleaner transition. There we go. So of course, if we wanted to make this arm a full functioning rig, one of the things that we will need to do is we will need to add the curvatures are the curves that we added for them. Well, what's it for the remembering the Cranor in the little claw will need to add Controllers because we don't want to be controlling the bones and animating directly on top of the bonds. Now, as I've mentioned before, we have this other joint right here. At this other hand, I just want to explain a very quick system before we keep going onto the next part, which is going to be Animation. In order for me to explain this quick System, we are going to be reusing the same skeleton. So we're gonna be talking about IK handled on the next video. Hang on tight and I'll see you back all the next one. 46. Ik handle: Hi guys. Welcome back to the next part of the system. We're gonna be talking about IK handle right now. And the reason I want to talk about IK handles is because we're going to be using them when we rig. And it's, it's an important concept to understand. We might not be able to recreate the full Rig during this course because that's a whole course on itself. But hopefully with all of the concepts and principles that we're learning it right now, it will be a lot easier. Wants to start learning a little bit more about rigging. So I'm gonna go to the second element right here. I'm going to select all of my joints except for the tips. And then I'm going to select the hand and we're gonna go skin and bind skin. We're not going to do any like skin fixing right now. We're just going to do this quick selection. And as you can see, if we start moving things around, like everything seems to me being perfectly fine. Well, sometimes for character that's especially with hands and feet, it's a lot easier to position where you want the hand to be and try to make sure that everything else on the chain is following you along. This is called IKEA's. An IK stands for inverse kinematics. So when doing movements most of the time or for a lot of things, we use this thing called for working the magic. Where if we want to position this hand in a specific position, let's say like a peace sign or something. We select all of the elements and then we start moving them on there. What's the word? Starting from the base of the element and going all the way to the top until we get the exact result that we, that we wanna, we wanna go for. But sometimes again, it is a lot easier to go the opposite direction. We grab the outer component, which in this case is the hand. And we move the hand around and we expect everything else. In this case, the elbow and the shoulder to accommodate with the position of the hat. Now, for this thing, we're going to need an extra components. I'm going to create a nurse primitives circle. And I'm going to position this circle back here. This one's gonna be important because it's gonna be the position or the point where our shoulder is going to be pointing to. Let's freeze transformations to have a clean effect. And there we go. So IK handles are really simple to make. We just go to Skeleton and we create an IK Handle. We start at the top bone and we go to the bone that we're actually going to be moving, which in this case is the response. As you can see, a little line is created from that top bone to this guy right here and we get this thing called a locator. Now if we move the locators, you can see everything else is going to be following. And we create this inverse kinematic system where again, the elbow is following along. However, let's say we want to position the hand in such a way that it's saying hello, Well, we need to move the elbow, right? Like we will need to move the elbow into this or like L-shape. And that's where we have this thing right here. Because we need to create something called a pole vector, which is like in the stabilization thing and civilization constraint so that the elbow knows where it should be pointing. So I'm going to select the curve right here, which is gonna be my controller. And then I'm going to select this IK Handle. And I'm gonna do this thing called skeleton or sorry, constraint. And it's a pole vector constraint. As you can see, a new line gets drawn right there. And now if I grabbed this group and then move it around, you can see the elbow is gonna be trying to point to that specific controller. If I want to say hello, I grabbed the hand, move the hand up, and then I grabbed the elbow and move the elbow forward so that we get this sort of like L-shape. And the hand is saying hello. And again, it's a lot easier to animate this movement because as you can see, we would only need to animate the IK controller and everything else is gonna be following instead of having to animate the whole system. So this is why the IK handles are so, so helpful. Again, we're not going to be able to do a full production ready IK handle for the character. It will take a lot more time to do so. But hopefully with this, we're understand. And once we go into the actual Animation section, which is gonna be next chapter, all of these concepts are going to make a lot more sense, okay? So I can handle versus FK systems or FK systems versus IK systems. Very important part of the rigging of a character. And hopefully with this example, it's a lot easier to understand how they're used and how we can create cool Animations width. So that's it for this one, my friends, this was a short chapter, again, just showing you the basics of rigging. What groups are, what constraints are, how Rocco rotation axis are important, but would rigging there. So a lot more information out there that you can, of course, research to create a more functional Rigs. This information that they just share should allow you to create simple Rigs for simple props like weapons, like the robots that we saw, the doors, simple environment elements. All of the points and things that we learned should be available for you and should be useful for you to create this sort of Rigs. But for more complex rinks, for character rigs and stuff like that, There's definitely more information, information that needs to be learned. So we're going to stop right here. And in the next chapter we're going to start looking at the principles of Animation. We're going to start animating. So hang on tight and I'll see you back on the next one. 47. Principles of Animation: Hey guys, welcome back to the next part of the series. Today we're going to start with Animation. And I mentioned it's one of those things that I would say about half of the people that get into the 3d industry is because they want to do animation. The other half is usually aren't like a characters and creatures and stuff like that. But a lot of people getting to 3d because they want to do animation. We've seen Pixar movies, we've seen Disney movies, and we want to animate. So I'm gonna show you here very quickly. We already did a little bit of Animation. I show you how to set up keyframes and how to modify some of the graphs right here. But we're going to talk about a couple of setups that are very, very important to get at the best approach right here. First of all, we need to make sure that we are working with a frame rate at 24 frames per second on our time slider. And we're going to set our playbacks. Pt2 playback speeds play every frame, 24 frames per second times one. Usually this is set to free. And if you have a powerful computer just froze like super, super fast, that's not what we want. Now, some of you might be wondering, where are we doing 24 frames if games and a lot of the entertainment industry nowadays use a 60 frames per second. That speaks of tradition pretty much like it's not because we couldn't do it this because from a traditional, from a, a history perspective, every single thing that we normally see in TV shows and movies and commercials and stuff like that is done at 24 frames per second. It also keeps the render times slower because instead of having to render 60 frames, sometimes rounded frames can take up to 1 h 2 h a full day to Render. Instead of having to wait all of that for 60 frames, we only do it for 24 frames per second. So that's the first thing that we're going to change. The second thing is going here into the display. As you can see, I'm using the rendering engine indirect X 11, which if you have a dedicated graphics card, it should be working very nicely and you should have a good performance. Make sure that if you're not like something's working wrong or you're not getting the results that we're expecting. Direct X 11 might not be the best way to do it. And we can go to OpenGL core profile, straight Oracle profile compatibility. Any of those other things that we need to change is over here. There's this thing that's usually are on, which is called the cache hit Playback will probably use it a little bit later. And lastly, but not least, this thing right here. This is very, very important. We always want to make sure to see how many frames were at, how many frames we're running so that we can get a good result. So to display the frames per second, we're going to go to modify this play heads up display and then frame rate right here. So make sure that one is set to on. So what I'm gonna do here is I'm going to actually import our barrel, render. It go. So barrel Render, which already has a nice celebrate here, I think the only thing that we need to change is the intensity over here on the exposure. It's going to set the exposure to a minus two so it's not as intense. And if you guys remember, we can already turned the lights on. We can turn the Textures on lights and shadows and everything to get a really, really nice preview of how things are looking. Now, if we go here to show, we can go to Viewport and saying none to show nothing. And then we can press Alt to is the shortcut to only show the geometry. So this is a very good way to quickly get something working inside of our, of our scene. Now, we're going to be doing the traditional bouncing ball exercise for animation so that we can learn a little bit about the basic principles of Animation. Before we jump there, I always like to do a little bit of history lesson about the principles of Animation. So if we look about, if we look principles of Animation online, you're gonna see that there are 12 principles of Animation that happened used for a lot of years now, I would say almost like 100 years. And at this principles of Animations have been polished and perfected by two very, very important in guys who were Ollie Johnston and Frank Thomas. Ollie Johnston and Frank Thomas, where this veteran animators at Disney, they help with all of the bag classics of this. And they'd like Snow White, the Alice in Wonderland, The Jungle Book, all of this like the old-school Disney films. They were the ones in charge of doing a lot of the Animation. And not only that, they were in charge of training all of the animators that came after them. I was lucky enough to, I've never met them, of course, but I met a teacher, or sorry, one of my teachers was a student of one of their students. So this guy is taught someone, that someone taught another person and that person thought my teacher. So any certain way, I learned some of the principles from them. Not directly, of course, but I'm just saying that all of this information has been passed down through generations of animators into everyone who's learning to 3d industry. So by the way, the, the animator I'm talking about the teacher that taught me traditional animation is this guy right here, roll €1 junior, this guy. So he worked at this name from the 19 from 1995 or something like that. He learned from Glen Keane. He will say Lincoln is the super famous animator as well. And again, if you keep going down the line, eventually you will reach Ollie Johnston and Frank Thomas. This book right here, The Illusion of Life. It's an excellent book that you can get. It's relatively cheap and it's really, really good to understand the principles of the things that they were doing in their Animations, to make things look as believable as possible. And one of those things where the principles of Animation, I strongly recommend you watch this video right here. I'm not going to include that. I mean, I didn't do it by Alan Becker An excellent 2D artist as well. And he explains a little bit more of the principals hadn't mentioned in-depth show, just write it down somewhere around your desktop. Alan Becker, 12 principles of Animation so that you can learn a little bit about what each of those do. But the principles of Animation are all of the steps that we follow in order to generate realistic looking elements. And we go through things such as squash and stretch, timing and motion anticipation staging, all of these things. We're not gonna be able to go in depth to each one of this, but we are going to be using some of them in our animation here inside of Maya. So I'm going to create this fear, just a very simple sphere. What I wanna do is I want to do a simple animation where this sphere, It's coming down, bounces on the barrel and then bounces and lands right here at the side of the barrel. So the way we work in traditional animation, Let's add a new material to this guy. So let's go Arnold, standard surface. Let's do this. A red sphere. There we go. So the way animation work is through something called Key Poses. We're gonna look at key Poses a little bit better in the next couple of videos. But we need to find where this object is going to be at specific points on the time, right? So animation is nothing more than motion through time. The more time you have between motions, the slower the animation is going to look. The last time that you have between motions, the faster the animation is. Go look. So we're gonna go to my wrench lighter over here. I'm going to set this to one. So we're starting to frame 1.40 frames should be more than enough. So in frame one, I want my little sphere to start. I'm gonna go to the frontier to keep this as straight as possible first. So I want my little sphere to start a little bit right around here. So as you can see, it's roughly one size up from the barrel. One thing we can do, by the way, remember from the rigging things that will learn as usually we want our objects to be perfectly clean, so we're not going to be animating this sphere right here. I am going to do a very quick but, but, but, but, but I'm going to lock selected so that we can't move it. I'm going to Control G to create a group. I'm going to center the pivot point of that group. And then let me just turn on Carr next is off for some reason. And then I'm going to create a curve. Remember the curves that we've been using? I'm going to create a curve when I press Alt, want to see the curves. So otherwise we're not going to see them. And that's the curve that we're gonna be animating. So I'm going to the selected curve. This is going to be my ball. Control very quick rig right here. I'm gonna get a group inside of the ball control. So if we move the ball Controllers, you can see we're going to be able to animate our element. Now of course, one thing that we wanna do here is before we do that, before we do the parenting, the bulk control, we're going to freeze the transformations as well. So it's perfectly clean. Now we get the group instead of the bulk control and against the ball Controllers, we'll, we're going to be animating. So we're going to grab the ball control and we're going to place this right at the site of the barrel and we're going to press S. By pressing S, you can see that all of the channels here on our elements change to red. That means that we have a keyframe set. So Maya remembers that this curve with all of the things that it has inside the group and the sphere should be right here at this point in this moment in time. Let me turn off the shadow so that we're not distracted as much. And then actually I'm going to bring it a little bit higher. So right around there. And again, I'm going to press S. Now I do have this option turned on over here. It's called auto key-frame. So when my other texts that there's a change, it automatically creates a keyframe. I do recommend it. Just keep, keep in mind that if you're going to be activating it, you're going to have that active. And you might get extra keyframes where you might not want. So be very careful about how to keyframe, a really handy tool. But again, can be tricky at first. So now that we have the first position, I'm gonna go to frame, I'm going to say Frame ten. And in Frame ten, I'm going to leave the ball right here on top of the barrel. Right there. There we go. I'm using the shaded mode and everything to make things look a little bit nicer, but you can actually animate with nothing but the basic why from Color. So let's go back here. There we go. No shadows. Perfect. So at frame ten, the sphere is going to be right there. So from frame one to frame ten, as you can see, the sphere is gonna be going all the way down to frame ten. Then at friend Frank ten, let's say Frame 15, actually Frame 14. We're going to move it right around here. It's going to bounce a little bit to the site. And then in Frame, we're gonna give it a couple more frames because the fall is a little bit longer. So I'm gonna go Frame 20. The sphere is going to fall, let's say right here, I want to like a short, a short bounce. Then from frame to frame 24, we're going to bounce a little bit up. And then from Frame 24 different 20th, we're going to bounce down to the floor. And then from Frame 20th, Frame, let's say 30. So very small balance which is going to bounce up a little bit. And by Frame 32, we're going to be back into the floor. If we go back here in our timeline and we hit play, first of all, I need to make sure that I'm running at 24 frames per second. It seems like I am. And now I need to see how the animation is looking depending on the speed of the animation that I'm seeing. As you can see, the bounces here look quite nice, but the first vowel is right here. It looks really, really weird. It looks very, very slow like all of this range right here, I think, I think I gave this thing ten frames. It's a little bit too much. So how can we move this frame or all of the frames without affecting the animation that we already have. We can press, Shift and drag at the top of all of the streams and then use this middle elements to move this back. So I'm gonna move this to frame like sex. So we've got 123456 and then boom, boom, boom. Now we're not going to need all of this range right here. So I'm going to make this number all the way down to 40 so that we're only appreciating this things right here. Cool. So this already is giving us an interesting result. However, we're not taking into account any of the principles of Animation is that we should, in order to get a better effect. Right now, the first thing I want to work with is the timing. Because timing wise, I feel like the bounce is a little bit fast on this part right here. So since this is the biggest bounce, I would expect that want to take a little bit longer. So I liked the distance 10-16, but I think 6-10 is too short. So again, I'm going to shift and select all of this guys. I'm gonna give this two more frames. That way we get six to 12 and then 12 to 15 right there. Cool. Now, again, the animation is looking okay, but we need to polish this way, way, way, way, way more. To do this, we need to go to the graph editor. So I'm gonna go Windows animation Editors, Graph Editor. Some people like to Dr. Animation editor right here. I'm gonna do it just to, to see it a little bit better. You can also, if you have multiple monitors, you can have it on a separate screen. But the graph editor is really, really powerful tool that we can use to generate something really interesting here for our sphere. So I'm gonna go to the translation in Y, which is the most important right now, right? And the translation in Y, as you can see, it's showing us the way that this sphere is moving through the y-axis. So up and down along the time, this is the value that the Y is changing, and this is the time in which it is changing. So you can see that even though it looks okay, this doesn't look like a bouncing like trajectory that we would draw on a piece of paper. Write what we need to modify the tangents. Remember how we modify the tangent and with the planets to make sure that the continuous spin was continuous. What we're going to do something very similar right here. For instance, let's talk about the first jump right here. I would like this first jumped to build a little bit more floaty, a little bit more like this, like this sort of like U-shaped where it hits the barrel and then it bounces back. But you can see we have a problem when I'm trying to adjust that floating is that I would like the first bounce to have where it starts getting it like gravity and acceleration. We modify the second part and we need to find a way to modify this. If you have worked with this sort of like spline things before with this handle, you know that it is possible to break them. So I'm actually going to grab that little diamond shape right here. I'm going to press this button which breaks the tangent. And now I'm going to have the option, as you can see right here, to change the independently each one of this little legs. Now this one right here, as you can see, this is the next trajectory. I'm actually going to move it up with middle mouse to make it a little bit more floaty. And we're gonna do the same thing over here. So we're gonna do this. And we want this element right here to look like a nice flow, the trajectory as it's going down into the floor. Same thing over here. This one should be a little bit more floaty, so I'm going to break the tangents on the points where it touches the ground. And there we go. We don't really need to break the tangent on the last one because the last one is the final point. And look at how different the object is going to look. Thanks to this modification that we did on the tangent. There we go, way, way better, right? As you can see, this makes the whole thing look a little bit nicer and we get a very interesting result as it bounces down from the barrel and into the ground. Now, I can definitely see, for instance, that to translation here on X, that's our next graph. If we take a look at the translation on X, I can see it's a little bit bumpy, which means that it's going in a good direction right here, but it's a little bit wonky. And at the end of the day, I just want a very nice smooth transition from one point to another. So here's one thing we can do about at the curves. We can actually delete them. We can delete all of those keyframes and say, Hey, you know what? I want you to start a little bit faster on your acceleration at first, and then it slowed down as you get to the ground. And now as you can see, the ball is going to bounce on the barrel, bounce out of the barrel, and bounce a little bit closer to the end. So if we take a look at the whole animation, that's where we get. I think that the second-to-last balance could be a little bit bigger. It's a little bit small. So if we go again to translate Y, we can grab this point, for instance. And again with middle mouse click, we can modify its value. And what we're doing if we go to frame 22, you can see here in real-time what we're doing is we're changing the position because again, remember this graph represents the value that we have here on Y. So let's just make it a little bit bigger so that we have a little bit more of a bounce. Same thing on this one going to make it a little bit bigger. And that should make it a little bit more. There we go. I think now that's a little bit too much. So I'm going to grab this one again, just lower it a little bit and take a look again. Animation this a lot about trial and error. Okay, we're gonna be doing a lot of stuff and we're going to be seeing the Animation and seeing where it looks good and where it looks like a little bit off, I think now what I see here is that the last point of Animation, this one, it's a little bit too intense. So I'm going to bring this one even lower. And what I'm gonna do actually here is I'm going to displace with middle mouse to the site. That's gonna give me one extra frame. And it's pretty much as if I was moving the elements over here. And as you can see, that's also going to make it look a little bit more. Actually that didn't work. Let's Control C. Let's keep it like this for now. So when we hit play again, you can see that our little sphere is looking quite, quite nice. We got a nice balance from the barrel going into the floor. It looks like a solid ball, right? It doesn't look right now like a plastic sphere, like a plastic ball. But it looks really, really good. And you can see here, we can actually see this from a 3D view. And we're gonna be seeing a very nice effect as well. I'm going to stop. It'd be the right here. This is where I want you guys to get where as you can see, we're only doing two things right now. We're moving the sphere for work in the x-axis and we're moving this up and down. In the next video, we're gonna be talking about squash and stretch, which is one of the principles of animation that's gonna make this whole thing look a lot nicer. So hang on tight and I'll see you back on the next one. 48. Squash and Stretch: Hi guys, Welcome back to the next part of the series. Today we're gonna continue with the squash and stretch. Squash and stretch is a principle of animation that we use to describe or to show how the volume of an object changes as it goes through the motions of physics. So when we have this sphere right here, we say to ourselves that this is fear as the balance, like grab these and other affecting it. It's not changing anything, but that's it starts accelerating graphics. It's pulling the lower part of the sphere stronger than the upper part. So what we're expecting to have here is right before we end up and we touched the base of the barrel, we would expect to see a little bit of a stretch on the element on the sphere. So I'm gonna grab my curve again and I'm going to scale it up a little bit. I'm going to say something like 1.3. I think 1.3. Now to balance things out because we don't want to lose volume. So to balance things out, I'm going to set the scale on white 1.3. And then on this point right here, I'm going to say this 2.7 and 0.7. So by doing this, what we're doing is we're basically changing the volume of our sphere so that the remains stable. Now, that's on Frame 51, frame before the hip. If we go back to frame one, as you can see, we have a scale of 11.1. So as we started approaching that point right there, look at how nice this starts looking right? We start getting this very cool effect. I'm going to turn off the grid, which are getting this very cool effect as how the ball is stretching before they hit. Now, what I can do here is I can actually go to this one. I'm going to rotate a little bit so that we're pointing towards the point of impact. Now what we have this as this, the sphere rotates a little bit. And then on frame six, what we would expect to happen is something called a squash. So first I'm going to bring back the rotation to zero. And I'm going to switch this 0.7 on C and 1.3 on the other ones. And this is gonna be my swatch squash, squash. So I'm going to bring this down so that it actually touches the barrel and it looks a little bit more realistic. There we go. So we're going to touch the barrel right there. And this is what we're gonna have. We're going to have a very nice animation of the sphere, starting completely spherical, stretching out, and then squashing rather sit touches the bear. Now one Frame immediately after this, we would expect this thing to be, again Stretch, but not as much as what we had before. So I'm going to change this to 1.2 and this is gonna be 0.8 and 0.8. This is going to give me the sort of like squash effect that we have right here. And now that direction is going to change. We're going to be moving in this direction. So we're going to have this squash and then bloop, Stretch. And what's gonna happen? We're gonna keep moving, moving, moving, moving up to Frame 12th, which is our highest point in our curvature. In here, I would expect this fear to go back to zero like this. So back to zero or rotate, see and back to one on the skills, I have again, auto key-frame set up. So all of these changes that I'm doing on these specific frames are being saved. So this is what we got. We've got the sphere going in the squashing as it touches the barrel, and then going back to normal. Then as it starts going down again, one frame before it falls, I would expect this thing to be Stretch again. So we're gonna do 1.2, 0.8, and 0.8 to get some nice stretch. I really don't need to rotate a lot because as you can see the point of what's the word the point of impact is very close to just maybe a little bit right there. And right here. We're gonna do it the opposite. This is gonna be 0.8, this is gonna be 1.2 and 1.2. And we're going to rotate this and just move it a little bit. So the base of this fear touches the graph. So we get Stretch and squash one frame after this, we will expect this thing to be in something like a one-point one. I'm going to see 0.9. 0.9. Well, sorry, 0.09 or sorry, point tonight. There we go. Endpoint night, there we go. So this one would be pointing a little bit towards the next objective. So we keep going up and right here, we would expect this thing to be at one. And again the rotation at zero. So this is what we're getting. The sphere goes, does it squash, and then it bounces back and regains its volume, starts going down. And then here we're gonna have our final squash. I'm gonna just wrote through this as likely it's going to be very, very solid. So something like a 1.05. Just very, very seldom there's one will be 0.90, 5.0, 0.95. Right here. We will expect to see a zero rotation, a 0.95 on this 11.05 on scales. To account for the change in volume. We've got the curve and there we go. On the last balance, we really don't need anything. We're just going to bring this back to one. And the final balances just gonna be right there. So now let's take a look at how this looks with our AR balance. And they are squash and stretch point, point, point bonds. There we go. Look at that. Beautiful, right? It looks very cartoony. Of course, this is a little bit exaggerated, but you can see how easy or how nice we can get this thing to look by just adding a couple of extra little tweaks. And it's just the little one thing that we added. Was it just adding that extra Squash and stretch before the main poses that we added on the element. So that's pretty much it as you can see, this gives us a really, really nice result for our little element. And one of the cool things about this, I'm going to save this real quick is that I can go to my camera. I got my render setup over here. So I'm going to say Show All we go to the camera. We can find a nice setup for the camera. Let's make the foreground a little bit bigger. And if we find a point where we see both elements, there we go. Something like this, even, even like having this fear slightly out of frame at first. And then it goes into frame. It bounces and it just keeps going to add, it looks great. That allows us to have a really, really, really nice result. And if I go at any point during the animation, let's say like right here on one of the squashes and I do a render. One of the cool things is that we can actually see the render of that specific Frame. We go here to there we go. That's our barrel shot camp. So this is the frame that we will be getting if we were to render this as a final, final Render. Now, one thing I'm going to change here is I'm gonna go to the options. And let's do full HD. I know we've been doing square composition so far, but I feel like this one, so it's a good, a good place to start adding this sort of stuff. Now, there is one way in which you can actually see the real-time rendering of your, of your scene inside of the viewport. This is using a viewport, especially viewport called the Arnold viewport. I am going to warn you though, there's this heavy because this is like doing render in real time. So I'm going to hit are no real quick. And what you're gonna see here, as you can see, it's updating my viewport and the image is gonna look very similar to what we see on our render engine. If I go back to the beginning of and I hit play, you should actually be able to see, even if it's very noisy, you should always, you should be able to see a little bit of the results that we're expecting. As you can see, we're no longer running out 24 frames per second. Things are getting a little bit slow, but we can see a very nice preview and we can even scroll through the preview. And we can see a very nice preview of how this little animation is gonna be working. I'm actually going to punch in on my camera a little bit. I would like this here to be other Frame for a couple of frames and then see it getting to into the scene. There we go. Now remember the little thing that we talked about when we were learning modelling was, well, what's, it? Was complexity out of Simplicity. What if we wanted multiple spheres to be jumping on the barrel? Maybe we want one sphere right here and we want another sphere jumping like at the site of the barrels, something like that. Do we need to redo everything? Like if I can say fatuous Control D, this thing. Well, the things that you're going to see is that the control that we just duplicate it loses all of its information that we do have an extra rig and we could rig it again. There will be very, very complicated to just do the whole ring one more time. So what they can do is I can grab this guy right here and I'm gonna go to Edit Duplicate. And I'm gonna do this thing called a duplicate width transform. Not sorry, it's not duplicated with transform edit and then it's duplicate Special. I just want a copy. I'm not going to change anything right here. It's going to be a copy parents underworld. And very important here where it says I'm gonna do duplicate input graph, okay, I'm gonna hit apply. And what this does is you can see it now created that has created a new bulb, Newbold control that I can move to the side. And it's going to have the exact same Animation. Not bad, right? It has the exact same animation. We just copied the whole ring and we pretty much just duplicate it, the whole Animation. Now, again, we want to make this thing a little bit more interesting. So what could we change to make this thing a little bit more interesting? Well, for instance, one thing that we could do is we can lower the bounce maybe on this balance on the barrel, or maybe this one does not bounce this on the barrel is going to bounce all the way into the floor. So we can go to the front view and be like, Hey, you know what, on this Secondary bounce, because you're starting right here on the top. So on the secondary bounds you're actually going to be accelerating a little bit more. You're going to be accelerating all the way to the floor. Of course this one which is a stretch, gets updated. See that? Now, when we animate this thing is going to rotate until all the way to the floor, and then they're both going to jump at the same distance. So if we see this like this, there we go. Now this is very, very exaggerated. There's a lot of fours going on, but you can see how easy this to change the animation or add an additional Animation in this case, to make the whole thing a little bit more interesting. This is one of the, again, the magics of Animation. Okay? Now I'm gonna, I'm gonna talk about this, but I want to keep this as a separate video because this is a topic that's very common. You might be doing the Animation and the amine Animation might look good on your graph. But if you are running this and you're not able to heat 24 frames, even if you go all the way to wireframe render, which should allow you to have more resources. If you can not see this thing running at 24 frames per second, it can be very difficult to really see whether or not you're doing things the right way. Okay, so I'm going to show you on the next video how to do something called a playblast so that we can get a really nice, it really nice interpretation of the render without having to see it here inside of Maya. So hang on tight and I'll see you back on the next one. 49. Playblast: Hi guys. Welcome back to the next part of the series. Today we're going to take a look at playblast. Playblast are a way in which we can export a video without having to do the full render, which is a lot faster than waiting for the render. And this way we can make sure that Then you mentioned that we're seeing here in Maya is actually running at 24 frames per second. And that we are also seeing the proper interaction right now. This is a very simple scene, but as the scenes get more and more complex, trying to run them a 24 frames per second can become really complicated, especially with software or computers that are not as strong. So what I'm going to do here is, first of all, I'm going to delete the ball control one. I actually don't want it. Let's go to our viewport to point out. There we go. We have our animation, so we need to go to the camera. So let's go panels look through selected, and this is a camera that we're going to be rendering. And I'm going to right-click on my timeline right here. I'm gonna go to playblast. In here. Instead of playblast, I'm going to select the format in which I'm going to be saving this video because we're going to be doing a video. Now as you can see, we only have two formats, AVI and image. If we do image, we're gonna get an image sequence, which is fine. I mean, we can do a GIF, but actually I haven't tried to give Let me try this real quick. It's not a good I was wondering if it was going to give us a good result. But now we can do like a JPEG sequence or a BPM Sequence. And then on another software such as After Effects, you can combine it back into a video. It is really unfortunate that Maya does not have an embedded like Mp4 converter or playblast. But it is whether this, I'm gonna show you another trick though. So I'm gonna set this format to AV, AVI, and we're going to set the quality to 100, the skill set to one, end the display size from render settings. So full HD. If I go over here, I'm going to save this to a file. I'm going to call this playblast ball. This will be saved by default on our movie folder. So I'm gonna hit playblast. And once it goes through the timeline and it saves this information, we're going to get the playblast, which is just a very basic movie of our bouncing ball, just bouncing around. Now, the interesting thing about this playblast is that's a really heavy. I don't know why they do this. I actually need to download VLC or something because the windows is very, that windows one is very bad. But the interesting thing about this one is that it's very, very, Hey, we'd like just a five-second animation or not even 5 s, just for your frames of information. And look at this. 237 mb is ridiculous. This is not what we want like. It's gonna be very, very difficult to work with those playblast. And as you can see, even takes a long time for the element to read it. So I'm going to show you the hacky way to get a good platelets. And this is something that was done by and RDAs or someone found about this a couple of years ago. So if you look for a QuickTime playblast, you're gonna have this one right here. This is by Ceph Castillo. You can also look for SAP Castillo in the Internet and you're gonna find this several years ago. I'm talking like ten years ago. Like yeah, like 1010 or more years ago. We used to download QuickTime and use QuickTime this like MediaPlayer to export things in our H.264 codec, which is Mp4. And this allows us to have a very light playblast without having too many issues. However, there was a security breach in the QuickTime, again several years ago, and Apple discontinued the player. Unfortunately by discontinuing the player, they also discontinued the Codec. This is what we need. We need the H.264 codec. So here's what we can do. We can actually go to the Apple's website and download QuickTime 7.7, 0.9 for Windows. I'm going to close this real quick. And you're going to install QuickTime, however, and this is very important. We do not want to install QuickTime where you're going to say yes, yes. And then here we're going to hit costume. And over here, as you can see, we don't want to do the QuickTime player, so we're gonna be entire future will be unavailable on the QuickTime Player. This again, you can find this on the information just tells us deactivate QuickTime Player. We just need a quick time essentials. Because what QuickTime essentials are installing, I can see them right here, but it's the coding. We're just installing the codec. As you can see, it's very, very simple. We just hit Next, we just hit Install, which is wait for this thing to install real quick. And that's it. Again, you're not going to have a new players. You're going to have anything to just going to have the codecs and the important things that we need from QuickTime. There are other plug-ins and other options to do quick playblast instead of Maya, they've actually promised that they were going to release a more advanced playblast system so that it's a lot lighter. Unfortunately, they haven't done that yet, so we need to we need to wait. There we go. So we finished again. We have not installed any security issues. Nothing. Don't worry about this. It's perfectly safe. I've been using this for years and it's been working perfectly fine for several versions now. So don't, don't worry about this again, this is thanks to staff Castillo, who found this workaround in order to get the coldest ink style into my. So once we have those codecs and sell, you need to of course close Maya and open it up again. But once you have the codecs installed, if we open our sphere scene again, we should be able to access that QuickTime MP4 Codec so that we can get this to work a little bit better there see like weird error with Maya 2024, you might have encountered it was supposed to be fixed on this version 0.1, but sometimes when you open it, it just does not open. To open it twice. So let's just wait a couple of seconds here. And here we go. Yeah, that's again, a quick workaround together. To get around this elements. We're gonna go to our ball animation scene. Once this thing opens, we can right-click. One thing we can do here. We can press again, show and then none, and then alter Pt2. It's just geometry so that we don't see any of the Curves or lights or anything. Right-click and we're going to playblast. And over here, we should have the QuickTime axis. We're going to change this to H.264, which again is the MP4 format. And we're just going to keep everything the same. Hit playblast. It does the playblast. And we're gonna get a very nice be the right here. This is not the best player, by the way, the windows player is not that good. But you can see the result very, very nicely and we get are very nice place. But this is what I usually sent to my clients when I'm doing animations to make sure that they're okay before we send into render. Because when you send the Render, there's no way to go back. Like once you Render, if they want to change, you're going to have to re-render again. And that is quite a bit of time that we don't want to be wasting. So yeah, that's pretty much it guys. Again, if we take a look at the fonts right here, you can see only like less than 1 mb. So quite the difference, right, by going into this QuickTime effect. So every single thing that we're going to be doing now we're going to be doing like this. And later on at the end of this chapter, I'm gonna be showing you how to do the proper final render for our frames once we have something that looks really, really cool. Yeah, that's pretty much it for this first exercise. Make sure to finish this bouncing ball because we're gonna be using a lot of the principles that we learned right here in our next episode. Okay, so, yeah, that's pretty much it. My friends. I'll see you back on the next one. 50. Using Rigs: Hi guys, Welcome back to the next part of the series. Today we're gonna be taking a look at Rigs. And Rigs are advanced systems that we can use to generate Animations for our characters. This side right here, and Mesh and methods.com is one of the best repositories for Rigs. Now, most of the Rigs right here are either free or with a low cost. For artists, most of them are commercially available. So that means that you can, if you buy the license, you can get them or use them in your commercials were in your productions. But most of them are usually used to practice and to create cool demo reels. There's so many, so many, so many Rigs here, and we're going to be using a couple of them. Today. We're gonna be using this one right here, which is the flour sack by Joe Daniel's. This is a great, great like little rig that we can use to learn the basics of animation. I'm showing you how to import this and get it ready inside of Maya. So the first thing is, you are of course going to go here to our project real quick. You're going to onset the files. You can get this again from GMB rolled completely for free. I think I'm going to be including this on this elements as well. And here under, under scenes we're gonna be importing this J D flour sack. Like normal on the texture is very important than the source images. We need to have the flour sack Textures folder right here, so that when we opened the scene, everything was working as intended. Now, there is gonna be slight issue when we open this file and I want to show it to you real quick. And the problem is this the really old file, I'm not sure if it says here when this was first update. There we go was created for Maya 2013. So it's got like at least like ten years. It's suddenly it's like ten years old. I remember this was before gumbo there was submitted or you could get access to it from other sites. But right now this isn't in Gumbert. So as you can see, we're already getting some errors right here, but the little sack is working nicely. Now what are the areas that we're getting? Well, first of all, as you can see, we don't have access to our traditional like aces view. And this is because we're actually trying to use my hardware. So we're going to change this back to Arnold renderer. And over here, there's an other option that we need to change to make sure that this thing is using the, what's the worth the sRGB elements. So I believe it's overhearing common. And to do or is it where it says render options, There's one option to use. It's called display, has to be under display elements. Where is it? That's really weird. It should be around here, which should be able to change again. There we go, Color management. So we're gonna enable Color management. That's so we're going to enable Color management over here in Settings Color management and we're going to enable Color mentioned that this is very important because you might get some errors like this one right here. See how the normal map is looking really, really weird on the element. What we need to go to the Hypershade, go to the element right here, the shader, as you can see, it's using a very old shader. We're actually not going to be using this shader. I'm going to create a new AI standard surface to degenerate the shader for the little sack. And this right here is gonna be my base color. And then this right here is gonna be our normal camera. Now the problem is, as you can see, that it's going to look really, really weird. And the reason why this is looking really weird, because we have not changed this to utility. And Iraq set this to Alpha's luminance, bumped to the tangent space normals like all of these things, should be working exactly the same. And we should be able to see it properly over here. Now we're going to grab the grid right here, right-click and assign new material or as existing material, AI standard surface. And there we go. That way we're gonna give me back to our material. Now, this is the basic scene. Again, I'm going to save that. Hopefully you guys are not going to have any issues by using this in right here. Now we're gonna talk about one of the most important things about a Rigs. And here we go. We do not ever, ever, ever, ever, ever, ever, ever, ever, ever, ever we do not ever animate on the main scene of the rig. This right here, the JD underscore flower sex scene should be only the scene where to Rig is living. We're not going to add any lights. We're not going to add any Animations. We're not going to leave or do anything in this scene. We're going to keep it completely clean. Why is this? Well, if later on down the pipeline, we want to add or modify any of the attributes from this rig. And we want to update all of the other scenes where we're using this rig, we need to have a master's in which this one right here. So I'm just going to say File Save Scene. There we go. And we're going to open a new scene. So how can we bring the flour sack in here while still retaining that connection to the Masterson. We're gonna be using something called references. I'm gonna go File reference right here, create reference and we're going to select the JD flower second heat reference. What this will do though, don't, don't worry about the errors. That's perfectly fine. But what this will do is we'll import our object. But as you can see here on the outline, and it has this little blue crystal. That means that this is referencing that scene. It's importing everything that's on that scene, but it's not actually using the original. So this is like a copy or like a reference. Here is where we're actually going to be animating our element. Now, before we start animating the rest of this video, we're just going to get to know the rig right here and understand how it works. Usually, every single rig we'll have this thing right here, which is the placement control. We use this to place the elements are to character on the beginning of the scene or the first position of the scene. And we can also use this to scale the object. Usually the Rigs can be scaled from this position and we haven't done that are within do that on our own Rigs. But usually Rigs have the functionality to be scaled by using the master control right there. Then, as you can see, we're going to have a curves. And usually a good way to know which groups are more important than others is by the size, the bigger curve, the more important the attributes. So this one right here, for instance, moves the lower portion of the character. This one right here moves the upper portion of the character. Then as you can see, we have a normal forward kinematic system here on the little legs that allows us to move a little flour sack from one point to the other. We also have this one right here, which is something like squash and stretch to allow us to move the volume of the flower SEC. And we got this to other ones right here and right here. Those are all of the Controllers or we have available for our element. Now, usually when we're animating, one of the things that we wanna do is we want to animate all of the Controllers as a single element. We do that by utilizing this thing right here, which is called a selection. Okay? So this right here is a quick selection which you can find right here, select quickselect sets. As you can see, we already have one called JD flour sack of recall. And if we click that button, as you can see, all of the Controllers you're gonna be selected so that we can quickly hit the letter S and animate everything. Now, this is a relatively light rate because it's a very simple geometry. It's got simple Controllers, but it's a great, great way to understand and to start applying some of the principles of Animation is that we're going to be doing now before, again, before we animate, we're going to be animating a nice little jump for this flower sack before we animate, there's one thing that's very important about moving this flour sack. We will never move the flower sack by moving the initial curve. I know it's very intuitive to want to use this master control to move the curve from like in any direction. But that's not how we normally move it normally we're gonna be selecting the top curve, the upper curve, this to curves and curves for the feet. If we select those four curves, as you can see right here, we're going to be able to move the flower sack anywhere we want. Again, the placement curve. We only use it as the name implies, to place the elements where we're going to start our Animation and then we can start animating. So yeah, that's it worked by now are for now my friends were going to stop the be the right here. And then the next one we're gonna do a small little animation. So hang on tight and I'll see you back on the next one. 51. Key Poses: Hey guys, welcome back to the next part of the series. Today we're gonna be talking about key Poses. I mean, this new scene, it's called a JumpStart. I'm actually going to just save it as a different scene now because this is where we're going to be finishing. I'm going to call this junk finished. But the jump-started is just this two cubes is called the environment. And this is where we're going to be using to make our little flour sack a jump. So we're going to see file, we're going that create a reference and we're going to import, of course, our JD flour sack. You're gonna get some errors again, don't worry too much about this. You can press number six to get the flour sack to show and we can move the flower. So we're going to use the placement curve to move ourselves over to the top of this chunk right here. We're also going to rotate this. So we're facing at the other way because the environment is facing a different way. And then now we need to start deciding how we're going to be animating our character. So the process and I'm gonna be showing you right now, is a process that I personally like to use quite a bit. And it allows me to focus on the most important parts of the animation process. First, there's people don't like to animate. There's actually two ways to animate. One of them is called post to post, which is the one that we're going to be doing. And the other one is called, they call it. I always forget about the name. Post to post and can't believe I forgot about them and pose to pose versus straight ahead. There you go, straight ahead. So pose to pose animation is what we're gonna be using where we define all of the different Poses of our character first. And then we start filling in and polishing in the in-betweens to make the animation look as nice as possible. Very similar to how we did the ball bouncing off the barrel in the first couple of Beatles. Straight ahead animation is another way in which we can animate just like we just do the first post and then the next one and the next, the next one in the next one. And that's one. And it can be very cool and very nice as well. You'll get more fluid results in a little bit more like free resource. But at least for beginner animators, I always recommend start with post to post because it allows you to understand some of the things that we need to take care of about Animation, such as timing and in Polish before we can start playing around or fooling around. So the first Bowser we're gonna do is I'm gonna do a very simple box, just like the little sack right here, exactly as it is. I'm gonna go to Select, I'm gonna go to quickselect sets and I'm going to press Control and Shift and click. This is going to create a button here that will allow me to select all of the elements really quickly. So I'm going to select all of the elements and we're going to hit bladder S. There we go. Now, the first thing I want to do is I wanted a little flour sack to look down and see what's going on. Like, okay, I can see what's gonna happen right there. We can even make him move forward a little bit so I can move this like this. So he's like taking a look at where he's about to jump, considering his options. And there we go. So we're going to have post one is just like normal flour sack. The first post is gonna be him looking at the stuff. And then I'm going to again select everything here and hit S to keep a keyframe. And the next Poses, I'm gonna do the flour sack. There's gonna be going back. And he's going to throw his head. Actually, let's do a squash like this. So he's going to go back and prepare himself for a big jump. So this is going to be our preparation effect. Now, as you can see, I'm only focusing on the two main curves right now, the yellow curves, because eventually we're going to be doing a little bit of follow through with a little ears. It's better if we make sure that the initial Poses and our initial action is looking good. So we start with the little guy right here. He checks what's gonna happen. He goes back, prepares for the jump, and then he jumps. Now in the jump, the most important part of the jump is of course, is going to be when he's in midair. So I'm going to grab the two main elements right here, the two little legs. And we're going to move him forward position to him right here, flying through there. Now, I want him to fly slightly different. So I want him to fly kinda like this. Like with the belly, with a belly forward. I'm actually going to push this guys back. So he kinda like propel himself forward with the belly. He's gonna be doing this very cool job right there. As you can see, I'm moving things just slightly on different axes. That's fine. Right now, the most important thing that we're looking for is this jump. So we've got 1234, that's the junk. And then the next pose that we're going to need is gonna be the landing, right? So again, I'm going to grab the legs and the two main curves right there. Let's go to the front view and we're going to land right here. Of course, this guy should be a lot straighter when it lands. Same for this one is gonna be a lot straighter when it lands. I would expect the landing to be quite rough because it's a big jump. So, so he's going to be like boom, just like a really, really heavy landing right here. Let's rotate this a little bit. There we go. So it's really, really intense line and we can even move this thing a little bit as well to, to increase the effect. We select everything again and we hit S. So we got the one or first, second, third, fourth post, fifth posts. And then the last post is this little guy going back to normal. So he's going to go back and he's going to relax a little bit now that the whole thing is over, let's push this back. Just tried to get the shape of the little flower sector BS. As nice as possible. We can relax him a little bit like this And there we go. So we select everything again and here we hit S. Make sure to set a keyframe for all of the curves in all of the positions, because this is what's going to give us the main effect. So if we start scrolling in our time and you're gonna see that we have this very cool effect where we get this sort of like flip book effect, where we can see and appreciate how the little saccharide here is jumping. Now we need to talk about the next thing which is a D, the brakes, or the things that are gonna be happening in-between the key Poses. Usually key Poses are one part of the animation process. And we also have something called the in-betweens. The in-betweens is all of the frames that we have, as the name implies, E between the keyframes. So from here to here, I really don't need any intense keyframes. It's a very simple movement from here to here. We also don't need as many keyframes, but from here to here, we definitely need one more keyframe, right? So similarly to how it happened with the ball, one frame or one post immediately after this, I would expect a very, very heavy Stretch going into the jump. So I'm gonna go to this part right here. I'm going to press Shift and right-click to select this frame. So I'm going to move them one frame. So now we have this and then as you can see, we're getting an in-between, but they don't want this in-between to be right here. Because this in-between right there, it's actually making the whole little, little flour sack of float. So what I'm gonna do is I'm gonna go to frame three, and I'm going to bring back the flower sex. So I'm going to bring all of these guys back. I'm gonna go to the front view. If we compare where the little Lex, weird right there, this one's right here. I'm going to really bring them all the way back. I might even bring the head back a little bit so I don't want to have as much as Stretch. So there we go. So we're going to have 23 and then boom, four. That's the, that's the actual jump. Now for the actual jump now, based on the way we're moving, I think I would actually expect distinct to be like, kinda like a C-shape jump. So I'm going to modify their we go, I'm going to modify the form of the posts on that particular frame. Let's go to frame three. I'm going to select all of the frames and hit S again. And now we got first, second, third pose, stretch, which we can again exaggerate a little bit more. I think now that we've modified a couple of things under jump, we can definitely exaggerate the stretch a little bit more. Exaggeration is one of the principles of Animation by the way. So by exaggerating this, as you can see, we can make the whole element be a lot more intense. And there we go. We got the first one. There we go, and there'll be four we land. We're also going to have another one. So I'm going to select these two frames, bring them forward. Select all of the Curves, select these two frames, bring them forward. And what's gonna happen is, here's the landing. I want to copy this frame, one frame back. So how do we copy a frame from one position to the other? We use a middle mouse button. If you just middle mouse button that we can actually move throughout the timeline without actually updating the animation. So I'm going to position my middle mouse button right here, and then I'm going to press S. So right now, Frame H5 and H6, they have the exact same like Frame. And what we can do of course, is we can bring this back to position, bring it right there, and return this to It's orientation. Let's see where this out. Let me grab this guy. And I'm also going to sear this out There we go. Because we're going to have a stretch when this will do this falling from the sky and landing. So there's gonna be one frame before we're, we're jumping. We stretch, and then we land, and then we just recover, right? That's the, that's the sort of effect that we're going to have. And we can already play the animation. And as you can see, we're already going to be getting something that looks interesting. It might not look perfect, but it's already looking a little bit interesting. So there's my friends, is that the first process of Animation we're going to be doing the key Poses of our Animation. And we're gonna be preparing all of the necessary steps so that when we scroll through the Animation, things look as nice as possible. One thing I'm noticing is that he has a really high stretch right here, but the jumps not that high. So we're gonna go to the front view, grab all of the curves again. I'm just gonna give him a little bit more height right here. So at the Stretch makes sense that he is like really creating district curvature. Again, if we were to draw a line, it needs to make sense that that line looks like an ark. Actually using arcs is another one of the principles of animation. So right here, again, one of the things that I want to do, I'm going to use my blue pencil is I want to make sure that it really looks like he's going through an ark motion. If he if he doesn't look like that, then jumps going to look a little bit too intense so we can find some positions right here. There we go. There we go. And if we combine this, we're going to see the current trajectory of the character. That's the current position that we have, which is not bad. But if we want to make him a little bit fluid here, one thing that we could do is we can move it and get this wider effect. I think this one is fine for now, so I'm going to keep it. This is the first thing I need you guys to do. This is gonna be a multi-bit you exercise because I don't want to just make this super, super long. So this first part is called key Poses, which is the thing that we just did. And then the next one we're gonna be talking about timing. So hang on tight and I'll see you back on the next video. 52. Timing: Hi guys. Welcome back to the next part of the series so that we are going to continue with timing. And Timing is a super, super important part of the whole animation process. And timing has to do as the name implies, with time. Time is the distance that we're going to have from each of the different Poses in our little animation to make this thing look as nice as possible. So I'm gonna give myself quite a bit of friends right here. I'm gonna give myself 40 Frame so we get enough space. And the best way I can teach you how to think about time is we need to think about how we go from one pose, the other, for instance, from zero or from Frame CO2, Frame one from this supposed to dispose where the little characters, just like looking down into the chiasm and look as Kassem, that's the proper word into this hole right here where he's looking. Do we want this action to appear like a slow action or like a fast action? I think I wanted this to be a slightly slow action. So I'm gonna grab all of this range right here. Remember we're selecting all of the curves. Very important to select all the curves. So we're selecting what Lucas and I'm going to move all of these frames here, like 15 frames. So what this is going to do, as you can see, it's gonna give me 50 frames, 15 frames, where the character is gonna be moving forward and looking down into the hole right here. So if we play this out, we can get an idea of how slow or fast that animation looks. And I think it looks okay, Let's keep it for now, and let's keep playing with their next ones. Now, from this post 15-16, which is the preparation, do we want this preparation to be slow or do we want this preparation to be fast? I think I want it to be slow. So I'm going to give this ten frames. We're going to bring this all the way to frame 25. So what's gonna happen here is after he sees he's going to prepare himself, it's going to take him 25 frames to prepare himself. And then, boom, he's going to jump. With this ten frames that we have here, we can make the preparation really, really slow. So now you can see the little flower sack looks into the year, Spata hiddens to jump from. He takes ten frames to prepare. And then boom, he jumps from Frame 25 to Frank 26. We actually don't want any space. We want to keep it exactly like they are. Why? Because we want this action to be very snappy, very fast. So the squash and stretch should be very fast. But from frame to frame 27, we definitely want to make this thing a little bit faster, but not so super fast. So I'm going to grab this guy is right here and I'm going to push them to, let's say Frame 30. But we're going to say have we're going to have Frame 262-72-0820, 9.30. We got four frames or three frames of airtime. And then from frame to frame 31, we're going to have three more frames of airtime. So Frame 30, 313-023-3304. And then boom, this right here, 34.35 is also going to be really, really fast because we switched from his stretching position to a squash position in a really, really intense way. Then from Frame 35 to Frame 36, which is the recovery time, we definitely want to make this a lot slower. So I'm going to give myself more frames right here. And we're going to select this one and we're going to push it to, let's say Frame 50, almost 50 frames here to recover from that jump. So now if we take a look at the animation, this is what we're going to have. Okay, So not bad. The animation looks nice the way it looks. Okay. We got an interesting effect right here. It's like looking down and then we jump. Now, I think that looking down is looking a little bit too slow. So I'm going to grab all of my elements right here. And we're going to modify the timing there by removing a little bit of frames from this first part. So now he's going to look and then prepare and then jump. Okay, this is what we're gonna get. So we look, we prepare, and then we jump. Now, did you notice something interesting here on the look part when it hits the look position, which is this one right here, it immediately goes back into the preparation. It doesn't really give me any time to kinda like appreciate this pose right here. Because what Maya tends to do is it tends to interpolate from to Poses. And he will try to find the closest or fastest way to bridge between one position and the next one. So if we want to hold this position a little bit more, one thing we can do is first of all, I'm gonna give myself a couple more frames right here. Let's say like three or four frames. I'm gonna go to, I'm going to duplicate this frame to frame 11. And what I'm gonna do is I'm going to change the Poses slightly. I'd like to call this an overshoot, so we reach a post and the, we overshoot that pose. And then we prepare for the next part. Okay? So this is kinda like giving a little extra punch there before we do our next action. That little extra punch, that little extra time that we, that pose. It's gonna give us a more interesting effects. So as you can see, he got, he, he's kinda like hesitant right from Bruins that jump. Thanks to that little, just like super brief pause that we give it a little flour sack before we actually jump And get to the other side. So there we go. That's a good timing right here for animation. As you can see, it's looking nice. It's running at 24 frames per second. I can definitely see this on a little commercial, a bit of a movie or something like the Timing is interesting and things are working fine. However, that doesn't mean we're finished. We're actually just starting with this whole thing. So let's talk about exaggeration. Exaggeration is one of those things that we can do in our animation to generate a more or more impactful Animation by bringing all of the positions into a more exaggerated state. So for instance, at this perforation right here, if we really want to exaggerate this preparation, one of the things that we could do is go to the little ears that we have right here. I'm going to select all of this elements and I'm going to bring them down. Okay? I'm gonna select that this one's right here. I'm only going to bring them down. I'm going to grab the whole thing right here and push it just a little bit more. We might even need to grab this bone right here and just lowered a little bit. Grab this guy, maybe lower a little bit as well. And that sort of like exaggeration that we're doing right there. It's going to allow me to sell the whole thing a lot better. Now, thinking about Poses, maybe when he goes and sees the hole right here. Another thing we could do is we could animate the little ears to, to just slightly bent backwards. So we start normal and then we go there. And then when we go down, as you can see, the little ears, they're going to help me to sell the fact that he's going into this crouch position. Then when we jump right here, what's gonna happen with the ears? This is very important. The ears are actually going to still remain in their crouch position. So we're going to bring this and I grabbed this one first. Then I bring them in because they have not left this sort of effect. There are still kinda like crushed together like this. And as they start flying around or moving all the way to the top. Two are position. Let's grab all of the curves right here. Here is where we're going to see them again, like flapping in the wind but now going the opposite direction. Okay, So these are the details that we're going to be adding to make sure that things look as nice as they can. And it definitely takes a little bit of time because we need to be analyzing every single part of our character to get the best possible results. So we get this. Now for instance, I can see here that on the movement, like it's a very straight like overshoot going towards the, towards the highest point of the jump. But it immediately starts kind of like curving itself like this. And I'm not sure I liked that. Doesn't look that bad. That's fine. It's fine. So we got to jump right there. Now, when we fall, immediately after we follow, the ears are following this direction. They're falling from the back. And in this post right here, that's perfectly fine. But once we go here, I would expect the ears like, let's say at Frame 34, I would expect the ears to be falling forward. So I'm going to be adding an extra frame rate there only for the ears. Were they, as you can see, their fall forward and then they come back to the original state. So can you see how much difference double like follow through. That's another principle of animation right there. Can you see how that follow-through allows us to get a very nice effect with the, with our flour sack. That's the kind of stuff that we're looking for it, That's the effect that we want to have in our Animations to really, really, really sell the effect and make it look as nice as possible. Now, again, if we see this, we need to analyze and be like, Okay, what else can we do to really make this a lot better? And exaggeration, again, it's always a good idea. So for instance here on the Stretch, why not push this a little bit forward? And really stretch this? Like, I know it looks very, very bizarre. But if we do this, we're gonna get a really snappy effect. Here's one interesting thing about Animation. If we exaggerate things, It's a lot easier to figure out when we went over worth This student know, when we're still missing a little bit of exaggeration. So even though this frame right here, one of the frames that we have right here, even though this from right here is a superintend Frame like look how much stretch we have when we see the animation playing. We don't even notice it. That's a trick that Disney has been using for a long time to really sell the effect that they want. So let's do the exact same thing on the first part of the elements are the right here. This is our jump in on this right here. That's really pushed this, like really exaggerate the effect. So we go from here and then boom in here, for instance, on the high point, another thing we could do is we could definitely push this guy's up a little bit more to really give the sort of like squashed effect to the whole little flour sack. And we're gonna get this super intense stretch. I actually want to give him a little bit more height, to be honest. So I'm gonna go front view. Again, select all of these guys. Let's bring him up a little bit, maybe forward a little bit, so that the squash makes sense. And then the squash makes sense right there again. So we're really exaggerating the Poses. But when we see it as a, as a sudden animation, as you can see, it doesn't seem like we're really exaggerating it that much. That's why we need to really push your boundaries when we're animating to make sure that we can get as much juice as possible from the elements that we have right here. Now one quick thing that we can do here is we can press Alt one to hide the curves. That's a very, very common circuit that we use. And by hiding the curves, we're going to be able to appreciate the animation of the flower sack a lot better. So this is a very basic animation exercise, my friends. But as you can see with this, we can get a really, really, really nice result without that much or without having to invest that much time. Now, the next thing I wanna do is to want to fix a couple of the Poses. Because when I, when I see that the journal Poses here, I can see that there are some that look a little bit weird. So for instance, that one is fine, but then the final relaxed post, it looks a little bit wonky. I'm going to bring the flour sack back to its initial state rather. So something like that. Maybe again, just to kill with because we're updating a a a frame that we're not supposed to be updating. So I'm going to go to frame 46. Let's go here and delete that one. There we go. And I'm just going to throw the head of this like flour sack back a little bit like, wow, I can't believe I made that. There we go. There we go together. Very, very nice animation here. We got the superintendent Stretch at squash. But as you can see, we get this thing to look a really nice and you can see it from different angles. And as long as we're following the curve and we're following the different Poses. This is looking quite, quite nice. I do think again, if we go slow motion, this is very important. I just wanted to make sure that the flour sack looks, for instance, that pause right there. I don't love it. And sometimes it's fine to go to some of this in-betweens and modify a couple of things. So for instance here, what is it that I don't like? I feel like the inclination or the HEDIS is going a little bit too forward. So I'm going to straighten this up a little bit more. That way. We're, we're gonna have is a straight, like a straight movement all the way until it curves out down here. And then we're start going down. Same thing for like right-hand this frame 28. I would like to switch this around, make it a little bit straighter. So at the movement of the whole flower sack looks a little bit more fluid. Unfortunately, animation is very, very, I don't know how to describe. It requires a lot of feelings. So you're gonna be seeing your Animation and you're going to feel that something is off. It's, it's kinda like archery that you just grab a bot and you know, we kinda know how to shoot a boat, right? You don't need to be a super like a perfect Olympian to be able to shoot a boat. How precise you are. Of course, it will depend on your practices stuff. It's pretty intuitive. Will, I do feel animation can be quite intuitive as well. And you're going to see things from the Animation be like, Hey, you know what? Maybe, maybe he's, he has a lot of force right there and he's not really like like moving up as much as I would expect or or maybe the fall is a little bit too slow or maybe the fall is a little bit to what's the word too fast? Like all of those things that we, that we can see here, all of them play an important role. Now. Right now we've only been playing with one dimension. Everything is just moving forward. The cool thing about 3d is that we can actually play with three-dimensions. So for instance, here on Frame eight, I could twist the little flower sack wants side here, and then twist it to the other side right here. It looks like he's actually like watching what's going on there. And once he's ready, he jumps. Okay, so feel free to modify the different parts of your animation to get a slightly different effect that you can see right here. Those are the things that make animators like a really, really important part of the process. The fact that they can come up with interesting ideas are interesting interactions to make the whole animation a lot funnier. Now, here's another thing that's very interesting about animation. We can actually modify things with this animation. Because remember this main curve right here. If we move this main curve, the animation of the flower seconds is still going to be there. So that's why we don't move that placement curve. Because if at any point I need to reuse this animation at a different position, the placement curve, which has no keyframes, will allow me to do that. But that's not exactly what I meant. I'm going to delete this guys right here. And if we hit play right now, you can see that we're gonna get a really interesting effect where this guy is just jumping into emptiness, right? Well, we can actually, once we finished animation, once we use the very simple block from the animation, we can actually start adding more interesting things to the whole thing. So I'm gonna go here, I'm going to make this a six sided cylinder. I'm going to make the six sided cylinder like a, this are like stone actually, let's make it six sites. There we go. I'm going to bevel the whole thing. Two segments and small fraction. And here's what I'm gonna do. I'm gonna go to the first frame. I'm going to position this block where the little flower SEC is, which is right around there. Then I'm gonna go to the last frame where he lands and I'm going to duplicate a copy of this guy right here. Because I know those are the points that might character is gonna be touching, right? Once I have that, I can go to the top view for instance. And I can just start duplicating this guys right here. In creating a whole super complex or relatively complex depending on how you want to see it. Environment. That might look like we were like super careful when we were animating to make sure that the little flower sack was contemplating all of this elements when in reality we did not, which is animated using two cubes, a very simple placeholder effect. And afterwards, we were able to create this interesting environment around the whole composition. So let's do something like this. So as you can see now we have something that looks a lot more interesting. And we already know that by adding a little bit of variation. For instance, something like this, where some of the stones are higher or lower, can generate something that looks really, really interesting. And as long as we don't modify the initial stone where this little flower sack is jumping from. People will never know how complex this Animation actually wash. I like to call this, again, it's Simplicity out of complexity, right? So it might look like, oh my God, he had to calculate where the stone was. Now we just use two blocks at the beginning of the Animation. And now we make it seem like this little flower sack is really trying its best to save his life and jump all the way over here. The only thing we need to be very careful about this, for instance, this place right here. And I have to move it just a little bit more. The one we land, both feet are actually touching D. The little, the little flower sack. There we go. So again, it might look like a really complex effect are really complex animation, but it's really not that difficult. And imagine how nice is going to look on an actual Render where the little blue flower sex is just going to be jumping from 1 st to the other. That's the kind of stuff that makes the whole animation process so much FUN that we don't have to worry about all of this intricacies of the environment or stuff because most of this is gonna be working by its own. So we're going to add one more obstacle to this little flower saccharide here. And with this, I'm going to be able to show you how to do infinite Animations. So hang on tight, and I'll see you back on the next one. 53. Infinite Animations: Hi guys. Welcome back to the next part of the series. Today we're going to take a look at infinite Animations. And this is just the final little bit that I wanted to do here with our little flour sack. So we got the animation of the flower sack working very, very nicely. Can press Alt, one, old one is to Haydn and show curves and O2 is too high then show geometry. So we can see that the animation here is working very, very nicely. It will be interesting to add something here just to make the jump a little bit more dangerous for the whole over our little character, right? So there's again, a tons of different things that we can do, but I'm just gonna keep it a really, really simple, I'm going to create a cone right here. And I'm gonna make a case like, like a lock thing that's suspending with this pointy bits. So I'm going to duplicate this thing three times. There we go. Let's combine them. I'm going to duplicate them again. Move them like this. We're gonna rotate 90 degrees. Let's go to the front view. Once they're gonna be right here. Then we duplicate again. It doesn't, it's are going to be right here. And we duplicate this 11 more time and this one's gonna be right there. Then we're going to create a cylinder. I'm going to get that in the center again, doesn't have to be like super precise or anything. It's just a small simple effect. And we are going to make this a little bit bigger so that it fills the whole thing. There we go. We can grab the outer edges and he'd bevel. Then we can grab the whole thing here combined into a single object. And there we go. So as you can see, the center of the object is right there. So I want to animate this thing, but I want to animate it in a way that I only have to animate it once. And then it will automatically know that it needs to just continue doing the rotation as many times as I need. So I'm gonna go to frame zero. I'm gonna hit S on the Animation and I'm going to go to frame, let's say 20. I'm going to say in 20 frames I want this thing to do a minus 360-degree churn. So if I hit play animate, yeah. So if I check this out, you can see that in 20 frames, this thing does one twist, but then it just stops, right? First thing I'm gonna do is I'm going to change the type of linear interpolation that we have. So in the graph editor, if we go to this guy right here and we check the rotation, we're going to select the rotation and whether make this rotation linear. What that means now is that this thing will rotate at a constant pace through this 20 frames. But if I want this rotation to continue, we need to use something called infinity. So I'm going to select this guy right here. I'm going to say Curves Post Infinity, am going to say cycle. So what's gonna happen now is as soon as it finishes this thing, it's just going to continue. You can actually see if we go here and BYU infinity, you can actually see that what's going on is it starts right here. It goes, and it goes through to the final point, and it goes back to the origin. But since it's a 360 degree, like a turn right here, it's pretty much the same thing. Now, if we want this thing to not reset the animation, but rather continued the animation, we need to say keys or sorry, Curves post infinity cycle with offset. So what's gonna happen is it's going to do its cycle once and then from where it started, it's going to continue its cycle once more, in, once more and once more in as many times as it needs, or as many frames as we have. We have 200 frames right here. Even if our little flour sack finishes its animation, that will drive right there. It's going to continue to do it's n-dimensional, as you can see right there. Now, what if we want to make that rotation faster? Will the cool thing about pre and post infinity is that we modify this. Let's say we gave this like 50 frames. The animation will now be a little bit slower, but they will continue to have its animation because there's certainly a property that we add to the thing that will tell it, Hey, we want you to continue your Animation. It doesn't matter whether you're a very short animation or whether you're a really long animation. If we make this ten frames and if we animate, you can see that this is, will continue to spend as many times have we need. This is great for like background elements such as this one because it allows us to generate this very, very cool effect. Now, what if we wanted to add another Animation? Let's say we want this rotation to be 20 frames. I think 20 friends was fine. And I want to add another animation where this thing goes up a little bit. So it's gonna go up in 20 frames. Sorry. Yeah, it's gonna go up in 20 frames. And then it's gonna go down in another 20 frames. Where to its origin right there. So if we take a look now at the Animation graph of that guy right there, we check the translation in why? We're going to see that this goes up and it goes down, but then it stops again. We can select this whole thing and say Curves post infinity cycle. And that was you can see where cycling this thing and it will continue to go up and down as it keeps moving. This is going to make our animation a lot more interesting because now it really feels like this guy needs to be very careful about when he jumps to make sure that he's avoiding that rolling pin right there. That's pretty much with my friends. That's how we can add Animations. Now, we'll do you want to make this even more complicated? Remember, we can grab this guy and say file, duplicate the Special or sorry, Edit, duplicate Special. And we can duplicate a copy with duplicate input graph. And now we have two elements that are, had the have the same Animation. And what's the cool thing about this? Well, we could move this on the x-axis, for instance And on the c-axis, because we have not animated those channels, as you can see right there. And now if we hit play, they're both going to be doing the exact same thing. It might not be a bad idea actually to go to the first frame and just push them back a little bit right there. And they're both going to have the same element. They're saved movement. But now it looks even more dangerous because we've got two traps right there. Do we want to change maybe 11 of them to be going up before the other one. No problem. We can go, for instance, to the translation on Y. And we can offset this thing a little bit. We can be like, Hey, you know what? We want to move this back so that it starts on the top and then it continues on the rest of the element. So now what's gonna happen is we're going to have this thing's rotating around. And again, making it a little bit more complicated for our little characters. I mean, he was never in danger because again, I was mentioning this before. We made sure to get there jump right before we added this whole environment. So it doesn't really matter how intense or how difficult we make it. The jump is always going to be completed and the animation is gonna be looking quite, quite nice. Now, let's throw in, because this is gonna be the final video on this guy. Let's throw in some lights and some colors to make this look a little bit better. So one thing we can do here is of course we can bring Arnold lights, sky dome light, and we can bring our the pint attic that we've been using, this one right here. And we hit number seven. We're going to have some break the connection there should be on the color. So we're going to bring the pint Avik. There we go. Perfect. You can see that's looking quite nice. One cool thing about the HDRI is that you can actually set the scale to zero and they will still add the light to the scene so that we didn't have to see the actual image. Now, let's add another Arnold light. Let's do a area Light. The very big area Lights is gonna be on the top. Let's change the exposure to something like 15. Start on the shadows as well. So we can appreciate how everything is looking. We can even turn on ambient occlusion and even motion blur. We have motion blur. We can turn on all of the bells and whistles here on our element. And we're gonna get a very, very nice effect. Okay, That looks good, but let's add another extra light here. I'm gonna duplicate this main light. I'm going to have it like from the front like this. I'm gonna make this like a warm color that we go. Now, all of the stones, for instance, all of this cylinders that we added, we can add a new material. Let's add an Arnold AI standard surface. And let's make this a dark gray material. Right now, they look orange because of the lights that we have right here. We can just see different tone of light. As you can see, that's going to give us a slightly different effect. Something like this, like a bluish hue. And then this one right here. I'm going to assign the new material Arnold AI standard surface. Let's make the metal metallic and a little bit of roughness. So they look like really spiky, dangerous elements. So now if we Render or if we take a look at the animation, the animation I think finished with Frame 56. So let's start with Frame 56. We're going to have this animation right here. We're a little flower second jumps across the border. Now in my computer, as you can see, even with all of the bells and whistles, I can really see everything and make it look good. This is not going to be the same as if we Render. Let me save real quick. So if we Render now, you're gonna see that the result is quite different. The colors look a little bit different because again, viewport to point though is really good. But it's not as good as as the traditional render. Let's make sure to go to the options here and changes to GPU. And this is what we're going to get. So again, if we increase the sample at the denoise or change the materials and stuff like that. We're going to be able to get an even better animation. But this is how we animate the scene we bring into rig. We start planning to keep Poses. We check the timing. We start doing the Polish, we figure out what other things we can add. And at the end of the day, we're left with this final Animation ready to go. So that's it for this one guys. We're gonna do one more Animation. We're actually going to be taking a look at a more complex character Rig. We're gonna do one Animation with that character Rig, and that's been going to be it for this, for our Animation chapter. So hang on tight, and I'll see you back on the next one. 54. Character Rig: Hey guys, welcome back to the next part of the series. Today we're going to be doing an animation with our character Rig. First thing I'm gonna do is I'm gonna go File create reference, or actually I'm gonna go File and open the scene to explain a couple of things. And we're gonna be using this robot Rig From this is a little character that I did a little while ago and it's just a fund, a little character. Now, this is a full rig that file open scene. This is a full rig that has all of the Controllers that you need for a character that you can see, we're not releasing the materials. So let's, let's fix this real quick. If we go to the Hypershade and we take a look at the materials for the road. This one right here, M Robot main. And we go to the elements you're going to see it's not really finding them. It's not trying to look to a place where this things are not really at right now. So we're gonna use something called, I believe we used it before, but it's not. Here's the quick thing we're going to use. It's called a general interests Windows, general editors as this thing called file path editor. As you can see, it's finding the Textures, but it's finding them in a place where I really don't want distinct to be found. So I'm going to repack the files and we're going to look for the Robot Textures right here. I'm gonna hit Set and say search subdirectories just for to make sure and say, There we go. So now it should be finding them on your source files. Now, this little dude is using UTMs. So I'm gonna go to the base color. I'm going to generate the preview, add one K so that we can see the very basic elements right here. I'm also going to generate them on the normal map. I'm going to join them on the mental illness, am going to generate them on the emissive. This actually has a new map that we haven't used before, which is called the emissive map. And what that map does is it emits light, okay, we're not going to see it right here. I'm actually not sure why we're not seeing it. Because it has a glass shader, but it's like a little face me that the little dots that makes them the little character here. So let's take a look at the character real quick. And we're gonna see that we have IK or FK movements for the arms. We got FK movements for the fingers as well. So if we want to move the fingers, we can do it like this. The legs have IK. So if we move the legs up and down, we're gonna be able to do this. We do not have pulled back. So the leg is always gonna be pointing forward. And then we got this one right here, which is the hip movement. There we go. We got the torso movement or the arms movement. We can rotate the whole thing, the body right here. We got an antenna over here that can move as well. Or that's a little like a lamp right there. And then we got the antenna right here. It even has like a little spring on the top that we can use to, to generate a little bit of extra moments. Well, there's a little bit of an issue there with the weights. You can see them right there. That's not perfectly weighted. But if we, if we move the bottom part right here, it should move perfectly fine. There we go. Now, before we bring this into the scene where we're going to be N mating. There's one more thing I wanna do. Remember how we, the flour sack, we had a quickselect set too. Well quickly select all of the curves. Well, let me show you how to create one. We're gonna go to Select all by type NURBS curves right here. And that's going to select all of the curves that we have on our scene, all of the control for our character. Then I'm gonna go to Create, select set or set, quickselect set. I'm going to call this robot controls. I'm going to say, okay, so as you can see now here on my outliner, I have the selection set. And at any point I can just go here and very quickly select all of the Curves. Or if we want to create a button like will they have right here, we can go and say, select quickselect sets, Control, Shift and click a robot controls. As you can see, we're going to have a Robo element right there. And when we click it, we're gonna be able to select all of our elements very, very quickly. I'm going to save the scene because it's gonna be my master scene. You're not going to have to do this if you don't want to. If you want to just have to disconnect everything, we're we're gonna save the scene and now we're going to open a new scene. So let's say don't save right there File and we're going to reference, create a reference to a Robot Rig because remember, we never at gold directly to the element. Now, as you can see, I press number six and we get this result again. It's looking really, really ugly. Why is this? Well, of course it's because we have not degenerated the previous. So if we go here to the robot main, which is the main material, we're going to have to go to the roughness and just generate the previous for all of the materials. This guy, I believe has three columns for the whole body, which is what's giving it the sort of like nice resolution. And then we go, this actually looks even better right now. Now one more thing I want to do for this new scene is I want to reference in the barrels, in the barrel render scenes. I'm going to say File. Then create reference. And we're going to reference now the barrel render, this one right here, which if you remember it has are lights and everything that we need to get a nice result. Now, let me just check if microbes, yes. Okay, So my master control does allow me to scale the character. I'm going to scale the character down so that he fits inside of the element. I'm scaling this 0.85% and you cannot delete the things that are referenced in this floor right here. We can now delete it, nor can we delete the barrel. But one thing that we can do is we can hide them. I'm going to hide the barrel, I'm going to hide the floor. And actually we can keep the floor. That's fine. What I want to do with this is if I turn onto lights. As you can see, we're going to be able to see the Robot a lot nicer like that. Now the Textures and everything is looking really, really cool here for our preview, rather, we can turn our shadows as well. I don't think we need them right now. We're gonna be any meeting like this, and we're gonna be animating a very simple thing. We're going to be animating an idle pose, which is the character just like standing still and doing a little bit of movement. And then we're going to animate a hello, like he's just going to say hi to the camera. Okay. So yeah, that's pretty much heat for the setup right now my friends. And now we're going to jump into animating 55. Character Animation Key Poses: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the key Poses of our character right here. One of the things that I want to do this, I actually wanted to create a main camera. So I'm gonna go to rendering. I'm going to create a new camera right here. And I'm going to call this Cameras shut camp. I know we already have one camera which was this one right here, which is the main rendering Cameras that we use for our shots. But we're going to be using this shot camp to actually generate the final shot that we want for this characters. I'm gonna say panels, look through selected, and we're going to frame the character in the camera. Now, you can use this little button right here. This is called the resolution gate. I think I've mentioned that before, but here this once again, and the resolution gate allows us to frame what's going to be visible under render. So I wonder Render to be right here, a very, very straighter and I might give it a little bit of a slight twist to one side just to make a non perfectly symmetrical, I'm going to scale the floor because we're gonna be using this learn later on. And we're going to frame the character just like that. So I would like to do a small little Animation with this character where he's kinda like distracted, like idling on looking somewhere else. And then he notices us and then he just like straight jumps and sees where we're at. Now, I'm gonna do a very quick test right here. I'm going to save the scene file. Save Scene, As we're going to call this Robot Animation. Start. There we go. And then I'm going to say File Save Scene As row with animation finished. The reason I saved two of them, to make sure I've don't overwrite the one that you guys are going to be starting with. This one right here. If we go to the render options, we're going to select that GPU again. And we can do a quick render tests just to see how this looks. You can see right now we're doing it from their perspective, which is fine. We just want to get a quick idea. It's going to take a little while. Remember the first time you do a Render, It's always going to take a little while for it to like process Textures and everything that you can see. It's converting all of the Textures into TXT files. Let's just wait a couple of seconds. I'm going to pause real quick. There we go. So this is the result that we're getting. Not bad, but as you can see, it's a little bit too light. So I'm going to grab the exposure here on the HDRI and bring it down minus two stops. This will give me a slightly more interesting contrast, the effect. Now I'm Elizabeth, concern about the fact that we're not seeing the face of the character. I do specifically remember doing a something on the emissive. So let me check where the glass, okay, this is the robot's face. So the roof face is completely black right now. And I do believe that back in the day when I did this character, we did have a, a texture for the face. So let's go source images. Let's go to our Robot. Robot, the robot, or is it here? And then we got the emissive right here. There we go. So as you can see, that's the emissive color. It actually working though. Now it's not working okay, so we need to connect the emissive. It seems like the emissive for some reason it's not working. So if we go again to the Hypershade, we should have the emissive going right here. Maybe I turn it off. So on the mission, yeah, there we go. On the emission options of the element. I turned the emission of, so I'm going to bring it all the way up. And what that's going to do is now that we render the character is going to have Lights emitting from the body. As you can see, it's doing a quick conversion, therefore, the emissive map. And let's just wait a couple of seconds. There we go. Now we haven't mentioned on the character, and I think we have to do the exact same thing on the face. Here, robot face at the emission. I am going to push it up. I'm trying to remember how I did this whole the way back. Because this is not going to give us the result that we're going for. I'm not sure if we will have to give me 1 s. There we go. I now just remember, so we have this eyes right here which has a mask. I'm going to copy this into a Robot Textures right here. And that what we're gonna have to do is we're going to have to do a quick connection here. So on the road with face, I'm going to open up the roof face and I'm going to bring in a file texture. This file texture is going to be a mask that we're gonna be using to create the ice. So we go to a Robot Textures and we look for robot eyes, are normal eyes. We're going to say open. We're, we're gonna do is we're going to use the out color of this thing. On the or, sorry, the out color are of this thing into D emission right here. That will give us the emission. But now we need to change the color and use this or like a blue color right here. Once we do that, as you can see right there, the face is not really respecting the color as we were expecting. So we might need to, that's really weird because I do remember having the proper UVs for this one, but we might need to go to the face right here. This faces right here. Is that the one? Yeah, that seems to be the one we're gonna go to the Uvs. And since that's the face, I'm going to make the face really, really big and get it right here on the center of the grid. As you can see the ICER getting a little bit better there. But we're gonna have to now go right here at row three this a little bit. So the eyes are properly aligned. Something like that. We can move this a little bit there to make sure they're nice and clean as possible. There we go. Now, I don't want to make you guys have struggled with that. That's a little bit on my side and my fault. So again, I'm going to save this scene as your robot starts so that all of this is already robot animation starts with all of this is already solved for you. I'm going to save this again as Robot and even finish that we go. So now that we have this, we can very easily go into our renders again and just get a very quick look at have this character looks. So if we Render now we go, you can see everything is looking quite nice. So we got the glowing bits, we got the eyes right there looking good and that we're ready to start our key post-process. So this is what we're going to be doing for our key Poses. I want to go all the way down to frame one. Frame zero. I'm going to select a Robot. Here we go to poly modeling. We should have a button right here. If it doesn't work, is this sometimes happens. It just a delete the button and go back to select quickselect set and creating new one because of the namespaces, something like freaks out. And we're going to save the key Poses The initial post as the main post right here. Then in frame one, we're going to start animating. We're actually not going to animate from frame zero. We're going to animate from frame one, but they want to save the original posing Frame one in case we need. Then another thing we can do is I'm gonna go here to the panels. Looks are selected, this is our main camera. And what I wanna do is I want to get a copy of this Cameras so that they can see how the shadow is looking. While I'm animating at the perspective view, I'm going to say panels tear off copy. It is going to give me a copy over here, which I can keep like small right here. And that way I can animate them. My perspective, we're getting a really clear idea of how the shotgun is going to look. Now the shotgun, for instance, I can press Alt or one to get rid of the curves and they're only going to be missing or we're not going to see them on the on-demand like shotgun, which is great because that way I can again, have a clearer picture of how things are going to look. Now, what do I want, I wanted to character to become like facing that way, going to rotate the little feet as well. So this feet, I'm going to move it like this. Rotate a little bit. This one's going to be rotated like this. It's going to be standing in a little bit more relaxed. Let's grab domain like hip area and just bring him back a little bit, something like that. Usually hence, we will have a slight slight rotation to the fingers. So I'm going to grab all of this fingers right here. And we're going to rotate them in the hand. This is slightly like this. Same for this one. I'm gonna go up here, this selection masks. And I don't want to be selecting the geometry every time I make a mistake, I'm going to click on the polygon option right there. That's going to make sure that I only can, I can only press what's the word Curves. I'm actually also do that for the bones because I don't want to I don't want that'd be selecting a bone by mistake. Then we're gonna go like this. And the other hand, one Very cool thing about animation or one advisor they give about Animation it straight to make things slightly asymmetrical. So I would like to the right hand to be a fist. So I'm going to really rotate the fingers. So we go all the way that we go. We go all the way to to a fist. There we go. I'm in number six right now, which is just texture mode. And then this one is gonna be going like this. Now, the advantage of this rig is that since every single pieces floating, we really don't have to worry about what's the word about any skin issues or skin overlaps. But there you go. That's a cool poster for character. And that's gonna be our first key pose. So that's our first key pose. I'm now going to go to frame it to. The second key pose is, I want this guy to go to the other side. So I'm going to grab the main element right here is going to rotate to the other side. He might even move slightly to the other side, kind of like erasing are moving his body weight to the other side, maybe a little bit to the front. It'd be going a little bit lower as well. And I really want his head to really move to the other side. At the same time, I kinda wanna do a couple of other things. So for instance, this arm, I kinda want to swing it back and they are moving forward like this. And this arm right here, I'm going to move it back and kind of like Stretch it back as well. Something like this. Kinda like if he's if he's looking for someone. So we go from here to here. Now, if you want to see the update on both Windows, because as you can see, sometimes you don't get the update on both Windows is very important that we go to the options right here on the Animation options. And there is an option that says Update View and hit Save. That way, whatever we do on one will happen at the other. So as you can see, we have key pose, one, key pose to, and then keep those three is going to be the little character here going and looking straight at us and being like what? He's gonna be like a little bit, like really, oh, it's like he's gonna be a little bit surprised. But it's like that first second when you know this, like someone is watching you and you didn't notice them before and you're like a little bit surprised So let's bring this arm back down. It's going to relax this arm a little bit here again. There we go. And this is where we're going to have. So it's looking one side or he starts looking with one side. He looks to the other side. He looks to the front. He know this is up and then he's gonna get surprised. So I'm gonna go to frame four, and here's where he's gonna get surprised. He's gonna go up like a jumping. We might have been like like separate the legs right there. That's fine. He's going to move the arms like, wow. I can't believe was being watched after all this time. He's going to open the hands and surprise. So this fingers that were initially open, he's gonna be like, Hey, there we go. I might even push the head back a little bit. Wow, that's it. So we got 1234 surprise. He's going to go back to origin and here's where the frame, the first frame is really helpful because we can go to the first frame. And just, or actually in this case, I think I'm gonna go to the first frame here. I'm going to middle mouse and drag it to frame five so that we're copying Frame wants. So we got Frame 123, surprise five. The, as you can see here, what I'm going to have to do is I'm going to have to go back here. Actually, very important thing. I did copy frame one, but I only copied that curve that I was selecting. So need to select all of the curves and go to frame five. There we go. Animate all of the curves. And now we got to have 12345. Of course, I'm going to bring the center of the body back here. So he's like a recovering from the surprise. There we go. Let's go very quickly to all of the frames and just give one keyframe to everything. So we got again 12345. And then six is gonna be the hello. So he's going to rotate the arm. Rotate the arm right here. Open the fingers. All of the fingers are going to be opened. I kinda want to move him down a little bit there. Of course, to avoid any overlap, we need to bring this arm like back in four words or something like this. We need to really bring this down like this. There we go. So he's gonna go into this pose. And of course the Poses is gonna be made out of a couple of movements. So he's probably going to move to the side and then move the hand to the side as well. And then do the opposite. Really close to this side, all the way over here. And then finally, he's gonna go back to this like normal pulse. So we select all of the curves and we go to Frame night and we hit S. So if we do this again as a flip book, you guys are gonna be able to see that we have a full little animation here. The character is looking to one side. Looking to the other side, he gets surprised or he's like, Oh, okay. There's someone there. It gets surprised. He comes back. He waves 12112. Okay, we miss something here. This, this was supposed to be a second wave. He's going to wave the second time. Let's open the fingers again. I probably didn't like animate all of the fingers. Would just move the curves here. And we animate this low character. Saying, hello. There we go. Let's select all of the Curves. Hit S, S. So we're gonna go normal stance, hello, one side, the other side, and we're back to normal. And that's where the animation is going to finish. With this done, we now have a really cool Animation and actually you can bring this all the way down to frame nine, for instance. You can play it. You're going to see the animation, of course is gonna be running again like a flip book. But there's going to give us a very nice idea of how things are working. So now that we have this, we're going to jump into the next part of the Animation, which is of course, Timing. Make sure to get to this point, make sure to save. It's very, very important that we save. We don't want to have any crash or anything. So make sure you save. And once we're ready, we're going to jump into timing. So I'll see you back on the next video. 56. Character Animation Timing: Hi guys. Welcome back to the next part of the series. Today we're going to continue with the timing of this surprise animation that we have right here. So as, as how we did it with the other animation, that is a little flower second dimension, we need to ask ourselves, how is the transition from one post to another in terms of time? Like is this transition and slow? Is this transition fast? How do we want to portray them on or Animation? And I'm going to select all of the curves here. Let's go to our first animation. This is where we start. We might, we might even give this a little bit more time. We'd like a fading or something later on. But for now this is the first post. Going into the second post, I really want this to be a little bit slow. So I'm gonna give this at least like 20 or 40, 30, let's go 30 frames. So it's gonna be like a really slow like movement from one side to the other as a little character, just like turns around. And in the scene, people sometimes are a little bit scared of giving too much time to things because they think that the render is going to take forever. That's one of the things that we need to like kinda ignored. Like don't, don't think about how much the render time is gonna be. Think about how nice we want our animation to look. In this case, if I take a look here, you can see that's a really good Turn like that's a, that's what I would expect to be doing normally. A very cool thing and I'm gonna do this real quick. I normally don't do this, but I'm gonna do this real quick, give me 1 s. So normally I don't show the face while while recording to make sure that everything is clean and stuff oh, here in the studio. But when we're animating, one thing that we normally do is we have a mirror or some way to see ourselves to Cameras perfectly fine. And we recorded ourselves is doing the movement at the n-dimensional, which will be something like, oh, okay, So by doing that then recording myself, I can see how long it actually takes me to do this movement and get surprised. And we take that time from the camera and we translate that to Maya to get the perfect animation. So I'm gonna go back here to our little element. And I knew that this is a good term, like 30 frames. I think it's a good trance-like a one-second churn. Then we're going to give another one-second turn. So I'm gonna make this even bigger, let's say 100 frames. Now you can see the things become a little bit more complicated to work with because we have less and less space. If you are bothered by this, remember that you can change the range slider here and you can make dinner range slider shorter so the frames are a little bit bigger. But yeah, so I'm gonna grab the next step right here. I'm going to give this another three frames right around there. So we're gonna go one. And then to, and he's like, Oh, that's you. So from this to this, the surprise is going to be quite interesting, right? So I'm gonna go here, but here's what I'm gonna do. I'm actually going to just break one Frame. I'm gonna do something called preparations. So whenever we have an action, if we just should the action and we just do the action, it looks very intense, very snappy. If we want to make the action a little bit more intense, here's one thing we can do. I'm gonna give this one more frame. There we go. A couple of more friends, that's fine. So I'm gonna give this two frames. And instead of going straight into the surprise, I'm gonna go into a preparation for the surprise. So I'm going to copy this frame right here, two frames after I'm gonna hit S for all the curves. And we're, we're gonna do is we're actually going to be going down and back. So we're gonna go down and back. Kind of like if he was being surprised and going into defense mode first. So he's going to lower the arms first, like this, and even lower the head. Let's give everything in the dimension. So we go from here to here, see that. So we go down to a preparation and then we go up to a surprise. That little change in animation is going to make this are Bryce way more intense because we got more contrast, more exaggeration from this post down here to dispose right here. Now remember the principles of Animation, saturation. Like let's go really, really, really down. Let's really bring the character forward, even like the little then ten is gonna be going forward. Now what's gonna happen is we're going to have this big jump as we go from this static pose or idle pose to a preparation and then to surprise right there. Okay? And then of course we're going to have a little bit of time to recover from that surprise. So let's give this a couple of frames after the surprise. Not too many, just a couple. So he falls down, recovers. Okay. And then he's gonna go into the hello posts. So again, how fast do we want to the hello posts to be quite fast. So this one's gonna be relatively fast, something like this. And then this was right here. I'm just gonna give two frames to each one. So it's gonna be two frames there, two frames there. And then the recovery post is going to be a little bit slower. So I'm going to bring this to like Frame 9010 frames. So this is what we're going to have. We don't want Frame zero. We start right here. We take 1 s roughly to go one side, another second roughly to go the other side. And then when we are going here, we see the person. We get surprised by the fact that we saw the person would jump in excitement. We go down and we say hi And then we finished the animation. Now let's take a look at the real time Animation. Let's how this looks. If we hit Play. There we go. Now, see how everything is working very fast. You can see that my friends right now they're running at 30 frames per second. And this is probably due to an issue here on the setup. So I'm not going to say, I'm going to say play every frame, but I just wanted to play, or we can just snap this to 24 frames per second. That's another option. And that should limit this to 40 frames per second. I mean, as long as you are above 40 frames per second, it should be fine. Let me close this for just a second. I'm not sure of having multiple windows. It's yeah, it's definitely multiple windows. So as you can see, this looks good. But then the surprise is really fast and the halo is also really, really fast. So I'm gonna show you another way in which we can modify this Timing really quick. So as you can see, we think, or at least I think right now, that this is getting close to the amount of time that I wanna give the whole like hello, thanks and stuff. So the distances is okay, but it's a little bit too fast. So how could we scale all of this? Well, if we select all of this range, again, by selecting all of the curves and we select all of these frames. You can actually scale the animation by using this outer edges and by scaling the animation, as you can imagine, we're giving a little bit more time all of the frames. So this, now if we play this animation, you're going to see that the moving is very nice. And the surprise is looking a little bit better. There we go. That looks a little bit there. Now I think it looks a little bit too slow. Now, I'm going to bring the scale down just a couple of frames, something like that. And that should let me find the perfect balance for the animation. There we go. That's a lot better look at that. Little dude is looking to one side to the other. He finds that you'd get surprised and he says, hello, there we go. So the proneness, if you take a look at the keyframes, the keyframes are now not falling on an even number or a whole number. So if we go to the graph editor, you're gonna see that the little diamonds right here, they're actually not at the 60 frame there and 60.5 in, even though that's not really an issue, ideally, you want your keyframes to be on a whole number. So I'm going to select all of these keyframes again with Shift, I'm going to right-click and I'm going to use this option called snap. What snap will do, as you can see, it will push them to the closest frame where it's a whole number and ideally are usually, the timing will remain very, very similar. So there we go. So we get again our little one side to side, and then surprise. And then he goes and says, Hi. So that's looking quite nice. I think right now, things are looking very, very nice. And the first thing I wanted to do now is I want to start modifying some of the Poses to make sure that we get the best possible effect. So for instance here where he goes like this to the right, I think it would be a nice idea to push, are bringing the arm up, this arm up, just to give a little bit more movement to the whole camera, something like that. And then we go back. And I don't like this going back because as you can see, he was like kinda like leaning down and we heat goes back. He stands up. I don't like that. So this pose right here, I'm going to bring him down a little bit as well. So now he's always kinda like leaning down and looking for someone. He goes forward, he sees us. And then he goes to the exaggeration. Then he goes to the surprise. The surprise from the surprise, we're getting way too fast to the recovery. So one thing we could do is we can add an in-between here and say, Hey, let's bring the arms are, let's keep the arms up a little bit longer. And by doing this, by just keeping the arms high a little bit longer, the surprise is going to look a little bit more intense because we're not going to be recovering from this until we get right here. Okay? So this is a principle I like to call waiting the animation, where we add an extra pose here, like we could have been pushed this arms like even higher. So we push the arms higher so that the animation stays up a little bit longer and then we go down. And that moment that the change in Animation is also going to change the way we look at things. There we go. Now, what else can we do here on the surprise? I think if we exaggerate this even more because it's just a frame, right? So this is where again, when we can use the principles of Animation to really, really, really exaggerate the character. So we can even break the regular, but we can do a little bit of overlap there with the floor. But that exaggeration right there is going to make the surprise a lot better. And this surprise, Let's break it as well. Let's just break the Rig a little bit. Let's bring the arms forward. For instance, all of this arms can be separated. So I can really get the arms out of the sockets right there. Push this up, push this up a little bit more. And only, that's the only friend. We're going to have that like super extreme motion. And then the character is going to come back. And as you can see again, those extra little frame of exaggeration on their key Poses are going to make this a price looks so much better. Look at that, so much better. Here we go. Now what else can we do? Well, what about secondary animation, which is again another principle of Animation. What else can we animate to make this thing a little bit more interesting? And the antenna, of course So the antenna right now, it's not really doing a much. We, I think we modify the one he had the surprise right here, but it might be a good idea to add just a little bit of movement. So maybe on the first pose, the antenna is gonna be back. And then on the second pose, dentin is gonna be Fort Worth. And then on the third post, the antenna is going to be back again. On the surprise post right here. He's going to throw the antenna all the way forward. So that's gonna give me a lot of movement. And then under surprise, post right here is going to throw the Internet all the way back and we might even rotate it to make this both a lot more intense. So we're going to have that antenna throwing itself up in deer. And then when he's like this, maybe he's not alert anymore. So he's going to move the antenna down. And I'm going to keep the internet down. It might be moving a little bit. Well, it's like down here. I want to keep it to the backside. It shows that he's kinda like no longer alert, no longer searching for anyone. So there we go. We got the antenna looking, looking, looking and then you surprised. Hello. There we go. After this one, we would probably do another idle waiting for the fate out of the scene. So I'm gonna go to frame 130, and I'm just going to copy this last frame from that, from the robot. Copy it to 130 and just, just slight little like balanced to one side. We can do a little bit of movement here, like the fingers for instance. We can animate a little bit of the fingers like, just like going up even the arm, just, just a slight movement. This is again, just an idle pose when you're not sitting still or not remaining still. And then things are just slightly moving from one point to other. So this is the final part, and that's when we're going to have the faith. So from this part to this part, we're going to start having the faith. But while the fetus happening, there's still gonna be a little bit of Animation. That's one of the things that we can do. There we go. If we take a look at the whole animation, this is what we get. So one thing we can do now is we can of course jump to our shot cam. Press number seven. Let's get rid of the Curves. Let's section the range slider so that we're only going from frame one to frame 130. And we can take a look at the animation a lot better. There we go. So this is just an example my friends of the things that we can do here instead of Maya with Animation, as with rigging and Modelling and texturing and all of the things that we've been doing. This guide is just meant to be an introduction to the amazing world of 3d. But if you want to delve deeper and deeper into all of the things that you can do instead of Maya? Well, there's of course, more training and more practice that we need to do. However, this rig is going to be available for you, my friends and you're welcome to try it out and try doing different things with it. Try doing like maybe a walk cycle or something like that. Because this is perfectly functional. And again, when we do the Render, we're going to have a very, very nice effect right here. So, yeah, that's pretty much it for this chapter. My friends with this, we're closing the rigging chapter. And now we're going to be moving on to that dynamics chapter. We've been working with all of this keyframe animations which are in dimensions that we control. But sometimes there's gonna be Animations that will be very difficult to hand control. And we're gonna be using different systems to generate very, very interesting results. So, yeah, that's it for this one guys, hang on tight and I'll see you back on the next one. 57. Render Sequence: Hey guys. So I know I mentioned that the last view that it was the last video from the chapter, but I actually forgot to show you one thing which is the Render. How do we render this whole sequence, right? Because we know we can render any point of the Animation like here. For instance, one thing I'm gonna, I'm gonna, I'm gonna reframe the character a little bit specialty so that when he does a surprise, there might be a little bit of clipping right there, but I don't want to have as many or as much clipping. And this is what we get. Now one more thing that we can do here to make the whole I mentioned a little bit better, is we can actually animate the camera. So if I click this button, I'm going to be selecting the camera and what they can do. For instance, if I can start on frame one right here and then start advancing are moving forward onto your HESI sets. So that's Frame 60. So I'm going to advance a little bit and get right there. What's gonna happen is there's gonna be a little bit of movement here on the camera where we're getting in, closer, closer, closer. He notices sauce. He jumps back and maybe when he jumps back, like right here, I'm going to add another keyframe to the camera. Where in the Cameras, so if I press S, the camera is the thing that's being animated. Maybe where he jumps up. We also jumped back like, Whoa, what's happening? He got really, really excited. And then we just recover and are happy to see him. So let's take a look at how this looks. Okay, that's a little bit too intense. So I'm not gonna get surprised by the, the element right here, but I do like the like closing that we get right here. So he gets reprised, maybe when he gets surprised, we're going to back out a little bit. So we back out a little bit. And then towards Frame 130, we punch it very slightly. So now this is what we're going to have, a very clean animation as slightly, I think it's a little bit fast. So let's get rid of this one. So we're just going to stop and then he's gonna do that. And then we're just going to keep pushing in just a little bit. So again, that's one very quick Cameras animation that we can do. Now, how do we render this whole sequence? How can we prepare this whole sequence? The first advice that I would give you is tried to do some renders at different stages of the elements. So for instance, this one right here, that's a render that we're doing in frame one. I'm gonna go to the options here real quick and I'm going to change the size to HD ten a day, which is full HD. So when we do the render, we're gonna, we're gonna get very important information here. First of all, we're gonna get the information of how long this is taking. This is thinking 4 s per Frame. So that means that if I were to render 130 frames, I would be getting a time of 520 s. If we divided by 60, it's gonna be 8 min. So our whole Animation in my computer right now, it's gonna take 9 min to render to get the full frame. However, there's one thing that I haven't mentioned and that is something called interpolation. We know that we're using this optics de-noise, which is cleaning up the noise of our scene. But you can see without the de-noise, the scene is really, really, really, really dirty. So what's gonna happen? This every single frame that we denoise, the noise is gonna be slightly different. So we're gonna get a lot of grainy moving pixels all over our character. In order to avoid that, we definitely want to clean this on denoise part of the render like first. So I'm gonna go to the render setup. And here on our render I'm going to use adaptive sampling, which is like a brute-force way to doing this thing. If you keep it at 20 and 0.0, 15, it's going to take quite a long time, as you can see right here. But there's going to give you a really, really clean result. You can see the more time we let this through, the cleaner and cleaner. All of this information is V into salt. I don't think we need 20. I think we'd 20 s for the whole thing should be more than enough. So on the Render Settings, I'm going to change the max samples to something like six. Now if I Render should be a little bit faster as you can see right here. And you can see that the whole information is being clean, is definitely taking longer than 4 s once it finishes, which I expect this to be it was 10 s. Okay, 10 s still a little bit short. So I'm gonna do this ten samples right now. By doing ten samples, I can, I can guarantee that the amount of noise that we're going to have on the original image before that the noisier is not going to be as much. Therefore, the difference that we're going to see from each frame is not going to be as much and we're not going to see a lot of like dancing points on our renders. As you can see, this is definitely taking a little, a little bit longer. It's going to take thirty-seconds probably. It's going to 23, 24 s. I can already see. There we go. So it took 26 s. But as you can see, the image is really, really clean. And of course, if we turn on the denoising, that inertia is going to be doing quite a bit of magic here. And we're gonna get a very, very nice result. So the problem is, of course, if we make our calculation again, 26 s times 130 frames, it's going to be that much seconds. If we divide it by 60, it's gonna be an hour. So it's going to take a full hour. We went from 10 min from our Animation all the way to an hour in our animation to get a very nice result. But again, this is the kind of stuff that you don't need to worry about because I would rather spend 1 h rendering a scene and have a really good scene, then spend 10 min or several times 10 min trying to get the scene to work with a very high noise amount. So there you go. As you can see, the more time we let this the noise or work and the more time the render is working, that cleaner and the more precise this image is gonna be This is the kind of stuff that we want to avoid on the final renders. And the only way we're going to be able to avoid that is by having high sample count on our elements. As you can see, this keeps doing its job. We're almost there the 26 second mark. And once where the 26th second mark, this thing is gonna be cleaned with that, the nicer. There we go. So everything looks really clean. We might get a little bit of refraction. They're like those will samples right there. That's again that the noise you're doing its best and a little bit of green is not bad, but you don't want to see like a blurry splotches. And would this setup we should be avoiding those Fleurus pledges. Now to render the sequence, we're gonna go to common and we're gonna go all the way up here. And we're going to select the format in which you will want to Render. For the basic renders, JPEG is fine, tip is fine, target is fine. I'm going to just JPEG or PNG because it has a little bit less compression and that's it. But for more advanced stuff, later on, we're gonna be working in the film or commercial industry. You might be using EXOS, which are like really, really powerful file, file formats. They're calling like raw files from Cameras. So the image format I'm going to use PNG and very important here on the Frame Animation extension, we're going to use name, number extension. We're going to select on the frame rate, which Frame we're starting, in which Frame we're ending at. So this will be, we started Frame one and we finished at Frame one-third, we select the preset, which is an ad right now, full HD, and that's it. So to render, we're gonna go to the Animation tab, sorry to the rendering tab. And we're going to go to Render, and we're gonna use this button called render Sequence. We're going to click the option box. Super important that you click the option box. I cannot tell you how many times I've messed this up. And it's horrible to leave the render for a while and then come back and realize that you made or choose or chose the wrong camera. So on the current Cameras, we are going to change this to the shot cam. Very important that we select the shotgun, which is the camera and that will want to use, which is the one that we created when we first started this Animation. By default, all of this images are going to be saved. Images folder from your, from your system. And that's it. Once you have this, once you have your sample set up properly here with the adaptive sampling, I'm using my GPU and everything seems to be working fine. I just say render Sequence and close. As you can see, the render view, the Maya render B is going to be open. We normally don't use their major render view because we're using the Arnold RenderView. Arnold will do the render. You can see down here, Arnold is rendering the frame. You're not going to see the progressive like process. You're just going to see the final results. So after like 26/32 of rendering, we're going to see the final frame right here. And then it's going to start again and again and again and again. Now you can cancel those render. If you press Esc and the computer allows you to, you can press Cancel and to stop the Render. There we go. So I'm going to stop it right now with Esq., because one thing I need to do is I need to save her real quick. And now I'm going to resell it. So it's very important that you don't use your computer when doing this render, because the more resources your computer has, the faster the render is going to be severe. Trying to play a game while your computer is rendering, the game is going to run really slow and the render is going to run really slow. So usually I leave the render one, I'm going out for lunch or when I'm sleeping or when I am doing something else on another computer. And that way we can let this just run. There are online render services that you can use if your computer is not as powerful. But again, something simple like this should be achievable by pretty much any computer. So I'm just going to hit again Render and close here. I just want to show you one more frame. And while that is rendering, Let's very quickly go to our Project Files. And if we go to images, you're gonna see we have all of the images right here, and we have our Robot animation finished right here as well. You can see that the format that we're gonna get this 0.0, 010, CO2, etcetera, etcetera. This is because we saved the frames of the renders. It will be very painful to try to export a movie like a compressed movie from Maya, because if at any point during the render it crashes, you lose everything with frames. If the render crashes, and believe me, it does crashes like relatively frequently. You just need to restart the render from the frame that you left that. So as you can see, this is my Frame Number one. If I need to, if the render crashes right now and I need to start over, I don't need to re-render Frame one. It's already been done. So I can jump straight and do Render number two or three or four, or in whichever number is, you can see that the image is really light, 1.6 mb. But one thing that it is very important about those render Sequence is that you will indeed need to bring this into another software such as After Effects or Premiere Pro or whatever like video editing software and convert all of this image sequences into a final video. So that's it, my friends. This is the render Sequence process and oh my God, sorry. And would this, we're ready to jump ship onto dynamics. So hang on tight and I'll see you back on the next chapter. 58. Dynamics Systems: Hi guys. Welcome back to the next part of the series. Today we're going to continue with dynamics Systems. In this chapter where we're going to be exploring a couple of dynamics Systems that we have available here inside of Maya. So what are dynamics Systems? Well, we've been doing some exercises such as the bouncing ball. We did the little Robot than the flour sack. That is what we traditionally called hand key animation, where we as artists side, where we're going to have our elements. But there are certain things where we're doing Animations. Imagine, for instance, if we're doing a cereal box Animation and we want to have in the name mentioned where all of the cereal like bits are falling from the box. You're not gonna be animating every single cereal bits. So we start using other systems, such as a mesh meshes. One of the first systems that we're gonna be taking a look at, and the other one is called bifrost. Now, before we start with any of the substance, I need to go over a couple of important like theory concepts. First of all, this are plugins that are included with Maya. The first one, as I mentioned, is called the Mesh. And as you can see, even though I have a shelf eye on the previous videos, we did not load mash. I'm going to load mash. I'm going to set it to odd low so that anytime that we opened Maya, we have mash enable. Mash works using an instance-based approach. So before we do or use mash, I need to explain to you what a Instance is because we really haven't, like, take a look at this. So I'm going to grab this cube right here. And if we go to Edit and then duplicate Special, you guys might remember that we had the option to duplicate this as a copy and that's what we use when we were doing some modeling stuff. Well, we can actually copy this as an instance. And we can say, Hey, I want, like, I don't know, like ten versions of this cube. And I want each of these versions to be displaced like ten units in Z. And I hit duplicate Special. And as you can see, we got ten cubes that are, have been duplicate it like this. Now, it might seem like Each of these cubes is an individual element. But actually due to the way that we set up this things over here, they're actually called instances. And an instance is it's like a clone of the object that shares a look transformation, things that it happens to it. So if I were to where to go to the face of this object and modify the face as you can see right here. All of the different blocks are gonna be instance and they're also going to respond to that particular change. If I were to extrude this face and then extrude this face for instance. And then I'll know like Babble this edge right here, like every single change that I do to the original one, will be affecting the other ones. If I go to the phases and we rotate the faces, we're gonna be getting a different effect if we scale the faces. So anything that we do to the original will affect the other one's not on the translations, rotations and scales. Each one of this has its own translation, rotation and scale, which is really important. But on the component aspect of things, they will each have their connection there. You're going to be connected to their own instance. Mash, which is the system that we have over here, works using those elements. It uses working with instances. Another element or another thing that we're gonna be taking a look at is called bifrost. So bifrost goes inside of the Effects tab. And the bifrost is this thing that allows us to create complex volumetric it like simulations such as smoke, water, particles and things like that. We also need to go to Windows, Settings and Preferences Plug-in Manager and look for bifrost. And we also need to load all of the bifrost plugins. This is the one that usually takes a little bit longer to load. It has happened a couple of times that students ask us about where bifrost is located because they can't find it on the Plugin Manager. When you installed Maya, it usually gives you the option whether you want to insult bifrost or not. So in this case, I have said this to load and Outlook. Now, since we've added bifrost and mash to the Honorlock option. Every time we open, Maya is going to take about 20 or 30 s more because it's gonna be loading this blog in Singapore. But now that we have this, you can see that we have our bifrost over here and we have this scenario here, which is the bifrost graph editor and the bifrost browser. The bifrost graph editor is where we're going to be doing our work for bifrost and bifrost browser are examples that should come pre-installed with Maya that you can use to generate some bifrost effect. As you can see, the things that this does look pretty much very nicely is things such as smoke, fire, gel is one of the newest one like this ice cream demo. It's a very recent. This came out with a 2020 $0.04 know. So anything that involves a lot of particles working together and creating something interesting will be done by using a bifrost, or we can get it done by using bifrost. Now, this are not the only tools that you can use to generate dynamics. There's a lot of other Dynamics options out there. However, this are, I would say the easiest wants to learn and that the easiest wants to get something out. So I'm gonna stop the video right here. Again, just wanted to give you a quick overview of what we're gonna be doing in this chapter. And we're going to be starting with mesh. So yeah, hang on tight and I'll see you back on the next video. 59. MASH: Hey guys, welcome back to the next part of our series. Today we're going to be taking a look at mash. Mash is a dynamic system that we can use to replicate objects in our scene and generate interesting animation is that will be pretty much impossible, will not impossible, but very difficult to generate otherwise. So I'm gonna go to the poly modeling options. I'm going to create a very basic cube and I'm gonna give a bevel to this clip just to have something a little bit more instruments interesting of a shape. We're going to clean the shape, keep it really clean. And I'm gonna call this cube origin cube. Okay? This is very important because mash just going to do something really interesting and a lot of people get confused by this first part. I'm going to select the cube. I'm going to go to the mash option. You can also go to the mash menu, by the way, and we're going to click on the first one, that is create a mash network. So by creating a mash network, the first thing that's going to happen is you're gonna get ten cubes right here. This is the default thing that mash does when we're trying to generate a new element. But let's explore why this has happened. I'm gonna click this second button right here, which is the mash editor. And this is where the magic actually happens. So if I double-click this mash node right here, you're going to see that we've assigned a mash node to the original cube. However, the original cube has been hidden or is hidden now, and we now have this thing called mash repro mesh. So the Mesh one repro mesh is the actual thing that's changing the parameters of our object right here. If we go to the mash network, you're gonna see a lot of the different notes that we can use to create or modify the graphs that we have right here. So if we go to the first one, which is the one that we have by default, we have this one called mash distribute, like just one. And you can see how many times we're distributing this element, in this case ten, we can increase this amount. We can say, Hey, you know what, we wanted to have 20 copies of this cube in this distance. What distance? We have a distance of 20 from the origin all the way to the 20 unit mark. We're going to have 20 points distributed right here. We can make the smaller or bigger depending on what we want. And the cool thing about this, this is the secret of the mash like workflows is that every single slider that you see right here can be animated. So if I right-click this thing, I can set a key. We don't have Controllers like what we have with character rigs or stuff like that. But we can set a key and we can tell, hey, at Frame 40 in this case I want to have 18 points. And then at Frame 99, I want to have like 44 points. We set the keyframe. Now what's gonna happen is we're going to have an animation where we started reproducing these cubes and getting a lot more into R L. If we will delete any of this place, we can just say delete or break the connection and that's going to clean the connection. Now let's explore a couple of the things that we can do right here. So this mesh thing is very similar to the duplicate Special, right? So we're using the x-direction. We can also use the y-direction to push this up and down. We can use the offset to push it in C, we can use the rotation option. So as you can see, each cube is going to have a little bit more or less rotation, depending us how we could do. This is, again, this works very similar to the duplicate Special. So if I say they want 90 degrees of rotation, as you can see, we're gonna have nine degrees of rotation from the first point all the way to the last point. So the last one is the one that's going to have 90 degrees of rotation and everything else is going to have an in-between, a linear interpolation between those points. We can rotate in Y, we can write it in C. And again, we can animate every single one of this one's. We can change the distribution right now this is a linear distribution of we change this to a radial distribution. You can see that we get a ring. And we can get again an animation where we start with nothing and kind of like a loading screen. We can go until we get hit like ulna, like 40 points or something. And that would be our loading animation. So if we wanna do a logo and we wanna do a login Animation for that logo. We could start, oh sorry. We can start here at zero points and then animate this thing, animating to 34 points. Let me show you a quick example of that thing. Like how will we animate a very quick like logo loading thing. So if we started the frame, Let's say frame one. And the logo and I mentioned is going to take, I don't know, like 60 frames, which is like a like 33, 2 s to six. So if we go right here, we right-click and we set a keyframe. And then on the final 0.60, we're going to select this and said how many points we want to have, maybe 100 points, right? To fill in like a complete loop right here. So we're going to get to mash distribute and we set the keyframe. We have all the keyframes so that, so it's setting up a keyframe. We're going to have this distribution right here. So if we hit Play, this is what we're gonna get thing. And then you can do some other animations inside of After Effects or things like that. Imagine trying to animate the rotation location and everything of this cubes to get this particular animation, it will be like super, super time-consuming. It is possible, but it's not worth it to do it that way. Now, keep in mind that as we get more instances of this cube, the poly count right here, the amount of polygons that are on the scene is increasing. So even though there are instances and they're supposed, supposed to be a little bit more performance oriented. That doesn't mean that we're not going to have some performance issues the more elements we have. Now, how could we modify or change the curve here? Because we maybe want to change the curve. And I'm not seeing the keyframes. Well, even though we're not seeing the keyframes, if we go to the graph editor, you're gonna see that we have the inputs right here. So the input mesh, we have this distributed normal. So what, what could we do here? Well, we could, for instance, change the curvature so that it starts really, really fast and then becomes slower and slower as it fills the final bits of the element. And then we take a look at the Animation. Now, we're gonna get this really fast Animation. And then the circle at the end You can see at the very end it looks a little bit like, a little bit weird because we don't have any more space, but it gets an interesting effect. Or we can do it the opposite way. We can say, Hey, you know what? I want to start really, really slow. So I'm going to push this down. And I'm going to curve this down as well. So we're going to start really, really slow, and then we're going to speed up and get a final effect at the end. So we get this started slow and then we get, it is very nice effect. We could also say, Hey, you know what, I don't want to have as many points, like right around here, like a frame 30. Instead of having 12 points, I'm only going to have six points. That way we're going to start really slow like tick, tick, tick, tick, tick, tick, tick. And then we're going to speed up and create the rest of the elements. And this is gonna give us, of course, a slightly different effect as well. So this is how again, the cool things about mash, or this is how we can use mesh to create really, really cool things in our objects and generate a result that might look a little bit more interesting than if we try to animate everything. Let's take a look at some other effects. I'm going to break the connection is right here. Let's give a couple of more elements. So that was radial. This is spherical, I love spherical. Spherical gives us very, very cool effect. Just like just a random sphere of things that we're going to be able to modify and do other things in this element right here. We got the angle. Look at that. We can do a sort of like a sweep effect right here. We can do a sweep effect as well right here. And again, all of these things can be animated. Let's do a quick animation here. So let's say we started in frame one. And all of her cubes are gonna be any single point. I'm going to right-click Set Key, right-click Set Key. And then by Frame 30, we're gonna do the Y sweep first. So we're gonna get this. And then let's set a keyframe here again. And by Frame 60, we're going to do the sweep on the sphere right there. So look at how cool this animation looks. There we go. So very simple, like just two little keyframes right there. And we already get something that looks very, very interesting here on our mash network. So this is again, this is the advantage of doing mash. We're going to be doing a couple of exercises in the next videos. But I just wanted to show you that there's so many things that we can do this. Another one that's very cool. We can actually use this mash distribute to create or add at a specific polygon and follow that shape. So for instance, if I, let's say create a polygon Primitive, let's helix. And let's play a little bit with the shape of the helix. Something like that. There we go. We can go to the mash distribute right here. And then we change this to Mesh. We can middle mouse and drag that P helix into the input Mesh. And as you can see this upstream going to be following the helix. And the cool thing is we can hide the helix. So we can hide the helix. And that means that we can now go again to the Mesh, this trivial right here, and play around with things such as the number of points that we have around the element. We can change the type. Right now we're using scatter, we can use random vertex, we can use the edges. So we're gonna go on the edges. We're going to need a lot of points right here to follow all of the edges. Let's go again to a voxel. Voxels are really cool one as well. As you can see, the kind of looks like a box allies version of the Spartan. Looks really, really interesting. Let's go scatter again. As you can see, we get this very, very cool effect. Now, the cool thing about mash again are, well, another one of the cool things about mash is that at mash works on this with this node based system. So all of this nodes that we have right here can be stacked and create or to convert or modify the D elements. So for instance, if I go here to mash distribute, I can add something like a random. A random though. So I'm gonna click and say at random node. And as you can see here, on the mash network, which would have, there we go. The mesh random is now on top of the mash distribute. We're distributing this thing on the spiral first and then we're doing a random thing. What are we doing here? We're doing a random position. So if we bring this down, as you can see, we are going to have back our spiral. We, we could do something like a random scale. We can do uniform scale. We can do a random scale like this. We can do a random rotation, for instance, on different axis and we can animate this as well. Of course, we can do a random position and all of this again can be like a modified. Now, remember the original cube that we have right here, It's hidden right now. It gets hidden by default. But if we modified the original cube, like if we, for instance, scale does cubed down, all of the repro meshes are going to be scaled down. So technically, we could add another animation to the original cube. And this is also going to be affecting the mash know that we have right there. I'm going to do a very simple example here. Let's say we grabbed the original cube, we go to frame one. Then we go to frame 30, and we're going to make it smaller. And then we go to frame 60 and we're going to make it bigger again. So now what's gonna happen? And again, we can actually hide this. What's gonna happen is we can do this Animation. We're, all of the particles are just like changing shapes. We can go to the random stuff and we also do like a set keyframe right here. And then let's say, Well, let me go to the first frame. Let's set the keyframe right there. And then the final frame, we're going to say like a big rotation right here. And then same thing we're can go right here. Let's go to the rotation of X, and let's set a keyframe right there. And then we'll go to the final one and will really change everything. So now what's gonna happen? We'll start creating these really complex animation where things are just moving in, generating something that will be pretty much impossible to animate on our own. So that's the basics of mash, my friends. That's how you normally work with mash. We're gonna be creating some knows right here and we're going to be modifying those notes to generate a really, really interesting effect. On the next video, we're gonna do our first exercise and we're gonna do a very geometric basic influence effect. Like it's just again, like a, like a logo or something that we can get and generate a nice particles firm. So yeah, hang on tight and see you back on the next one. 60. MASH Animation: Hey guys, welcome back to the next part of the series two that we're going to continue with a mash Animation. And we're going to start by coming up with an interesting animation. So I was thinking about like, what could we do to make something interesting? And I'm a huge fan of fantasy games like Dungeons and Dragons and Pathfinder. So I thought it would be interesting to do an animation where we start with something very, very simple and we end up with the famous D20, which is the dyes that we normally use to roll in those games in this D20 games. So I'm going to start with these few right here. I'm gonna bring the subdivisions of the sphere down because I don't want to have a super huge sphere. Remember every instance that we add is going to have add to the performance. This is where using a little bit of both Animations like keyframe animation and dynamic Animation can result in something really, really cool. So I'm gonna go to this sphere and I'm gonna go into modelling. I'm going to say Mesh display, soften the edge to make it look a little bit softer. Yes, it looks a little bit pixelated, but we can solve that a little bit later. Let's start with a very basic animation. So I wanna do a five-second Animation and usually 5 s or 120 frames. So we're gonna go to 120 frames and we're going to start the in frame one. And this is gonna give us 5 s Animation. So let's create a camera. I'm gonna go rendering camera. Panels, look through selected. And we're going to create the resolution gate to see where this thing is gonna be. I'm going to try to center this as nice as possible. Right there. We can even turn on this little option right here, which is gonna give us a like a weight we cleaner look at how or where this thing should be and that's it. So I'm going to start with this thing being completely, completely small. So I'm going to bring the scale back to zero. It's nonexistent. The object is right there, but it has no know, like size or anything. I'm going to hit a keyframe right here. And in the first 20 frames, this thing is just going to pop into existence. So I'm going to change this to one. Let's make a little bit bigger, something like that. There we go. So as you can see, what we have right here is this dye coming into existence. Another thing that we can do here is we can give it a little bit of rotation. So I'm gonna give it a little bit of rotation until we face this like pretty, pretty symmetrical to the screen. So as you can see right here, the die is going to be rotating and we're going to find this perfect situation right here. Once we have this, I want the system, the dynamic system to start happening. And to do that, I'm going to use my poly modeling or the little sphere that we had right here. That's one. I'm going to position this one on the very center of this object right there. I'm gonna make it a little bit smaller. We're gonna be using spheres for this one, I'm going to make a little bit smaller and it's gonna be right there. Once we have this right here, we're going to freeze the transformations and we're gonna go to mash, and we're going to create our mash network. So as we can see right here, we're going to create a mash network, in this case is going towards X. Actually, I'm seeing the little die from the side. That's fine. Let's go to the network and let's start working with different parameters. So the first parameter that I wanna do is this mash distribute. And we're going to change this to a radial distribution or a spherical distribution. Because we know that if we bring the angles in, we're gonna get this right there. We can also change the radius by the way, which is where the sphere is going to be. Now, what can happen here is if we keep this up like this and we start increasing the radius, we're pretty much populating, as you can see the scene from this point right there. So what I'm going to do is I'm going to start with a keyframe in frame 2.1. Let's see, right here, I don't want to wait until this thing finishes. So I'm gonna go to Frame 15, right around there. And this is where the animation is going to start. Let's go really crazy. Let's go with 100 points right here. Of course I'm gonna go to the initial sphere, I'm gonna make it a little bit smaller. Very important here seems like my sphere. There we go. Let's go to poly modeling and freeze transformations. We need to freeze transformations so that this thing knows that that's the origin. So we're gonna start with very, very small spheres right there. We have hundreds of years right now. And what we wanna do is on the radius, I want to start with the elements right here on the very border of the elements. So I'm going to start with a radius right here, set Key. And as the dye continues to expand, I'm going to give this ten more frames and we're going to continue to expense this fish right there. Okay? Now, another thing that I wanna do that's the first animation. So we got this. The dye is expanding and at the same time, this guy start expanding to the cool thing is we can actually bring this and go to like 500 points to give a lot of points, which is gonna look really, really interesting. And I would like to give a little bit of variation to the scale of the points. So I'm gonna go to this button right here, and I'm going to add a transform or a random element right here. And as you can see, that random effect already makes the whole thing and look really, really cool. So we're going to start right here. That's when they are going to appear like right from here. And when we are born. So that means on Frame 15, I would like all of the scales to be a lot. Actually, no, that's fine. I'm gonna keep them in like that. But when we're going to go up, when we go towards Frame 30, Let's go Frame 35. We're going to make the scales a lot bigger. So as you can see by changing the scale here, X, we're actually making these things float. This is not the intended thing that I wanted to happen. For some reason that looks really, really, really cool. And this is what a cool thing about instancing and all of these things. That by doing this elements we can create really interesting shapes. So I think we're gonna do this. So let's go back here. Let's go back to scale in X. I think because of the absolute scale, know, that actually looks like it's like sizzling down or something. Okay, so we start, we are born, were pushed out. And then once we hit this bassoon, or as we're hitting, as we're, as we're being pushed up. I'm going to set a keyframe here on the scale. And then as we go to frame, let's say 40, I'm going to push the skill up like this. And then while that happens, you can see that we're getting some really, really interesting effects right here. While that happens, I'm going to go to frame 30, and I'm going to rotate this in the y-axis. I'm going to set a keyframe. And I'm going to move this thing to frame, let's say 55. And we're going to start rotating this on the y-axis are actually, what's happening here is it is rotating the books in zero spheres like nothing's really happening. So let's instead of play with the positioning, why? So as you can see, by modifying this position in Y, let's set a keyframe right there. Let's go back to right around here and bring the position in white back. We're gonna be getting this really interesting effect. Okay, now, we definitely want to play a little bit with the, the elements so that it doesn't look like one thing is happening and then the next thing is happening, and then the next thing is happening. That's a very mechanical way to do things. So I can go here to the graph editor and be like, okay, let's, let's change a couple of things. For instance, again, if we check right here, we have first at the distributes. So this is the radius. I'm actually going to start from the very beginning. So what's gonna happen this from the very beginning, these things are gonna be expanding and then the dyes or the other day is going to come into existence. Then we're going to have this thing moving like that. You can see this animation starts looking a little bit more interesting. And I would like some like Animations, like maybe ****, oh my god. Oh my God. Maybe I want to be doing the scales up and down to generate something a little bit different. So I'm gonna go to frame. Let's say I want to go for this random scatter right here. There we go. So on the scale, Let's go to frame this one and we're going to bring the scale back to zero. And that way what's gonna happen is the little things we're gonna go up, down. And then I want to push them out a little bit more in that sort of like shockwave effect. So I'm gonna go back to my distributed nodes. If we go to the Distribute node right over here, distribute, we can add another keyframe right here, set key. And then the very fast, like six or seven frames, I'm going to push this out. And then very fast, I'm going to move a couple of frames up. I'm going to push this all the way down. As you can see right there and look at that. It generates this sort of like Pillar. And at the same time that, that is happening as should go to my random thing and bring the position back as well. So I'm gonna, I'm gonna bring the position back to zero, a couple of frames after it. And we're gonna get this very interesting effect. So now let's take a look at this thing. Okay, not bad, not looking bad. But again, we're seeing a little bit of that sort of effect where, where things are happening and then not happening. And you can see the cut right here. So for instance, this point right here, I'm going to lower this point a little bit more. As you can see, this is going to blend things in and it should blend the actions as well. So we're gonna go in, we're gonna go out, and then we're gonna go out quite a bit. And then we're going to collapsing to the center. And this is gonna give us an interesting animation right here. Let's go to this camera here. Panels look through selected. Let's take a look how it's looking. I think I liked the shock wave, but it's too slow of a shockwave. So let's grab this guy right here. I'm going to middle mouse and drag this to push this in quite a bit. And I'm also going to push this in quite a bit. And that way we're not going to have as many frames where the shock, what happens? Okay, that's a little bit too fast. So I'm gonna give this just a little bit more space and a little bit more space there. I might want to keep the shockwave up. So one thing I can do here is I can right-click and insert a keyframe. And then again with middle mouse, I can start moving this thing. I'm going to move it up, for instance. That's going to keep the shockwave kinda like floating in space. Okay, let's give more time. I wonder shark we to be fast but I wanted to stink to be a little bit faster or slower. So there we go. Now, this thing, one thing we can do is we can break the tangents. Remember how we broke the tangents to create something a little bit more interesting? Well, we can definitely break the tangents here and try to modify some of these valleys. Let's see how that looks. Okay, that's a little bit better. I definitely want this element right here to be faster, so I'm going to bring it back Okay, okay, That's looking a little bit better, but you can see that we have a weird effect right there. So I'm going to change the way this works. I'm going to change the shape of my curve. So at the animation is a little bit smoother. So we get this, this out and then we'll, we can do is we can go back to the dye and well, all of that is happening. Let's give them a little bit more information. So I'm gonna stop right here. And at this point that is just going to be rotating on its own like this. So while all of this is happening, that is just rotating, giving us an extra sort of like information or element right there, a visual element. And then when all of this gets expanded, it might make sense like when this expansion is happening, it might make sense to make this thing expand as well. So I'm gonna give it another keyframe right there. I'm going to expand the dice right here. So that looks like this thing is expanding everything. And then this whole thing is collapsing. It goes inside of the die. I'm going to continue rotating. And then by the end of this thing, just continue rotating right around there. I would say, I'm going to scale this all the way back to zero. Okay? So now if we take a look at the animation, this is where we get not bad, right? It's looking interesting. We're getting some really interesting effects. I really liked that sort of shock wave that we're getting there. It's looking nice. So this is how we would start blocking in a new type of Animation for our logo intro, one thing I'm definitely going to do is I'm going to punch in a little bit more so that when we go into the shock wave right here, or right, right around here, it looks like a paler defect. So I'm gonna try to keep it in a little bit more clean like that. There we go. Now, there's one more attribute that we can actually animate it That's really good, which is the visibility attribute. So I don't want this little spheres to be visible at every single point. And this is, as you can see, it's the repro mesh, which the repro meshes that node that's attaching all of the different nodes that we have here on the mash editor. So the repro mesh, what I'm going to do as I'm going to set the visibility off, right-click and I'm going to key selected. We're going to start the element. And I believe it was framed 20, where we're going to change this to on. So we're going to save on now one frame before that, I actually think it was framing 15, right? So that's gonna be on the Frame. There we go. So it's gonna be off, off, off. And then on frame 15, boom, we're gonna get the little particles right there. Nulla, think of it. I think the particles were supposed to come in a little bit earlier. Unfortunately, particles do not have this sort of know what like actually, I take that back. I'm gonna delete this one because we modified the original. So at this point it is a good idea for this thing to start at the same time. Because as the, as the dye is coming in, we're gonna get the particles. So I'm just gonna go right-click and break Connections. But I am going to be animating this at the end. So because I don't like this visibility right here. So I'm going to try to see when the die comes into existence. Or another thing we can do here instead, I'm going to grab the original sphere right here. And I'm going to animate its scale. So it's going to start with a scale of zero as well. Let's bump up above. Where is it Key Selected? And then by Frame 15, we're going to have a scale of one. We go. So that way we get that right there. It's actually like a cloud that's coming. And the reason why the Cloud is coming from the center is because the pivot point of the repro mesh is going to be on the center. Unfortunately, we cannot freeze the transformations right now. There's no, we cannot freeze the transformations right now, but that doesn't look that bad. It looks like a, like an interest to overlap right there. We get this really, really cool control right here. And then boom the shock wave. And at that point, right there after the shock wave and it goes in right there. I do want to change the repro mesh visibility. So I'm going to set a keyframe right here. And one frame before that, I'm going to set the keyframe again to on that one right there. It's gonna be off. So at that point, the mesh is gonna be gone. Okay, and then our Animation expires. This one, we can just hide. We don't need to see it. And now we take a look at the animation. We get this really interesting effect going on. Again, very abstract, very, very, just like modern-looking, a little bit simplified, but it gets the, it gets you the job done. And then that allows us to create something that looks quite, quite interesting. Now, we're not finished. I'm going to be adding a secondary mash System. I wanted to add something extra to this whole system and we're gonna be adding that in the next video. And then we're gonna go into rendering how to properly render this mash system so that we can get some really, really cool effects. So hang on tight and I'll see you back on the next one. 61. MASH Secondary System: Hi guys, Welcome back to the next part of the series. Today we're going to be adding a Secondary System here to our mesh element. Now one thing we can do is we can actually turn off the system right there, the initial system, so that we're not seeing it, we're only seeing the initial animation of this guy right here. Now, what I'm gonna do is I'm going to bring in a cube. Cubes are really, really FUN to, to play with mash as well. I'm gonna make this a little bit smaller because already know that we're going to need a smaller size. And we're going to go to mash again and we're going to add a new mesh element. And you can see now we have to mesh networks. You can have as many as your computer can handle. So mash networks are not something that you need to worry too much about. I'm going to change this to radio, but I'm going to change the radial access to Y are two ZX That's on the y-axis count like how, like a planet's orbit, I'm going to bring the radius in. And let's go to a main element right there. There we go. And we can use the C offset if we want to. But in this case I actually want to keep it like a ring. So I'm going to change this to 20 because 20 is the number of sites that we normally have on this day. And it seems like a good arbitrary number to have. Let's say I want to move this mash up. Of course we could go to the original cube right here and move it up. And if we freeze the transformations of the cube, It's going to jump to the center of the cube. But there's other ways to do it. And one of those is by using a transform node. The transform node allows us to change the position X, Y, and C. And I can change this position. That's a ten units, that's a little bit too much. Let's have five units. Let's do four units, is going to get us right there on the center. So I'm going to say panels, look through selected, and this is what we get. So we've got a very cool Like ring right here. What can we do with this ring? Well, first of all, I am actually going to increase the amount of like a distributed quite a bit. I'm going to go to 500, 500 on a single element, and I'm going to add a random effect right here. So as you can see, we get this very, very cool effect where we get a random transformation for all of the cubes, which it looks quite, quite nice. I'm gonna go to the original cube and I'm actually going to make it a little bit smaller. So from, from what I'm going to bring it down to 0.1. There we go. Because I want this to look like stars, similar to that. And then now what we can do here on the random nodes is we can use the right here, the random, we can use a uniform scale and bring this up. So we can have random scales around the elements. Very sci-fi write like this makes it look very, very sci-fi. So I'm gonna go to the transforming and bringing the transform down a little bit to number three. So it's kinda like orbiting on the lower section of the whole thing. And I'm gonna show you something that's really, really, really cool. We're gonna be using this thing called a falloff object. So to create are usually fall of object. I'm Then you say sphere right here. This is fear is going to be an object. It's going to tell us where most of the influence is being applied. So take a look at this. If we go to the random nodes and we go down here, sorry too. Yeah, there was a random node and we go to the fall of object. We can middle mouse and drag this into the fall off objects right here, or just right-click Create. There we go. In here on the fall of objects, actually we're not going to use the sphere. So again, let me just backup real quick. We don't need the sphere. We're gonna go to a random objects right-click and we're going to create a falloff object. And this fall of object is a thing that influences look at that. It influences how this random node is being applied to the whole thing. So as you can see, when I do this right here, it goes through the whole thing and it creates a really nice interesting effect. Can even do something like this. And the more influence we have, the more intense the effect this, we can change the strength of the effect. We can change the random strength if you will want. What do we want this to be linear or a little bit more random? I'm going to do a little bit of randomness there. And let's see what else. I think that's pretty much it. Now the cool thing is this object. We can actually scale this object. As you can see, we can generate something that looks like, like just a very, very interesting effect right there. I'm gonna make this a little bit thinner because I want to have like a like, just like a, like a sound wave going through it. There we go, Look at that. Let's push this up. So we have some big cubes every now and then, and then we get the rest of the elements. I'm going to scale this up a little bit more and then I'm going to bring the strength down so it's not as intense. So you can imagine now how this thing can really affect that the animation, if we go over here panels look, just select it. We can do Animation sweep at the very end after the, after the explosion. Let's turn on this one again. So after the explosion and the collapse right here, when this thing goes in, it might be a good idea to make this ring go out. So let's go to the distributor right here. Let's bring the radius in. Let's say set key right there. Actually, let me set the key a little bit before. Again, usually want to have a little bit of overlap. So when this thing is going in, like right around there, I'm going to set a keyframe. By the time this thing is fully out. That's when we get the ring. And I'm gonna go to the Transform, we're going to change this again to 3.53, 0.5. There we go. Maybe for it, Let's go for it. There we go. So as you can see, what's gonna happen here is this things go in and at the same time, this thing's go out. We get this very cool squares. And at the same time again, when this thing is already going out, this element right here, they fall off object that we have. We go again to the mash random falloff object. We can show this in outliner. There we go. We should be able to move this. So I'm going to start the animation here and it's going to do a sweep until it hits right here. So It's going to do the sweep right there. And by the time it finishes the sweep, as you can see, the whole thing is just disappearing. And at that point, all of these things right here, all of the ring, again going to distribute. We're going to set a keyframe to this guy. And we're going to go all the way about to zero to a single point. So if we go back to our camera and take a look at how we're combining all of these different elements and all of these different attributes. This is what we're gonna get. Okay, that's a little bit fast. As you can see, that's a little bit like the sharp wave is fine, but that thing right here, like this thing right here, that's a little bit too fast. So the first thing I'm gonna do is I'm going to increase the strength of this random thing so that we can see it a little bit more. There we go. But that is way, way, way too fast. So if we go to the radius, again to the Graph Editor and we look for the mash repro mesh. We're going to have the radius here. Is that the radius repro mesh two. Yeah, okay, So the initial element, it's way, way too intense. I'm gonna give this more time right here. I'm also going to give them more time to disappear. So now, as soon as the shock wave actually, it could be a good idea to have it on the shockwave. So when the shock wave happens, which is right around here, that's where I would like to have this thing right here. So I'm going to press W and middle mouse and drag this out. So as the, as the shock wave happens, a little bit more, as the shock which happens, this things grow. And at that point when this thing starts to grow, that's where we could have the random object right here. So let's grab this guy right here. This guy right here. So this, we're going to move it all the way over here. So that one with this thing happens, we're already seeing a little bit of that construction right there. Let's make this a little bit more intense on this side as well. So we're actually touching the, are creating the different cubes. And there we go. Let's take a look at the overall look now or to the animation so far. We got this interesting effect. A little bit faster still, I feel like still quite a bit fast. So the other option and then thinking about as of going to the repro mesh to this where it sits. This repro mesh right here and make it come in since the very beginning as well. So I'm gonna, I'm gonna have this come in since the beginning, a little bit slower. Again, a little bit slower here under this appearance, what this should do is add as this thing is building up, we get the huge ring right there. We get the shockwave. I liked that a little bit better. Then we get the sweep and the disappearance. Let's take a look. Panels, look through selected. Let's see. Not bad, but now this thing is way, way, way too fast. So I'm gonna grab this guy right here. And this two elements which are the sweep, I'm going to give myself. Wait, I thought we're getting we're giving ourselves It's this one right here. We go. So that we're gonna give us a little bit more time to do that sweep. Okay, not bad, looking a little bit better. Now, I feel like the cubes, when there's just standing still, they look really, really, really weird. So I'm gonna go to the random again. And from the very beginning of the random, I'm going to add some like Ke2, this guy's to the rotations. And then at the very end, we're going to just give them a little bit of rotation everywhere. So what that should do is as we get this thing going, cubes should be rotating a little bit. You can see, actually you can see the rotation is being influenced by that thing right here. So we go from a very straight line to this very, very cool thing. Now, here's the cool thing or another cool thing about mash. What I wanted to do is I wanted to have this things like dancing at every single point to give more dynamism to the whole scene. I like this or like crashing through the cubes and scaling them. I think that looks pretty, pretty cool. But now one of the things that we need to do is we need to make sure that when they're standing still there, still a kind of rotating. So I'm going to add another random nodes. Like there's no problem at adding another random node. But before I do that, let me save the scene because I have not saved this. So let's add this right here, and we're going to add another random node. There we go. So as you can see, that random node is really pushing things into like way, way different directions. I'm going to keep this really, really tight on the position. So right now it should be exactly the same thing there now a little bit more like separate it in certain areas. We can see that's another perfect line, which is fine. But what I'm gonna do here is I want to give them a random rotation in Y. See how that we're in this case. I think it's see that we want it see. So I'm going to start with a frame zero, hit random rotation with Z. And at the very end, we're just going to give them a little bit of rotation here. So what's gonna happen now is when we see the Animation, those gears are always gonna be rotating a little bit. And they're gonna continue to rotate as we go and create this really, really interesting effect. There we go. Now, I think, I think the collapse is a little bit slow. So I'm gonna go to the repro mesh again. And if we go to the initial distributed, which is where the, where part of the magic is happening. We just need to find the proper element. So this radius right here, It's mash distribute radial radius, output mash distribute. There we go. So I'm gonna, I'm gonna make this thing like Collider or collapse a little bit earlier. So the spheres collapse, this guy's collapse. I would like this things to collapse a little bit before the die. So we have 12, for instance right there. That's a perfect point for this things to disappear. So I'm going to grab this repro mesh right here. I'm going to set the visibility. I'm going to set a keyframe right there. And then the next frame, I'm going to turn this off. So they just disappear. So they go here, they disappear, and then the dye disappears. So now if we take a look at this thing, panels literal selected, We're gonna have a really, really, really nice effect. 123. There we go. So even though this is just an abstract exercise, I invite you guys to try something similar. You don't have to do exactly the thing that I'm doing right here. But if you can get to, get it to work in this fashion, you're gonna get a really, really cool result. In the next video, we're gonna be taking a look at one other note that that's important here for the mash network. And we're going to be taking a look at how to add color and render this into a very, again like this abstract sort of like Instagram looks that we get every now and then. So hang on tight and I'll see you back on the next one. 62. MASH Color: Hey guys. So we're going to continue with our exercise here, with our element. And we're gonna talk about mash Color because I wanted to be able to add some colors to all of this animation to make it look a little bit better. So I'm going to bring in a are buried basic Arnold Lights, AI. What stores? Let's bring our sky dome light. There we go. And we're going to input our color right here. So we're going to input our pint adding right here. There we go. So if we do this and we tried to see the lights, you're gonna see that it is indeed actually inputting Light interesting, which is great. But right now, or we don't have any materials or colors, I'm gonna go very, very. What's the word? Hi Art stuff. So I'm going to add a new material to this die. It's gonna be an AI standard surface, and I'm going to change this to gold. So the dye is gonna be a gold, a gold material. One thing that Materials here instead of Cardinal have is you actually have presets and there are a lot of presets that have exactly what we're looking for, such as gold, I can just hit gold and say replace, There's gonna give me the exact values that I need for this thing to look like gold on the final render. So I need to go here, panels, look through selected, let's say real quick. That's of course, change our system here to go to GPU and we're going to say Arnold and render. So if we render, as you can see, our dye is made out of gold, which looks pretty, pretty cool. We can make it look even better. If we go over here to the gold material, a will bring the roughness down. Because remember the roughness is how software or how smooth or not at the surfaces, we make the surface like completely non-smooth. We're gonna get you a really interesting color right there. Now, we don't want to see the background on our render. I would like to have either a black or a white background. I think it black background is going to work very nicely. Or even a white background, to be honest. So I'm going to grab this guy right here and down here under the visibility, I'm going to turn the visibility of the camera off. So what that tells me is that when we Render, we're not gonna be seeing it the background. Now, the background that we're seeing right now is black. If we wanted to see a white background, there's a couple of things we can do. We could get an image like we can import or we could put a plane on the back part of our elements. But that plane is going to be receiving light and we're not going to have an alpha channel. Or we can go to Display and just change the color of the background to white. And by doing this, the background is gonna be, it's now going to be white. Now, I don't want to apply a color management because if we do, as you can see, the colors are slightly off on the background itself. And that's not exactly well, what if it's a little bit too intense, we can bring it down a little bit and he'd something like there. And that's gonna give us a better look. Now for the spheres which are the most important part of our scene, which has mash network. One. I'm going to add a new color nodes. And the color node is really, really, really cool because it allows us to select a color. I'm going to select a green color right here. And we can change, for instance, the hue of the color. And since each individual sphere at different instance of the elements, it has something called an ID. So for Maya to know how to work with this particles, it needs to assign a number, some number that we don't have access to, at least visually, but it has a specific number for each of these instances. And by changing, for instance, a random hue, we can get different colors on each of these different elements. However, we have a problem. If we render right now, we're not going to see the color. Don't worry, I'm gonna show you how to do that in just a second. But let's first figure out what we're gonna be doing with the cubes. So I wanted to spheres to be this or like green, bluish hue, that looks really good. I'm going to change the value as well. So some of them are gonna be a little bit darker, some of them are going to be a little bit lighter. And there we go, we're gonna get a nice effect right there. Now, how are we going to make this things like, actually like gathers the color that we want from the information. Well, as you can see right here, we have a color setName, and by default this is set to color set. We can actually change this. We can change this to sphere, spheres. Let's call this the spheres colors. But it is very, very important that we copy the exact name that we have right here. And there's a couple of things that we need to do. First on the mash repro node, right here, down here on the output attributes, we need to make sure that we're exploiting this color per vertex information. This tells us that we're going to be submitting that sort of stuff, the elements. Now you can see that we actually lost the information here. I'll explain why that's happening. But the important thing is that we have this color set that knows where it sits. On the color note, we have this color set, the skull sphere colors, and this is where we're going to be exporting. Now on that again, on the mash repro mesh, we need to make sure that Color per vertex is turned on. Then we need to go to the mash node itself over here where it sit. But, but, but, but, but here on the mash Color and it'll behavior. Let me just make sure that we are exploiting this because we wanna do is we want to save this thing into something called the ID color of the information. Then we're going to go over here. I'm going to create a new color, new material. I'm gonna go to Arnold. I'm going to say AI standard Materials, AI standard surface. There we go. This is gonna be my M spheres. I'm just going to assign a basic green color hue to this fierce. I'm going to make this a little bit more glossy. So I'm going to bring the roughness down and we can select the repro mesh, the mash network over here. If we go to the mash repro mesh and we're going to assign that am spheres color to it. So now if we render yes, the spheres are going to be green, which is cool, but I want to get those like crazy greens that we had before. And again, in order to do that, we need to access the color sets information. So going back to this guy right here. And then look for a node called user, a user data Color, that's this one right here. And the color information of this as a user data Color is gonna go into the base color right now is black because it's not finding anything. But if we paste the name of this fierce color, it should be sampling the proper color from our elements. That's very quickly, give it a try. I'm pretty sure it's not going to work. There we go. It's not working because we're missing one more point here to make sure that all of our connections are right. But let me do a very quick paint diagram here to explain what's happening. So mash right here is generating a special color for each of the little spheres. This is being stored in an ID information node, okay? Then Arnold, over here, AI Arnold needs to get access to that information right there to inputted at onto the color, right here, the color note. So right now we do have the proper connection. It is looking for something called the spheres color set. But right now we either, this Arnold is not accessing this thing right here or mash, it's not giving the information to our, and we're going to solve it by checking this very simple bucks. So there's two things that you're gonna have to do. First, you're going to select this little guys right here. You're gonna go to the geometry. This is very important and I always forget to actually have a note would like caps that cells go to the repro mesh because they say repro mesh and they think is going over here. But notice the repro mesh, the actual repro mesh shape. And under here on the Arnold options, There's one option that we need to select, which is called export vertex colors, super important that we have this on. Then if that doesn't solve it, just go to mash Color and sorry to mash repro over here and just turn off and on the color spread protects just to reset the whole thing. And if you did that correctly, again, we're still using these fears, colors and everything. The name of our set, this is what we're gonna get. Canal disappears, are actually working, the colors are actually working and our little Mesh is working nicely. Let's go to wearing their perspective shape. Perfect. So let's do the exact same thing. But now with our cubes, I'm going to go to the cubes, which is mash to, and I'm going to add a new node called D Color nodes. And this one, we're going to change the name to cube colors. Again, we're going to Control Z and we're gonna do this. They're gonna be metallic and I want them to be like this or like dark red metallic colors. So I'm going to keep this one right here. I'm gonna give them a little bit random Q and a little bit of random value. Again, we go to the repro mesh right here. And first things we can turn on and off this thing right here. But very important in the repro mesh shape, we need to make sure the export vertex color is set to on. Let's assign a new material, Arnold AI standard surface. This is gonna be M cubes. And on the color of this object, I'm going to put a file. Another file, sorry. I was already going with emotions. So on the M cubes material, on the color information, we're going to look for the user over here and Arnold, AI user data Color right here. And we're going to paste in the name of cube colors. There we go. So if that worked properly, which it should, and we render, as you can see, we got this very cool combination of colors on the cube. And the cool thing is if we have interactive render turn on, which is this one ring there, as long as they don't change that, we can go to the mash Color to and play a little bit here with the saturation. So I'm going to give this a really dark red colors. And then of course, we can go to the actual, actual material of the element and make this all metallic. So they're all going to be metallic and I'm going to bring the roughness down so we can see a really cool reflection. Now we have this red and green element and we can actually play this and we can scroll in our timeline and see how this thing, so it's gonna be looking as we animate and move it around. So that's pretty much it. My friends. That's mash for us. And as you guys know, one more thing that we can do here, we can add our de-noise, your optics, which is gonna be our denoise, sir, We can go to the options over here, common and change this to number, name, and extension. Pretty similar to what we did with the render Sequence, right? We're going to render from Frame one-to-one, Frame 120. This can be JPEGS right here. Actually, let's do PNGs so that we can have the background That's an empty layer, and that we're gonna do full HD right here. There we go. So if we hit Render now there and it's gonna be a lot bigger, That's our element right there. If we don't want this thing to be as noisy, remember that we can go to Arnold renderer and we can enable adaptive sampling. Anything in number six should be more than enough. Like we're not going to need a lot of time. Maybe even four, to be honest. Force would be very good. Now, see the reflection on the element arena where we're using the reflection of the HDR. One issue that we have is that the reflection is looking really, really, really bad. So we can actually change that here by going on the samples of the element and we can increase the sample so a little bit that should make the reflection a little bit better. It's not really increasing the resolution there. Let me check how we can increase this real quick. So we're going to change the resolution here, 1000-4 thousand. And that should give us a better result on the reflections. There we go. A lot cleaner. So that's it. 3 s for a full render right here. Not bad. And now the only thing we need to do to get this thing going is to go to rendering. We go to render, render Sequence and we're gonna render from our camera one. We didn't name it shotgun, but it should be the camera one, Not perspective. And we hit render Sequence and close. What's gonna happen here? Remember we're not going to see the element where we're going to see it right here. It's gonna be black. Don't worry about this. We're going to see the actual reflection later on us as things started appearing. And when we come this inside of After Effects, all of the information is going to be here. So that's it, my friends. That's a very quick overview of the Mesh System. There's a lot more things that you can do with mash, really, really cool things. But that's, that's all we're going to be covering for this particular part. Now, we're not done with this chapter, with the dynamics chapter. We're still going to take a look at some other stuff. So hang on tight and I'll see you back the next video. 63. MASH Dynamics: Hey guys, welcome to this brief little extra bit on mash before we jump onto bifrost. So I went to include this one because mash actually has a very cool thing which has dynamics. And dynamics are really cool thing that we can use for our system to generate interesting elements. So I'm gonna model here something real quick. This kind of like a table or something. I'm just going to bevel the edges a little bit to give them a little bit more of an interesting effect. And then we're, we're gonna do, is we're going to do this sort of like little labyrinth or something. So imagine we have this just like geometric shapes all over the place. And we wanna do an animation. I don't even like, I can't even give you an exactly like an example of why or how I would be using this. But there's just a funnel exercise and I'm sure you guys would, your creativity, your game will be able to find ways to apply this information. So I'm just going to create these little like world, like a geometric wall right here. And what I wanna do is I want to drop a lot of them balls into this world and see how they react to the environment. Okay, So once I have this little war right here, I'm gonna go to Display and just, I don't want to display the shapes. There we go. So I'm going to create this little world and then I'm going to create the little sphere that's gonna be like bouncing around. This is a little bit too big, so I'm gonna make it a little bit smaller, something like this. And we're going to freeze transformation. There we go. Now I'm going to select this sphere. We're gonna go to mash and we're going to select a new mesh, like note on the Mesh district distribute. I'm going to change something here. I'm gonna go to mash distribute and we're going to change this to a grid-based effect. And we're going to change the amount. We're going to say five by five by five. So it's Uptown of another time, but that's a lot of little spheres right there that we're going to have in this world. I'm also going to add a position, remember the transform option, and I'm gonna erase this five units in Y, so they're a little bit higher into, into space. Let's make this thing so a little bit bigger. So that this a little bit more FUN here on the, the dynamic things always, always make sure that once you're happy with how this looks, to destroy or clean up all of the elements. And then now what we're gonna do or we need to do to make this dynamic is we're just gonna go here and we're going to make this dynamic. We're just going to add a Dynamics note on top of this thing. Where we add a Dynamics note, something very interesting is going to happen. First of all, on the outliner, you can see that we get our new Bullet Solver effect. This bullet solver is very important because it's the bullet solver that we're gonna be using to generate that Dynamics effect here on our element. And this right here is what drives the, the actual simulation that we're going to have. As you can see, it says that it starts in frame one. So we need to go to frame one. Our animation is going to start right there with Frame one. If I just hit play, what you're going to see happen this all of the little balls are going to start falling as if being affected by gravity. And once they hit the ground right there, they're just going to clump up and generate this very, very interesting effect. Now, if that's what you want, then there you go, we have a very cool animation that again, will be really difficult to have animate ourselves. However, when we wanna do is we wanted to make sure that this thing started reacting to the rest of the elements. First, let's start with the table. So if we go here to the bullet solver, you're gonna see that we have a collider objects section. If you middle mouse and drag the table right there, that table is now going to be a collision object. And if we hit play, what's gonna happen is this guys are going to collide with the table. As you can see, they're going to generate some sort of effect. Now, as you can see, the animation is failing a little bit in a couple of areas. Why is this happening? Well, simulation and dynamics are always a little bit tricky on computers. So we might need to adjust a couple of things here on the solar to give it more like time and more options to get the right result. So for instance, we have this collision margin. If we bring the collision margin a little bit lower, 2.02 and we increase the iterations. Let's go to 28 iterations. That is pretty much us telling the computer, Hey, a little bit extra time and try to get the animation that they dynamics to look like the way that they are actually supposed to look. Because as you can see right here, once it starts like like bouncing around, like if I scroll, if I do a scroll animation, you can see that we're giving more time to the animation to solve things. And once we hit the table, and we do this very, very slowly, It's a lot easier to the table or for the table to try to understand what's going on. As you can see, we lose a little fewer elements, but unfortunately, dynamics are a little bit difficult to control. And even though bullet is really good, it's not the best, It's not the best solver that we have. It does come free here with Maya, the bullet solver, and there are other things that you can explore Around bullet. But again, it's in this particular case is just a quick example to do some dynamics. Now, I'm going to grab this whole cube right here, and I'm actually going to combine it into a single object. And if we try to bring this into our Bullet Solver as a, what's the word essay collider by just middle mouse dragging. And then we try to solve for it. You're gonna see that it's doing something but not really doing it like perfectly right? So certain parts are working okay and other parts are not really working. Great. Other thing we can try to change is this internal frame rate. We can go to 240. And this is again giving more time and more processing power so that the collision is a little bit better. Now why is the collision not working perfectly fine on this cube tray here? Well, because Maya doesn't really know what kind of like collision shape to get this object. So if we select the object and we go to its attribute editor over here to the shape. You're gonna see that we now have a mash option all the way to the bottom in this Mesh option right now it's trying to use this collision shape automatic. We're going to change that, then we're going to change that to mesh. So we want the computer to use the actual geometry of this object as a collision element. And now if we do it, it should give us a slightly bigger or better result. In this case, it's not giving us the best result. And again, this is due to the fact that animation or simulation tends to be a little bit messy and it needs a really powerful computer to do a lot of iterations. Let's go to the Bullet Solver again, and let's try increasing this all the way to 960. Another thing I'm gonna do is I'm going to use my mash transform to push this a little bit higher up so that we get a little bit more time to think about what's gonna happen once we hit the little jump trees. So as you can see, a little bit better but still not perfect. So since the attributes are not working exactly as expected for this particular shape, that's a really complicated shape. It might be worth it to actually remove it from the bullet solver. So right-click and break connection and then split this back. So say Mesh separate Fraser transformation. So every, every single element and then introduce each single element as he different or AC separate piece into the bullets Bullet Solver. So I'm not sure actually, I know that we can't we can really grab multiple of them. So we're going to have to do poly surface one. Poly surface to poly surface three, poly surface for poly surface five, and poly surface six. There we go. So now, since each element is separate and it's just a simple box, it makes the whole thing a lot easier. We should get a slightly better result here on our Animations. I can see some of them are working really nice and some of them are not like this one right here is working nicely. But then this top one, not really great. Now let's take a look at the mesh options because you can see again the collision shape. It's not giving us exactly what we need. So I'm going to change this to haul in the hole is another option that we can do to try to use the sort of like shape. There we go. That's a little bit better. So we're going to grab all of them right here. And let's see if we can change all of them at the same time. Now we're going to have to do this manually one-by-one. So we're going to change all of the options here to hold, which should be using the skin, the outer skin of the element, to generate something that looks a little bit better. So now we take a look at this. You can see that the whole element is bouncing and giving us a much better animation. I'm gonna go to, let's say, 150 friends. So we get way, way more time to see what's happening. And as you can see, this is going to give us an interesting effect. Now, let's see what other settings we can do to make this even better. So believe it or not, one of the things that we haven't changed and it's actually making our whole simulation worked really, really bad. It's the playback speed. You guys remember when we were doing Animation and we set this to 24 frames per second. Well, that's actually a mistake when working with simulation. And it's very, very important that we understand why this is happening. The way simulation works is we're telling the Solver here to literally check every single frame, the collision iterations and the internal Framer link. We're telling it makes sure that every single frame is the correct frame. But if we're not letting this play every frame here on the playback speed, then we're not living the whole system. Do its thing. Look at the difference now. Look at how nice this look. Now that we've changes to play every frame. Now it's actually behaving a lot better. Omega. Sorry about this. So it's becoming a lot better. We're still getting a slightly weird effect here on the table. I'm going to change the collider on the table. It's set to automatic. We're going to change this again to Mesh. We're going to hit play. So ideally what this should do is it should give us a slightly better effect. So as you can see, most of them are trying to, like there's a little bit of gravity pulling them together and that's where we're getting this effect. But now we're not really getting any sphere down here. That's the kind of stuff that we get by changing this elements right here. Now, one very important thing about collisions, because you might be like, Okay, yeah, I like this. Let's say I'm happy. I don't care about a couple of clumping that we get here. I really liked the way this is behaving on this top part. Like how can we do or why can we make to save this information? Because every time we hit play, what's happening here is we're telling Maya to retry and reprocess the whole simulation. I'm gonna go to the blood Mesh older. Just want to try something real quick. Let's bring this down to one-twenty and to like eight iterations. And let's see how different that makes it not that different. Now one other thing that we can do is if we go to the table itself, right here on the mash options, we can increase the bounds on the table. And what that will do is once the little balls hit the table, they should bounce a little bit more. Again, there's a lot of gravity right now. I think it's the Bullet Solver that's getting way, way, way too much. Let's get rid of the ground. Let's see if without the ground we get a slightly better effect. I'm not sure why they're all clumping on the center, but as you can see, the rolling a little bit better. So now let's say we're happy. Let's say we like where this bolts are going and we want to do a render. Well, in order for us to do a render, we need to save something called a cash. We can't just leave the little spheres like this because we're gonna get a are we're not going to be able to do this in render time. So we need to save this information into something called a cache We're working to be saving this is by using something called an Alembic Cache. Alembic caches, a very universal thing. You can actually use this with multiple softwares that allows us to export something like this geometry right here into a cash that's gonna be saved into the score onshore discs. That way we don't have to do the calculation every single time. So I'm going to go here to cache, I'm going to say alembic cache and I'm going to say export selection to Olympic. The ones we do this very important and we need to make sure that we are doing a time slider or a start. And we're going to say from frame one to wireframe 150, that's perfectly fine. And that's pretty much it. Now, we are using the color sets or stuff like that. You definitely want to make sure that you have up right Color sets or any of the other things that you might be adding later on into mesh. As you can see by default, this is gonna be export into our cache folder from our projects. So I'm going to call this like spheres simulation. Simulation. There we go. N would just export the selection. So what's gonna happen is the simulation is going to run. And as it's running, it's gonna be saving age-specific Frame of what's going over, what's happening to get animation into this Alembic folder. So there we go. Now, if we go to our project real quick here, let's go here to our cache folder. You're going to see the alembic cache. And here we have this at 6 mb with all of the information that we need for our sphere simulation. Now, let me save this real quick File. Save Scene As I'm going to save this as by mash Dynamics finished. There we go. If we were to delete the whole mesh system, if we delete the mash, repro the solver everything and we're just left with this thing right here. We can go back to our cache folder or cash option right here, alembic cache, and we can say Import Alembic, we select this one right here and we say import. And as you can see, our spheres are back here. However, the difference is we're not using a mash node. If we scroll through the element, you're gonna see that the information after translations, movements, and everything has been saved. So with this done, now, we can very easily take this into a Render and just render the all of the information for our scene. I mean, why not do it, right? So I'm just gonna say Import here. Let's bring again our barrel render scene. We've been using this so much, but this is just so easy, right? To import something that you already know what's going to work. So let's delete these guy right here. And I'm actually going to delete this one as well. Let's go towards shot cam panels, literal selected. It's going to be full HD shot. So we're gonna go something like this. I'm going to assign a new material, Arnold AI standard surface. And this one's gonna be a red material. All of those blocks are fine. I'm going to make this assign new material Arnold AI standard surface. And this is going to be a dark like semi rough table. So something like this. The cool thing about this, this is you can see I can scroll up and down in my animation and I can find a specific point that they like and use that as the less as the main focus of my, of my render right here. So I think something like this is going to look really cool and we're gonna get all the little spheres there on the bottom. So if we read there, Let's go, let's find like a, like an intermediate point like right here, and we render this. Let's just make sure we're using GPU again, and let's do a full HD. We go, we can go to Arnold render and we're gonna get a really nice result here. There we go. So we can render the whole sequence, the whole element. And we're gonna get a really, really nice dynamics. And you mentioned that would again take years to manually animate. Now, of course, this is a lot of tweaking. You definitely need the relatively strong computer, especially CPU power is really important for the Dynamics solver. But once you can get at least the basic setup, you're going to be able to create amazing things here with mesh. So we're going to stop mash now and we're going to take a look at to bifrost things. We're going to first take a look at bifrost, what did this and how it works. And then we're going to be taking a look at Fire and a Cloth. So yeah, hang on tight and I'll see you back on the next one. 64. Bifrost: Hey guys, welcome back to the next part of the series. Today we're gonna be taking a look at bifrost. So bifrost, ASA, super powerful software, but at the same time you say Zuber super complex piece of software. So I would say bifrost is like an extra programming instead of Maya, it, it's DAB complex, to be honest. So let's take a look at the Basics of bifrost and how it works. I'm going to be using this a below smoke plume like option. So first of all, you need to go to Windows, Settings and Preferences Plug-in my plug-in manager, and make sure that bifrost is enabled right here. So as you can see, I have my loaded and set to auto load, so it should be working perfectly fine. There's two main things that we need to know about bifrost. First, this one right here, which is the graph editor, where we do the bifrost work. And then there's one right here, which is the bifrost browser. Now, again, as I mentioned, this is kind of like an a specialty inside of the 3D world. If you want to be a B effects artists, you really need to study your stuff about particles, fields, physics, like there's so, so, so much stuff that goes around like creating this elements. I'm going to double-click this one right here. I'm just going to say import. And as you can see here, instead of Maya, we're gonna get two things. We're gonna get this Abella, we smoke plume on the view port and we're going to get at this graph right here. So all of this nodes, all of these crazy things that are right here. This is what's making a will make our little like a simulation work right here. I'm going to go to frame number one again, it's very important that we start on frame number one because that's where the simulation starts, as you can see right there. If we were in any other frame like this was not updating. So I'm gonna go to frame number one. And if I hit play, what's gonna happen is we're gonna start getting the simulation of smoke rising right there. Now as you can see, this is getting really, really, really, really slow because we are actually asking the computer to do a lot of calculations so that it understands how to generate this plume of smoke that we're seeing right here. There we go. We might have been gotten some audio errors right there. I cannot, even though my computer is quite powerful, I cannot have this simulation like calculating while at the same time, like explaining and recording the whole screen. So how's this working and what's happening here? Well, as you can see right here, we are generating a bunch of different things. This right here is called bifrost area or area, which has like air, right? And it has to do with anything such as smoke, like a little plumes, and even a little bit of a fire and stuff. Now the way this works is you can see right here, is we start by using a collider. Right now this collider right here is, or sorry, no, that's for collision. So we start right here. We start. How I'm trying to explain this in the simplest way possible. The way bifrost work is a procedurally generated like system that generates a lot of things on the fly. Like every time we hit play on our, on our viewport. And that's the way it just creates everything. So as you can see right here, we start with this node that says create measures here. Very simple notes creates a new sphere, which is pretty much the same thing as if we just like out of these fear here on W part. But this does, does it procedurally, and that's feared that it adds, it's this one right here that we're seeing on the very beginning. So it creates a mesh sphere and then it creates a Fog density. It's telling you, we're telling this thing, create a variation of Fog density using this fear as the generator of that density. Then we varied the temperature by varying the temperature of the element. We're changing the way the plumes and like all of the interior like smoke, like elements or columns or being creative invariant. Then we have some air source right here. So all of these three nodes that we have right here, you're going to find them in pretty much all of the cloud elements that we have here instead of Maya. Because these sorts of things that are actually creating Physick properties for all of these particles to behave like actual gas. Now, this collider right here is really interesting because as you can see right here, it tells us that we can use this elements and make it collides with other objects. So if for instance I have a cube right here, and let's make this like a really big flat cube, something like this. Where they can do here is I can middle mouse and drag this cube from the outliner into here. And this is going to create a reference to that cube. And we can plug in that reference here into the geometry tab. And what's gonna happen is I'm gonna stop talking so that we can see it. But each should start colliding with that. Let's give it a go. There you go. As you can see by adding this cube and plugging it here into the collider. Like No, we're telling the whole system that it needs to obey where this cube is going to be in, pretty much go around it and look at this. This is something that you will never be able to hand animate. This is something that we need to simulate. And then again, as I mentioned, there's a whole complete what's the word specialty dedicated to people that are doing Effects? I'm going to be completely honest with you guys. I'm not that guy. I'm not the effects guy. I don't do this as much, but I do want to introduce the basic principles of bifrost So that you can start exploring if this is what you wanna do for your 3d career. So if we keep going over here, you're gonna see that the main brain of the whole operation is this thing right here, simulate area. So this simulate area node, as you can see, that has no properties. So we really can't change anything. One cool thing that I like about bifrost, especially for people like me, which are, I consider myself very stupid when it comes to be effects. It has this info tab that tells us what is going on. So if you're a, like a guy that likes to read the deconstructive and find out why things work the way they do. The info node for all of the nose is really, really important because as you can see, it tells you which inputted accepting what those inputs do, and how you can modify to get a slightly different result. So this simulate a real node is again like the brain of the whole operation where we're colliding the sources, which is where the areas coming from, the colliders, why this had colliding width. And then this one's right here are the influences. As you can see here, we have two influences. We have a Fog density influence that changes the way the density of the Fog is behaving. And we have a box of Fog density. Another bucks will Fog Density Modulation right here that uses this other influence zone. So for instance, the participant, you might be wondering what the **** is vorticity. Well, if we check the information, you're gonna see the basicity is the strength of the added acceleration to apply to the simulation. So imagine there's like extra wind hitting the simulation and generating more turbulence inside the footwall. That's two vertices right here. Now one of the cool things that like about a bifrost is the fact that even though it's slow and heavy program, you can actually play around with the different elements. So for instance, I can unplug this thing right here and see what happens to the simulation without any influence and what's gonna happen probably there's gonna be a very clean simulation. There's not gonna be a lot of participants can be a very smooth smoke, as you can see right here. Then if we go back here and we plugged the influences back on right here, what influences one and influence to, there we go. If we do that, what should happen now is there's gonna be a lot more vertices, as you can see, more, more noise inside of the clouds and the smoke is going to look a lot more interesting. So those would be the influences. And finally, we got the settings right here. As you can see right here, we have some influence and we have some wind speed and wind direction. What if we make this wind speed really, really heavy? Like, let's say we change the wind speed to 100, right now that direction is X, because remember every time we have three by is always X, Y, and C. So we have the direction of X, which means the wind should be pushing in this direction. If I hit play, you're gonna see that the wind is going to start pushing more towards this side because the wind is pushing it to that specific place. We can bring the drag up or bring the drag down. We can change, for instance, the, this is the year and they will have wind effect dense areas more. In this case, I'm going to enable and what's gonna happen this denser areas are going to be affected by wind a little bit more. And ideally, we're going to see a little bit more puffiness coming on the right side of the wind right here. So all of these attributes, all of this parameters are parameters that we normally deal with when we're trying to work with simulation. Now, this is very important. The file cache, as you can see right here, or as we talked about with the mash Dynamics, it will be very, very happy to try to simulate this thing every single time that we want to have something happen. So what we normally do is we use this file cache option to save all of that information. Now there's a couple of ways in which we can do them. First of all, we need to select which mode we want to use, pass-through Lacey, read or write. In this case, I'm going to be using right Mouth if I use right mode, what's gonna happen here? You can see that all of this, actually, I'm not really sure what this is. All it's trying to save it in some place that's not supposed to be singing it. So I'm gonna go to my to my project right here. Let's go to Maya 2024 to our project. Let's go to cache, our cache folder. There we go and I'm going to create a new cache called bifrost. There we go. Here we can select which kind of element we want to save. We can save it as Bob, which is a bifrost element or a bifrost like default material setup, we can save this under the limbic or we can see this a VdV, BDB is a little bit more universal, same as alembic, but in the case of fluids, B2B is the one that we normally use for that. I'm going to save it as a Bob right now I'm going to call this just smoke, demo, hits safe. So since now I am in write mode, what's gonna happen is when I hit Play, Every time it starts like calculating, it's gonna be saving a file. Now we're going to be able to then read from so that we don't have to do the simulation all over again. So right now Let's say we want to go from frame one to frame 60, or active Frame rich, whichever it is. Fine. So once I do this, if I go all the way over here and I hit play, you're gonna see this is going to start doing the process. It shifts are saving this into our files. Let me hit stop real quick. Let me just make sure that it's saving it into our cache folder. So cash, bifrost, and there you go. So smoke demo is being saved right there. Let's do it again. I'm going to just hit play and wait for this to finish. I'm going to shut up. Mainly because the audio sometimes gets scrambled when I'm doing this There we go. So it has stopped. I'm just going to stop it right now. And the RAF finished the 60 frames. And now what they can do second switch to read mode. And again, it's gonna be looking to the exact place where we had it in. Technically, since we're now in read mode, we should be able to scroll through the element and get the result that we want. So if we hit play right here, oh, it's not reading it. What's going on here? It should be reading it because technically we do have the file right here. You can see it right there, the bulb file. So we might need to restart it, but that should be it actually. Let's go here real quick. Let's go to our fall cash. Yeah. Written mode is supposed to be the one. Unless it's like finishing something, I'm gonna do it right mode again. Just so that we can, I'm just going to do it once more. And we're gonna go from frame one to frame 60. And once it finishes, I am going to show you the result again, give me 1 s. So the file is actually saving, but there was one little thing that I missed it. Remember how when we were doing the Textures, we added the udim flax so that they'd knew that there was a udim file will. In the case of this frames, we actually need to add the hashtag, or in Spanish we call it Gatto, which has this thing right here, the hashtag files. So as you can see, it's gonna be smoked demo dot hashtag for Hashtags dot Bob. Now we should be able to do right Mouth. And now when we hit play, it's actually going to be saving each individual frame as we would expect. So if we jumped here real quick and we go to our cache folder, let's see if we can navigate because this is quite heavy. There we go through the finish and as you can see here, now we have one file for each of the different frames. Now as you can see, this gets quite heavy. I'm actually not going to be including this on the files because it's gonna make this really heavy, just one simple 60 Frame like thing. And it's already at 2 gb. So my gut, so it's 2 gb of information just for that super brief elements. So if we go to this piece right here, or to the bifrost graph. Now, let's go by the bifrost graph and we go to the file cache. Now we can change this to read mode instead of actually doing the calculations, it's just reading that file that we have right there. So as you can see, we can see with like, I'm more like express view all of the different interactions that we have here on our scene. I can actually hit Play and it should play a little bit. The issue now, how can we make this play a little bit faster? Well, for instance, or to start with, we can select flay refrained 24 frames per second. And that should allow me to play this a little bit faster because you can see it's not really playing up 24 frames per second. One thing we can try is this little thing down here, which is called cash playback, which allows me to catch certain elements bad as you can see, this is actually not working. I forgot that this one did not work for bifrost elements. This is works for Animation quite a bit as well. It's kinda like wait, instead of doing the playblast, we do this. But this is where again, playblast comes into play. Because if we just do a playblast, we can save this as smoke. We can platelets this. The first playblast, of course, is going to take a little bit longer. But once we get the video, we should see in real time how fast this thing is actually moving without having to do the full render. So let's just wait a little bit here. And there we go. So this is the actual speed up the smoke. Like if we had this on an actual scene, on an actual render, this will be the speed of the smoking. As you can see, it's quite, quite faster. People that work with this thing seen in movie production stuff. They have some beast machines and servers to handle all of the simulation and a lot of the rendering. So they can see them a little bit more in real time. Now, if we want to render this, which by the way we can, then I got this cube and I'm actually going to hide it just to get something a little bit better here. Let's bring it in again, our barrel scene. I'm just going to say Import. We're going to bring in the viral render scene. And we're going to delete the barrel, of course. And we're going to have our smoke right here. I'm just going to grab my ground plane and bring it down a little bit more. Grabbed the camera. Panels, look through selected. And as you can see here, we gather element. Of course we don't need all of this frame which has need 60 frames, which is what we cached. And this is the kind of like smoke that we're going to have. So if we go to a medium like point, like, let's say Frame 4051 of the cool things that this bifrost already has, as you can see, is that it already assigned and Arnold standard volume material. This is a different shaders that we use, which is a volume material which is right here. But baba, baba standard surface, this is just this one. Pretty sure it's this one. There's one. There we go. This volume shader right here has a standard material and a particle cloud thing. So if we render this, we should be able to get something that looks really, really interesting. And as you can see, this works perfectly fine right now we're doing CPU. We were doing CPU right there, but we can actually do GPU as well. Oh no, sorry. Easy if you cannot be done with turn, would like bifrost motorists of volume. That's one of the bad things about simulation against some simulations is very CPU heavy. We need to make sure that we're using CPU. The stronger your CPU, the better and faster your simulations are gonna be. So one of the things, for instance, that they recommend if you're gonna be going into the effects route, is to use something like a thread report, like a rice and throw the paper which has like, I think like 18 course or something like that. Because the more course you have, the better this thing is gonna be. You can actually render some. The way to render some of these things is instead of exporting to the dot Bob file that we do, We could export this things to Alembic. And then with Alembic, we can actually use our GPU. Now we do have already noisier here. That's where this is looking a little bit weird. We turn this off and we let the render like do its thing. We're gonna get a slightly better result. There we go. The encoding was going crazy. But yeah, as you can see, we've got the little plume right here of smoke actually had to stop the render. It really takes quite a bit of time to render. That's one of the bad things about particles. Because with particles in this sort of like volumes, you need to calculate all of the light that goes into the system, out of the system, around the system, and it becomes quite, quite complex. But you can see the photo-realistic results that we're getting a really, really, really, really good. So we're going to be doing an exercise for a single frame, single sealed with Fire. And I have a nice model that we're going to be using. I'm just going to show you how we can get that nice flame and smoke effect. I don't use a lot of simulations for my personal renders. I don't do a lot of effects as I've mentioned before. But every now and then we turn characters are certain acids for domain like beauty render, I do like to add a little bit of smoke or fire or something like particles and things, because it makes it look really, really cool. So we're gonna do this smoke or the smoking the fire. And then we're going to be doing some Cloth Simulation, which is really, really cool as well. So, yeah, hang on tight towns you back on the next one? 65. Bifrost Fire: Hey guys, welcome back to this very short video about bifrost Fire. So I get the scene prepared here for you is called the torch scene. I'm just going to Control S to save it for you. And we imported the barrel scene as well. As you can see, we got our HDRI and we even had like a plane. I will actually not going to be using that plane. That's this torch right here that has a material assigned to it. So if I go to the camera and just say panels, look through selected and we do a quick render. You can see it's just this very basic effect right there. So what I wanted to do is I want to add a fire effect, like a torch, right? So one of the cool things about the bifrost is that it actually has some other presets that we can use to start our generation of contents. So if we go for the Fire option, We're gonna see that we actually have a flame torch right here. I'm just going to click this one and hit Import. And what's gonna happen is we're gonna be importing, as you can see, a bifrost graph that has all of the information that we need to generate a torch. Now, this is actually rather simple. We have is fear. We assign a great shader to that sphere just to get some color. And we start with the variation of the soar properties so that this V resource or very source property, what it's doing is when we generate the air, it's not going to be January everything uniformly across the sphere surface. So it's going to bury the way it does it. So as you can see, the random variation here, that's what's changing the whole thing. We have a fuel. This is one of the things that I was learning. Bifrost I thought was really, really interesting. So these fear has a certain amount of fuel. Right now. We don't have a limit to this field. This field is going to be like LET for as many minutes as we want to, so many for instance, if we want, but you can actually here, go here to the source, and you can enable an end to that field. So eventually the torch will run out and it will naturally turn off like, it will just stop consuming any sort of like fuel. And it will just turn off into this sort of like a puffy black smoke. This is the source air, this is the actual air that's being created. And again, similar to what we had with the smoke, we are going to have this brain right here, which is the simulate area, which is gonna be creating the different elements that we need to get the proper result. So we get some dispersion right here, some solvers here for the combustion and all that stuff. We're not going to be going over those. And we'll just have an assignment. You'll hear that assigns to this standard material here is a basic Arnold standard volume material and it applies, this is very important. It applies a couple of channels that we're going to have to use. The box will Fog density. And very importantly, it makes this thing be an emission, a black body emission, which is an object that produces light because it's burning so much energy. Okay, So we're gonna be using this one right here. You can see we have certain values such as boxer Fog density down here we have boxer temperature, um, and we can change how we make this thing look. We can make it more intense, less intense, all of this sort of stuff. You can see right here, the intensity is right now set to two, but we're gonna be able to change his shortly. So this thing right here is you can see it's a little sphere. So I'm going to position the sphere close to where I would expect the volume of this thing to be, which is right around there. And now that we're ready here, we can literally just hit play. Of course we need to go to frame one. And as you can see here in flame while we're already see the combustion going on, It's like a mini sun right there. There's gonna be doing the whole thing. So I'm just going to hit Play. I'm going to let this run for like 100 frames or something to get something interesting. And then I'm going to show you the render real quick. So let's go. So there we go. I'm stopping the animation at Frame 32. There we go. There we go. So I'm stopping the Animation, a frame narrative because we already have an interesting shape. We can keep it running until we find something that looks interesting. But I'm gonna, I'm gonna keep it right here. Now, we could of course, use the same thing that we did before with the, with the caching so that we don't have to do this every single time. But right now, since this is just a quick example, I'm going to show you the render real quick. So as we know, we cannot render with a GPU unless we catch this to an Olympic file. I hope that they improve this in the next couple of releases because that's something that people have in asking for a while. Now, I remember back in 2021 where we're asking for this because it's such a powerful theta GPU and being restricted to CPU without caching, it's just a little bit annoying. So if we go to the render here and we hit Render, this is what we're gonna get. And as you can see, sorry, I passed around thing. As you can see, there are a little points of light that they're being influenced, are the influencing different parts of the wall. Now, if you remember, I was mentioning here on the graph that if we go to the AI standard volume material that we're assigning right here, we can actually change a couple of things. We are using this emission mode, which is a black body, and we are using this temperature right here. Well, we can just, we can increase the intensity of this black body. So we go from two, let say 20, which is quite a bit of change, and we render. You can see that now the colors are way, way more intense, but also the light that we're getting on the back of the wall is gonna be quite intense as well. It's a lot more noticeable when we don't have the D nicer because remember that the noise you can like, we need to give more time to the render for the denominator to do a good result. So here's what I'm gonna do, my friends. I'm gonna just quick or click Play to find another flame that I like a little bit more. And then I'll up the samples, do a Render and I'll show you the result with a good render. So give me 1 s here There we go. So as you can see, this is a better situation for the whole element. And we are getting a really nice like sample spread right here. So I know that if I turn on the, the nicer, we're gonna get a nice light contribution here on our scene. We can really, really, really, really punch this up. But usually for this kind of things, what we tend to do is we tend to add another light as he source, because trying to get all of that illumination from just a single source can be a little bit here before the system. So if we, for instance, add another area light right here, even if it's there on the inside of the element, like that's not, not that big of a deal. We can have a really tiny like light right here hidden. We just colored temperature and we bring this all the way down to make it really, really warm and we increased exposure quite a bit. Let's see something like 15. I'm going to hide the element right now so that we can take a look at the light only. And if we render, you can see this is the light actually hitting the rest of the element. 15 might be a little bit too much. So let's go back to let me grab delight. And I'm going to make this elaborate or something. I'm gonna make a little bit more warm. There we go. That's a lot better. So we combine that light right there, like a fake light, and we then turn on the flame torch right here. And what's gonna happen now when we run there is we're gonna get a nicer looking, right? Let me render it real quick for you guys and I'll show you the result. There we go. Technically, this is fake light because we're not getting the exact light that only the flame is producing. But this is how we can mix and match different LMSs such as bifrost and traditional Arnold Lights. To save ourselves the need to really punch the emission really, really high. Again, usually from lightening perspective, you don't want the light they scene with pure emission becomes, it becomes very difficult to do. But if we're working with this and a character and something like that, then we just want a little bit of light coming from the torch into the character's face. That's something we can definitely do. So that's pretty much it guys. Again, it will be, or we will need a complete course to explain all of the intricacies of bifrost. But hopefully with this quick examples of how you can adapt a couple of the elements that we have by default, you can get some renders. I sometimes like to use this flames or smokes or things like that. We'd certainly beauty renders. I normally don't render full like Animation shots because my computer just can handle it. It definitely takes way too long. But that doesn't mean that you can't use them to make your renders a lot more PRE. So maybe you're doing a simple rendering with the barrel and you want to add the candle. Well, here on the graph editor, there, easy candle, I believe this. I think you could use definitely the burning barrel, but you can also use the burning flame torture to bringing barrel. Or here on the small we get the cigarette smoke. That's also really good, very small wispy effect. So there's a lot of things that we can use or adapt that we have right here. Now. These guys do react to animation. So I do believe you can attach this to like a car or something, and they will be flowing with the car and everything, which makes a very, very cool effect as well. So yeah, that's pretty much it for this one guys. On the next one we're gonna be taking a look at bifrost, but we're gonna be using it to generate some Cloth simulations. So hang on tight and I'll see you back on the next one. 66. Bifrost Cloth: Hi guys. Welcome back to the next parts of the series. We're going to be closing off this whole, like what's the word? This whole chapter, which is the dynamics chapter with Cloth club is a very, very fond part of the whole process. And I'm going to be showing you some quick ways in which we can use bifrost to generate a desk Cloth. So in this particular case, we're actually not going to be importing anything into our scene. We're gonna start right here with what we have and I'm gonna show you the basics and then we're gonna do is model exercise. So I'm going to start with a sphere right here, and I'm going to have a draw a plane on top of this sphere. There we go. What I'm going to do is that when assimilate at this plane, as I say Cloth and that's gonna be falling on top of this sphere. Very, very, very simple. And then again, we're going to do something a little bit more advanced later. I'm also going to have a ground plane, so it's going to keep the ground pin like right around there. I'm going to call this plane Cloth. This is gonna be my sphere, or let's call this collision or collider. And there's gonna be my floor. Perfect. So we're gonna go to bifrost. And the bifrost actually has the ability to use or create a generate Cloth. I'm gonna go here to create a graph. And I'm gonna explain very simply how we can utilize this display or this graph to will start generating our elements. So as you can see here, we have our input and over here we have an output. So whatever we get into in the input can be exported out as an output following this procedural workflow that we're going to have here. Now, one thing that's very, very interesting, and we've done this before with the fire and the smoke, is that we can bring, for instance, our Cloud information in here, as you can see, that has this little symbol meaning that this is supposed to be an input because it goes into the bifrost graph. So we want to make this cloud shape a, what Stuart, a Cloth Simulation. So what we're gonna do is we're going to press Tab and we're going to write make. And as you can see, we have this option here, Cloth. So the NPM Cloth know this the one that's going to actually generate all of the necessary things that we need to walk generate our Cloth. So our input or mesh right here, It's gonna be our geometry. But if we just do this right here, like nothing's going to work. If we hit Play, you're going to see that nothing is happening right here. Let's of course go back here again to frame one. I'm not sure why minus that, you always Frame 40, but let's go to frame one. And again, if I hit play, like nothing's happening, why isn't anything happening? Because we still need to add a couple of things here to make sure that this actually works like a Cloth. So one of those notes that we need is something called simulate MPM. So remember the little brain that we talked about. It actually has a very similar like Overview like this right here. This simulate MPM is the little brain that's going to do all of the calculations for our elements. So this is gonna be our source. And here on the Cloth mesh, that's gonna be our output over here. Now, you can see that we actually have two elements. We have this one right here, and this one right here, this one right here, that's the bifrost. So as you can see, even though we are using the basic like Cloth as our input, it's actually creating a new instance of that Cloth. We can actually hide our own Cloth. We're going to just be left with this one right here. So now if I hit play, as you can see, that thing is falling into the ground and into or towards infinity. So similar to what we did with dynamics instead of mash, we need to tell this clade that it needs to collide with something. And you can see here on the little brain and our simulations, we have the colliders option that we can utilize, want to generate something a little bit more interesting. So I'm going to bring in some meshes. So I'm just going to bring like the collider here first, just drag and drop it with middle mouse. And we can literally just use this as a collider. Now, it's sticking the collider shape as a mesh element. And if we assimilate again, it should start colliding with the element, but something's happening there. Why is this not working properly? Well, it's because we're missing one single node. So even though we do have this collider shape working properly, we're not actually telling it that it's a collider itself. So we need to bring in a collider first, This right here. And this is one of the things that they'd like about bifrost. Once you understand the general flow of things, it can become quite intuitive to be like, Okay, what do I want? I want the colliders. Well, let's get collider node. Once we have the collider, now we need to define which of this elements are going to be collider. So for instance, we can bring again our little mesh right here. And if we bring this into the collider, this collider thing is what's actually giving you this fear, the ability to collide with our element. And there you go. As you can see, we get an interest result. Now, as you can see, again, we're having a little bit of an issue with the sampling and stuff. Makes sure that we have this set to play every frame free so that we go through every single frame. As you can see, this one's going really, really fast right now, but it's, it should allow us for a better calculation. Now, under collider itself, There's a couple of things that we can do to make this thing a little bit better. So if we want to make this collider a little bit more precise, one of them is we can change the details size a little bit smaller. So we go to 0.005. So ten times the smaller 0.005. There we go. The collider should be a little bit more precise. Now, another thing that we're having issues with this, of course, the clot. The clot right now is a very low poly Cloth. So I'm going to actually go to my original Cloth and say Mesh and smooth that original Cloth. And what that will change as you can see here, because this is an instance, it will update this instance Now if we simulate, you can see that it simulates and stretches a little bit more. Now, we can of course, at the plane as well. So you can middle mouse and drag the plane in here and use this as a collider as well. Just another geometry. You can see that we have now two meshes here on our little bifrost graph. And then we hit play. This thing is actually going to be reactant to the floor. Very nice. Look at that. Look at how cool this shapes look. Now. One quick tip right here, the small parenthesis. And this is actually something that you can use to model things. So I can just literally controlled duplicate the bifrost graph. Sorry, I will need to export this, but you can actually export this geometry right here that we have. And the agenda today, solid mesh. So dynamics and all of the simulation things that we're using can also be used for Modeling. So that's it. We got the collider shape and we've got the floor ship. And if we hit play again, you can see that this thing is giving us a nice result. Of course, the more frames we give this thing. So if we get 500 frames, then the animation is gonna be rowing, running quite nicely until it just like settles. And you can see even though it's trying to sell is still moving a little bit from one position to the other. But we get a very nice result right here. And the cool thing about this is that there are a couple of elements that we can do to modify the properties of our Cloth. For instance, we can give it another simulation. I'm gonna give it another smooth. And as you can see, if we go back to frame one, There's gonna be updated even more. And now if we simulate, the simulation is gonna be a little bit slower. But you can also see that the wrinkles and all of the details that we're getting from the Cloth are getting way, way, way better. Look at that beautiful. We can also press number three, or we can again smooth this thing later on. And we're gonna get a nicer result, will look at how nice this false Look, not freaking bath. Now, one thing that I'm seeing here is that it is touching or is reacting to the geometries. But as you can see here, it's actually not perfectly touching the elements. And this, again, on the colliders are the things there is an option that we can do or, or minimize to make sure that the, what's the word, that the resolution or the element is a little bit better. So right now here we're gonna go to action. We're gonna go to the MPM Cloth right here. And one of the things that we can do is we can change certain things such as the viscosity, the thickness, the collision, that vibration speed. If we increase the vibration speed, for instance, something very funny happens with the Cloth. It's going to become a little bit thicker. So as you can see here, it becomes more like a, like a solid effect. Look at that. It's like a very, very dense Cloth. So it's not as a seal kilos or as elastic as we get when the vibration speed is really, really low. If we bring this all the way to 100, There we go. You can see that the simulation, this a little slower, but this becomes like a super, super, like a rigid effect right there. Very, very interesting effect. So I think 20, so it's a good number for this or like soft effects that we want to do for our clot right here. So we're gonna get a really nice blobby effect. Of course, if we bring this lower, if we go for a five on vibration speed, What's gonna happen is it's gotta be like super, super, super silky. It's pretty much like water. See that? It's just flowing very, very nicely, becomes kinda like a liquid. So I'm actually going to go something like a 25 I think to get this thing looking are working a little bit better. Now, let's fix a little bit of the collision volumes by adjusting one more setting here. So in order to get a little bit more control over the whole thing, we're going to be using something called an MPM solver settings. And this is kind of like imagine where we're going into a car, right? And we want to get more control over the car. Will we need to open the hood and start messing with the internal settings of the whole thing. By default, the settings are already being applied. That's why we can see the simulations where we can actually pluck the settings into the MPM, simulate nodes and change a couple of things. So for instance, the first one is detailed size. If we bring the details size lower, so like 0.0, 15 for instance, this is also going to reduce or increase the accuracy of our elements. It's gonna give us a slightly better result. I can still see that there's a little bit of an offset right there. Another thing we can do is the scene units. You can see the scenes units right now are set to meters, and technically we're working with centimeters. So the scenes units, we're going to change from one to 0.1. And as you can see, things are gonna be changing quite a bit right here. Actually, I'm not sure if that's one that you do it. Let's go to ten. Where it's a little Cloth. No, that's actually that's fine. Let's just keep it other one. Otherwise we're going to get a really, really weird effect. So yeah, those two elements are going to give me a slightly better result. Now, one thing that I'm noticing here, it might be that I forgot to freeze the transformations. Yeah, there you go. I think that was it. So let's go back to poly modeling and freeze the transformations on the original Mesh. And I think that should effect the effect a little bit. Not great. I mean, it's getting a little bit better, but it's not great still. So I want to fix this little like again, like the like the empty layer that we get, the empty space that we get in-between the lungs. Now, one thing that you can know this with Cloth Simulation, opposed to what we have or what we were doing with what was the word with the fire simulations is that this is a lot faster than the smoke simulations. So Even though we can catch this as well, there's really no need to do it right now. So since this thing right here, the NPM is using volume calculation, the best way to do this here with us, I was saying with a detailed size of our volume collider. So right now, as you can see here on the volume collider properties, we're using this relative mode. I'm going to change this absolute and I'm going to change this. I'm just going to keep the to to shell GO mode solid. So that should give me slightly battery sold, not yet there. We can turn on optimal adaptability again, if you have any questions, all of the information is gonna be right here. So optimal auditability is one of the elements There's going to allow us to, I'm smooth some of the red regions because what this thing does is it pretty much boxing license this object. And once it Box license it, it uses that those boxes to, to get an idea of where things are. I'm going to try to bring this even lower points 001 or actually, let's try bringing it bigger or higher. Let's see where we get there. Not really that much of a change. I'm going minus one offset. The minus one offset there is actually helping. It's getting a lot closer to the actual effect. So let's bring this to the 0.1 that we have an a minus one offset. And maybe instead of a minus one, Let's do -0.5 offset. So by doing that, what we're doing is we're pretty much shrinking the boxes a little bit more. And we're generating something that's a little bit closer, maybe something like a -0.3. There we go. That's really, really, really close to the surface. I think that's probably as best as we're going to get for this particular thing right here. Now, as you can see, the cloud, this is still trying to move and modify itself a little bit, but we're getting a much, much better result. Now, if we go back to the bifrost graph, one of the things that we can do is we can increase a little bit of the stickiness of the club X-ray. Now the Cloud, the string to slide too much. So I'm gonna go here to the make NPM Cloth and the viscosity is what we want to reduce a little bit. So we're gonna go to 150. And by reducing the viscosity, we should be getting all this case. It's a more bouncy effect, but it shouldn't slide this much once it's done. Or actually if we increase the viscosity, I believe we're gonna get an even better like thicker effects. So this is not going to give us as much effect. You can also see that there's a lot of, are, there's not too much friction. We can increase the friction right here. Let's give it a ten value for friction. And that should make it a little bit less bouncy when that's getting a lot of air. But yeah, that's that's pretty much it. That's one of the things that we can do for degeneration of the Cloth. Now as I mentioned, let's do a model exercise here. So what I'm going to do, and I know we've been doing this so many times, but let's open. Let's import the barrel scene again one more time. So we're going to open the variable render scene. Well, we can do is we can actually duplicate this barrels. I'm going to have a couple of barrels. I want to create a just one of this sort of like a like a real life scenarios that we might find in a factory or something. So we're going to have a couple of barrels and then want to have them want some of them like slightly covered by a Cloth. So if we bring all of this barrels right here, let's find a nice panels. Luca selected a nice Take right here. I'm actually going to push this back. Push this to the side. Let's add another small barrel right here. And there we go. Let's add another. That's fine. So this is gonna be like our family of barrels. So now I'm going to show you a trick that I will start by one of my friends who was actually going through the BFS track. And we're gonna do here is we're going to create a nice long club right here. I'm not going to get the exact rotation. I'm going to do something like this. And I'm gonna go to my cut tool and I'm going to cut a lot of lines, random lights. And then when we smooth this lines, all of the angles and loved the bad topology that we get is gonna be fixed. I'm gonna get one more division. So it's really, really, really soft right there. Let's hide the render setup just a second. Actually, I don't want to hide the floor. So I'm going to get the floor out of the render setup. There we go. And now we can go again to our bifrost graph and we're going to create a new graph. We're going to bring in an input which is going to be, of course, this pea plant right here. And as we made before, we're gonna do an MDM. We're going to create an MDM or Make, sorry, Make em the MPM Cloth. There we go. So this one goes right there. And then this one needs to, as we know, simulate, simulate NPM. And we're going to be simulating this Cloth source right here. And the output is gonna be this one right here. This call, of course we don't need anymore. We should have the geometry right there. Let's go to frame one. There we go. And if we render, as you can see right here, this thing is gonna be falling. So now as we know, we need to add some colliders to our graph right here. The colliders are going to be affecting the collisions right there. And we're gonna be adding our meshes. We can grab the barrels. We actually grab all of the barrels and the plane, this one right here. And the plane and middle mouse and drag them all at the same time. And what's gonna happen is we're actually creating a little group right here that has multiple meshes. So as you can see right here, we have the render better one and then rendered by R2 and Planes she wants to, all of the meshes are right there into the geometry node. So now if we render here As you can see, this is going to start affecting or interacting with the different elements. Now, again, remember, all of these things are being box lights. That's what we're getting. This sort of like we're result right there. So if we want to create an, a better effect or a more realistic effect, one of the things that we can do here as a, we can go to the collision properties and as we saw just right now, we can increase the detailed size. Let's go point COC or five. Let's do a minus one offset. Let's see how that looks. In this case, we might actually need to go higher. So we're going to say a one offset so that we go a little bit above the barrels. There we go, as you can see, that gives us a slightly better result and we're able to cover all of this barrels with this Cloth. If we keep the simulation going, you can see the Cloth is going to stop. But here's the funny thing. All of this colleague colliders are actually going to be reacting to the elements. So I'm gonna wait until this thing settles. So if I just wait a couple of frames, I'm going to see when this thing like actually stops, which is there we go, Frame 200, 200. I'm going to sudden Animation keyframe for this little guy right here. And I'm going to push it out like this. So what's gonna happen now? Let's shoot, well, Maya, sorry. Let's go to frame 200 again. From 200, it was right there. So S, then by frame, let's say 216, 60 frames. We're going to push this forward. So now what's going to happen is, there we go. Now what's gonna happen? This one right here, Let's delete it. First Frame. There we go. Is the Cloth is going to be animating itself. And then at Frame 200, the barrel is going to be pushing out and we're gonna be bringing the barrel outside of the element. Then as you can see, it actually interacts with the Cloth. And the Cloth is going to adapt itself to the new formation that we have there with the bells. You can imagine that we can actually grab one of these guys, for instance. And after this guy has gone out, we can animate this and pull it forward, move it, rotate it. And if we do this, it might seem like something very, very silly. But all of the things that we're doing here will react properly to the effect that we're looking for right here. So as you can see, this first gets out of the element and then this thing just moves up, rotates and all of the cloud is going to try to adapt to these new construction that we have. So you can see we get all of the wrinkles and all of the different elements and we're getting a really, really, really interesting result overall. Again, this is behaving a little bit more like a liquid and that's kinda like, like the hacky way that they managed to create this bifrost thing. They box a Lights everything and they make it look like a liquid. But as you can see it, so it's a fairly good results. It's not bad for some like basic simulations that we might want. And as I was mentioning before, at any point, we could catch this thing out, generating another little file. Then this thing could become a static mesh Light. We don't need to be animating or keeping this thing as like a fluid animation. We can eventually copy this geometry from an Alembic file and just use it as a simple placeholder for like a carpet, some current and stuff like that. Now, I want to show you one more thing before we wrap this, this thing up. And that is something called the intersections. So if I were to go all the way to the beginning and create a new sphere right here. Another thing I could do it, so I could create a couple of points, one or two points I'm gonna do is just one right now. That's going to be holding this Cloth in place. I'm going to have this thing intersect the plane right there. Let's freeze the transformations. And if we go up here, one of the things that we can do is we can add something called a constraint. So if we look for constraint, you can see that there's a constraint MPM in the constraint MPM is expecting an MPM source. So we need some sort of like MPM source, which is gonna be this one right here, Cloth source. And then this is the outsource over here, right? So we just reconnect these things. There we go. Then it's expecting a constraint geometry. So I'm going to grab my sphere right here. And I'm going to bring this as my constraint geometry. And what's gonna happen here is any geometry that's intersecting at that point will generate a constraint points. So as you can see, that's actually like holding the Cloth. It's going to try to bring the Cloth back into, into, it's like into its volume, right? So if we go over here and we go again to the MPM Cloth, we can go, for instance, again to the vibration speed. Increase this a little bit. Let's go through a 30 and area presentation. We're going to actually bring this up as well so that we don't Stretch too much. And as you can see, we're gonna get a slightly different effect actually, that's way, way too. To stretch it. Let's bring this down. There we go. Now we've got, so that's a little bit less stretchy. And as you can see, we kept this thing right there. So you can imagine if we want to do something like a curtain, like some bedsheets or things like that. This good way to generate some interesting elements. And again, all of the animation that we're doing here, it's playing around with all of this dynamics and he's generating a very, very cool effect. Now imagine what we could do by texturing this thing of like actual Cloth and getting a very nice effect. So yeah, that's again, just a quick overview of how we can use a little bit of Cloth dynamics. You could actually generate a t-shirt for a character. And what's the word and simulated with the animation of a character. We don't have any character Animation right now, but you can expect to use the exact same process by using colliders and creating the clots. To do so. Now, I am going to give you a quick like a spoiler alert. Maya is really good at doing a lot of stuff. And one of the reasons why I wanted to record all of these different plug-ins and things and a little softwares that we have inside of Maya so that you guys to understand how the full production pipeline works. However, there are more specialized softwares out there that do a better job at this sort of stuff. For instance, in the case of the case of cloth simulation, There's one that's called marbles assignor. And this is especially done for characters, but you can use this for environments as well. And this is especially designed, this softwares, especially the sign to do all of this Cloth Simulation. So all of the falls, wrinkles and things that you would expect for a character. This are done inside of marbles assignment. And the same way I mentioned the marbles designer. There's software specifically for things like explosions, water for instance. There's one called real flow. This especially mean or use for a world scale, real-world scale like water simulation. So there's a ton of different softwares out there. And I know this is not a course about those other softwares. It's about Maya, but it is important for you guys to understand that Maya is like the centerpiece of the whole production pipeline, but we use a lot of other softwares to improve the things that we can create with this software right here. So yeah, that's it for it, for this one, my friends, I am going to save this one just in case you guys wanted to take a look at the, at the graph. But with this, we're pretty much done with the bifrost section of our course. And now we're going to jump onto the final two chapters. The next chapter is going to be xgen, which is a favorite of mine, his hair. We're gonna be working with hair system, which we really, really, really cool. And then we're going to be jumping with, we're going to be doing what's the name? The rendering. We're gonna be talking about Shaders, displacement renders, and all of the different things that we can do to get super, super cool effects on our final renders. So that's it for this one guys. Make sure to do a little exercises so that you also explore some of the systems. And I'll see you back on the next one. 67. Xgen Basics: Hi guys. Welcome back to the next part of the series. Today we're going to be thinking, look at xgen and extremely is one of my favorite systems for hair creation. Even I know I talked about other softwares in the past video, but this one's actually really, really good, even better than other suffers. So we get this very simple Hellman model is sort of like a medieval cell Hellman model. And I'm going to show you how we can create a different grooming Systems for this one too, we'll stylize how the little hairs is going to be on top. Now, we do have some textures for this one, so I'm going to go very quickly here to select the elements. If we go to source images, there's gonna be this helmet one, and we can select everything except for the hide information. So here on the height information, I actually don't want to use that one. Now, we're gonna talk about hide information shortly. But right now we're not going to use just rubbing his normal mental illness and base color. There we go. So we just hit Apply and there we go. So if we press number six, or of course we need to assign the latest material, which is this one right here. And let's bring in D, the barrel Scene real quick. So let's import the payroll render scene. Actually, rendering is super, super important for four here, this realization, otherwise we don't see anything. Let's press number seven and let's turn on the shadows right here. There we go. We've got this very, very cool helmet right here, just like an old fantasy helmet. And let's talk about action. So in the same way as with mash and with bifrost that we've been talking about. Xgen is also another plugin that you need to enable here inside of Maya. We're going to enable, we're gonna set this up to unload just to get it all the time. And this is the one we're gonna have. Now, xgen is divided into two different systems. This word here, which is like the traditional old-school action, and this one right here, which is the new action, which is called interactive editor. I would say that the traditional one, even though it's a little bit more technical, has more tools for us. So I usually prefer to use this one, but I am going to be showing you a little bit of this one in the next couple of videos. So the way this works is actually very, very simple. We need to generate or we need to select the faces from where the hair is gonna be generating. And as you can see right here, faces are, this one's right here on the back. So I'm gonna select all of those phases and I'm gonna go to Mesh and we're going to duplicate those mesh, edit mesh and then duplicate, and I'm gonna push them in just a little bit. As you can see, they're gonna be just below the surface right there. Very, very simple. Now, why do we need to duplicate the elements? Why can't we do it on the original element? Well, this is mainly from a production standpoint in case we want to remove or utilize different sets of hairs. So this poly surface right here that we have right now, I'm going to call this hair a, okay? And we're actually going to duplicate this because we're gonna be creating three hairs right now. I'm going to hide them. We're not going to use them right now. We're just going to be using a again, the reason why I wanted to do it is because it's a lot easier to manage what's gonna happen on this faces than to try to manage what's gonna happen on all of the faces of our elements. So we're going to select the new system that we have right there. And we're gonna go to this elements, which is the xgen window. The actual window is gonna give us this option. It's going to tell us, what do you want to, do? You want to create a new description? Do you want to input a collection or do you want to import a preset? As in the same way as how we have it with bifrost. There's also a lot of presets that we have here for Maya. Like, just like general ways in which we can create here for instance, this dreadlocks, grass, grass to stuff like that. We're not gonna be using any prisoner. We're actually going to be creating it from scratch. So the way xgen works is it's, it's a way to again instance certain types of freedom primitives on the surface. In this case, we're going to be instancing primitives that look like here. And we're going to be a rendering of those primitives. So they actually looked like here. So we're going to have something called descriptions, which is the actual hair system. And then we're going to have collections. So imagine a character. A character will have its own collection and then the browse, the beard, the hair, the chest hair, like all of the different systems, are going to be independent description. I'm going to create the new description right here. And this new description is going to be called hair style. And we're going to create a new collection called helmet. Let's call this helmet hair collection that we call. Now, when it asks us, what do you wanna do? We're gonna be using this splines, which as you can see are for lawn care, binds, etcetera, etcetera. We're gonna be using, we're going to generate this at randomly across the surface and we're gonna be using and placing Guide. So placing and using guides, this is very, very important and we're going to hit Create. Now we're gonna go into the tools that are actually going to allow us to create the hair elements. So let me isolate this real quick so that we can actually see the geometry that we're gonna be working with. And we're going to start with a very simple sort of like Gladiator effect door like this. I'm not sure if this gladiators, but this just like like no, this is more like Roman thing, right? Like wood. This is very squared look effect. So I'm gonna go to this button right here, which is going to add guides. And the first thing we need to do is we need to add guide to our surface. So we're going to have 12,345.6 guides. There we go. By adding guides, we can now click on this little icon. And when we do that, as you can see, we're going to start getting depopulation of the hairs. Those like dark orange elements, those are the guides. This one right here and this right here. You can see we can select them. Those are the hairs that are being generated. So if we went to create more hairs, we need to increase the density. And by increasing the density, as you can see right here, we're going to be increasing the hairstyle we will have on our system. Let's get out of site selection mode. You're gonna be able to see how this starts looking. Really, really, really cool So let's play a little bit with some of the basic effects. As you can see right here. The elements that we have right here, the tools that we have right here, R4, the guide placement and management. We can add guides, we can isolate guides or show them. We can lock them. We can do a lot of different things. And guides are important because when we select the guides, so let me go right here and right-click, we can select this Guide control points which are very similar to what we have in curves. And if we select one of this and move it up, this guide points are actually influencing how the hairs being generated. So as you can see by moving this Guide point up, we're telling the hair a, we want you to go all the way over there. We can go to this next Guide Point, for instance, do the same thing. We can go to this one right here, do the same thing. And this is one of the first ways in which we can groom are here by deciding how high or how intense Each of these curves is going to be. Now, one more thing is that this guy, it's actually have multiple points. So for instance, we can push this top point for Worth. And as you can see down here, a couple of other points. We can push this point up like this. There we go. I'm going to high, I'm going to press this button to hide the hair little bit. I want to grab this one. It works again, very, very similar to how curves work. So this little points right here, this vertex, they control the way that these guys are gonna be behaving. We can modify some of those guys. And again, when we press this, you're going to be able to see that we get the very, very nice, interesting approach to the whole thing. Now, the more guides we have, the more control we're going to be able to get on our a helmet. You can see it right here with this very few guys, we can get a very, very nice and cool control. But if we want to have even more control, we can add more points. So if I were to add, let's say a guide, like right here, you're gonna see that this one interpolates and he tries to find the average point of this two elements. And when I do this again, we're going to have a straight line right there. But if I go over to the Guide again and I select the control points, I'm going to be able to select this one pushes all the way up there. And as you can see, we generate a slightly different effect for the whole thing. So this is the basic principle of how xgen works. We're gonna be using guides. This is splines, curves that they're gonna be driving, how the hair is gonna be projected on top of a surface. So let me go back. I actually don't want that Guide. Let's update this real quick. Let's go back to a cleaner effect. There we go. That's a little bit better. And now let's talk about some of the properties that we have right here. We can paint something called a density mask right here to tell it where we want more or less hair. However, for this particular example, I'm not going to be messing around with the mask. We're going to keep it very, very simple like this. But if we had something like a Ohno like a rug or like like like grass, right? Like if we wanted to do grass, we could use this mask to paint a little bit more or less grass in certain areas. I'm not sure if I haven't exercise right now that we're going to be doing, that involves a painting density masks. But this again, this is how we do it. We use this mass right here. We're gonna talk about the permitted attributes right here. And as you can see, what's happening here is we're creating, are these things called splice. So all of this hair, so we're seeing right here, this tubular hers, there's just a splice or Curves, not geometry, they're not polygons. So this allows us to modify them in very interesting ways. For instance, we can change the length right here without having to move the guides. We can just project the length of the guide a little bit more, a little bit less depending on how we wanted. And this is going to allow us to modify this by the way, sizer, which means we can animate it. If we want to, we can set a key right there and animate the length of hair like maybe one of the character whose hair is gonna be growing at specific points of the Animation. Well, technically, you could do it anything that you see right here and it's lighter that she can be animated. Now the width round, this is very important. The stars stands for the root of the element and the T stands for what do I have over here? Sorry, let me close this because I was seeing my Toolbar a lot. Give me 1 s. There we go. So the R stands for the root. And what we're going to do here is we're going to push this down. And then we're going to click to create a new point right here. And we're going to push this other point down. So as you can see, we're starting to generate the sort of like teardrop shape. By the way, we can change this here to a smooth spline, same here. We can select that point that change that to a smooth splines, going to be a little bit smoother. So now this is going to start, is going to start looking a little bit more like here, where it becomes thinner and thinner as it goes up and up. We can go back here. And even though the density stops at 100, we can actually go over that number. Although that those letters in Maya, they don't have a hard-coded number. So if we want to, we can go to like 1,000 and look how dense and nice this looks now, really, really, really cool, right? So this are the basic principles that we have here. Now we can also taper the hair, making that a lot thinner as we go further up into the chain. And this is gonna give us this very nice effect right there. But it looks very CG, right? Like very mechanical. So how can we make our hair look a little bit more realistic if we look at some reference here is let me go over here. Like Roman helmet hair. You can see this or like spiky sort of stuff. And you can see it's quite puffy. It's not perfect. It kind of like falls down and creates like different effects. How and why or how, what can we do to generate or modify these things? Well, we can use something called modifiers right here. So the modifier is very similar again to how mash works are things that we can add on top of this stack that we'll, as the name implies, modify how this thing work. So I'm going to select the first one. We're going to use a little bit of noise. I'm just going to grab this noise and heat, okay? By default, you can see that the hair is going to start moving a little bit. So now it's not looking so perfect. We're getting a little bit of for a different effect, we can change the frequency right here, let's say a two frequency. And we can do like a ten magnitude and look at that. Now we're start getting a really, really, really messy here. The slider here on the top, the mask slider is a sort of like zero to one value. We drop this 2.5. We're going to be reducing the intensity of this noise, this frequency to magnitude TEN noise. So that is not as intense. Then this ramp that we have right here is another thing that we can use to control how the action is gonna be behaving. This pretty much tells us how much each of these modifiers is gonna be affecting the root and the tip. So as you can see right here, most of the effect is happening on the tip. If we lower this, that tip is going to become a lot more straight. And then we modify this. We can generate this. Maybe we want to have the middle section of the element be a little bit more puffy like this. So this is what we will be doing. Ideally, we want to go to our reference, take a look at the reference and be like, Okay, where's the most puffiness? What I can definitely see that's on the top. So that means that yes, the tape is going to have way, way, way more noise than everything else, but maybe we don't want to have a little bit of noise here under root as well. If you add a point and you want to eliminate, you can just click on this little x-ray there and that's gonna allow you to eliminate it. So as you can see right here, we can move the root a little bit up and we're going to be getting a very cool effect right there. Let's go back to the primitives. Let's make the length really, really intense and look at that. We immediately can transpose all of the things that we're doing into this very crazy effect. And that's not all at any point, I can remove the visibility right there. Let's go to a right view. And I can see here that it's very short on the back. So I would like to go to this guy right here. You can just soft selection with V and move this back. Let's do the same thing with this one. And a little bit with this one. And that's gonna give me a more uniform effect, therefore, the helmet. Now, if I press number seven, which is going to bring me to my rendering effect, it's not going to give me the best render just yet, because the shaders that we're using, It's a very basic standard shader. It looks very good when we're working in basic wireframe mode or are shaded mode number five. But that doesn't look as good when we render. So let me save this real quick. I'm going to File Save Scene As helmet finished. There we go. Let's go of course, to GPU render. This one does render with GPU by the way. So that's great for us. Let's go over here to our camera. I'm gonna go to where's my masking? There's a mask going on right now. That's why we cannot select things. Need to go over here. That's one right here. There we go. We go to object mode. This is component mode, this object mode. So we're gonna go to object mode and say panels, Lucas elected. And let's find a nice like shot for the, for this thing. So something like this. Now if we Render, we're going to get the nice render. Looks not gonna be that bad, but the hair's not going to look perfect. And that's what I wanted to fix. So let's wait for the Textures to convert and I'll show you the result. So as you can see, the hair is there, but it's not there, right? Like something's happening that this hair doesn't have the proper shader for Arnold to work. So what I'm gonna do is I'm gonna go to my Hypershade right here. We're gonna go to Arnold and we're going to be using something called an AI standard here. Let's clean this king rehear AI standard here. And this won't, Let's call this M helmet. Hair. There we go. Now this thing has presets, but we'll talk about the persistence just a second. Now, how do we assign the element? Because we can really select the hair here to assign the material. We need to go over here and we need to go to the description, which is this one right here. We go to the hairstyle eight, right-click and we assign existing material am helmet here. And as you can see, it changes the colors here in the viewport. And if we Render again, we now should get a proper hair render. Here are the viewport. Now you can see it's very blurry and it's not looking great, like something's happening here. And you can see that there's a problem with the optics D nicer. Let's get rid of this one first. Let's remove the noise here. And if we do this right here, you can see that the hairs looking a little bit better, but still not great. Why is this not great? Because we need to update this. So I'm gonna go here, I'm just gonna click on this guy to update it. Let's close the render and refresh it against Arnold and Render. And when we do this, we should be getting now the proper hair here. Now here as with skin and with fluids and all of these other things that we've been talking about. There's a problem with here where it's very noisy. You can see it's very noisy here. So if we add the imager, I know it says that we shouldn't be adding a. Then you can still add. It blurs everything else. So we definitely need more samples and we already know that to get a good render, one of the things that we're going to need is first change this to full Each team. And then here under samples, I'm going to enable this to ten samples. Here is one of those things that definitely, definitely needs way, way more samples to work. Because the more samples we get, the less destructive that the noise tree is gonna be in the nicer are hertz going to start looking, look at that. And that's here is gonna look very realistic because the AI standard here that we're using shades the hair in a very realistic way, similar to how we shaded in the real-world. Okay, now let's play a little bit with the material. Let me open this thing right here so we can have the preview. Let's go to the hyper shade over here. And if we go here to the Hypershade, one of the things that we can do on the helmet here is of course change the color. But here's the interesting thing about color. Some of you might know this, some of you might not, but Color on the hair and on our skin is defined by something called melanin dark tone. That's that dark pigment that we have on our skin. So people with darker skin tones will have a lot of melanin. People with a lighter skin tools will not have as much melanin. And usually it melanin is produced by being exposed to the sun. That's why countries that are closer to the equator usually have darker skin and countries that are more towards the poles usually have lighter skin. So if we go here to the melanin and we start bringing this down, we're going to go to a blonde hair, pretty much a binary, completely white in over here we have the browns, the light browns and all that stuff. So just by moving the melanin slider, we're gonna be able to get a slightly different effect here on our character. I'm going to definitely increase this a little bit more so we get more of a brown color. Now, as you can see, we're getting a little bit of the specularity on the element. We can change the color. Usually I don't recommend changing the color. But for this sort of like fake effects are fake colors like this one right here, a red colored going right here, It's perfectly fine. Another option that we have is we can keep the element wide, but on the metal melanin redness, we can increase the melanin resonance and that's gonna give us a little bit more saturation on the here. If we bring the melanin up with a modelling and redness, as you can see, we're going to have this sort of like dark brown color, like a chocolate color. And one thing that I love about this shader I really like it is the fact that we can use this melanin randomized to get sort of like some gray hairs are so lighter hairs in certain areas. And look how nice texture of the hair makes this look. It's just so, so-called to get a little bit of melanin randomizer. Now, on top of all of these things, we can still add the red color we want to, and we're going to have the melon randomizer plus the red color right here. If we want to have more of the red color, we need to bring the melanin down so we get a lighter hair and therefore more pigment. It's pretty much like if we were tinting to here, we'd like the products that they sell in the supermarket and stuff. So yeah, that's pretty much it. My friends. This is the Basics of here, here inside of action. And again, the cool thing is if we rotate this, you can see that the here is gonna be working perfectly fine from every single angle. Now, if we want to make this a little bit more puffy, of course, we can go to the modifiers again and start modifying them to get a slightly different result. But as you can see, with some very, very simple splines and very, very simple elements were able to generate something that looks really, really nice. Now, on the next couple of videos, I'm going to show two examples. Okay, I'm gonna do a spiky helmet, little bit more like modern sort of stuff. And we're gonna do like a ponytail to illustrate how some of these things can work to generate something a little bit more interesting here for our here. And then we're going to jump with a little monster and we're gonna do some further. So hang on tight and I'll see you back on the next one. 68. Xgen Clumps: Hi guys. Welcome back to the next part of the series. Today we're going to be talking about xgen Clumps, which is the second type of elements that we're going to be doing here for our helmet. So this is what I'm gonna do. I'm actually going to duplicate this helmet. And one of the cool things about using the process that we used before, which is modifying this thing is that we actually move it or parented to the main helmet and we wait, when we update this thing is you can see the hair moves with it. So it doesn't matter if we move the helmet or rotated or the whatever the whole hair system is gonna be moving. Because the geometry where we are attaching this thing is parented to the main helmet. Now over in this side, I'm going to bring the other one which is here, B. And we're going to use a similar process now, since this is the second one that we're doing the second out like mesh that we're utilizing. When we open the little attribute here are the xgen collection. We don't need to create everything from scratch. I'm going to say import or I'm actually going to go to description, create description. And this is gonna be called hair be. Let's call this hair be description. As you can see, it's automatically going to be saved on the helmet hair collection, which is very important, splines randomly and we're gonna be placing in shaping gets. There we go. So we're going to go to the right view again. Let's isolate a little thing right here. And in this case I want to select or create a six guides as again. So I'm going to do 1234556 to seven. In this case, it's going to look a little bit better than that way. We're gonna go to right view answers were already in isolated. It might be a good idea to just move this thing. So we're going to turn on what's the word? The letter B? Why is Karnak not on? There we go. We're going to turn it on to letter B, which is self-selection. And we're going to start moving in this things up, degenerate a little bit more height to our spiky helmet that we're going to have right here. So what we're gonna do now or what we want to create is one to create a sort of effect where we got a Clumps, right? So instead of having this like complete full head of hair, we're going to have Clumps following the guidance that we have right here. So first of all, let's increase the length a little bit, and let's play a little bit width, the width right here as we did before to create this or like teardrop shape, we're definitely going to be increasing the density quite a bit, something like that. They're gonna be a little bit shorter. I want I wanted this here still a little bit shorter. Let's go with the 300s on the density. There we go. Now, if we just follow this so far, we can of course grab the hair description over here and assign existing material right here, the M helmet hair. As you can see, we're going to be shooting at the exact same material that we have over here. The one thing that we need to change is under modifiers. So we're going to add a noise modifier, which is very cool. Again, just to, just to give ourselves a little bit of extra variance on the overall thing. Let's do a 2.5 right there. There we go. But then I want to clump all of this Harish together so that we form seven spikes following the guidance that we have. The ************ that we're going to be using is called clump modifier. And it works particularly well for this sort of thing. So I'm gonna go here when a current, this clumping effect. Now by default, when you create a comping, It's going to throw you an error. And this is very common because as you can see right here, it's telling you that even though it wants to clump the hair, it doesn't have any guides to be company it. So I'm gonna go to setup Maps right here. And there's two ways in which we can clump the here. We can regenerate our new like a basic like random Maps is going to just add some uniform, uniform randomly generated Clumps sectors. Or we can use this thing called the Guide Options. So I'm going to select the Guide Options. I'm going to hit a safe. What that will do, as you can see, it will use the Clumps are the guides as a clump in section for our elements. And we're immediately going to be getting this thing right here. Now, we increase the amount of Clumps. If we go, for instance, to a two or like a 1.5, you can see the Clumps can become a little bit more aggressive. Now the reason we're getting this thing right here is because of the noise. So I'm gonna remove a little bit of the noise. I'm gonna go to 0.1 and I'm going to bring this down a little bit more. Let's go back to the clumping and let's keep the Clumps other one so that we get this very, very nice spiky effect that on the noise, if you guys remember, we can modify the intensity of the noise that's affecting other parts that are not the tips. If we bring the tips down, we're going to be able to generate this very cool effect where the elements are not going to be having as much notice as well we have right here. So we can pop this out and create a really, really interesting effect. And that's pretty much it. That's all you need to know about clumping, especially when we're following guides. This is a very quick way to do it. However, I want to talk a little bit more about the actual splice that we have right here. If we go to the primitives, you're gonna see that we have this thing called modifiers, CB count, and this is the amount of divisions that we have for our guides. If we increase this, what's gonna happen, as you can see right here, is that we're gonna get more divisions on our splines and therefore more detailed four straight hairs like this one really doesn't matter because security is very, very simple. But for clump hairs like this one that we definitely need a little bit more Now that we added more CV counts right there on the modifiers, I definitely need to go to the noise and lower the amount of noise because as you can see, this is a little bit too much and we might not want at that much noise. Then I'm going to add a little bit of flare out there on the, on the elements. One, I really puff the cell a little bit more. There we go. So as you can see, this is going to look like some sort of like a unicorn effects or something. Now we're gonna talk about another little element right here, another little thing which is going to be our cut modifier. So if we go here to the modifiers and we go to the options, we can add this thing called the cut modifier. The cut modifier will cut randomly each strand by an amount of zero to point to. But we can actually modify this. I'm gonna make this a lot bigger, so something like a ten. Then as you can see right here, we're gonna be cutting randomly 0-10 tenants, of course, a little bit too much. So I'm going to say like a two. And what this should give us, as you can see right here, is, again, it's gonna give us a sort of like random distribution of the elements where certain hairs are going to be caught really, really low. You can see this one's right here, and some of them are gonna be kept really, really long. This is a really cool way. We can even intensify this a little bit more. Let's do a four. There we go. And this is going to give us quite a nice effect overall. Now, one of the cool things about the modifiers right here is that you can actually combine some of this modifier. So for instance, if I want to have a secondary nodes noise that's only going to be affecting the tips. I can do something like this and then bring this down so that we only get like a crazy amount of noise on the tips. Now at any point we can hide or show the new modifiers are we using? And that's also going to be changing the way that our overall thing. It's looking right here. Let's go to her camera panels against what's going to have to go over here to components there go panels looked are selected. And if we go right here, you're going to be able to appreciate now, very important, we need to close the Arnold renderer and open it up again so that it updates the new hair System. Once we Render, you're gonna, you're gonna see that we have two new Harris systems right here. Let's go for a nicer effect right there. And there we go. So as you can see, we can start iterating and creating different variations for our character. And again, one of the cool things about this is that all of this is procedural. Any point I'm like, Hey, you know what, I want this guy right here to be quite a bit longer. And then we're gonna go like, sort of like Spartan helmet, going smaller and smaller. What's gonna happen? This all of the Clumps are gonna be doing exactly what we would expect. Just consider the really long spike right there. And we can even go here to the length information, for instance, and change the length. So all of this parameters are being change in real time and we can modify them and visualize which one it is that we want. And you can see when we Render, we're gonna get the new render right here with a huge amount of samples that we have right here and a good amount that you can see that we get a very, very cool effect. You can imagine that we're doing like a commercial for, I don't know, like a game or some sort of like historical event or whatever, we can generate a lot of variations for a full army using the exact same helmet. And you cannot deny that even though it is the exact same helmet, by having different styles were definitely obtaining things are a little bit different from one another, right? So, so each individual character imagined, I'd like to imagine this, like the stormtroopers from Star Wars in the Clone Wars series. Each one had a different like Painter set up on their face so you could identify even though they looked all the same. Good, identify which one was which. Thanks to simple elements such as this that we can modify and just change around. So, yeah, that's pretty much it for this one guy's simple one, clumping and cut modifiers. A couple of extra modifiers that you can use right here. In the next one, I'm actually going to be showing you a slightly different approach that we can also use to generate something really, really interesting. So hang on tight and I'll see you back on the next video. 69. Xgen Curves: Welcome back to the next part of the series. So today we're going to take a look at curves. And every now and then we will have a specific elements that might require the we do specific curves. So I'm going to parent this a B section to the helmet. I'm actually going to duplicate this section right here. Let's grab this one right here. So this one is the one that has the hair. It's just move it to the site and there we go. So let's imagine that we're gonna be working with this helmet right here. And from a side view, we would like to have a very specific like accommodation for the elements and maybe doing it with the guides might not be as easy because it Guide to only give us four points. Now, we can actually change the amount of points that this guy has given us. But there's another tool that we can use and we've used before, which is curves. One of the things that we can do is we can draw and create our own curves to generate something that looks really nice. I'm gonna go here to show and I think I might've changed or were. There we go. So I'm going to grab this curve and the helmet again. There we go. And we can start playing with the curve before going into the expression to get a really clean idea of how we want our Hellman tools. In this case, I want to create a nice little bundle here that's going to be creating a ponytail going backwards and then a nice little pointy bit at the end. Very, very similar to what we normally see with medieval, medieval helmets, right? So we're going to have that one right there. Now, when we're doing curves or when we're using curves, one of the things that we need to think about is how many of this Curves do we actually need to get something that looks nice? And the answer is quite a bit, sometimes a little bit more than you might think. I'm gonna duplicate this curve once. Then what I'm gonna do is I'm going to start using a soft selection to create a nice little like interpolation between the curves. Because this curves right here by combining and creating something that looks like it's a natural like bundling of the elements. We're going to be able to create something that looks really realistic. So we're gonna go here for a third one. I'm going to keep this to the center. Let's go to Control vertex. We're going to move it to the side. And all of these things, we're gonna kinda like clump them together. But as you can see, I'm using the vertice here to create the groomed system that we're eventually going to be using to generate the guides. I'm going to grab all of them now. I'm going to Control D. Move the pivot point up and scale them down a little bit, push them back. Going into control vertex. We're going to push them a little bit again to create the sort of like interesting buildup that we would need or that we would normally see. Imagine that. I'm not sure if you guys have small kids, probably not. I'm really all have as more kids of my own. And when I'm doing her hair, one of the things that they need to do is I need to make sure that I have enough strands to make a nice ponytail. But if you're going to have a small kid, what do you have is like a sister or a girlfriend and you want to just work with this. It's a good idea to try to do a break in real life in the real-world. So you understand how hair works and how we need to create this sort of like volume right here to make sure that once we convert this into actual hair, everything looks as nice as possible. So again, by playing around with all of this guides, I'm now going to use them to convert them into an actual hair system that we're going to be able to use. As you can see, there's a lot of empty space in certain angles and in certain points. So it's very important that we fill all of those areas with something we don't want to have to like same elements or two curves on the same sort of like a plane. We always want to move them a little bit. So it looks like a, like a more full or a more complete bundle right here. Once we have this, we can actually grab all of this curves right here. And the first thing we need to do is we need to go to here, here, here, C, AAC, and we're gonna call this hair C. And we need to go to descriptions, create a new description of that here we're going to call this hair. See description. Again, placing and shaping guides randomly across the surface splines and we're going to hit Create, but we're not going to be replacing this guy right here. Rather, we are going to grab this once over here and under utilities, as you can see, we have a couple of things that we have such as Curves, two guides. We can just select all of this groups and he'd curves to guides. And what's gonna happen or what should happen right here, is that all of these things should be converted into guy. So I'm gonna say Add Guides. And as you can see, all of the curves that I had now have been turned into this guy. So when I pay or what they do this when I when I check my hair, of course we need to add more density. You're gonna see that most of the hair is trying to follow their curves that we have, which is exactly what we want to go for. We definitely need to add a little bit more divisions here. So the hair really, really follows the line right there. I'm going to increase this quite a bit to something like 500s. Now, see how even though we have like the whole surface available for us, since all of the splines are coming from the same point, we actually are not getting any hair anywhere else. We're only getting here close to this elements right there. Let's make this thing and Create our little teardrop shape right here. I'm going to go with 1,000 because since this is smaller area, I definitely want to have a lot more hair right here. Now at any point, again, I could go into my control guides and modify them. But you can see we're getting a really nice clean result here with the hair. Thanks to the fact that we took enough time to make sure that all of the initial curves that we were using were placed nicely. Now that we have this, we can of course go to our modifiers and that's something like, Oh, very nice noise modifier. I'm going to increase this a little bit more. Let's do a frequency of ten and a magnitude of five. That's gonna make a lot more puffier love, more natural, looking quite nice right there. I am going to make the root a little bit more puffy, so I'm going to increase this right here. But you can see still we're getting a little bit of faceted edges, so we're probably going to have to go here. And she just does something like 25. If this happens, don't worry, just update and that's gonna be, that's gonna be working back again. So let's go to the modifiers. And now that we have a little bit more modifiers, we can bring this down a little bit. We don't need as much as much noise. Let's try something like a three or two for this amount. And there we go. What else can we do? We can again, of course, going to the Guide Selection elements and we can start pushing some of this like guide points out into the al-Din to the side. And when we update, the whole thing is just going to get a little bit puffier and puffier. So this is a grooming is one of those things that's really, really time-consuming when working on characters, but it really pays off. So when we do this properly, as you can see right here, we can generate something that looks really, really nice. I'm gonna bring this all the way to 5,000, 5,000 points. And now that we have a lot of points, I might be able to bring the frequency or the magnitude up a little bit more. So we get this really, really populous, bring the frequency down to like a one, like an eight or like a five. There we go, That's a little bit better. Now of course, we're going to select the hair discretion right here, right-click and assign the same helmet hair. But here we can get this very cool looking red color. And that's it with this done, as you can see, we get a very nice effect. I think I'm going to add another cut effect right here, just to randomly cut a couple of hairs out. But once this is done, as you can see, if we go to the render, Let's go to our camera panels Lucius selected. Let's get a nice little shot right here. Of course this here see, we can parent it to this guy right here. I'm going to rotate the helmets should like a three-quarter abuse so that we can appreciate them. If when you rotate the helmet, things do not update, don't worry, just click on the little I and it should It's camera base, so it should update if it doesn't. Oh, okay. Okay. It seems like something is something was done wrong and this one right here, whereas the plane other way go. So we got here a and B over there. So that's a problem. Let's go to the options right here. Let's rotate this back in the graph. Care be, get this out. And this one right here. Let's rotate it back. Let's get this here be where it's supposed to be. And let's parented to this guy. So now we go again to xgen over here and we update. It seems like something broke right here, which is unfortunate. Here. We got to hire be ones where his hair be. There we go. So there seems to be some sort of like display issue right here. Again, it happens sometimes. I'm gonna close this, Let's do a quick render. Sometimes the render will fix it because the render nose was door to these things are supposed to be. So yeah, as you can see, this is actually rendering where it's supposed to be. This thing right here is going the opposite direction though. So let's close the render again. We can change here. So right now we're in hair, see where it's cool to hear be and we're update. Let's go to hair see again, and let's update. And then we're gonna render again. So here we can change descriptions and go to the actual description. And there we go. So with that done, as you can see, we've got three different hairstyles. One very simple and tube, a little bit more complex with a couple of modifiers to get a really, really cool result for this collection of helmets. Now again, as I mentioned, technically, technically, we could animate this thing right here, do like a turntable. And if we just this turn table right here, when we render, it, should update it right here, right now it's, for some reason it's not updating, but it should update because the hair is gonna be following the character as we go. Another thing we could do it straight to update this guy or animate this guy right here. Again, it should be updating it. But this is the way that we're gonna be using the workflow for xgen. We're gonna be placing the elements and rendering them so that we can get a very nice result here with our amazing hair shader from Arnold. So that's pretty much it for the traditional way of doing action. Again, this is, this is what they normally do for characters for like even video games nowadays, you can actually import this sort of groups into unreal and it works very nicely. So this is a technology that's been using for a couple of years now. And if you want to focus on becoming a groomer for characters, It's a big, big potential job market because not a lot of people know how to do this properly at a really high level, especially with really complex hairstyles and stuff. So definitely a good career opportunity for you, my friends. Now we're going to jump onto the next type or the other type of growing, which is the interactive grooming option that we're gonna be using winter monster. So yeah, hang on tight and I'll see you back on the next one. 70. Interactive Xgen: Hey guys, welcome back to the next part of the series. Today we're going to be continuing with the interactive Xgen System, which has a slightly different system and works a little bit better when we wanna do something like for. So we get the character right here. And the first thing I'm actually going to do is I'm gonna duplicate the character. I'm going to isolate this duplicated Mesh, and I'm going to select only the body. I don't want to select anything else into character. And we're going to delete this. We could of course, separate this, but I feel I find that it's a little bit easier to do it this way. Now here as well, I don't want to have for everywhere, especially on the list, right? So we're going to delete all of this intersection right here of this inner loop. Probably all the way to like this outer lip, to be honest. I'm gonna delete this outer lip and delete all of the face right here. So this surface that I have right now, this is a surface where I actually want to have for, I can do the exact same thing here on the feet. Now again, we could do this with a mask on the character. But I find this especially since if you guys are just starting with action, I find this process a little bit easier. So that's pretty much it now, also here on the fingers, I don't want to have what's the word? I don't want to have for going all the way into the tips of the fingers. So let's delete that caps right here. This is also going to make the whole process a little bit easier. Now, this character is not rig, but the field was rigged. It would be a little bit better to do this a directly under Rig surface because otherwise we will need to have two different skin Clusters and to Clusters are two skin Clusters will definitely make the whole thing a lot more heavy so that we go, as you can see, we have this or like skin right here. It's like the skin of the character. And we are actually like we can actually hide this skin like it's not really going to affect us anything. So here on the character, this is MUGA character right here. I'm going to call this as MUGA scan. Now, as you can see right here, I changed my workspace to this thing called xgen interactive group. And this is the one that we're gonna be using. We're gonna go to the extra interactive. The reason why we're seeing this workspace, because he keeps everything nice and tidy here on the side. And especially for this one says we're gonna be using some a little bit complicated tools. We definitely want to have them right here. So once there was we have the skin here for this MUGA. We're gonna go to create interactive grooms plants. And we're going to call this a smoker description, that's fine. And I'm gonna do a density of ten. I think it density of tennis is just fine and I'm gonna hit Apply. So by doing that, as you can see, we've now successfully created hairs pretty much on top of the whole surface of our character. I'm going to save this real quick just so you have the first start off course, but this is going to be finished. And if I render this right now, you're going to see that we're actually getting the little hairs on our character. That it looks very, very funny, but the actual hares are working right now. The way the interactive Groom works, like opposed to the traditional xgen is if you remember here on xgen, where we're using splines are guides to drive and create all of the different hairs. In this case, we're actually just creating the hair's directly. And we're gonna be interacting with this harris to generate something that looks a little bit nicer. Let's start by fixing the fact that the colors of this hair so look horrible, horrible. So what we can do here is we can go to the hair physical shader right here, which is the shader that we have. And we can change some of the colors right now. This first highlight color is what's giving us this like super wide defect. And it will be cool if we could assign the same color as our character. So I'm gonna go to the root Color. I'm going to sign the file right here. And if we go to our monster, we're going to have our monster base color. And the hairs you can see turns green, which is exactly what we want. Now, going back to the hair description right here, we're gonna go back to the hair physical shaders and the tip Color. We're also going to change any color that we painted on our character back in, in Substance painter is gonna be inherited by this particular one right here. Now we're not using a, an Arnold physical shader right now, we're just seeing this one right here. And as you can see now that we are render sexually not giving me the color that I was expecting, That's fine. Oh, wait a second. I think it's not supported by GPU, this particular system. So we're going to jump to CPU. I'm going to Render and shut up so that they don't break the boys. There you go. As you can see, that is looking quite nice. So let's stop this real quick. And you can see that we're getting this very interesting effects for the character. But that's not all. The one thing that we can do here is we can go back to this Maga description and we can start changing things on the distribution of the things. So if we go here, for instance, here on the scale, you can see that we can change the scale of the firm. We can keep a really short for it, slightly bigger for I'm gonna keep it. 0.8 seems good for me. And that then we can go to the options right here. And there should be a way in which we can start tapering the effect for instance. So right now, as you can see here under description Bayes, we got the density multiplier. We want more here. Here's where we're going to push the hair up right now. I don't think really need to bring the hair all the way up jet, but we might do it a little bit later. We can paint the density mass. But again, since we've already like destroyed the character, another steroid like separated the character from the skin and the body with something like this. We can get a nice generation for character. And let's see what I'm gonna do here as I wanted to go to the sculpt options. And as you can see, we have a scope layer right here. Now though, a reason why interactive grooming is really, really cool is because we can actually use some of these brushes that we have right here, such as the length tool, the Cut tool, the width tool, the twist to Come to is probably the most like the one that we use the most. And this the graph tool which moves the hair as well. So I'm going to use the comb tool right now. And what they can do is you can see right here is I can start pushing the hair is down, for instance, here on the arm and creating a nice flow of the hair's going into the hand. So this is pretty much like if you have a stuffed doll or a teddy bear or something. And I will just start playing around and modifying this things right here. Okay? So this is, I mean, it's giving us a nice result. It's definitely one of the things, again, as we mentioned with the previous grooming system, it's one of those things that definitely takes quite a bit of time. Now, I do believe we can use symmetry right here. So let's do symmetry and objects. No, it's not right here, but there is an option to turn on symmetry. Give me 1 s right here just to find it. Where was it? Chill settings. Here's the brush for the tool that we're using right now. That's the size of the brush. If we want to make the brush bigger and just work on bigger areas, we can do it that way. Not really what we're looking for. We can change, of course, the strength. I believe there is a modifier here that we can use already sculpt layer so that we can mirror the whole thing. I'll, I'll find it in just a second. But as you can see right here with this brush, we can start like pretty much a little bit of hair work right here on our character. And just like positioning all of these hairs in a nicer ways. For instance, here on the arm, I really want all of this like here's that are pointing outside of the arm to start pointing towards the hand. So with my brush here, I can just start pushing all of this elements, death. Now, if at any point we started like getting this guy's instead of the geometry, there is one option right here that we can use to bring it a little bit out of the geometry, which is this length tool. For instance, if we use the length tool, we can give a little bit more length to certain parts of the character. So maybe we want the fingers to be a little bit more intense. We can also use the Cut tool, which is really, really good. So if we want to cut a little bit of the hairs, for instance, close to the fingers, start modifying all of this elements and cutting the fingers. If we cut too much, don't worry. Again, we can grab the length door and just recover a little bit of the length right there. You can modify the tool settings right here, the string array now set like really, really high. So it's giving me way, way too, too much length. But again, it's a, it's a matter of just playing around with this elements in generating the exact group that you're looking for. I'm not sure what the taper is, but one thing that we can do is we can add modifiers such as this one right here. And we're gonna be adding something such as like a noise, right? So if we add a noise, you can immediately see that this character starts looking a little bit more interesting because we got the hair like pretty much doing like noisy stuff all over the place. It should be right here. I always sure that it should be right here on the attributes. That's the noise, that's the sculpt where he sit. There we go. There's MUGA description shape. I knew it was right here. So I'm going to change the width. And we can do here is we can make the hair a little bit thinner, as you can see, that looks more like here. It's looking a little bit better here for a character. And we can turn on or give it a little bit of taper. So now if we do this and we just render like without doing anything which is Render, we're gonna get a really nice description right here. Let me pause real quick and I'll show you the render. It goes right characters is looking good. But one thing that I'm definitely noticing is now that we change the width of the element, the amount of hair that we have is looking a little bit less. For instance, it looks very, very gross right here. So I would like to have a more like fluffy, interesting character. And that means that I'm going to have to go to the density of this elements, which is one of this once right here. If we go to the description, the density multiplier, I'm going to set this to ten. And what this will do, of course, is we'll get to see a real-time way way more here. We can also go here and if the witness a little bit too low, we can make the width a little bit bigger. And that's gonna give us a nice result. I'm going to go again with my comb brush, for instance here. And I'm gonna go to my tool settings to make the size a little bit bigger. And one of the things I wanted to do this, I want to start pushing the hair here on the chest down. So that's not pointing all forward. We're going to start pushing it down. This is Cameras base. So you definitely want to use your camera to start pushing elements. Now you can see, for instance here on the leg, I'm going to have to go to the back of the leg to also push all of those little elements down into the character. It's Cameras base. We definitely need to push. Let's go to the foot. For instance here. Let's start like combing this. Be very careful with the overlaps. If UC overlaps here on the on the purview, there's definitely going to be overlap on the render. These guys now looking kind of like the Grinch right? Now. This is of course, a very simple exercise. People that do grooming and when we do grooming for a character, we take hours and hours working on specific parts of the characters to make sure this looks as nice as possible. There's a character they didn't know so long ago and it took, I think it took me like three or 4 h just to do the beard and mustache. So imagine a full character like this. You can spend, again, a lot of time, a lot of time cleaning this up and making sure it looks as nice as possible. Let's get the overlap out of the fingers right there. Let's start pushing all of this elements down on the hands. There we go. Very, very fluffy effect right here. Now, all of this is working on this as co-planar. If I remove this scope layer, you're going to see that we are going back to the beginning. So one way that we can work is by creating multiple scope layers and sculpting specific parts of the character like maybe one scope layers for the hands, wants cup layer is for the head, like stuff like that. Now for instance, it really looks a little bit weird here on the, on the getting close to that Mouth So I'm of course going to start pushing some of the sum of the firm to other sites here, to liver. But I'm also going to go to the Cut tool right here. I'm going to decrease the strength which they select the proper one. Caudal. Yeah, so I'm going to cut this thing and as you can see, I'm going to want to make it a little bit smaller on this part. I'm going to bring the size down a little bit. And I'm probably not as much. The strength is a little bit too much. Whereas the, let's bring the size right here. Let's do minimum remaining length, something like 0.6. So as you can see, we're not removing as much. And that way the transition should be a little bit cleaner. We could have, of course, kept the lips as well. But I think that would make it look like really, really, really weird. So we're just going to start cutting things right here. Now. Maybe we want to lengthen a little bit of here, right around here. So we can go again to the length tool, bring the strength down and just like give it a little bit more extra hair in a couple of areas here on the top of the head. It's also going to make him really, really, really funny. So, yeah, that looks good. As I mentioned with everything, one of the most important things about 3d is having fonts. So giving the fact that this is an exercise to just learn about the elements. Just have FUN. Give him as many like crazy like groups as you want them. And just get a nice render here for this character. I just want to make sure that it looks as nice as possible. There we go. Now what else can we are? Well, we still have modifiers, we have Clumps modifiers, by the way, we want to add clumping, we could that clumping. I don't think really need to add clumping, but one of the things I am going to add a cut modifier just to get a random cut here on the elements. So if we go here to the attribute editor, we're going to have our cut. And we can start using this to cut like random bits of the character right here, right now this is doing it an absolute cuts. As you can see, every single hairs being caught by the same amount. We can change this to relative and go for a percentage of the hair. So depending on how much here we want to cut, we're going to be able to do it like here. Minimum remaining length as well. We can keep at least 0.7. And that way we can start like doing a little bit of a cut here and there without really affecting our character too much. So again, just be careful with this parts right here is very, very common mistake, which is keeping all of this elements. It's better to just push the hair out, to have a little bit of hair everywhere. If you can see the geometry like really heavily like what we have right there. That means that we probably like the MLB, certain things that we shouldn't have to molt and does take a little while to make sure that we get it right. But once we have with, as you can see right here, we've got a really nice results to the same thing here on the leg. Let's push some of this. Here's out. Again. If you want to, we can go back to the description. We can increase the density a little bit and say like, Hey, you want 13 points of density. And we're going to have even more here. Let me pause real quick and let's get a render to see how this looks. So here we go, Definitely, definitely looking better. But of course, as I've mentioned, this is going to take some time to really, really get to work together, to work very nicely. It looks like grass, I'm not going to light this looks like like like a grasp monster or something. So I would probably add more hair to the eyelids, for instance. And there's something on the lives that's really making this thing look really messed up. But yeah, these are two principles of interactive grooming my friends again, as with other systems that we've explored so far, the more time you dedicate to it, the more you practice, the better results you're going to be able to get. So if this is one of the things that you find interesting about Maya and you want to delve a little bit deeper into the whole process. You're gonna be looking for xgen and grooming techniques to get this results into a way, way, way better place. I really like how this arm looks right here. It looks like a, like a Christmas tree or something. Now keep in mind that also we need to take into account the fact that the samples on the render will affect the way the hair looks. So if we want this render to look a lot cleaner, we definitely need to increase the samples and everything else. But see how, how nice decoration here on the right arm looks. Let me pause this real quick. There we go. So as you can see right here, this is looking a little bit better. And now that we've moved the hair out, we're not really seeing the skin underneath. So that's it for this one. My friends, I'm going to stop the video right here. And with this, we're gonna be closing chapter eight, which was xgen, it very quick overview of the action system so that you guys get, get the understanding of the general tools that we're using and they've, you want to incorporate them in any of your projects. Well, now you know the basics and you should be able to use either the traditional action system or this interactive grooming system to get something a little bit cooler on your renter's. Talking about renders. We're now going to jump through Chapter nine, which is a Render. And this is again, one of my favorite parts of the whole process. So hang on tight and I'll see you back on the next one. Bye bye. 71. Arnold Lights: Hi guys. Welcome back to the next part of the series. Today, we're going to continue with Maya or Arnold actually. And we've been doing this for almost 20 h now. And we're finally on the last part of Maya. So as you guys have seen throughout the series, like it's almost impossible to know everything I didn't have to know or you can know about Maya in such a small amount of time. But throughout this whole nine chapters, we've been going and exploring the main things that we usually deal with while in production. So now we're gonna go to the last part, which is a rendering. Rendering is one of my favorite parts of the whole production Pipeline. I'm going to be opening the chest set. Since you guys remember that one. We're gonna go all the way here to the chess set and we're going to hit open. Don't save. There we go. So let's open the render. So I'm going to open scene. We're going to open the chest or renders where we had the full board that we come. So this is our render scene right here. And we're actually going to be deleting everything that we have right here. All the render setup is gonna be gone. We're just going to be left with a very simple board right here. And rendering, as I was mentioning. So one of my favorite parts, because you can create so many interesting variations, which such a simple things such as Lights. So let's build a very simple scene here. I'm going to call this Save Scene As I'm going to call this chess render finish. You guys can compare at the end of this exercise how you started and how you finished. And we're gonna go to the poly modeling and let's add or create just a very simple table. So we're going to create just a very basic table right here. And we're going to play with the Lights right now. So lights are super important when it comes to creating an atmosphere for our scene. There is a discipline instead of film-making that I was very unaware of until I actually started looking more into it, which is called cinematography. So at first I thought cinematography was about decomposition of the shots, meaning the where you place the actors, where you place the action and stuff like that. But cinematography has so much more to do with how you convey a specific feeling through the use of the camera, the lights, and of course, the position of the actors and everything else. So what are the best things that you can do when watching a movie? Not just any action movies were actual. Not actually. I want to add, I want to sound elitist. You're watching movies that have a little bit more production value put into the Art part of it. You're going to see so many school like just I mean, I don't even know how to describe it. It's just so many cool compositions, so many cool frames, so many cool use of lights. And I'm gonna be using an example here since we're talking about chance and we're going to talk about queens gambit, right? So Quinn's gambit came a couple of years ago. I've actually been playing chess ever since I saw this series. I was really, really excited about the premise and I just started learning it. And one of the things that really drew me to this Netflix series was the cinematography, like how they placed all of the shots and how to create it, all of the atmosphere inside of the character. Let's take a look at this scene right here. It might seem like we only have one main light coming from the top right, like a very simple kitchen light or something like that. But there's actually a lot more going on. Look at her shadows right here, look at the bounce light that we have here on her face. Well, that's the kind of stuff that we can start building up. But in order to do that, we need to really understand how Lights work here inside of Arnold. So we're gonna go here to Arnold. And the first thing I'm gonna do some going to bring in a sky dome light. Now, I love using HDR is insurers are great. But there's one thing about HDR. Is there a hate? And I hated because my students fall into this trap very, very frequently. And that is the fact that they think that by just using a simple H2RA have solved everything. Like they don't need to do any extra work. They feel like just by adding one of this Lights, they got their life feared out and they don't want to do any extra commitment to understanding and doing something a little bit cooler for their lights. So I'm going to look for a very neutralized whenever I'm searching for an HDRI, I would like to go for HDR is that they're very, very soft under shadow. So for instance, this one right here at Brown photo studio. It's been a favorite of mine for a long time. I'm going to copy this one, or actually just cut this one. And we're going to place this here in source images and Control V. So now we go here to our scene and we bring this in. There's a couple of things that we can do with this lighter here. First of all, of course, we're going to plug it here into the color. We're going to use our brown folders to you. Right there. There we go. So we know that this HDRI that we have right here will have the light affecting the Scene depending on where the main source of light is. The main source of faith of this H2RAs are coming from this windows right here. Now, I didn't, sorry, I didn't explain exactly why H2RAs are so important. So we need to understand something called HDRI. So high dynamic range image is an image that you normally take a different exposures. So usually when you are using a traditional camera, you have something such as underexposed photos, which is when you don't let enough light get into the scenes such as this right here. So it correctly exposed photo should look like this and overexposed for the will look like this. In an underexposed for the would look like this. However, there are some advantages when you underexposure, overexposure and things. When you overexposed, for instance, you get to see more information that you have on the shadows. And when you underexposed, you get your capture the lights in there in a nicer way. So what H2RAs do is they combine the underexposure, normal exposure, and overexposure of an image of a three-sixths image. And they create this images that has more light information that you usually will have on the traditional a JPEG. So that's why this HDRI are actually in EXE format. Because we are using a unexpanded sort of like a bit depth to capture how intense a certain light was compared to everything else. So if I were to open, for instance, let's say this image right here in Photoshop, and they start sampling the colors. It doesn't matter which white of this image I select. It's always gonna be one, right? Like a value of one, the maximum value. However, if this is an HDRI, follow and they sampled the light on this window and the light on this part right here and the white right here. Those three whites, even though they look exactly the same to us, to our eyes, they're gonna have different values. Then those values are what Arnold uses here to generate a very nice render. So I'm gonna go here and let's create a new camera, rendering camera. This is gonna be our shot camp. And we're going to say panels, look through selected. Let's frame this here real quick. And we're gonna get, in this case we have a square frame, actually want to go to a traditional full HD. So let's change this to a full HD. There we go. And this is where we're going to have. I'm going to frame this so that we're not seeing any of the borders like, I don't want to see like the empty space right here. So if I need to make the table bigger, I'm just gonna make it bigger so that we can focus on capturing the essence of the game right here. So this is the chessboard ready to be used and ready to face like super strong opponents. So I'm going to go to Arnold and if we render real quick, we should have our GPU setup. I believe it's not CPU, so let's canceled out and change this to GPU real quick. There we go. And if we Render now, you guys are going to see that we have, of course, this very simple Render. And again, this is a very common mistake that my students make when they just rendering a shots like this. Our leg. Yeah, that looks good. I'm just going to upload that to my portfolio and I'm good to go. And I'm always like, No, you can get so much more out of this without having to spend that much time. So let's expand the table a little bit right there, and let's render here real quick. So this is a very, it's a nice sharp, like it shows a nice model, a nice, it almost looks photo-realistic, which is great to us. But let's start bringing in the Lights. So whenever I light the scene, the first thing I'd like to do is I'd like to bring my sky dome light really low on the expulsion. The reason we've been using negative exposure is where we're using a light. We actually have two options here we can use intensity, which is a linear, like a change in the values of the elements. Let me go to Painter real quick. So when we're working with linear, one, is, are two is two times as big or as 13 is one stop bigger and so on and so forth. And where we're using exposure, we're actually working with an exponential curve. At first, the exponent is don't change that much, but eventually they start going really, really, really fast into big numbers. So I prefer to use exposure because I don't need to be playing with really big numbers on the intensity. Sometimes when you use intensity, you have to go to something like 200, 400, 500. And if you go into exposure, you usually in the tens 12/15 and that's it. I think the highest exposure of every gone something like 30, and that's it. But you do need to keep in mind that one level up or one-stop up of exposure, it's not the same as 21 step up on the intensity. So let's start with an intensity of minus four. And as you can see, the previous going to really, really, really go down. So we Render, now there's almost no information. We just have a very, very soft information here. So if we take into account what we're seeing here in Queens gambit. There we go. This picture right here. We can see that there's a relatively big light coming from the top, which is the table light, right? So let's bring in Arnold Lights. Our first Light, which is this area light right here. If we bring the area light up right here, Let's change the scale back to even number. We position it on top of the elements and we do a render. The first thing we're going to notice is that the light won't have enough power to bring me or give me enough light. So we need to grab this light right here and we need to change or move were increased the exposure to something like a ten. So if we do we tend, you can see now that we're actually getting some nice light into the scene. But immediately you will notice that our rendered change from being something that look quite nice and photorealistic to something that looks really fake. Right leg lifts. This looks like a super fake. Like Anna, like a superior fake random from the 90s or something. Well, not the nightmares would like the 2000s. So how can we improve this? Well, the first thing we can change is the temperature of delight. Every single light we have in our houses has a temperature and it's very, very weird to think about lights and temperatures, but this is how it works, depending on how much temperature we have on the light, we're going to perceive the color as being warmer or colder. Now, this does not mean that the light is actually warm or cold. The light is always hot, especially if you take a look at stars and things like if they're always super hot. But the, what happens is as a black body, which is something that we saw with the bifrost Fire. The more intensity you get on a light, the lighter in blue where it's going to get. So if you see a blue flame run, because that's gonna be super, super hot compared to a hreflang, which is also going to be super hot. So just so you should also run, but The thing is, the lower we go on the Kelvin spectrum here on the lights, the warmer they're going to appear. As you can see, the intensity is the same, is the way we look at them. It's not really how much lights are getting into the scene. So if we enabled Carlo temperature right here and we render it immediately is going to look a little bit better if we start pushing the temperature towards the warm colors, for instance, we're gonna get something that looks, again, just a tad bit more cinematic, something that is already looking quite nice. Now we do need the HDRI. I'm going to turn this off the HDRI, and I want you guys to pay attention to the shadows of her image. If we Render now the shells are going to be really dark, really strong. That's why even if we're using an HDRI at a very low exposure, it's helpful because it helps bring a little bit of clarity or light into the scene. So again, comparing, this is the way, by the way, the way I started cinematography. I look at the scene and I tried to match the information that we have on the scene to my render. So what can they see here? There's a very strong light coming from the top, but there's an important factor here. You can see that at the shadows, right on the pons and everything, they're not as harsh in my shadows right now are a little bit harsh right here. So if I want to make my shadows a little bit less harsh, I need to make this a little bit bigger. The bigger the light source, the softer the shadows, but also the more intensity you will need. So as you can see here, by making this light a little bit bigger and bringing it up a little bit more, which is where I would expect the light from a kitchen to be delighted is looking way more natural, but we need a little bit more intensity. So we're going to bring this exposure up to something like a 14, way too much. Let's bring it down to 12. A little bit too much steel, so let's keep it at 11, probably like 11.5, I think. There we go. So as you can see, this is already giving us something that looks slightly nicer, slightly better than what we have. Now, if we compare it to highlight, look at the highlands that we have here on the pieces. That's a perfectly good way to see how much or how intense lights are on the scene. So even though I might not like it, the number 12 might actually be the one that we're looking for, but because this is actually like emitting the light that we want. But we have a problem. If we see right here, I can see that the light is very focused on this button. You can compare comparator Rooks. If you take a look at this root right here, it's a lot more LIT than this root right here. And all of my works are being laid at the same amount. So how can we make this slight change its shape so that it only affects the center of the board or it affects the center of the board a little bit more. Well, first of all, we have this light shape right here that we can change. And if we change this to something like a disk, you're gonna see that the shadow, the intensity is going to change this slightly, but not too much. Because right now we have the spreads set to one. The spread is the direction at which the rates are gonna be like at which the rates are being shut should shut, I think. So. If we have a light in the rates, the spread is set to one. It's pretty much launching race all around the surface in a pretty much like 180 degrees as we move the spread down, let's say 0.5. You're going to see now that we're going to start focusing the light more on the center of the board. And if you go really, really, really down, you can see how this changes into the spotlight, but something else changes the intensity of the light is now really, really big Y because all of this exposure is now being focused on this malls portion of the board. So I'm going to kick this lipid like this, and then I'm going to bring the exposure down. And as you can see, just by doing this to simple changes, adding a little bit of temperature, modifying the spread and the scale. We're already getting a scene that looks a little bit more interesting. I'm going to lower the intensity a little bit more. I don't want to overexpose anything and look at how nice this looks. Not bad. Not bad for just a very simple movement here on the light. This is why the famous quote, right? Knowledge is power. By understanding how all of these things work, we're able to generate elements that look way, way, way nicer. So let's go for like a closer look here. I'm going to say panels looked are selected. I know we're gonna be seeing the background, but I really want to go for like a, like a closer right here. If we Render again, this is where we're going to get. Now, we've already talked about how to remove the image from the back. You just select the image right here and down here on the visibility, we're going to bring the visibility of the element all the way down. And this is what we're going to get later on. We can replace that background with the picture and blurred out in Photoshop and just change it however you want. Or as we're gonna be seeing a little bit later, we're gonna be using something known as depth of field, so that we can blur out the background a little bit more from the foreground, which again, it's exactly what's happening here. You can see right here, the wall on her on her room is being blurred out. That's actually something that we could do. Like, why not just duplicate this table? Let's rotate this 90 degrees. This is gonna be a wall on the background just like this. Now why is this important? Because even though it might not seem like much, Let's, so we can imagine that there's someone sitting right there. And now let's imagine that there's gonna be someone else right around here. Okay, So another one. So why are this was important? This also important from a lightening perspective because they're actually blocking information that's coming from the HDRI. So see how the light that we should get a slight change on the, on the lining of the scene just by adding those walls because again, they're blocking the light that's coming from the back. And we're gonna get a little bit more contrast and we're still getting this nice blue shadows here. Well, we're getting a little bit more conscious as well. Now, if we go back to the sky dome light, now whether we're happy with this, we can go back to the sky dome light and be like, Hey, you know what, maybe minus first a little bit too much. Let's bring this down to minus two. So now we're gonna get a little bit more light into the scene. Things are going to be bouncing a little bit better and we're gonna get some interesting reflection, maybe minus just a little bit too much. I'm going to do minus three. So we can still get this nice contrast. If we go back to our reference right here, you can see that there's a window on this site, and this window is adding a very nice blue hue to the shadows on the back of this character. So what we're gonna do here is we're going to do the exact same thing. Here's how we can play with lights and use the lights to bring our whole models and all of the Textures. We're going to be adding textures to this. By the way, we can bring the whole models to another level. Since the camera is right here, I'm going to, I'm going to imagine that the light is going to be coming from a window. We don't see the window, but I would expect the window to be right around here. Now, I don't want this light from the window to be 360-degree lights. So I am going to give it a little bit of spread. Here's what we can use number seven, by the way, to get an idea of how lights are looking. And if we start increasing the exposure, Let's again go to a 12 or something. You're going to see how this thing is, like adding information into the scene. I think I'm going to bring the spread down a little bit more. Now unfortunately, the spread or the preview right here will not give you the exact same effect that we have right here. There we go, Look at that. Now. Not only are we getting this very nice warm color from the top, we're getting a nice interesting light coming from the window. We get this very nice highlights on our pieces and this long shadows on the black side of the board. So I'm gonna use color temperature and I'm going to bring the light all the way to the blues, like really, really high into the blues. And as you can see now the highlights or you got to start looking blue. We can always paint this like if we want to go for a very specific blue color, I would recommend turning off temperature and then trying to find these specific element that you sometimes use, gels and stuff like that on movies to get this effect. I personally like to like modifier or use everything with color temperature because it looks more natural. You can, by the way, push this out of the balance as well. And it's going to really give you a blue hue right here. But as you can see, this is starting to make the whole thing look way, way, way, way better. So yeah, this is the first part of Lights, my friends. I want to show you one more thing about lights. And then we're going to jump into the Shaders. We're going to start modifying some of the Shaders here. I'm going to show you some really cool tricks as well that you can use to not have to go all the way to Substance painter and generate some nice shaders here with Substance but without entering into substance. So hang on tight and see you back on the next one. 72. Mesh Light: Hi guys. Welcome back to the next part of the serious, this is going to be a short video. I just want to add something really, really quick to. The elements right here are two. What's the word to the Lights section? So if we go to Arnold enlarged, you can see that we actually have a couple of extra lights. Now from the slides we've already used to the area light in the sky dome light with this are the ones that we use. The most photometric lights you're gonna be using. If you're gonna be doing architectural projects, photometric lights are specific patterns that you can use to generate this really interesting. Like light shapes that you get on some exterior walls and things like that. Light portal. That's something that we sometimes use to optimize the sky dome light. We're not going to really be using it right now because all of the stuff that we're doing, our open scenes. Finally, physical sky is pretty much like a fake HDRI that we can get into the scene. I don't like it because it looks fake. And to be honest, you can get so many better results by using this guide on mine. But the one that we do use every now and that is this mesh Light right here. So let me show you how that works. Let's imagine that we have, for whatever reason, an interesting curve going along the sides of the table, like this, sort of like left strip, right? We have a less strict going around the table like this. If we push this up right here on the table and we use our sweep Mesh tool to get a very nice strip right there. Let's say we have something like this. Let's go to our curb right here. I just wanted to be a little bit more precise. Let's grab the control vertex, for instance, this one right here. That's pushing up. So that's actually on top of the element right there. And what we can do here, as we can actually use a very cool function, which is the mesh Light. Let's delete history. And we can say Arnold Lights and create this thing called a mesh Light. So when do you want the specific object to glow? But we don't want to use emissive like what we did with the little robot, but one of the object to actually behave like a light. We're going to be using this thing called at the mesh Light. And the way mesh Light works is very simple. Just select your geometry. You add the mesh Light to your geometry. And when you render that geometry is going to be emitting light like a normal rectangular light that we have right here. Let's stop this real quick. For some reason, the mesh Light, it's not loading whenever you add new geometry, it is important to close the option here and say Render again so that it can reload and add the geometry to the actual scene. You can also go here to Render and do this option called update full Scene control you is the what's the word is the shortcut. So once we do this, and as long as we waited a little bit for this GPU to finish compiling the Shaders, we should see a small, There we go. It's more element going around the board. Let's go to a shotgun right here. And as you can see, it looks kinda like gray, right? That's because we don't have enough exposure. If we take a look at the outliner over here, you can see that the sweep Mesh now has a light sweep attach. It's gonna be light and the name of the objects. So that's why it's called light sweep. And we can use something like exposure. Bring this to ten, for instance, which is close to the values that we've been using. And now if we render this thing right here, as you can see, it's going to actually be emitting light. Now, the thing that we saw before, the great thing was not actually the cable itself. It was the very, very soft light and the shadow of that object that was being projected on top of the element. If we want to see the element, we need to select this option right here that says Light the vessel. Now we can actually see the element and we can see that doesn't have enough energy to be a generating any sort of light. So we're going to bring this to ten again. And if we do a render, as you can see now we have a you'd like, Let's trip, that's going around the whole thing. We can change the color of this. Let's trip to whatever color we want that you can see how the color is contributing to the overall scene. If you wanna do like neon lights and stuff like that, this is the perfect way to do. It just keeps something in mind. If you're doing like neon lights and stuff like that and you really pushed the exposure up. It will look white. It will look widen the core, but the color is actually going to be thrown into the scene. So this thing is really, really behave like physical lights. And you're gonna get a much better result by using mesh lights then by using the emissive map from the shader off the elements. That's it guys. Just to again, just a quick little thing. We're actually not going to be using a mesh Light, but I didn't want to mention them because they are important to, to certain parts of the production. You might encounter this if you're doing this sort of like sci-fi or steam punk stuff, there's gonna be a lot of mesh lights that you will be needing. So that's it for this one. And in the next one, we're going to take a look at Cameras. No, sorry. We're going to take a look at shaders. So yeah, hang on tight and I'll see you back on the next one. 73. Shaders and Substance: Very well guys. So as I mentioned, I wanted to use this next video to show you how we can use some shaders from substance to generate some really interesting effects for our pieces. So first we're going to talk about normal shaders. And I think I wanted to do, I want to use the sort of like marble effect for our pieces right here. So as you guys remember, all of these pieces already had the material. I'm going to call this M, white marble. And we're, we're gonna do is we're going into place with subsurface scattering. You guys remember subsurface scattering which has this effect where we can make elements look a little bit translucent, well marbled institutionally, a little bit translucent. So let's play with that. We're going to turn off the color of the pieces, of the white pieces and we're gonna go to transmission or not transmission started to sub-surface. We're going to turn on the subsurface effect right here. Now, under subsurface color, we can just grab some nice like beige color right here, something like this. And that we can keep the radius white. Now, let's go toward camera and Shaders aren't the kind of things that you always want to try to. What's the word you always want to try to see on the render so that you can properly evaluate whether or not you're getting the result that you want. So rendering is a step of the process that requires a lot of trial and error. There we go. So what does the first thing that I'm seeing right here, it looks okay. One of the problems that I'm seeing is that we're getting this sort of like super transparent effects. So that means that the subsurface is really strong. So I'm going to bring the scale down to something like a 0.1. And by removing or reducing the subsurface, you can see now the top parts of the tower, for instance, it looks semitransparent. The horse looks a little bit transparent over here, but all of the other pieces look this. They get this very juicy effect that I really like. The queen is getting some weird errors right there. And the reason why that is happening is because if you remember, we made the queen of separate pieces. These pieces are super thin compared to everything else. I still think 0.01 or 0.1 is too high. So I'm gonna do 0.03 and let's do a Render. This should give us a slightly better effect. There we go. And you can see a little bit that like sort of read subsurface effect happening everywhere on the pieces. This is the kind of stuff, again, that you can do with Shaders without the need to go into substance Painter. Now, I'm going to show you something real quick here. See this subsurface color. See how we're using this like a beige color. Well, we can actually input something like an Arnold noise. Arnold has a couple of things that we can use to generate a little bit more visual interests. So if we go here to texture, you can see that we have AI cell noise, a checkerboard, a curvature, and we got this AI noise that we have right here. If I assign this to the element and we Render now, well, first of all, it's compiling. So let's stop this real quick. And when we render, since we're assigning this annoys, what's gonna happen is Arnold is going to apply an overall texture to the whole element. However, by default you can see the texture is black and white, which is not a big problem, but we definitely want to change this. So in order to change this, we can just select this color right here, select our beige color, and then this one right here, go right there. And maybe this color one, which is going to make it a little bit dark. So now when we Render, look at this, we're gonna get a very nice sort of like marbled effect everywhere on our on our pieces. Plus the subsurface effect which you can see on the small pieces right there. So again, without the need to go back to Substance painter, we're using notes instead of Maya to procedurally generate this felons. Now what else can we do? Well, we can change the scale. For instance, if we make the scale a little bit bigger, Let's save a copy here of the render and let's make the scale 33.3. What's gonna happen now is the noise is gonna be a lot smaller. So now you can see it looks like this very spot of the fact that responded marble, which if this is the effect that we're going for or to finish that we want, well, we get something that looks interesting. We can change the distortion of the element and the pattern is going to change quite a bit. We can change their lack unitarity of the element. And we're also going to get some sort of like different effect. In this case. I think I'm going to keep this at 11.1. But again, feel free to play around with all of this elements right here because you're going to be able to can look at that. We get this very nice like the SAR look going across the whole thing. Now, if you don't want this to be super obvious, we can give this guy's a little bit closer to each other on the tone. And that way the effect like the veins of the marble are not going to be as obvious to us. So, yeah, that's it. We're using this noise to generate a very cool effect on this part. And it's also affecting, as you can see here, the white parts of the board. Now, let's do the same thing for the black pieces. On the black pieces, I'm also going to call this M underscore black pieces. And we're gonna go to the color, we're going to turn off the color. We're gonna go to a subsurface and we're going to turn on subsurface and we're going to grab again like a very basic like dark brown color like this Saturday, it's something like that. On the radius. I actually want this to be like a red radius. So I want to be able to see like a red colored going through the pieces. There we go. That looks really good. Of course at the scale is really high, so 0.03. Let's try that. And that's gonna give us a really nice effect look at that kind of like it bleeds and creates this, this very nice dark color right there. Now, ideally, we want to match the same sort of noise that we have. Also going to go here. I'm gonna go to Arnold texture and we're going to add another AI noise right here. And this one we're going to select, this is gonna be our dark color. And let's just copy the exact same code, just make it a little bit lighter right there. And what that should do, as you can see right here, it's going to add a little bit of texture to all of the different parts of the board. So once more, without going into substance, we can play around with the nodes that we have available to us to start generating a shot array render. That looks really, really, really nice. What else can we do here? Well, this is the extra bit that there was mentioning about. So I asked you guys know, Substance painter has this Substance 3d acids that you get access to when you subscribe to the Indy license. But there's also the substance community share. Okay. Substance community community assets or community share, where it says that we could community assets. And the important thing here, as we want to look for a word maturely, like clean wood material that we could just for our board, for instance, this one, right? Well, that one's rotten wood. So let's go like this antique word right here. It looks really, really good and I think that red color is going to really make the whole thing pop. So I'm going to download this material right here. And this SBS, our archive is what we're looking for. I'm going to Control X to copy this into our source images. And I'm going to create a new folder called Substance Materials. And you might be wondering, how are we going to use this substance material if we're not bringing this in Substance, well, then you are here instead of Arnold, we actually have access to a very cool plugin. Now one thing that we do need is we do need to have UVs. So I'm going to grab this. Oh my God, I got into the shotgun. That's a bad thing. So we do get to have a UVs for this thing. So let's do a very quick UV right here. Hopefully you guys still remember how to do proper UVs. So UV delete and then UV and we do a camera based projection. Then we can use, this is kinda like a cylinder. So I'm actually going to split this into a couple of parts. I'm going to split this part right here. Going to split bottom part right here. And then I'm going to explain the corners. Because if we were building this other words, the corners is what they would meet. And therefore we would see a seam line right there. There we go. So we go UV and we unfold this whole thing. Remember, this is my finished scene. So you're gonna have to do this on your own Control L to just create a very quick layout. And there we go. So what we're gonna do is we can actually import that specific material that we downloaded directly into Maya without having to go into substance. What are the pros of that? You just want to do a simple clean material. That's an excellent way to do it. And if you want to want to add leg, just a more interesting material, we're going to be able to tweak a couple of things as well. I'm gonna go here to the Hypershade and on the, on the work area. I'm going to press Tab and I'm going to look for substance. I'm going to use this substance, no texture. You need to turn on the plugging the substance plug-in in order to get access to this specific thing. So here are the substance, no texture. I'm going to change this name and we'll actually, we don't need to change the name. We just need to go here to the loves substance and then we go to our Substance Materials here. I'm going to be able to open this up and this will load the material. Now down here we need to select Arnold and I'm going to say create workflow or sorry, create a network. What this will do, as you can see, is it will automatically connect all of the different things that we need. Generate the texture that we're looking for. I'm gonna go up here. I'm going to change the size to two K so that we get a little bit more resolution is going to take a while whether the process, that's gonna give me a better result for the width. And if we go back here, you're going to see all of the math that we're generating. So we're generating a base color, a normal roughness and metallic and then be the cushion and a height map. We don't want to hide them up yet. Very soon I'm gonna explain what the height map doesn't how we can use it, but not now. So we're going to remove the height map so that we don't have that information. And as you can see now we have an AI standard surface. I'm just going to call this M. And if we go to our table right here and we assign existing material and we assigned the M width, we press number six. You're gonna see that we have the width or the table. Actually not where I wanted to have them TO. It's this one right here. So we assign the width, and there we go. Look at that, you get a very nice effect. Now, what was one of the rules about with the grain of the world should always go towards the longest section. So that means that they need to go to this guy. And I'm going to grab all of this UV shells, go to Transform and we're going to flip them 90 degrees. We can manually just position them right here. That's fine. This guy is, I mean, they're not important, they're kinda hidden. So here's where we can break a little bit of the rules. Since it's are more important, I'm gonna give them more size, more space. Then this one says they're not as important. I'm just going to keep them small because we're never going to see them right. So that way we're going to have a little bit more resolution here on the width. Like very nice clean scratches, pretty much everywhere. Now, let's go to the shotgun again, panels Lucas selective. Let's go for a shot right here. If we go to a render view, we can say control you to update. Remember it. So it's going to update the whole thing, or just here on render of the full scene. And as you can see, it's making the texture maps for the wood material. And let's keep a sample here or another sample. And once we Render, we're going to see the new wood material. Again. We did not have to spend any time Texturing or rendering. And it's gonna be immediately here in our scene, look at that super clean material with scratches and damages and everything. It matches the color of our black peas, which is great. But here's the, again, here's one of the cool things about this process. If we go back here to the thing that's generating the material, we will have access to some of the properties. Look at this. So we have access to the crack Color, we have access to the grain depth, we have APT is access to that, the varnish versus a crack, stuff like that. So I'm not sure if this is the main color that drives everything, but going to try to darken this a little bit more. As you can see now that the cracks are a little bit darker, I'm going to keep them not so dark, so just a little bit dark there. We got a global roughness. We got the bar niches breath. Some things here. In this case, we don't have the option to change this into a darker effect. But every now and then, you will have parameters here that will allow you to change like specific things about the material like the tiling and stuff like that. So yeah, that's pretty much it. Let's do one more. So I'm gonna go again, I'm using assets from the community so that you guys can follow as well. But you're free to download this if you have access to the 3d acids are some really, really pro Materials here as well. So for the table for instance, I think I'm gonna go with this dirty word right here. So again, we just grabbed a dirty with oh, careful there as you can see, that's an SPSS. That's not the one we went and SBS are very, very important that we look for. Sbs are. So let me see if we can find another one. This varnish one doesn't look that bad stuff and that's BSR. Okay, let's use this one. It looks like an interesting table, I guess. So let's go to our folder right here. Just wait for this whole thing to finish. There we go. We control this and we get this into our substance, material right here. And we're gonna go to Maya. So we go to our Hypershade. Let's clean this thing. We'd like magic dust right there and we're going to look for another substance. Note that texture. So instead of this substance, no texture again, which is go over here. And we need to look for the file. It's the varnish pocket would hit Open. I'm also going to change the width of this two to cave so that we get a nice result and we need to generate the Arnold network right there. It's going to generate everything. Again. It's gonna give us the height map. We don't need the height membrane. Now, as you can see, it's actually, it gives us access to even more things. We don't really need the right now based Color normal rather than metallic and me the solution, It's all we need. We can play around with the parameter. So for instance, if we feel like the varnish a little bit too much, there might be options right here, no, actually this is not having the options. So that's the problem with using things that people are like submitting. We might not be able to change or modify certain things. The ones from Substance 3D assets, the ones that you get from the paid version, usually have a little bit more control to it. So I'm going to change the name of this to M varnished. There we go. We can select this table right here, assigning new material, sorry, assign existing material and we're going to assign the Ambar finished. And then we check the Textures. Distinct should have some Uvs, yeah, the best Uvs ever, but it should have some UVs. And we should be able to render this. So if we render, as you can see now, get this very nice effect way the second do they assign, I think I assigned the wrong material. Varnish. There we go. Now you can see the UVs are not great. Let's just do a UV planar mapping from the y-axis. So that's from the top. You can see we get that right there. It's looking okay, but the tiling is too big. Again, we can go to the Hypershade and there's gonna be always gonna be a place to the texture at the very end. And we can change this to like 4.4. That's going to tell the whole thing a lot more times. And then when we render, we should see a nicer texture being placed on the other table. So let's just give this a couple of seconds for the render to work. There we go. Look at that beautiful texture there on the table. So yeah, that said my friends. So as you can see, we've been able to convert this very simple scene into a scene that requires like a very easy approach. Like we're not really doing anything crazy and we're already making this whole thing look a little bit better. Now, let's, let's bring this up one notch. So here's what I'm gonna do. I'm going to bring this down. I'm going to duplicate the whole thing. I'm going to make a thin layer here. Okay, Let's go to the front view to make sure that things are like in-line with each other. So there we go. And what I'm gonna do is I'm going to change the top to a new material, which is going to be a glass material. So as standard surface, we're not going to have Color. We're going to have transmission, which is glass. And we're going to increase the roughness a little bit. So it's gonna be like kinda like frosted glass. So now let's compare this and let's see how this looks. Look at that. So by adding that frosted glass, we can either use slightly layer that changes or modifies the roughness of the whole thing. If we bring the roughness down on the frosted glass and we Render, we're going to start seeing the reflections of the lights and other different elements. We definitely need to change the color. Yes, he did. Just gonna make it a little bit upper. Are up there. There we go. So as you can see, that the noise is really taking away a lot of the interesting information. So if we increase the sample, we're definitely going to get something that looks a little bit more interesting because again, the noise is just the leading all of that information from the reflection. But that's fine. So I'm going to stop the video right here, guys, as you can see, this is looking really, really, really nice. Am I rendering full HD? Yes, we're rendering for HD, so I'm gonna render one more time and I'm going to save this image to compare. Let's just increase or modify our frame rate here a little bit more. Because I feel like it was a little bit off-center. There we go. Now, one cool homework that I'd like to give my students when the word doing this exercise is try to find the game. If you're a chess player, tried to find your favorite game from a famous grandmaster or something, and try to place the pieces in such a way that you create this small composition here to study that position. So yeah, that's it for this one guys. We're still not done with this. I'm going to stop it right here, but we're gonna be talking about glass in the next videos. So hang on tight and I'll see you back on the next one. 74. Glass: Hey guys, welcome back to the next part of the series. Today we're going to continue with the glass. And glass is a really, really interesting subject. Now, in order for me to do glass, I've actually saved this as a render finished glass. And I'm going to move the camera a little bit. I'm gonna go to like a, like a close-up shot, which is something like this. So we can see more of the pieces in-between each other. So if we Render now, you're going to see that we get a really nice compositions. Will, I mean, come on, This looks really **** nice if I may say so myself. So we're going to be adding glass to the pieces. Let's say we have a chess set that's made out of glass instead of this sort of effects. So I'm gonna grab the pieces. I'm going to grab this, all of the black pieces right here. One thing is I'm going to jump out of perspective, view. I'm going to grab all of the black pieces. I'm going to assign a new material, Arnold AI standard surface. And this AI standard surface is going to be glass. Now this I'm going to cold and dark glass. Now. Usually you can have dark glass, right? Like it just doesn't it just doesn't work that way. So we need to find a way to make this look like dark glass without actually making dark glass. So we're not going to have any color, and we're going to have glass right here. If we do it like this and we render, the first thing we're going to notice is that, yes, it does look like glass because the curvature off the objects will stop light in certain areas. But this looks like the clear pieces and that's not exactly what we want. So the best thing that we can do is we can add a little bit of tint to this glass. And what are the things that we have right here, which is right here over the color is well, a dark color. So let's go for a dark brown color. And as you can see it, this is going to make them look a little bit more like glass. Unfortunately, that colors is really taking away from the fact that this is glass. So I'm going to start lighting this up and bringing the color down to like a pinkish hue. And that should give us a little bit more of a glass look. It's not perfect, but it's getting there. I'm really tempted to just bring this all the way back to white. Another thing we can do is we can add a little bit of depth to the whole thing. So by adding depth, we're also changing the properties of the material. And we're, we're pretty much making it a little bit more foggy. So let's stop this real quick. And let's just restart. 1 s here. Okay, So for some reason my render crashes, but there we go. So this is the result that we have with a little bit of depth, which is something that we can do to darkness, but it's not really doing the trick, to be honest. So I'm going to stop it and I'm actually going to bring the depth back down. And I think whether we can do instead is we can just that a little bit of gray color. So make this like a gray color instead of for white-collar. There we go. That looks a little bit better. So as you can see, we're getting a sort of like crystal look without actually going into the white color. And we can play a little bit with the color here to the side of how we want this. We can also bring the roughness down and that's going to make the pieces shine a little bit more. And it's gonna give us a nice like class effect right here. Also, what we can do is counteract this. We, the other side of the board. So if we go to the other side of the board and we assign the new material to this pieces on Arnold. It's to undersurface. We're gonna make this again glass. But here's what we're going to change because if we just leave it like this, it might not look like much, but it's actually going to look very similar. We need to make the white pieces shine way more than the black pieces. So remember the index of refraction that we talked about. I'm gonna bring this all the way up to four. This is a index of refraction is going to make this thing really, really, really white. And as you can see, there's way, way more light going into the elements. So the light refraction is going to be a lot stronger. And I am actually going to leave them a little bit more like frosted glass, which has this roughness so that the difference between the light and the black pieces looks a little bit more like. Interesting. Now, I'm going to do something really crazy here, but I'm going to add a new sphere. And I'm going to add this sphere on the back of the room. So imagine this is just like a toy, like red plastic box. Sorry, a red plastic ball that we have here on the back. I'm going to add an AI standard surface. And this is gonna be, again, just a very nice red sphere right there. So as you can see, it's right there. I'm actually going to move it a little bit to the side so that we can see it through the pieces. And there we go. So there's a very interesting thing that I want to talk about in regards to glass. If we want glass to really, really, really, really behave like glass, we need to change something called the raid death. So usually when we're working inside of any render engine, that camera is gonna be shooting race into the scene. And this rates are going to bounce off of the surface of an object and they're going to return the information about an object is it's a red sphere. This is a glass piece of a chess. This is wood. This is whatever. This information that we get back to the camera is what's being render. But the problem is if we have an object that's class, that means that we actually need this rate to go through the object, grab whatever is under the other side of the object, and then bring that back to get the proper information. But the more pieces that we have imagined, we have like a domino sort of thing, the more pieces that we have, the more rays we're going to need are the more rape deaf brand need to properly gather whatever information is on the very back of the scene. This is what's happening here. Like we should be able to see the red color being reflected in, into pieces. And yes, we see the reflection in some of the pieces. But then in other pieces such as this one right here, we're not really seeing the reflection. So in order to get proper working less, we need to go to the Render Settings. And here in the Arnold Renderer option, we're gonna go to the write-up option and we're going to change this. So usually you need to count how many times the ray is going to go through the objects. But I'm just gonna go like brute-force and say 88. And then on transmission I'm going to go all the way up to 32. Okay? So once we do that, let's save another copy here. If we Render, you're gonna see that now we're actually seeing the reflection, the red reflection going through different parts of the elements right here. You can also see that the class is behaving more like glasses. Really looks like frosted glass because we're increasing the amount of times we're letting this go through, through each of the different elements. Compare the two. This is without the rate depth and this is width array the fancy how much more reflections we're getting from a lot of different places like, even like justice frosted glass is getting so much more improvement. So rate that is really, really important. If later on in your careers you're going to be doing renders for things such as wine bottles or, or beer or any drinks, coffee, and stuff like that. You always want to calibrate your render death properly so that you get a really nice result here on your effects. Another thing that we of course need to increase our the system options render and the render options that adaptive sampling. So I'm going to enable this. I'm going to set this to something like a ten, because glass is another one of those things that really needs quite a bit of samples to give you a proper result. Okay, so the more samples we can blast, the more precise it's going to be, and the less blurriness we're going to get from the denominator, which again tends to blurry the whole thing. Very, very heavily. So, yeah, that's pretty much it, guys. That's the that's one of the secrets for glasses you can see we get this, does the same chest said, well now we have a marble set and we have a classic. Now we're gonna be talking about Cameras and I'm going to be showing you what we've mentioned before, which is the depth of field, how we're going to make it so that we get a little bit more like blurriness in certain parts of the cameras and a little bit less on other parts. So yeah, hang on tight and I'll see you back on the next one. 75. Arnold Cameras: Hey guys, welcome back to the next part of the series. Today we're gonna be talking about the Cameras that we can use here instead of Arnold to get an even better effect than we have right here so far. I mean, this looks like a, like a picture that you could find on a chest book or something. It looks really good. We're getting this very realistic effect in general, and I'd like the overall effect. However, we can add a couple of tricks here that are going to make this image even better. So the first one that I need to talk about is called a depth of field. Depth of field is super, super useful when we're working, especially in cinematography, commercials and things like that. How does this work? If you've never used a traditional DSLR camera before, you need to understand that the camera has this thing called the diaphragm, which is going to control the aperture, which is how much light we're letting into the scene. The more light we get are let into the scene, the blurrier certain parts of the elements are gonna be, the less light we do by decreasing the focal length right here, by making the aperture really, really small, the sharper everything is going to look. So when we're taking pictures of like a big environment or something like that, we usually want a higher or lower pressure. Well, it's actually a high F-stop. We want to bring this, the aperture into a really sharp point, like what we have right here, so that we can capture the whole scenario. But for portraits such as this one right here, we usually want to have a low aperture so that we are only focusing on the main thing, which is this one right here. So we have a shallow depth of field, shallow, shallow, shallow depth of field, or deeper depth of field, depending on how much or how little focus we want on different parts of the scene. And as you guys know, Maya and all of the 3D softwares, they were built to mimic the way that the real life, the real Cameras work. So in our case, if we select this camera right here, we can go to the shotgun, shack Cameras shape, and all the way down here, we can go to the Arnold options. And then the Arnold options. Here's where we're going to have the depth of field. So I'm going to enable the depth of field. If I just enabled the depth of field and I throw in a Render, nothing's gonna happen. It's going to look exactly the same. Nothing's gonna happen. Things are going to start to change when we modify the aperture size right here. So we have this as a really big aperture sizes. You can see right here, what's gonna happen is everything's going really becomes super, super, super blurry. Why is this super blurry? Because right now we're telling Arnold that we want this thing to be focusing at a five unit of distance. So we need to find out how far and where we want to actually be focusing on this camera. I would like to be focusing, I would say that's a good point like that center of the board right there. And we need to know how far this point is from the camera. The easiest way to find that out is by going to the display and then sorry, yeah, display heads up, display this thing called object information or object details right here. So it tells me that this object is 20 units away from the carer. So if I now go to the camera and I said my focus distance to 20, even though the aperture size is really big and a Render, you're gonna see that at least the center of the board is, it's trying to look a little bit more in-focus than the rest of the things. Now, this depth of field works in real-world scale. Remember, we've talked about this and our chessboard is not really in real-world scale, doesn't mean that we can't use it. It just means that we need to tweak the values a little bit to get a better result. So by minimizing the amount of aperture size that we get, Let's go for something like a 0.36. What we're supposed to get here is things are going to be more in-focus. But the farther away we are from that point, either closer to the camera or farther away from the camera. The merv Blurb work in a good look at this. So this rock right here is really out-of-focus because the plane of focus is right around here. So all of the pieces and all of the parts of the render of the composition that are inside of this area are going to be really, really in-focus. But this one's right here. I'm going to be really out of focus. We can again change that by going a little bit lower. Let's try it like a 0.1, which is gonna be really, really soft will not, that's tough because again, we're working with the small scale right here. This is not real-world scale. So we're still going to see a little bit of blurriness here on the rooks. And this is a kind of stuff that's going to start giving us the very nice artistic cinematograph, cinematographic look to the whole scene. You don't need to use depth of field all the time. There will be certain shots where everything is in focus. Later on we're gonna be doing the door when we talk about displacements. But for this particular one, having a little bit more depth of field, I think really helps the whole composition. So if we go for something like 0.2 and we Render, we're gonna get a really blurry current coordinate right here and everything else here the center is gonna be, it's gonna be in-focus. I'm going to play one more right here. By the way, if you can see the elements because reducing glass, remember that we can press this little button right here, which goes back to the basic shader. And when I place chest, my go-to move when I'm playing, what is E5? I always, I would say like 90% of the time I play E5. So now if we Render, since that pollen is gonna be writing the center right than the focus point, you're gonna see that that one's going to have the clearest like a resolution. Remember we're also working with high samples here so that render is going to take a little bit longer. We're gonna get a really, really, really nice effect there for our pot. So let's give this a little bit more time. And again, the more time we give it does probably going to take like two or 3 min. This is one of those effects, that depth of field is one of those effects that looks really, really, really good, but it also increases the random time considerably. Some people actually like to do this render setup or this render scene after they have successfully. What's the word? After Effects to successfully done the render. So they export the renders in EXL format and they do this depth of field in the places like after-effects or new chord, the vinci. Like, there's a lot of other places where you can apply or generate this by using other information. But if you don't want to go through the whole process, as you can see right here, we can get it without any problems inside of Maya. Let's go back to the camera. I think point to it's a little bit too much. Let's go back to 0.1 thing. That's the result that I liked the most. And we're just gonna do 0.1 right there. Now, that's you right there. Of course not really needed. I'm actually going to just delete it. I think it's contaminating the decomposition. And that way we're just going to have this very nice effect. Now keep in mind that red sphere was actually contributing a lot of information to the scene. There was a lot of like a red light bouncing around and now it's gone, right? So this is pretty much the first effect that I wanted to talk about, which has a depth of field. There are more things that we can do here with the camera. You can see here on the options are some more lot more options on the depth of field, especially if you're trying to get this URL like bouquet effect. You need a lot of lights to do this. I don't have a scene right now to show you exactly how to do it. But if you have a CD all the way on the back and you have a lot of flights. The depth of field will create this or like points. And one of the things that you can do is you can change the shape of that bulk here. Two stars are like little whales, hexagons like there's, there's ways to do it and for certain particular photography's, it works really nice. Usually for film, we're always going for the round bouquet, maybe a little bit of a hexagonal shape. And this is by changing the number of blades that we normally have. Again, not something that we're doing here right now, but it's good to know. Now if you want to work with shutter speed and that sort of stuff to get motion blur, you can actually do that as well over here. We're not going to be doing that to be honest, because again, that's a little bit more advanced. And usually when we're rendering, we tried to get this thing to look as clean as possible. I'm the one thing that I do want to show you is another poster fact. We already have one post effect right here, which is that the noisier. And it's really good, like it cleans the whole image very nicely. We can of course minimize, as you can see, even with high samples, that the noise is really, really cleaning all of this stuff we wanted to render. This will definitely need to increase the sample time so that we get rid of as many of these points as possible. But one thing that we can add is we can add an imager That's called the baba, baba, baba. Where's it lends effects. So there's two lengths effects that we can work with here. One of them is being yet very, very common to darken the borders of the scene a little bit. I recommend keeping this quite low. One is probably as much as you want to go because otherwise you get very intense vignette. That's not something that you want. So I'm going to keep it really, really, really soft. And the other ones, Blum. Blum is when the light is kinda like creating this Fog effect. And the parts that are shiny will shine a little bit more Crystal again, like LED lights and stuff like that. They will, we'll have maybe a little bit of bloom. Again. Just use this with caution. You don't want to overdo it because when we start adding effect after effect of for effect, then things start looking a little bit like too much, right? So you wanna be subtle about using this type of things, but especially the vignette here, I think for this particular scene, it really works and it gives us a very nice effect. Now what happens, this is important and what happens if we want to animate the camera? Let's say we wanna do a 120th like Frame Animation. We're going to start in frame one and we're gonna go to 120. So that's 5 s of animation. If we do 5 s of animation with the camera and we say, Hey, you know what? I want to start with the camera right here. And then we're going to zoom in, well, this is the starting position. We're going to hit S and then the final position, since it's gonna be this one right here, we always need to know where we want our focus to be. So if the final focus is going to be at 17.70, 715, which is that part right there. We also need to go to the camera and set the focus distance to 17 points. Right-click Set Key. And at the beginning, the focus point, maybe it's gonna be farther away, closer. Whatever you wanna do, Let's keep it at the same distance. So you can see that distance at the beginning is 33. So we're going to set 33 here. And of course, set key. So what this will do is they will modify the focus. So as we keep pushing the focus, distance is always going to change and it should always be really close to the pawn right there, so that we can keep that pond in, in-focus at all times. So if we Render now, if we do a nice like far away render, which is something like right here, we're going to have everything in focus. Maybe a couple of things are gonna be out of the focus at this position. We're gonna get closer and closer. And like this right here, this looks really good. That's an opening sharp, right? If we're doing a little cinematic are a little short war. We're going to tell a story with a chessboard. Like look at this. This already looks like a really nice establishing shot. Imagine the narrator saying, saying something like chess is the game of geniuses chest is where you know, your true opponents, something like that. And we keep pushing him with the camera. Well, this is what we can produce here with all of these 3D effects. So that's it, pretty much my friends for Cameras, some of the lens effects. Again, if we want to render this, we just need to go over here and prepare our render. I would go and say something like, Hey, I want this to be JPEGS again, name, number and extension from frame one to frame 120. We already know that we're doing full HD. Ten samples should be more than enough and we just save the scene. Then we will just need to go to the rendering options and render, render Sequence. And we select our shotgun and hit render Sequence and close. And by doing that, we're gonna get a renders ready for a very nice presentation at the end, I think I'm going to be rendering this for our intro video as well. So I'm going to stop the video right here, guys. And now we're finally going to go to one of the topics that I've been mentioning ever since we started the whole course, which is hide information in displacement Maps. So hang on tight, LLC back on the next one 76. Environment Fog: Hi guys. Welcome back to this next video here in this series. Today we're gonna be taking a look at some environment lights that we can add on, on this very nice exterior that we have. And we're going to make this really, really look cinematic. So I'm gonna go with an intensity of minus four on the, um, what's the word, as you know, on the I forgot about the name on the HDRI. And if we take a quick look at the current render, this is what we're going to have. That shouldn't be, it should have no lights. There we go. We're gonna go with a very, very moody Lights. So let's imagine that there's some sort of like torches or a bone fire or something over here on the side. I'm going to say Arnold Lights. I'm going to add an area light in this area Lights is going to be on this side right here. So again, just imagine that outside of our, of our range of view, we have a really warm light, really intense. Let's, let's go for a 12th intensity right here. And that right there, like just adding that thing right there. We're already going to get something that looks really, really interesting. I think the temperature is a little bit too low. Let's increase the intensity a little bit more. So let's go for a 14. We're not going to be using the Hypershade anymore. So let's just not sure what this is so low. Let's just do this right there. There we go. That looks really, really interesting. Now one thing we can do, if you remember, we can change the spread a little bit to make sure that this is more of a direct light hitting the doors and we get a little bit more intensity right there. Now I'm going to show you a quick trick here. Imagine even though we're not seeing it that off-camera, there's like a pillar or something that's blocking a little bit of our environment in the 3D world and pretty much in anything aren't related. Sometimes what you don't see can give more information than what you, what you actually see. If I add this pillar right here, look what's gonna happen on the environment. We're going to get the very nice shadow here hitting the wall. And now, even though we don't see it, it looks like this thing is actually in an environment, right? Let's add another light. I'm going to bring the intensity here a little bit less intense. So let's do it like a minus three. This should bring a little bit more light to the scene, more global illumination. And now let's have a really cool light like the moon coming from the top. So I'm gonna say Arnold Lights. I'm going to add another like mesh Light or big light right here. I'm going to bring this somewhere around here, like top-line. I'm going to make this a small because I want this to be like the moon and therefore I want the shadows to be a little bit harsher. The exposure is gonna be quite high and the temperature is gonna be a little bit highest. Well, and when we do this, we're gonna get this very common, not super common, but we use this quite a bit, which is like the traditional orange and blue contrast on the Color Balance. We go something like that. And of course, one thing we're gonna do is we're going to bring this spread quite down. I'm gonna change the shape to be a cylinder or a disk. So this is more like a spotlight. And what would that is going to do? It should bring the intensity a little bit closer. I'm of course going to bring the exposure down. It shouldn't be closing this as much. Let me, let me just minimize it that things are going to be faster this way. And let's get the Render there. There we go. So let's start playing with the exposure here to bring more light in. And that's it. Now I can see that there's still too much light. So I'm gonna go back here and say minus five. And even this one right here, I'm probably going to bring it down to a 12th because I want the main light. There we go. I wanted to mainland to be dislike a moon that we're getting from the top. This one. Now it's a little bit too low, so I'm going to just increase it a tad bit. Learn thing we can do is we can just get it a little bit closer to the scene and that we're working to get the nice, better effect right there. Another thing we can do that we'd like to spiller. Why not add a couple more? Let's add one more right here. Again, we're not really seeing the pillar. It's not going to be on the camera, shouldn't be on the camera, but we'll be affecting the way that light is bouncing around unforeseen and they will give us a nicer effect. Other thing I can do here, so I'm going to bring this down or moving a little bit more like this. So instead of getting a very direct light right here, We're gonna be getting a light from the top. And if we increase the exposure, we should be getting some harsher shadows and harsher highlights as well. There we go, something like that a little bit more. Now, one of the touches that we're going to be adding right now that's going to really help the scene is Fog. We're going to add a little bit of Fog to the whole scene. So to add Fog, I'm going to save real quick and I'm gonna go here to the options to render options. We're gonna go to Arnold renderer. And if we go to environment, I'm going to add an atmosphere. And I'm going to add this at eight, create a Fog right here. And that's it by just adding the Fog. If we Render now, There's gonna be a slight layer of fog. This is definitely going to make the render a little bit heavier. It's going to take a little bit longer because now it has to calculate the whole volume that we have right here. But it's gonna give us a very, very nice result. Let's just give it a couple of seconds for this to properly calculate all of the elements. And we're going to get a nice distribution look at death. Really, really nice Fog. Now of course, there's a couple of things that we can change. For instance, the distance, I'm going to bring the distance down. Actually, none of the thick of it. We're not going to be using this as a Fog. Let's break the connection. We're going to use the AI atmosphere volume. There we go. That's the one that we want because the Fog will give us the sort of things where you might not get Fog everywhere. And it just looks a little bit weird We're gonna be using this AI atmosphere volume instead. And what this will do is if we start increasing the density to something like 0.5 for instance, we're gonna get some really, really heavy fog. Actually 0.5 is way too much. So let's try and 0.01 and Render. And as you can see, this is going to give us a very nice effect right here. I'm gonna go a little bit lower, 0.001, probably a little bit higher points, COC or five. And there we go. Look how nice this Fog is now making a horse and look, it's just a quick way to make the whole thing a little bit more cinematic. Know the February now is, is very wide. So if we bring it down a little bit, we're gonna get this sort of like foggy effect without really creating anything like intense. We can add a little bit of attenuation. We can again play a little bit with the amount of 0.009 there. It looks really, really nice. Now, let's again keep working on how we can make this even better. Let's remove one of this imagers. We only need 1D noise here. We don't need to. Of course, we can add our lens effect, for instance, which is going to give us a really, really nice effect. Look at that. Really interesting. It looks like a mysterious door that we're about to open, which I think adds to the whole mystery. I think 1.5 should be more than enough. Now that we have a little bit of vignette, we can actually play with the lights a little bit more me like, hey, let's, let's make the lights a little bit more intensive. For instance, this one right here. I'm going to make this 14 or maybe like 15. 15 is way too much 14, nothing was a little bit better. There we go. Now, remember how we added the pillars to generate a really interesting effect right there. We could do something very similar by adding something that looks are resembles like a tree. So we can add some just like crazy cylinders right here. And since the light, or we might need to make the light a little bit smaller. But since Light will be a little bit smaller, but we're creating here is we're creating a shape that we're gonna be using to block some of the light and create some interesting patterns on the final render. So if we do this right here, not only are we minimizing the amount of light that's getting in because we're using those things to block, we're actually creating something that looks, again, a little bit more like elements. I'm gonna, I'm gonna make this a lot smaller, really, really, really small, like a single point. There's going to make the shadows really, really harsh, as you can see. We're also going to get this shadows being projected onto the ground. Now very smallest, probably not the best idea. Let's make a little bit bigger. And as you can see right there, we're going to have some interesting shadows that are off camera and are creating this very cool effect. Now, this is the time my friends. This is the time to put everything that we've learned into practice. What else can we bring here that we've done already? The barrel, right? So let's bring File Import. Now. I'm not going to import. I mean, I could import the barrel scene. I mean, why not? Let's just import the barrel rather scene. And what we're gonna do is of course we're going to delete this. We don't need it, but don't need to do double skylights. We just need the barrel right here. So let's bring one of this barrels right here, position that they're on the ground. And I'm going to bring another one. I'm going to have this rotated and lying on the floor on this site right here. You can always think about the composition. So if we look through selected, we're going to have a barrel slightly out of camera, which is perfectly fine right together. A nice little like a factory there. You can duplicate this barrel, maybe make it this one a little bit smaller. Rotate a little bit, push it in there, and there we go. What else do we have? We have torch. Let's import and let's import the torch. It's not going to be on or it's not going to be with the fire, because that's going to definitely, definitely bring the whole thing up. But if we import the torch, as you can see right here, yes, we're inputting the bifrost thing, but we can just eliminate, we can also eliminate all of this thing is right here. And the only thing that we need is we don't need display neither. We just need this torch. The size might be a little bit wrong, but the cool thing about importing objects is the all of the materials that we have connected on the other scenes should be working perfectly fine. So if we bring this right here and we just anchor them to the wall, just keep in mind that there's gonna be a little bit of displacement. So I'm going to move it a little bit right there. There we go. And we can make it slightly asymmetrical. If we take a look at this whole thing, Let's bring the scene a little bit up. We can make this just a tiny bit bigger. I might even like scalar just to make sure that that fits the Frame. There we go. Now, by doing this, not only have we added extra elements right here, we've actually brought in a whole scene. We've pretty much a, built a whole scene here for our final render. So I, I, I actually did something different when I started this course or when we started this course, which is I recorded a video showing you all of the things that we were able are working to achieve. So that's it. My friends, like the first video I recorded was just a quick overview of what we're going to be able to achieve, which is something like this. And hopefully, after all of these videos you've watched, you now have all of the skills, all of the necessary skills to recreate this scene that we have right here. Once you're happy with this, again, we can do a little camera Animation pushing in. We can do a turntables if all of the different elements, There's so many things that we can do. And for me it's been a for me it's always a pleasure to show and share, share with you guys all of this tools because I know that this is the beginning of your journey. If you've made it this far, if you've watched all of this hours, I'm not sure how many hours we've done so far, maybe like 20 h or something. If you watch all of this, then it means that you really like it leads you're really interested in learning more about it. So I remember when I was eating your position almost 13 years ago, and I was so excited to learn more and more and more with the scores. One of my main goals was to show you all of the things that I've learned throughout this years so that you can speed run this and get to a really good level, a really professional level as fast as possible. There's a lot more tools, my friends, a lot more, and there's probably gonna be doing one more video for you. But just, just take this first journey, do all of the exercises that we've done so far. Learn as much as you can and be prepared to start this amazing 3d career that you're hoping for. So, yeah, that's sitting my friends, this is the final resort. Look at this really cool Final Render afford door for medieval door right here. And that's, that's pretty much it. My friends. I'm going to see you on the next video. 77. Displacement Maps: Hey guys, welcome back to the next part of the series. Today we're going to be talking about displacement Maps. And I know we've been saving this until the very end. Believe me, it's not because I wanted to save it until the variance just due to the way I structured the whole thing, it just fit on this part of the process, which is the final render solution. Has we can see right here we have our fantasy door. I'm actually going to call this file Save Scene As you can start on the defensive final. You can start on the fantasy door render. But I'm going to call this displacement because this is what we're gonna be doing. All the displacement Connections. Of course, as you can see, the shader right now it's not working properly, so we need to go to the fantasy effect and on the roughness, we're just going to generate the premium, generate the preview, generates preview, and generate the previous so that we can see everything working nicely. So I'm going to start by creating a plane right here, which is gonna be my ground plane. I'm going to duplicate this plant. I'm going to rotate this 90 degrees so that we're facing it. We can see that forward part of it. Sure. My God. And we're going to move it up a little bit. Maybe it's skillet. If we need to get the doors section right, let's push this up so that's right there on the ground plane. If we look at the camera, we can find, oh, very nice sharp right here. Now, what I'm going to do here, as I'm going to say, I'm going to change this to a full rest render. So we're gonna go to from 2s K squared to full HD. There we go. This one right here, as you can see, we might need to scale it just a little bit more. We're going to have a very nice render right around here. Perfect. Let's save this real quick and let's throw in a render to see what we got. The only difference that we have from this render right here to where we had before is the fact that now we have a wall and a floor. It's a really bad for like we would love to have something that's a little bit more interesting. So we're going to jump into poly haven and we're going to select a couple of materials to the weekend, work with them. So if we go to poly haven, one of the cool things is even if you don't have access, access to 3d Substance assets, we do have access to polyhedron and we can get some interesting materials. For instance, this one right here, monasteries, stone floor. I think that this fits perfectly. We will what we want to do. So I'm gonna go to the options right here. We're going to download this as a zip file. And on the download options we don't need to blend there. We don't need GL, TF. We do want that the ambient occlusion, that's fine. We can also use this me to cushion over the metallic. In this case, we don't need this one which isn't this one right here, which has a map. Remember that combines multiple elements from this one. We do want to diffuse, we do want the displacement, but very important and we want to make sure that this displacement, it's an XR displacement because this is going to give us the best possible solution. Normal map, we don't need the directrix, we just need to this one right here and we don't need this one right here, which we already have it on the one over here. So we Download this Files. And once we download this file is we're of course going to extract them into a specific folder. So I'm just going to drag and drop this into my Downloads first. And then here from the downloads, I'm just going to grab all of those materials, go to source images. And we're going to create a new folder called a fantasy. Well, let's just call this displacement. Look at how many things we've done. My friends, my God. Isn't this a complete Maya course? I told you it was going to show you every single bit about Maya. And well, here we are. So the way we're going to build this material is fairly, fairly simple. We're going to go to the options right here. We're going to create a new AI standard material. We're going to connect things the normal way. Actually, we can say, no, we cannot save ourselves a little bit of time because because we got these special materials. So let's go over here to the displacement elements and we're going to grab all of these guys and drop them right here. There we go. So let's start plugging things in. This is the diffuse color, easy, That's some of the base color. Then the displacement. We're going to wait a little bit for that one. We're gonna go now to the stone floor right here. So the out color or this is normal Maps, sorry. So what do we need? We need a bump to denote. We're going to create the alpha to the Bump Value and this to the normal camera. This one is going to be a tangent space normal. And this one's gonna be Alpha's luminance. And of course rock, perfect, diffuse color. There we go. Finally, this is the special one, right? Like the ambient occlusion, roughness and metallic. So I'm going to show you how to connect the ambient occlusion. We haven't used this one before. And the way we're going to use this is by doing a multiply, we're going to use the Multiply node. And what we're gonna do is you can see where actually that's not the one that we want. Multiply, multiply it. There we go. Hey, I multiply. The out color of the fuse is going to be my input one. And the color of this one, which is the ambient occlusion, is gonna be my input two. Now, for this to work, we actually need to get the red color in all three elements right here. As you can see what's gonna happen, as we're just going to get a slightly darker effect from this. It's not as dark to this one that's a little bit darker because we're multiplying the ambient occlusion against this color. There we go. So that's gonna be the solution then the roughness, of course this thing, very important thing, we're going to change the utility to rock and alpha Islam minutes, There we go. So the G is the roughness. We go to, the specular roughness. It's going to make it really, really flat. And we don't have really any mental illness. But if we want to just pluck that in, there we go. Now, we're gonna assign this material, this new AI standard material, which is this one right here to the floor. And as you can see, the first thing that I'm noticing is the fact that it's not tiling enough. So there's a couple of things we can make this floor smaller and duplicate the cobalt times. But the ideal thing would be to go to the Hypershade again and use the tiling notes that we have right here, this place to the Textures, to repeat the Textures several times. So I'm gonna go with four types. So we're gonna repeat four times here, four times here, four times here, four times here, and four times here and four times here. This is one of the cool things about using title will Textures, Textures. The fact that if we do this properly, we're going to be able to repeat this Textures a lot of times, and it's going to save us a lot of texture space. So if we take a look at the element right here, I'm actually going to go to a slightly lower camera angle right here so that we can see this a little bit better. We might need to scale this up a little bit more as well. There we go, because I want to see a little bit of the floor even if we need to scale this even more. Well, when that uniform scale, I'll explain why and justice. So there we go. Now another thing we can do, We haven't talked about this, actually forgot to talk about this when we were doing Cameras with Cameras have something called focal length. If we make the focal length a little bit lower, 24, we're gonna get a wider lens. And that way we're going to be able to capture more information from our element. So for instance, this thing right here, we have animation here. Now we don't. Okay? So if we render this right now, without using the displacement just yet, we're going to get a good result like it's not going to look bath using title able Textures with normal map and stuff like that. It doesn't look bad. However, if we really want to make this thing look the best we can, We need to use displacement. And what displacement does, as name implies, is it will displace the geometry, will push verticies up and down to try to capture the information that we have on the Textures. So even though we did not model like each individual stone, we want to push them so that it looks like each individual stone is made out of different geometries. You can see here, again, it doesn't look bad, but it looks fake, it looks flat. So let's fix that by using our displacement information. And this is where there's very magical map is going to be used. So the great thing about the displacement map is it will have white and dark Textures. And if it sees a white or a clearer texture is going to push up. And if it sees a darker texture is going to push down. But in order for this to work, we need to plug this into something called eight displacement shader. So if we just hit tab and we generate a displacement shoes, you're gonna see this node right here. This is the note that we need. And you can see this node is currently attached to this displacement shader shading group. We don't want that. We're going to unplug this from here and plug it right here under displacement shader off our original material. So this is a little bit more, It's not super advanced, but it's a little bit more complex. A say, shading group right here can hold up to three different types of Shaders. A surface shader, which is a normal material shader if volume shader lot what we saw with the smoke and the fire and the displacement shader, which is gonna be like pushing and pulling things into different directions. So from this monastery stone floor, we're going to grab the R channel and we're gonna plug that in into the displacement. And we need to make sure there's a set role, Alpha's luminance or that kind of stuff. But under displacement shader, this is the thing that's actually going to be displacing the geometry. If I just render like this, I'm going to save real quick because again, this kind of render things tend to make the software crash. If we just render this thing right here, we're going to have a horrible thing. The fluoroscopy has just disappeared. It's nowhere to be found. It's actually going to be found somewhere up here probably. So if we do another render from this direction, there we go. So what's happening here as you can see, the plaintiffs getting distorted, it's getting the form and it's pushing and pulling the verticies up and down, but it's not actually giving us the result that we want. So I'm gonna go back to the shader here. And the first thing is, I'm going to bring the scale down to something like a 0.1. This is something especially when using title will Textures. There's something you're gonna have to manually check and make sure that things work exactly as you would expect. Now, another thing that we need to change, the tiling, this thing is also going to be tiling four times everywhere. Because otherwise we're not going to get the result that we're looking for. So if we Render now, you can see that the stones are being pushed and pulled and we're generating something that looks a little bit better. Let's find our shotgun once again, which was something like light this right here. And if we Render again, you're gonna see that it's looking a little bit better. It definitely looks like there's some geometry that wants to come out. But we're not really capturing it. And the reason we're not really capturing it is because in order for displacement to work properly, we need to add a lot of resolution to this thing. We need to make sure that we have enough vertices so that we can push and pull them with the displacement information. So right now this ten divisions that we have with the plane are not enough. But I don't want that displays the objects here in the viewport because it's gonna make them our whole like render setup here, very, very heavy. So what can we do that? Well, there's an option that every single shape has over here on the plane shapes that we can use on the Arnold options that it's called the subdivision. So if we go to subdivision and we select that cabinet, Clark's of division, remember this one? We can say, Hey, at the render time, I want you to sub-divide four times. So this is pretty much the same as if I were to go over here to the Modeling tab and hit Mesh and say smooth and smooth this four times. We don't want to do that because again, it's going to make the whole thing very, very heavy. But if we do it in render time, what we're going to achieve, as you can see, it's when they achieved something that looks a lot better here on our resolution. So the stones actually started looking like stones weaker because we're actually pushing and pulling into vertices Now if we go a little bit heavier, Let's go six subdivisions quite a bit. But this computer should be able to handle it. If we go six subdivisions, you're gonna see that we're going to get the more details so we get sharper edges as soon as look a little bit better and we're getting a better effect. However, the problem is that the intensity is still a little bit too high. So we're gonna have to go back to our Hypershade they here on the displacement. Let's go to 0.01. You'd never want to overdo this because when you overdo it, we might get some really weird errors. So there we go. Points here one is looking a little bit better and now we'll look at that. We're actually getting some interesting geometry breaks all over our element. What else can we do? We can of course go and change the scale. Let's do a little bit more. Let's 0.02. So we can see a little bit more of this sort of like damage. And if we do that, you're gonna see that the stones look like they're like a little bit more deep. Now of course, the displacement is also pushing the whole geometry down. So I'm going to compensate by pushing this thing down a little bit more so that when we hit the Render button and it brings histones up, it's actually not going over the four. But look at that. This is actually displays geometry that we're getting right here. And now it actually looks that we have shadows inside this element. A very quick way in which we can look at this is by moving one of the lights down so that it's closer to the ground. And by doing that, we're going to be able to appreciate the shadows. Look at the shadows that we get there from the actual displacement that we're getting. This is the magic of displacement. Yes, it's a little bit heavier because we need to use more performance. We need to use more polygons or render time. But as you can see, we get the result that looks with very, very realistic and makes her whole scene look a little bit nicer. So let's do it one more time. Okay, I'm gonna go back to polyhedron real quick and let's find a nice texture that works for the wall. So that one was for the monastery. Let's go. Oh, this one's perfect. Rustic. What perfect, perfect. So as you can see, the settings are being saved right now, so I just need to download this real quick. It's quite a little bit of Textures, as you can see here, 67 mb. It's quite a bit of information that we need to take into account. But yeah, but it's part of a we do this or for K texture, which are really, really good for what we're doing. Let's get them down there. And there we go. Rustic walk Control X, bringing them into our displacement scene right here, and Control V. Perfect. So what we're gonna do now is we're gonna do the exact same thing, but with this wall right here. So we need to build a another connection right here. Let's do AI standard surface. There we go. Let's go to our displacement. Just break everything here. Now, let's start connecting. So that's the, let's start with the diffuse. So confused goes to base color. We can use again the AI multiplied that we used before. So input one right there and the R goes right there. And that's the exit point. That's gonna give us a little bit more contrast on the crevices of the element. This is the displacement. We know that we need a displacement shader. We're going to connect the displacement shader to the material. And we're gonna be using the R channel under displacement right here. We cannot use the color because as you can see, it does not block, but we can use the Art channels, just Alpha's luminance as well. There we go. And then there's one over here. It's the normal map. And we know that for the normal map we need a bump map for Bumped to D. So we do it bumped udim, this is gonna be set to tangent space normal. This once already set to run everything just Alpha's luminance of a ghost, their normal. There we go. Over here, G goes to specular roughness, and B goes to mellowness. Just make sure this one is also set to utility rock and Alpha's luminance. And that should give us the effect that we're going for, which just makes sure that I'm plugging things where they're supposed to be going. I think we are. And there we go. So this one we're gonna call em. What? If we do that? And we go over here and we assign this material right here, we're gonna get War right there. As you can see, of course, at the size of the, of the walls a little bit too much. So we're gonna have to tile this. I think in this case, three should be more than enough, very important that we tell this in every single place 2D texture that we have. We have for Textures, this should be set on all four Textures. I know from experience that this scale is a little bit too much. I'm gonna go already to 0.1. There we go. That looks really good. And again, the plane, we're going to add a catalyst clerks of division level on the plane shape, and we're going to add six subdivisions. Let's save real quick. Let's go to our camera and let's take a look at the camera right here. Well, not that one. Let's go right here. Let's do a quick render. So I already know that the intensity might still be too much. So we're just going to see the wall probably in front of the door. So we're gonna have to move that back and just calibrated properly. We're getting an error here. Translator. So that means that we're missing some geometry. Let's stop this real quick. I'm just going to close and update the whole scene. So give me 1 s guys. There we go. So as you can see, the brick wall is looking quite nice, but it's way, way too intense. So let's go back to the element right here. Let's go to our shader. We're gonna go to the options and let's do points here. One, usually the displacements that we get from formerly poly haven and online, they might be tweaked a little bit too high. So you always want to bring them down and generate something that looks a little bit better. And look at this. This is exactly what we're going for. A very nice wallet, very nice to stonewall. That's giving us a very, very cool effect. So I'm going to stop the video right here, guys. And the, in the next one, we're gonna do a quick setup for this one, just a little bit of camera work and light work because the render that we had before for the clay model or the Textures, it was okay, but for this, I want to go for a little bit more of a cinematic look, so yeah, hang on tight and I'll see you back on the next video. 78. Conclusion: Well my friends would this, we're pretty much done with our course. It's been a pleasure for me to teach you all of this tools that I've learned throughout these years. And the, my main objective with this course is to share all of this knowledge so that you don't have to spend this many years since I had to do, to learn all of this amazing tips, tricks and techniques so that you too can create amazing 3d content. Now remember, we only scratched the surface of all of the different parts of the pipeline. We learn a little bit about modelling, Uvs, texturing, rigging, animation, effects, rendering. There's so much more information out there. We have a lot of courses that cover more in-depth, all of this additional parts of the whole pipeline. So if you want to delve a little bit deeper into those, we invite you to check them out as well here in our social media and stuff. So that's it, my friends. Now, you have all of the information that you need. It's time to put that information into practice and become the best 3d artist that you can. I'm gonna be waiting to see all of the amazing things that you guys can do. And of course, I'll be seeing you back on the next course. Bye bye.