Create a Midi Controller Keyboard in Cinema 4D and Octane

1. Intro: Hello. Welcome to my course. This is going to be a step by step guide on how to model the AI MPK Md controller keyboard. If you need to three D modeling or just looking to improve or hone your existing skills, this is going to be a good course for you. By the end of the course, if you finish it, of course, you'll know some intermediate three D modeling skills industry standards, some topology workflow, and some really handy keyboard shortcuts that will really help you speed up your workflow. You'd also know how to UV on wrap and objects and how to map your own textures onto that three D mesh. Also going to be diving deep into the best ways to generate realistic looking textures and materials, and just as equally as important, how to light your scene in a way that's reminiscent of a real photography studio. Then I'll cover the best render settings for the most efficient output without losing detail in your final images, getting the best the best quality for the time you put into your render. Once you finish the model, you'll be in a good position to attract potential clients, and also, you'll be able to sell the three D model on three D market places such as CG trader or Sketch rub. So if this sounds like something you're interested in pursuing, then yeah, let's get into it, then 2. Setting up Image Planes: I'm in cinema four D now. The first thing we really need to do is to find some decent reference images. So we know the dimensions and the real shape of the model that we're going to be building. I've found some of these online already. These are quite easy to find, if you do a quick search. Just right top view side view front view of the ACI MPK. I might include these in the project file as well, so you don't have to go looking for them, but they're pretty easy to find. I'm going to be using these for the textures as well later just to save time on, you know, these tiny details, typing every tiny little number in. But yeah. So basically, once you got your texture. Well, let's get these Sorry, once you've got your reference image. Let's bring that into cinema four D, so we can use that as, we're basically going to trace it in cinema four D. So let's have a look. First, let's go to the top view. A middle clicking there. Let's create a plain object or a polygon. I'm going to use a polygon because it's a bit more efficient. If you press N B, you can go into shaded wire frame mode, which is what we need. Let's go to material editor, double click to create a new material and then drag that to the polygon. Double kick on the material. We'll call that top view. This is just going to be a reference. Disable color and reflectance and go to luminance. This will make sure there's no shadows on the reference images, and then find find your image in the explorer. So if we're working with the top view, I'm going to use this one. Top. There's not really any need to import it into the project unless you're going to be working with a big team. So for now, should be okay, just not importing it. Otherwise, you're going to be copying it and having Duke crickets all over the place, which just can take up space. Um Okay. If you look here, the resolution, it says 600 by 286. So and obviously is because it looks stretched on this square polygon here. So all we need to do is make sure the image dimensions are the same as the polygon dimensions, as the mesh. So it just has to be the same ratio, so we could put that to say, divide it by ten, so 360 economy. 360 divided. And then so 238.6, two, 38.6. Okay. And well, that's exactly the right dimensions now. If you want to make that more visible in the viewport, just go to viewport on the material and go to texture preview size and set that to like two k. And yeah, that will make it a lot easier to see. I think it's a good practice to model this to scale. I mean, the real AI MPC, let's say, is about 30 centimeters long. Let's see. So we could probably divide that by ten again still. So let's just put that to 36 and then 23.86. I don't think it's entirely necessary in this one, but it's just a good practice because when you come to, you know, doing subsurface scattering and certain lighting a particle, rigid body body dynamics scale is a very important factor. So it's just a good habit to get into. Eve though we don't really need it. Perfect scale for this project. Anyway, let's bring that down, so it's not in the way. We can bring it down really far as far as you want, and it will stay the same shape in the orthographic top view. And Right. Another thing to do is to right click on here. I'll show you what I mean first. So well, let's just start modeling now. Bye. Well, actually, let's start modeling in the next video. Okay? All right, cool. 3. Modelling the Main Case #1: Okay. I'm going to start modeling now. It's quite hot here, so if I sound like I'm rushingthrough it, it's because I've got my fan switched off, so it doesn't interfere with the audio. If you hear any fuzzy sound later, that's probably because I put the fan back on. But for now, I'll leave it off. Okay. So to begin with, let's create a queue. And we want to match that to the same size as the keyboard we've got here. So we're going to start with the black part here. These are going to be two separate meshes, the black part here, and the red part, we'll do that next. We'll do that later. All right. So let's bring the cube in press C to br make it editable. And as you can see, we kind of we can't really see what we're doing very well. I mean, we can match it here. It's like here. But when it comes to doing the finer details, we can if we put it into y frame, G, then the image goes to y frame as well. So we don't really want that. We want to be able to see both. If you go to the cube, right click, material, which one sorry, render tags, display, and then use lines. Then we've got the wire frame of the cube. Mix with the actual solid fill of the material of the image plane. So let's just change that to the top. Okay. Okay in the cube, let's just go to vertex mode. I'm going to drag select these, rectangle selects and make sure that meets the edge of the plane there. The same with the bottom bodies. So say we're going to be tracing this. You can't see the end there, so let's just move this across first. Roughly there. If we use like one segment as a reference, so the actual size, because there's a perspective shift, it actually goes down and it bends in there. So let's just say this is going to be the most extreme point on that side, and then it will be the same on the top here, so if we go to about there. E. There you go. Okay. And in the top it's not quite hitting the edge, and we're going to use this as a block outline. So then we've got these two here. And we want that to line up with this bottom edge here. So it's already there, but there you go. Movian. Okay. Now we need to do the side. Slightly different story. But the side will be well, actually, on the top here. Let's put another edge because this is going to be where the fold comes down. So go to edge mode. Press K L. This will create an edge loop and put an edge just there where the bend happens. Okay. All right. Well, that's your basic block shape. I see it's too tall, but we're going to do that in the next section. Where we're going to need to import the side reference image as well. So yeah. Let's do that in the next video. 4. Modelling the Main Case #2: Okay. So of me. So going into side view, into the right hand side view. Let's c to the polygon. Let's use the sa same as this one as before. G into n V shaded mode, and set this is it x? It's not there? Is it x? Minus x or plus x? It doesn't matter because we're going to be changing the dimensions anyway. So set that to side, create, and we'll just duplicate that material, control drag and then change that to side view. And put that material on top of the cat of the other one. Okay. Side view. Let's add the side view image. I'm coming from the left or am I coming from the right? Well, I'll start with the I'll try to see if it works, and then if it's wrong, I'm just going to just Um just put that on its actual side. Coming from this side. Yeah, that's the right way. That's the right way. So Okay. Hopefully, that makes sense, what I'm actually trying to explain. It's not that complicated. It's just making sure that that we're looking at it from the right side here. So we're looking at from the left at the right. So looking at from the right at the left. Okay. So don't worry too much about that. That's just me overthinking. Right. Let's make sure these are the same dimensions. So 1488. So, let's just change this to well, 14.88, and then 10.83. Yeah. Well, let's put these both in the middle. So we can make sure they're aligned properly. So set the coordinates to zero. B I cut them out a slightly different sizes. Ugh the proportions are right, the sizes are slightly different to each other. Let's just make sure that to T, size it up. Make sure this cross section fits with that cross section, if you can see what I'm saying. Yeah, looks about right. I mean, the best way to do it would be to actually measure it if you have a natural one of these keyboards. Or you can find the exact dimensions online. But this usually works. Yeah, I'll leave it like that. That's fine. You can spend a bit more time making sure it's perfect if you want to. Okay. So back on the side view. Let's model this down, go to rectangle select, bring this down. We kind of partly using our imaginations here, because actually the first time I did this, I was using my actual LPK M as a reference. But this time we're using images, so we're going to have to use some kind of estimation, some kind of guesswork here. Obviously, if you have your own or you have the dimensions, and if you're doing it for a professional job for ACI or anyone else, then you'll probably have access to all these dimensions. But for artistic purposes, which is going to be eyeballing it, as they say, in the industry. Okay. So as you can see, I'm actually I'm sort of estimating the black part of the of the main case, okay? And if we look down here, then that's pretty much what we've got. If you want to have a look at how it's looking, well, a black box. That's what we wanted. That's what we've got. Okay. Let's put this back on lines. We're going to start cutting out the shape of the part where the keys are going to go. So very straightforward, go to K L. It looks pretty symmetrical to me, so this might be even quicker than we think. If we go to symmetry mode on the top. And then just add add a line there. Room and see if that updates on the other side. It does. It's not quite perfect, but t's not 100% symmetrical. It might be. Let's just make sure it adds. No, I think it is pretty much. Now we need to do the front of the model. We haven't we haven't put a image plane in for that. So All right, put that into the front view. Set that, I guess. Y. B. Copy that again, sets control drag, and then front view. Front go the old material. And let's load in the new front view Image. Where I put it. Why did I put you. H. There we go. So make sure the images are right. So we've got 12 80 by 800.'s there. So let's just say to 0.8 by we're going to change this again a lot but by eight. Okay. And put that into the middle, coordinate zero and just make sure this is well, I should be doing this to begin with, but you know semi improvising. Just get the cipher now, and then scale this one up to match. I do that perspective. And just to make sure pick like one section, so let's just find this fold here. Find it'll get rid of the cube as well. So this fold here needs to align with this fold here. So let's bring that in here. Let's bring it down. Yeah, so that line needs to match there. So let's just scale that up to Matches. Put that back down here. Where am I top down side, side. And then front. Front. I make sure that's a bit further back. Okay. Then where's my cube? There it is. That's because that's not quite in the middle anymore. Uh? Like there. What the hell? I tell you what, let's just make sure this matches the images that we have here 'cause we already have that correct. So that is in the middle. Yeah. A. Feel free to just scroll forward a bit because we'll put beyond double speed because There you go. Yeah. You probably already figured this part out yourself. Okay. So that's looking equal if we're looking at the front part here in the front part there. Still something off about this. I think it might be a different model altogether. I would be a different version of that. Oh, we didn't that wasn't exactly. I think yeah, I think we estimated the gap a bit too high. So go back into vertex mode, d your cube. And bring this up a bit higher. So it does actually align with the top of the surface. And that's Yeah, that's k. That seems to be with the right proportions now. Yeah. Perfect. C. All right. So we're cutting out this hole in the top space for the keys. We go to face mode. Find these faces. Let's turn off symmetry for now. And we just need to cut a wedge in here, basically, if you can see, cut a wedge across here, straightforward. L. And chop that there. I think all the other wedges are where we want them to be. So Okay. First, we'll go to W will just drag this down, control drag down. And then with T and then W world mode. Just make sure that's a zero. So it's perfectly flat. And then on. So that's just basically extruded it using the most basic technique. We're going to align that in a minute. So let's take this edge here. This phase. Hang on. Snap that one in the e put it down there for a second. Put it up there for a minute. Let's just get rid of this edge and this edge. Bring this down. So it matches this edge. Est Control S. Let's get rid of this world grid. We need to snap to this edge. So yeah, you have to go into autographic mode for that to work. Okay. If we subdivide it, we'll be able to see because we need to make sure these edges are actually connected, these vertices that we've just created. Way to check if they're connected, which they are not, is to go to subdivision mode, so click subdivide. And if you go to wi frame, you can see these edges are not really Connected. So quick way to fix that. The way to do that instead of a four D. Is just select all, go to bjects mode, select everything, and then go to optimize. Usually the default because they're so close together, it should read them. And then there you go. It's connected. I'll just show you a quick demo. So that means, you know, you see, that looks broken. We go back to the cube. Optimize. And then it's all one big mesh, one connected mesh. Okay. So we don't need that subdivision surface anymore. We might need it later, but we can just make another one if we need one. Okay. So far so good. Before I do the holes for the pads and the dials here and the buttons, I'm going to do these side edge parts as well, which I possibly should have done first, but you know, it's more than one way to skin at. Okay. I'll do that in the next video. 5. Modelling the Side Panels: I just recorded the next video, but then I realized that I hadn't recorded it at all, so I have to redo it. Never mind. It's all part of the process. Sometimes, I'm going to remodel that again. Just make sure I am recording. Yes, this time. A. Right. So I'm going to do these side parts here. I can't remember if I mentioned that in the last video, but that's what I'm going to do. So let's start by hiding the main case. If you press control t, I don't know if you've seen this. If you want to hide something, you have to paint over each traffic like here, render and viewport. But if you hold down control control and t, then it will do both at the same time, and you can do, like the whole line, just like that, and it will do it. E. That's just saved you time. It's all paying off now, isn't it? Right. Okay, main case. Yeah, go to the wi frame mode. There's other ways to do this, but in afford the I feel like it's the easiest way, even though it's not the most straightforward. But yeah. I don't mind. And you shouldn't either if you want to be a three D artist. This is how it works. Okay. Go in to rectangle selection. Just bringing that up again. Okay, what was I doing? Hiding that? So, yeah, let's create a new cube. I'm just talking. I'm just running rushing ahead without saying anything. Create a new cube. Shrink that down. To well, yeah, press C, a D da. Vertex mode, rectangle select. And let's just try and match these lines. Bring it to this side. This Oh, yeah, so if you go control and drag this display tag, then that can be in Y frame mode as well. Since it already has the same settings. As I said last time on the version that did not record. Okay. Let's just basically just trace over this. I think you can understand it without me explaining every tiny detail. You can fast forward this part if you want. But yeah. It's just a bit of matching work there. Closer to you can, really. Make sure to drag over these. So you're getting if you just click the front one, then it's going to mess up C, going to be just dragging this front vertex. So if you drag, instead of just clicking, you'll select the back vertex as well. So less problems there. Okay. Let's make sure that straights. Los back into. Drop that out there there. Okay. That's pretty much in line. So let's create this bend here. Okay, L. Drop that there. Looks about right, maybe. Yeah. Something like that. Back to select. And then E Key to select tool. I can get these as well. Yeah. Looking good. All right. That's one side. But it's pretty wide, not the depth that we want. So brings here. Let's match it with the top. Cause that seems to be the most accurate. Model mode. Try it here. Yeah, actually, let's go to L. If we go to L we can move the pivot point, to, we can move the point where this is moving from or rotating from or scaling from. So to match that. We're going to basically glue these together, these two components. So if we go to shift S, that will enable snap mode. So you can snap it to that edge there. Okay. And if you enable the main case, just click on that traffic light and then drag across. If you still have Snap enables, Yeah. It will just step to the same curve or the same vertex or the edge of the main case, which will save you tons of time messing around, trying to make everything. Match up perfectly. It will do it for you. That's what this course is all about. Trying to find quicker ways of doing things, less time faffing and fiddling around. Alright. That's one side. I'm going to subdivide these later, so they won't be all jagged like they look here. I'll be much more smooth. Let's go to these display tags and enable them. Just call this side. We're going to change this in a minute. So we need to duplicate this symmetrically. Quick at way. Hold on. S, hold on. O and go to this menu and find the symmetry. But, I reset the pivot point, so that's not li. So yeah, let's just go to side, press L. So we're moving the pivot point again. If you go to this little three arrow symbol here, it will bring up the world transform. Information of of that particular selection. So if you press zero, and you have enable axis L enabled, and then press zero. That will reset your pivot to world zero, which means Yeah. If you disable the L, disable the axis pivot. Bolt click symmetry. Then there you go. Make sure you have the right planes selected. So we just need x plus the negative. Depends how you have your scene set up. If you've done in the same way as me, then D is you know, depth, X is left and right, y is up and down. Okay. Okay. Let's just call this. Yeah. Middle click to select Children's. So this will select, if you select this this. Quick way. You have tons of these in the line, for example. Sometimes you would have to just click one by one or go right click. Select children. No, you don't have to do that. Middle click with your mouse. That will do that for you. But we only have one object in there. So Middle click. And connect and delete. So we've just got that one mesh, and now we just need to align these i. Put that tag there again. These lines. By tex mode. And Oops. Yeah. Select these. Well, I made a boo boo. I made that right mistake here. So yeah. S the other way around. So select those edges. Control X. And then control y. But that will paste that into a new mesh. And then we can use the same technique. L Shift S, already on Shift S. Left L again. Yeah. And just snap ad again, go. A glue together. Whittling. Cool. And I think my original main case was a bit too low here, so I already fixed that part. This was coming down below here before. But I fix that too. Should be right. And then bring that out here. Yeah. Sort of make sure that matches. All right. So there's your main case. Have a quick look if you want. Well, let's just connect these two because they're not going anywhere, so they might as well be one mesh. They're going to be animated individually are they, so keep it as one mesh. Sides. Yeah. And since they have different materials, just for now I'll just for reference, it's easier to keep these as two separate meshes because the real model will be two separate pieces, it's a good way to think around three D modeling as well. Yeah. 6. Modelling the Pads: Okay. Next, I'm going to start modeling the pads and the buttons and the dials here. Yeah. I'm not going to worry about actually creating the imprint, you know, the holes for the buttons because we can fake that with displacement and the p maps. So yeah, we're just going to concentrate on the actual On the actual just the shapes and everything, and then we can add these actual whole insets here, but you can't really see anyway, using Yeah, textures. It's a much more efficient way of working. Okay, so let's start with a cube again. Shrink this down. So it's about the size. Of the pad, Let's just copy and paste control drag, this display tag. Set that to lines. And then let's just try and match that roughly with the pad on the surface there. Okay. It's a simple modeling job. We just need to shrink that down. We can use these little tags here. So it's roughly right. C. Select the top level of vertices and then drag that down here because it's slightly higher. And my daughter has arrived, so I'll have to stop for now. Okay. Okay, where was I? So I was just building this this cube here. I was building this first pad. Yeah, as I was saying, it's fairly straightforward. Just go to edge mode here, to round off these edges. Go to rectangle select on tolerant selection, so I'll just select all these Top edges, everything apart from the bottom. Because you can't see those. There's no point modeling those. Right click Bevel and then just bring those in. I'm using two subdivisions, so that will give you a nice round edge. So call that path one Matic bracket. Make sure we can see that properly. Okay. Next, we're going to just duplicate this a few times. I think just to make sure it's nice and even, we're going to use a cloner to create eight copies of this. Just hide the main case or just put that to lines. Yeah. So. With the pad selected, click the Cloner object. And where are they? So it's going to be everywhere. They're way too far away. So if we bring you can just drag it down, actually. So drag is it texture mode. We drag this down here. Drag this along here. Okay. So we only need two rows, what we have said. Yeah. And then we want four across. So, eight altogether. Bring this in. And we'll just make sure this all the lines properly. It's just a bit of a time saver. And it's a lot more evenly space like in the real thing. Okay, let's just convert these to one solid object, middle flick on clona and then go to connect objects. And just get rid of the original clona. You're not going to need that again, I doubt. And there you go. So call this pads. So we've got the pads there. We're going to U V those later. As one long one big UV chunk, so we can have slightly different textures on each pad. Okay. With that, then, let's move on to these buttons. So we've got 12, 34, 56 of these and another four. They're all about the same size. They are the same size. So Well, a quick way to do that would be to just copy the pads. Isolate the pads in the viewport. Delete just delete them, so we just have one left. And then come back to Yeah, solo mode. L et's go to the tools center axis. Let's put this as a wire frame object as well. Go to vertex mode. Actually, let's strik it down first. We're using the object transform rather than the model transform that where we can see how small it is going to be. So I guess, the curves on the edges here are going to be smaller than the curves on here. So if we just proportionally bring that down, so it's about the same. There. That right. Yeah, bring that there. That's fine. Go to vertex mode. Vertex. And select these bottom edges and bring them up. There go, there's another button. Very quick. And let's clone this again. Well, before we do that, let's copy that. Hold on. To, let's stick with this one for now. I partly m providing here, so bear with me. That's too small, so let's just reset the transform one there. On the scale. And we're going to clone this again and's that again. This is why actually, I should have used the model transformer other than the rather than. Let's bring this back up. And we'll just rick it down for real in the model. Yeah, using the model transform mode, bring that down. To that, so it's about the same. And now let's strike clothing. There you go. We're having the original size of the original cube. So with this again, go to object. Just start with 1010. It's still too high. Just drag this down this way and drag this in. So we need six altogether. So let's count two on the x axis. And's drag this up. Good thing about cinema four D is it's really good for this kind of procedural modeling. Okay. Instead of actually baking that as an object, instead of collecting those together. I'm just going to duplicate this puna bring it over here. And just use the same technique for these four buttons here. One thing so. Four on the x and one on the y. We're just going to make sure that that matches up correctly. There we go. As you can see, this edge part here, like the kind of inset where it plugs in where it goes into the actual main case, we're going to do that with texture maps later. So we don't need to model that and worry about the topology there. As I may have mentioned, but, you know, things happen, and I forget. So, let's middle click the Cloner. Connect objects and delete. Yeah. And again, with the top settor buttons, middle click connected delete there we go, we got the buttons. So We call these buttons left and these buttons top. And then just drag these this display tag and send it to y frame again. Right. Well, we're here. Let's do this window for the information channel here. I will actually use this again, but just one segment of it. So I'm going to use one of these buttons to create this because now I don't have to go through all that again. So we'll call this window and then delete everything I don't need. Everything besides one button. And we just need the possum edge for now. So select that ply and then I, that will select the inverse of everything there and deletes. Just make sure we've got rid of all of the other pies. There you go. Well. And let's just center that, axis center two. Okay. Back in the top. Let's just press L, and we're going to match this corner curve here with the corner curve on the window because it's slightly wider, slightly more curved. We're going to try to get that accurate as we can. Maybe even wider. Yeah. A there. That's good. Go to Vertex mode and then just drag these back up. And these along here. And the same ways before. I guess we work a sharp edge because it's kind of glass, so keep that as a sharp edge, save on poly count as well. Select that face. Right click ext and extrude it down because that's going inside. We'll account we'll account for the actual inset with the texture. So it's about no 0.06. And if you go to make sure you can see the poly there, go to visible on your display tag and make sure that you can see the caps on both sides. So hang on. I'm going to have to do this again. So under a couple of times, make sure that poly is just one ply. Yeah. So right click and then extrude it down. We have no 0.06 or I put it there. And then create caps. Make sure you have the caps. And now it should all be one solid segment, one solid block. Since we've got some ngns here, I'm just going to triangulate that top face. Since it's a single face, it's okay to use triangles here. In general, you should steer away from triangles and just use quads, but most software tends to convert things to triangle anyway, especially game engines. U So what am I doing yet? Triangulate. There you go. If you're working with characters, then you really do need to stick to quads because the way the mesh deforms will really be dependent on the way it's modeled. But for flat surfaces like this, it's not as important. Right. There's a window. Make sure that's In line. That's all there. It's a bit higher up, isn't it? So I wonder why. Because I ddle these a bit too high as well. Let's make sure everything's where it's supposed to be. Go front view. I guess we take all these the buttons on the window, drag those down. And I imagine that will account for the offset that we've created accidentally. Yeah. Okay. It's nice to have the windows sticking out a bit anyway. Gives it some kind of a bit more depth. And make sure the let's just make sure these are lined with that should be fine. If it's inside a bit, then. It will still be accounted for by the we're going to use later. Okay. Next. Okay, I'm going to pause this video now. Next, we're going to look at the knobs here or dials, okay? See it a bit. 7. Modelling the Dials: Okay. Next, we're going to start on these dials here, these round ones. I'm going to do one and then duplicate it like eight times again. So let's start with the cylinder. Let shrink it down. Bring it up here. Let's add a display tag. Wire frame. Okay. So well, from accounting for myself and figuring it out. If you look on the side, there are these ridges that go inside. Instead of doing each of these individually, I'm going to do it once and then clone it regularly, you know. So you just bottling one part, and then I'm going to duplicate that times 15, which is the number of ridges there are in this case. So let's reduce the height segments to number one to one. So I bring this up and roughly match the shape of it there. I'll use this as a main reference because that's what I've been using for all the others. So we have 15 segments we need to do, but we're going to rotate it. Well, basically, we're going to need 30 segments. You'll see it while later. 15 times two is you may well know. Okay. Change that to editable press. Call this file one. Okay. As you can see it kind of there's like a ridge there at the top as well. So let's vel that in symmetry on to snapping. Just one sharp bevel should do it. Yeah, zero subdivisions. We need to make sure this retains its shape here as well. Okay, Let's also well, we'll drag it in later. We'll do that part later. So let's just take all the phases we actually need. Let's go to face mode. So we want one, two, three, four. So let's select those with a tolerance selection enabled. And then I delete is inverse selection. Okay. Next, we're looking at the edge here, so we need to find out where these ridges end. So go to K L. You see it sort of ends there at the bottom. Up edge there. And now let's add another edge here just for another couple of edges. We'll need those later. The 50, keep it central, and let's add. Three, keep it square. Nice. Okay, next, Let's this edge. You don't want to select this one. Just the edges on the side here. So this top edge, no. And all the way down to this edge we created here. Right click Bevel. And then bring that in. Add another subdivision. We're just going to drag this. This new edge we've created in like that. It's actually causing some distortion on this face here. So it would be good to actually K, add another edge there, turn it to a triangle just for safety. What what. That's what we want. Let's do a a quick test in subdivision mode. See how it looks. We need to sharpen those edges up obviously. So using subdivision surface techniques. Let's create another edge here. K M that sharper the one we'll probably do. We can. Let's put two there. Keep it at one. And make sure that's right as far as possible. Set that's like 1%. And call the seven other edge there as well. Se one. Make it nice and tight. Another one here. Another two, actually. There. And this bottom edge will also need to be. Tight as possible. So let's just put it on the bottom because just some issues with the topology there. It making it difficult that will do. Okay. I guess, finally, we need to sharpen these edges as well. So let's just U, select that edge all the way around. And bevel that. What ones. Ever so slightly, one subdivision, zero will do. You said it's zero, zero points. Let's start again. Two. And hopefully. This will give us our shape that we're looking for. So. If we drag this in a bit more, this didn't cut properly, so let's cut that one again. Et connect that to the top. And hopefully. Alright. We're getting there. This extra edge here is causing a few problems, but I think we'll drag it in a bit more. So this one all the way down to this one. Drag that in. See what we have. Yeah. Okay. That looks good. I mean, it'll look better from a distance as well. And the Fong tag, we could adjust that. Make sure it's nice and smooth. All the way around there. Okay. That will work. We don't want any pinching here, so yeah, that's fine. Okay. I think perhaps one more edge at the bottom here just to tighten it out. Yeah. B. Okay. Now, What we need to do is just duplicate this 15 times. I believe I've actually Yeah, I think I've left too many of these polys in, but we can we can get rid of those easily. So go to tolerance selection and select these middle polygons. I delete, and hopefully. There we go. There it is. Now, all we need to do is clone this. Well duplicate this as make sure this is directly in the center. There it is. And we're going to go clone. So I click on your cloner. Set it to dial set this radius to zero. B it's coming from the anchor point at the pivot point there. And then set that to 15. And then if we're If we've done it right, then. It's a bit odd because, I don't think it matters too much if it's at the angle. If it comes in that angle basis it's at zero, it doesn't really make any difference, if it's at 90 degrees there or Yes just a slight rotation on there. I wonder. Yeah, let's keep it as it was. Okay. So et keep that at zero. Then we have the main shape for the dial there. So I'm just going to middle click to select all connect objects. Connect. And putting it into a subdivido, again. All right? We can see these middle edges aren't connected yet. These edges here on the side aren't going to be connected, so let's go back to the cloner object that we've called. Collect, and then O to connect everything together. You want to make sure you have the threshold set to a decent level. If it's too high, it will select every vertex you see within 1 centimeter, for example, if you have 1 centimeter selected, so keep it at 0.0. Something very small if they're already touching each other. Then they're going to connect without without going too far. Okay. As you can see. Right. It's a bit too cylindrical still. Luckily, since we have a few edge loops in the middle. We can we can bring this in. So let's do that. Coming into the front view, just select the top edges, which in the rectangle. Let's also go to soft selection. We want to keep this quite low, say 1.8, so that's as much as it will actually select. If we keep the tag on here, keep the wi frame Mogle will be able to see how far we need to go down. Go back into the side view. Be we keep it on top. Let's keep it on top. That's our main reference. Let's just drag this in. You can see the fall off at slightly wrong angle, so let's change this. What's going to work better? Yeah, that's a bit better. I still think this is maybe too curved on here. I think it's a bit too much curve. I'm actually going to do that part again. Yeah, more like that. There we go. That looks good to me. Okay, cool. Right. Call that one. So let's get the subdivisions lower for now. Okay so we want to come back to it. And we'll just call this dial one again. And we don't need this one. Let's just save it, save it up. Four and then get rid of this other cloner. We don't need that. And this other subi subdivider. Okay. We've got one dial. I'm not going to duplicate it just yet, because before we do that, we need to UV unwrap. So we can get this kind of anisotropic detail on I'll show an example from one I made earlier. As you can see, if you look on the real one as well, it has these ridges here. I'll come back to that, though, so I'm kind of splitting airs here. Yeah. Okay, well, that's one dial done. Next, I can either move on to the keys or the pitch bend. I think I'll go to the pitch bend first and do the keys afterwards. It's a bit simpler. Okay. I'll see you in that video. 8. Modelling the Pitch Bend Stick: All right, for the pitch bend joystick thing in here. I think I'm going to sit with the Taurus. Just for a change, because I very rarely use the taurus. So it's nice to have a good excuse to use one. Let's bring this down. If you look at the reference, it is kind of a doughnut shape. That's been extruded down. I'm going to put my display tack there again. Okay. Let's make it a bit wider. If you have notice, I'm pressing S to zoom into the object. So we have to float around all the time. Let's make sure this is roughly in line with the top donut shape there. And we'll use that to define the rest of the shape. Okay, Let's bring the polyis down a bit. And in the ring as well. As well we subdivide it, it's going to be a circle like that. Okay. Just switch off the lines again. Wire frame shaded mode. Okay, as you can see in the reference. Just put that so for a minute. I's hard to see from there, but if you look on the original one, just use my other version here. So it cuts a hole in the middle. It's like that. Yeah, extrudes from the middle there. Let's do that. With the torus, go to edit mode, C, create a new loop, maybe a bit higher up. So edge mode out an edge there. Go to face mode. Just removing that again, Face mode. We're going to select this interface here. Delete that. And then go to closed polygon hole. Go to grid, and then we've got some kind of something that we don't really want. So because we want this to be a perfect circle. So just keep that to basic. No, even better right here. Hang on. UL, select this loop here, and with soft selection switched off. Just extrude that in. Control, select these internal vertices. Make sure they line up with the center. Shift S to where they came from to begin with. Shrink them even more, and then we're going to optimize those. Need to bring that threshold up a bit. There we go. Okay. Just make sure that those are central again. Yeah. Okay. We need to create a few edge outs here. S three. Yep. And then select this middle vertex soft selection again. We do need this dome effect shape, this dome shape. We just need a bit less fall off. Point se. Yeah. Kind of subdivision. Yeah. Et let's fall off. 65. Hag it up. It's about a nine with the top. We're going to drink it again later. This kind of comes up slightly above the top here. All right. Let's take this edge here. Et mold it into place. Bevel that edge. I'm working from the actual the real T. Keyboard in front of me, so may be at an advantage, but if you follow along like this, then that's fine. And the same techniques will work for any other piece of equipment or most objects that you can find. In this case, if they're non animatable, so you know, but a lot of these techniques will carry over to animatable objects as well. I mean, you can animate, you know, in and out of the buttons, but deformable, I would use some of these techniques. Okay. Let's add another. Another lo edge mode. And just tighten that up. Okay. Put that back down to one, just for ease. And then I'm actually going to streak this down again. To rough the what I'm going to use for my transfer, the subdivision or the torus itself. I think the subdivision. Yeah. Some reason, if you get this problem, you've probably pressed y. That means you can't go up and down. So if that's locked, then you've locked that y emphasis, so make sure that's unlocked. I'm going to isolate the side well, this subdivision and everything, the middle click and side, isolate those. Just to get a rough idea of how this is going to look. Okay. Shrink it again. Yeah, I think this is coming a bit to a bit too central there, so I'm going to just grab these edges again. Bring them out. Subdivisions sorry, soft select on. Bring this down 6.1. Keep this as linear. And let's hope that Yeah. I think it's more to do with the top part there. So let's just drag this out. Using the paint brush tool now. Just select these top plies. And then just go to take this a bit wider. To line up with the reference image. Here we go. Lovely. Now we have this bottom part here. This goes directly down and forms a triangle cone shape. Looking at the edge that coincides the best go U L, finding the edge subdivide. So it will go. Yeah. Okay. So get rid of this edge here. And then everything these two sorry, these two poly selections as well. Keep subdivisions on so we can see where we're going. Let's select the bottom edge here. Soft selection off. And then hold and control, just drag this down and drag it in. Make sure it binds up. Okay. Back to my reference here, it goes all the way down to a kind of joystick here. Let's bring it down even further. And we'll use the actual main case as a reference for where it's going to stop. Okay what's up with that. It's in the wrong place. Right place on the y axis, the wrong place on the Z axis. So, we can always scale this up a bit as well. Make it fit. With the subi subdivisions, it's lost a bit of volume. Okay. Back to the tours shape. Let's switch this one back on. And go to bring it up a bit more just so we can get the shape correct. In a little bit of guesswork here. Cause there's another perspective issue here, so, you know, we're kind of having to account for that as well. This looks like the best. The best position here to look from. Let's add another edge. Here? I say, call it 50%. Where's my edge tool. 50. And double click and drag it in a bit, as well. When subdivisions are on. We'll have that. In a curvature there as well. Well, before I do that, I'm going to add another one of these inner edges. We're going to get subdivisions again. I had is locked. So let's just bring this down again. Subdivision on. Track it in. I do it the same way as before. It's still out there. Keep saying subdivision. I mean, Well, soft selection. But you'll know what I mean. If you look in? Okay. That took longer than I liked. But yeah, let's just have a stick underneath. So Let's just drop this in. Very thin. Stick for the Joy stick shift. Just make sure that's central. Drag it in here. A very small detail, but I guess if there was nothing to connect it to, the joystick would just be floating and would not work. Okay? Let's let's connect this edge at the bottom here. I'm just going to go scale, control, bring the ash to it once, very small to create an edge subdivision edge, and then bring it in again to the center, even more all the way. Hold out shift to get it to zero. And then you've got these edges control to switch to vertex mode. And then you can just, optimize those. Good. I'm not sure why these edges are. Perfect. Did I rotate it slightly by accident? I was an issue with the d. Check the actual size of it. Mm. Okay. Well, we hit a couple of issues because I had this g by accident, but It's not super noticeable and with subdivisions on. I think we can get away with it. Grab these these middle letter season, make sure they're all fully central. So that zero. Not that way. But more of them. So center that on X. Same with the bottom. Y. Yeah. Well, I mean, I could go back and do it again, but you know what the problem was, and this is all part of the learning process. Yeah, make sure you're not accidentally You don't actually accidentally have said locked. It it's a bit tricky if you press said by stake, press Y or X by mistake it or lock back axis. So something to be aware of. But in this case, it's such a mined detail. I'm not going to go back and do it again. So if you look at the actual shape. Yeah. You b. You're all right with that. Yeah. Put up one more loop. And sometimes time is not always on your side. You've got clients breathing down your neck. They want it now? Well, okay, if you want it now. You can get it done fast so you can get it done right, but there's literally nothing wrong with that. No one's ever going to notice that. So cool. Keep that on. Yeah. Well, that took a far longer than I would like to, but I might edit this down a bit. So Next, I'm going to move on to the keys. And later, I'll make this hole here, but I'll do the keys first. Okay. I'll see you then. 9. Modelling the White Keys: Okay. Next on to the keys. I'm going to start with the white keys because they're bigger. And, well, let's just start with a cube. Bring it down. I'm going to keep this quite simple. A lot of the work is in the texture. So I'm going to drag from here and just drag this up to the end, maybe slightly wider. So it goes in the main case itself. Looking at the side view, comes about there front of view. Good reference on the front because we can really see where it digs in and this is the front perspective that we're actually working from. C edit mode, K edge mode, create an edge, come back rounds, take this face, top view, again, control and drag to extrude. Okay? There's an inset here as well. I'm just going to put the display tack there again. So let's create this inset line, sorry, dep tool KL. And we need to create another loop around here. This is where it meets the main case as well. Half of thing go there. So there. Face mode, delete these. This this and this. So we've just got basically an empty wedge there. And then we're just going to grab these two bottom edges. Control drag them up. Snap snap snap. Snap to this top edge, these top vertices, and then drag it out again, control and snap again to this, this end edge. And then grab all of these paces we've created, these new vertices we've created, and optimize. They should all be connected now. Yes, they are. It doesn't look like a key yet, though. I'm going to try a simple way of doing this, which is using the bevel deformer. So if you go to shift with your key selected and then level, it's going to level quite a quite a lot too much. So let's bring it down. 2.01. And let's try subdividing that. See what we get. But it's all right. A couple of pong issues with the pong tack. I think that looks okay. So far, probably add another subdivision there, make it tighter. Maybe bring this a little bit higher 1,521.02, or even 0.1. Even more rounded. Okay. I think North 0.75 do this or day. There is a bit of pinching here, but it's invisible. Set this to one. You change a threshold that the levels are happening. That if it's on zero, it will just do every angle regardless of where it's from. I actually might be work in our favor here because we can reduce some of that pitching renderers don't tend to get on with, so it's not bad. Yeah. You know what? I just saved myself a lot of bother doing it this way. Checking out the Fong tag and you, I hope. There we are. I looks good. That's one key. Let's duplicate this. This is going to be the same as this key, but just in reverse. But a better way to do that would be to use the mir asymmetry tool. And actually move the position, set the symmetry to the middle. This way, it will actually keep the UVs all facing in the same direction. Okay, I'll talk about UVs later. The most fun part of three D. Mm hm. Promise. So we've got this key here. Now we just need to create, like a middle key. Okay, so we can use it for this one, this one, this one, and then duplicate those. So I'm going to remove the subdivisions, remove the bevel, and I'm just going to drag this to the middle. This middle part is the same length. So we just need to basically extrude this side out as well. So go to face mode. Drag the control, and move and then s this edges on this side. And track those out. C. Don't Bevel, procedural modeling is the way forward, Hay. Well, now, we just need to create another one which we can duplicate. So we'll pull this. Yeah, well, I'll just need to create. I'm going to do this first and name them afterwards. So pull this across here. Disable subdivisions and your bevel. And then f. You can bring this edge in here. Okay, Bevel again, subdivide, there we go, that's all the keys, really. Now it's just the keeps of duplicating and mirroring. Just mirror this one first. Just bring it in here. So they need to be joined there. That needs to be in the center. It's good to have a bit of a gap between them, then you can really see each key individually. This is becoming a bit messy. So what I will do. First of all, select those and delete. Connect and delete call it o stick and just make that the cylinder a child. Tic. First key already been symetriized. If you want to make these animatable, then you just make sure you have your each key individual and then make sure your pivot point is here, and then you can do things like that. If you want, click it all a bit further. Okay. Well, I'm just going to connect these objects, but keep it the same. I'm going to put all these ones that I don't need in like a null null. So, you know, just in case I need to go back for it as you color this like black, just to say, I'm not using it. So don't Don't worry about it. Just set out to black. You know, It's just something I do sometimes if it doesn't distract me, but then I can come back to it if I need to. This is our main keys. Let's just switch that one off. Where's the other symmetry there? Okay. And just hide all these, so using control old hide uh put it away somewhere, usually at the bottom. I know I don't need it right now, but you never know. I've got this middle key. I'm going to connect those and then put these ones back in here. So, well, if you know what the keys are, I guess the C. Well, this one is a middle C, so that one's D, but they're all kind of interchangeable, but I'm not going to worry too much about that. I just put you know, I'll call that d just so I go. Pardon. And, A's C. And I guess. Just so I know everything is. Turn this back on. We do need to make one more. I just forgot. I just realized, so it is a good thing we kept these. We need this key is it. Are these two keys, we need to do again. So just switch your symmetry here. We want the top part of this. Well, so Yeah. Get rid of the symmetry for now. Now maybe keep it. Keep it for now. We'll move that to the middle of here where the middle is going to be. And again, get rid of Bevel and the subdivisions. And then we can make sure this is all lined up. And I think it already is there. Maybe that was the same. Did I do that already? Am I going out my mind? No, I'm not. Phew. It's nice to know I'm not going crazy sometimes. Yeah. So let's grab these edges and bring them back. Very subtle difference, but I believe it's the same on both sides. We go to symmetry, and then we are Symmetry is not quite in the center. There we go. I just switch these on suppose. CE This one. There we are. So, I can get a bit messy. So Yeah. I sure they're all visible. Okay. Turn off that flame. Okay. And that one. Bit distracting. Okay. They look good. Alright. Now we just need to duplicate these again. Well, there's one more key that we haven't done. The end key. I'm going to duplicate these across. If it will let me. I need to be there too. I'm going to do these all as one mesh because otherwise you can get a bit little bit messy. We don't need DC for there. But we do need and C and E D. We do need those on this side. All right. And now, the final key, and the forgotten key. Doesn't need subdivisions. I mean, it doesn't need a symmetry, I mean. Does need subdivisions. The quickest way to do this. Easiest way would be, I guess, T get rid of. This, this and this. We will grab this edge, all the way down to this edge, and then control drag to the top. Shift S, try that side. Try that side. What side are we on? Yeah. And then these edges here. Drag those in. Shift books. T in there, and then snap these to this edge, and then just do the whole vertices and optimize. And wile we're at it, let's just get rid of this edge here cause that's doing nothing. Go control back space. And then Bevon, subdivisions. And then there you go. Key. Is it in line? Yeah. Pretty much, it is in line. There we go. So that's all the keys, or the white keys, at least. Next, we'll move on to the black keys in the next video. Okay. I'll see you then. 10. Modelling the Black Keys: Okay. Let's start on the black keys now. It's a bit more straightforward. We just need to do one and duplicate that. Just the one shape. So just collapse these. I'll mesh those together later. And yeah, start starting again with a cube. Shrink that down. In the middle here. Let's add a display tag to that one as well. Object mode. Bring it up and in. It's the top segment. I think it's pretty much straight down the sides. I don't think there's any internal bling. So I think it's p just with this front part as well. Sorry. Yeah, this front part will be sticking out when I get to that, hang on. Okay, so it does have an angle there. So let's just say this is the top that's the front. Yeah. So we want to align that with there. So this will stick out this way. Okay. We've got the height there. Let's just make this editable, bring these bottom vertices up. Something like that. So it's going to be slightly below the white keys, so it has to sink in there. Okay. And now, let's just grab these front keys and press the control to deselect. So put these front keys in here. Sorry, these front vertices and drag them across. I think the point where it actually levels off is at the point where it reaches these keys. So let's add add, we drag these up, and then Yeah, whittling, sculpting, Yeah. Grab this bottom this bottom plane bottom face and drag this down again. So it's like invisible from the rest. Okay. We have another notch at the top here. That sort of sticks out. And that's about in line with these keys as well. So guess we can use the same part there. Just drag this edge up. And I guess that's what it inserts into the rest of the keyboard there. The main case. That's right. Let's just use the same technique as before. Level these edges. So the former bl. Very low. They'll be a bit higher than that. Just make sure the right edges are being leveled. The bottom vertices. Bring those up. And we'll just extrude this down later. So maybe yeah, I'll do what I did before. Level everything. Yeah, that seemed to work last time, so there's a few extra plies, but it kind of makes a big difference for The overall look, and it's not a huge sacrifice. How's our Fong check our Fong, see if it's not overdoing it yet. I think a little bit more wide above set that to 0.1. That looks okay, maybe a bit less. Five. Looks okay. Yeah. Let's see how it bears with the other keys. I think Exhibit two y. That's sorry, it's bit too thin still. So let's just disable the bevel and and the subdivider, and stretch this out. Again, with it switched on, make sure it lines up. It's all kind of proportional. The front vertices, a bit closer to the edge, turn off snap. Yeah, I like that because it's a bit more rounded than the way I did it before. It feels a bit more organic. I think maybe a little bit still, so that to eight. As long as it kind of matches the curves on the keys. Yeah, that looks all right. That's one key. We just duplicate this. C't use a cloner really because it's not even It's not really even lea spaced. Yeah. So let's just do that manually. And it's nice to have a bit of a human touch to it as well. Keeps it less robotic. A bit more human as in a human touch would bring by default. Just go these again, and these these, just going to duplicate order these. There you go. Sometimes when the tools don't work. It's easier just to do it by hand. They work 90% of the time. But for simple tasks like this, let's just keep it real. There we go. Okay, Keys done. I'm going to clean up before I move on to the next part because it's very messy. As you can see. I don't really need all these subdivisions anymore. I'll say I'm happy with that. I'll keep one copy of the key before I. Then I'll put these all into control click to collapse the null and then just. I'll put this one key. Copy that into my folder. Dised. Yeah, just with that selected middle click to select all children, and connect objects and delete. And you got your black keys there. Pops. Black keys. I'm going to add a quick, just, you know, guide color material so we can roughly visualize how it's going to look. Looks right, doesn't it? And then the white keys, where 8123. All of these. I think I have these well, I'll copy a couple of these anyway. I'll copy that into the X folder, X knoll. And the rest All right we got here. That's all the keys there, all the white keys. Yeah, in this case, when you have more than one group object selected, just go to yeah, select children. Bake objects and delete, and then you got your white keys. Alright. R. How does it look so far? Let's try and enable all these the main case, and the sides, just get a rough idea, get an idea of how it's looking. It's all good. As far as modeling goes. All we need to do is this circle inset here. And there's a part on the back that we have neglected because we also need to do the sustain and the USB input. You know? Details are important. Remember them. Okay, so I'll do in the next video, I'll do this whole here. This hole and the back panel. Okay. I'll see you then. 11. Modelling the Pitch Bend Hole: Min case. Let's have a look at this whole. Let's hide the joystick. Right. A few ways to do this. The way I will do it is to I'm going to add a couple of edge loops. One here. One here. Another one. Here, another one here and another one. Here. Okay. All right? I'm going to select these square phases. Well, not exactly square, but there will be the shape, but I want them in time. I'm going to press t, hold down control, drag them in to about the lengths about the shape of this circle. I'm going to right click fit circle. Let's drag this into the same shape of a circle. Right. Simple. And then another do that again, drag in. And this will be, I guess, an eyeball where that's going to stop, which is just behind where you can see the edge of the joystick. And then let's drag it down because it's more inset like that. And then we'll drag holding control, we'll just extrude that down again and we'll leave that as it is. All right? We need to level these edges too. This will actually y, because we need to add some more edge loops to the main case and the part I haven't actually done yet. Once we've done that, once we had these edge loops. Sorry. Yeah. Once we've done these subdivision loops. This is going to create a natural circle, and these edges are going to be naturally, you know, curved as well. Curved as we tell it to be. So since this is going to be a sharper edge here. Let's add a couple of edges here. Okay, even closer, maybe just one. Closer there. And then, am I going to crash? I'm going to crash. All right, back in the game. So just looking at the main case, we're just going to check that these edges of how we want them currently see probably there. But yeah, let's just add this extra edge. Here. And here. All right. Okay. That's kind of as curved as I want it to be. Yeah. 12. Modelling the Sustain Input: I just recorded this video and I realized the sound didn't really come up very well, so I'm just going to do a bit of a commentary on the video I already did. Let me just disable the desktop there. I'm going to turn the sound down here. All right. Here we go. So what I'm doing here, I'm going to start modeling the cylinder that we can use for the sustained input. I'm going to be using displacement maps for the inset parts there where those components go just to save on modeling time and it's a bit more efficient as far as polygon count. So yeah, let's start with a tube. Put that onto the I think it's the said axis. Shrink it down. Just shrink that in. Looking at myself, thinking, Oh, my God. Hurry up. And then just put that into position. And we're going to put the wire frame mode on display tag. Pretty straightforward. Just make sure the lines match up. Add a few more. We'll add a couple more on the cap segments because we're going to be leveling that a little bit. C be slightly more curved. Make sure it's in the position on the Z axis. Let's have a proper look at that. Yeah. Back in wire frame mode. We can make sure that's all visible. Let's level these top edges. And we could level the bottom edges as well, just for a or maybe not, let's not do that. There's no need. Bevel these top ones. On subdivision I'm using. And then just to subdivide that with a subdivid object. And let's just delete these inside edges that we can't see. Just taking up space, and there you go. There's your sustained input. If you have a sustained metal, for example, 13. Modelling the USB Port: Okay, looking at the USB port now. I'm just going to use the same technique but they didn't set. And we'll just model the metal part there. That's using a cube. Had a display tack, put it to wire frame. Just get that more. So it's lined up with the shape and size of the USB inputs on the image, the reference, as close as possible without having to measure. Um, better if you do measure it. But, you know. This all work. It all look good. So don't worry too much. Less you work for a huge architectural firm, then you need to worry about, millimeters and sub millimeters. Yeah. But this is more for entertainment, marketing, and that kind of thing. So just grabbing the top and bottom edges, just make sure that aligns with the angle of the main case. And back in wire frame mode, let's grab that front face and inset that. Just to match the edges there. Just using this scale tool, drag it in. Let's extrude that, just holding down control and dragging with that polyunselected. That's a really quick way to to extrude. Is taking these lower edges. Left and right. Let's just bevel in. Always the most efficient way, but, you know, it's a minor detail, so it should work, okay. Okay. A couple of end goons. We'll fix those later. Again, all 0.2 will work. The encodes usually disappear when you use the subdivider. So that's one of the good things about cinema four D tools, they tend to do a lot of topology for you. Yeah, as use the bevel the bevel node instead, Bevel deformer changes subdivisions. And when I get to it, I will make that discovery that instead of using hamper mode, you can use solid mode. So either I'll edit this or I'll just tell myself to hurry up and find it because it can be a puzzle. At times, and I'm doing this in real time. So there we go solid. There we go I found it. And subdivide, then you've got a really pretty much perfect edge there. Okay, keep beyond to a subdivider. That's a brilliant tool there. I save you a lot of time. I'm just boosting the the offset slightly to kind of widen the curve on those edges. And y. That's You see, Champa wasn't working. I'm just explaining that, which I just already explained. And cool. Now we just need to create this in a cube. I'll show you in a set here. This in Yeah, this little box sticking out. We can just take that from the original mesh. So I'm just going to grab that back podgon inset. And then bring that in. There you go. That would probably do most of it. Let's just make sure that the size is good, going into vertex mode, select those pies, and then stretch them out with the scale tool again. There you go. Just check it with the out the lines. Solid. Take. Looks decent. There's a couple of folds there, but because I don't have much of a reference image for that level of detail, I'm just going to kind of leave that kind of representative. See this kind of metal folding in, but L of detail. I don't really I don't think it's necessary. You could have a go yourself if you prefer. But yeah, you've already got some good modeling techniques, but just for getting through, um, Let's just keep moving. Keep moving forward. Okay. So good. We're going to add the NST again, like I say, in the same way as the main case, using displacement. So next, I'm going to look at subdividing the main case, adding all the subdivision lines and making sure that's a smooth mesh. So I'll do that in the next video. 14. Subdividing #1: So I'm just going to finish the details on the main case and on the side parts as well. So let's just isolate the main case. I you bought solo. I haven't done this kind of inset ridge here yet. So let's do that now because it is where the keys are kind of. That's where they cut off. So I'll keep them on and I'll keep the white keys on. Okay. And I will K L. B, so I can see where I am. Just great great edge mode. Create a line along there. Super. Then let's hide the white keys for a minute. Or no, let's just put the Let's put the lie, the wit frame mode on for them. U Back on the main case, let's grab all these polys polygon. Select modes. I'm just holding shift and control to select. A continuous line like that. And then I'm just going to hold down control, drag it down. Make sure it kind of meets the bottom of the keys. It's not completely. I think that would be perfect there, but, you know, as long as it kind of shows that there's a front ridge here, just like on the real thing. Okay, that will do. Alright. Okay, Isolating the main case again. Now all I need to do is, you know, for every time, well, I guess, first, well, this part is a bit off. Yeah, this edge here needs to be in line with the rest, so I'm just going to eye that. Bring it in. Subdivisions, it will kind of account for any distortion. So let's put it into a subdivider first. Okay, disable that. Keep on both. Those curves already on the side seem fine. These ones on the edge, not so fine, we can either delete these end faces, or we can add extra polys there. I think for efficiency. Well, this is if you want it to be perfectly accurate. Yeah, let's do that. Okay. Do it the symmetry mode. Get them all at once if we are perfectly symmetry. C symmetry call. Yeah. And then we've got these lines. That's a bit sharper edge. That was quite a lot sharper, tighten that edge up. These as well. Symmetry. Yeah. I was like, look getting there. This line. It's a bit less sharp. Okay. Lo I'm making the same same mistake again as last time. This one, when I could be doing a quick away. This inner edge. Co Co Co. And this inner edge. Guess we can just like remesh it afterwards, after we do all this. So that's making some issues because it's going into there. R. That's why. We've got to be more careful. Okay. Coming back to this edge here. We have this issue way it was coming in and ruining the circular shape of this inset hole here. So the way I've found to do it, go to edge mode. KL, create the edge that you want. We need to keep the shape all the way up to here. So up to here, I think we'll be okay to create another edge loop here if we can. Back there, ever so Mina. And then let's remove not everything. So everything up until this this edge here, and we're just going to make a little connector there. So keeping all of this, we're going to do another one on the bottom as well, but let's just start with the top here. We don't need that part. We do need this part. And we can delete everything up until about there. We'll create another loop here as well. So control space for checking. You've got your loop cut there. Finally, Sumer 40 seems to fix that itself anyway. I may have just been making things harder on myself than necessary, but just for prosperity or whatever. Let's turn this loop here. This edge here into a triangle and remove that edge, and that seems to do a better job there. You can't really see, but since it's on a flat surface, yeah, we can get away with that. And the same of the bottom. Let's just find this edge here. I'll just create one more edge loop. Edge mode. Almost like a square there bs minor KK, the knife. And what we wanted. Yeah. And then just delete this edge. It's going to cause pitching. And then we've got everything as quads and one tiny tri there, which is invisible. So there we go. Even if we let's add a material, see, is it messing with the normals? No, it is not, so. Okay. You good on that and on this side. You're good there. You've got this sharp edge here, which is what we've been going for. There's still some distortion there, but that's easier to fix. Just get rid of this color. Oh, I see why it's not connected properly, so kick. Edge mode. Let's just connect these up. Okay. Make sure those new tses are all in one line and in line with This top vertex here. Okay. Okay, I have another look. Here you go. It's a much nicer curve. I'm just going to check in again, any problems we might have some warping on the top there, but it's all one straight line. The UVs are going to be perfectly straight, so that shouldn't be an issue later. There's something happening here. What could that be? To that's not connected either. Connect that then. The topology. And that one either. Okay. Straighter. Most likely, the other side will have similar problems. Sit okay that side. One last thing is there's a little felt pad where the joy sit goes in here. So a kind of just make this a bit bigger. Basically just a cylinder, so that's well, just a pipe tube. That's well, I disabled x and y, so bring that down. Bring that up. Make sure it's right in the center of you know. That's how I guess they would want it to be of the joystick, and it's going to be one height segment height a bit thinner, turn off subdivisions. Quite thin, just a thin piece of fabric. That's all that is. Bring this in. And, so that goes more or less all the way to the end. So to protect the whatever's going on underneath. We can keep it low. Keep it low poly because it's going to be going underneath this um. We underneath the circle here, so yeah, it's more of a representation of it. A a tiny detail. But yeah, that's had a couple more, just to be sure. 2024. And then see, and we'll level this middle edge and this other one here. Bel this in slightly. Let we go. I do believe now a bit of tweaking. We've pretty much finished the modeling phase. So tomorrow, I'll show you how to start with the UV map. 15. Subdividing #2: I said I'd finished modeling, but I hadn't. So there's one extra part that I've not done yet, which is Yeah, these side parts. Very quick. But let's do it the same as we've done the main case. So let's use symmetry, see if it is symmetrical. Hedge mode, KL. Just checking if it likes that out, I think so. Yeah. That's symmetrical enough. Were not quiet, actually. That's the outside that's the inside. But yeah, I'll do that part separately. That one And that one subdivide it. Find the dog outside? Here, let's add a couple of more edge loops. One here, one here. One here. Add one here. See if that matches the curve of this part here. That's what we want. If it doesn't, let's just select it MO. Bring it back, select MO. Bring it down. That looks all right. This en should be about the same, let's do the same with this edge MO. We curved. And finally, this bottom edge kind of roughly matches. The curvature on there as well. So Yeah. Check from both sides. Could use a bit more. Could use a bit more. And that one is okay? That's it. I could just duplicate that, which I will do. So just to delete these faces. And we've already got that there, so subdivision h do the underpar here. Let's do the whole thing. Subdivision surface selected. Let's put it in the middle. Again, in the middle. Tri strike that in the middle. That doesn't work. Never mind. So yeah, let's just strike this across for the in the middle more or less. And mat is. Make sure this is on the the inside edge. So I'm pressing to move the pivot point. And I'm trying to snap. But it's not snapping. Why not? It's just eyeball it in. This happens sometimes. Dicho snap to this part, at least. It's not very strange. Oh, there we go. Yeah, so that snapping there. Okay. I do believe that is the modeling finished. Okay. And then I guess we can move on to the U Vp, no. Okay. Save it. Save up. And there you go. 16. UV Mapping the Main Case: Okay. Onto the UV unwrapping. Start with the main case. Or even let's start with this dial first because this is in need of duplicating. Let's start with the main case. It's just easier that way. Start with the main case. A UV edit. Do some quicker UV editing on here, so go set UV from projection. Que. We need to go automatic Pack UVs. Select all the polygons. We the best I can. If we go to textures, UV Mac, we'll see, we need to make sure these are square basically. Not quite sure why it has a square, but let's have a look. If you hold down shift, Oh, I know why that is because it's got to That's right. When you set UV from projection, you will create a new UV tag something to be aware of. So cot shift. Some strange arter fact there. Let's try again. UV from projection. That's the better job this time. Okay. Okay, I don't want to spend too much time on this because a lot of the actual texturing, I'll do using procedural projections. I mean, to me, since it's a pretty perpendicular object, I think the mapping there is pretty much fine. I'll do for the main case. Come back to it if we need to. All right. Moving on. Let's do this Yeah, let's do this dial now. Then we can duplicate it and make sure it's all lined up properly with Yeah, the reference. So we want to do this one time because we need to UV for this anesotropic top. It's a kind of bridge that you can't really see there, but it has a lot of bumps inside. So let's start by let's just Yeah, get rid of the subdivision, so connect objects and delete. That's our very messy UV map. So let's go to set UV from cylindrical. Okay. And there you go, that's M t. As a cylinder. We will need to set the faces, and bring that in. Me sure it's trouble stretching it down instead. Make sure it's as square as possible. There you go. Get even bigger just to see how square they are. Yeah. That's about right. Then just this top part. Let's just strike this down again. Using E and T the same usual tools for general moving, for moving the thing around. It's not that precise. But for actual more precise like scaling and moving. You better off using this UV transform tool. Let's select all these top faces. We need to do those next. So Edge and paint select. Yeah. All those are selected and the bottom ones, I suppose, as well. Let's grab all those. All right. And we could just do a flat projection. So if you're going to top view, go to flats. That should have wrong way. Try a different way, try frontal. There we go. Frontal projection. I'm used to doing this in May, you know, Haps to know how to do it in cinema for dy, save if you're having to buy more software, and it can be more fiddly. It's just as good, really. As far as revapping goes. Music t, shrink it down, or maybe scale it up. Me yeah, shrink it down, make sure these squares are about the same size. I can bring that there. Yeah, I guess the bigger this is, the more details going to show. But we can't really have it much bigger than that while keeping the proportions of, you know, these U V maps needs to be about the same size in relation to the model. I will put this in the middle. So when it comes to creating the texture. But that's nor 0.5 and 0.5. Then we can work just directly from the middle, and it's going to save us a little bit of time down the line. Okay. L et's float at those. Is that both of them? Just the top. We just need the top. Or the bottom couldn't be done separately. Sorry. Let's just select those again. Already UV mapped. I'm just going to move them to the side. If it allows me. Yeah. We can even have these smaller they're invisible. So just put them there out their way somewhere. Okay. There's the no. There's the dial. C file. And now, while we're here, let's duplicate this. Back in to standard view. Cloner click. Bring it in. Bring it down down we just 12 on the Z. That's it. And four on the y. Let's put this right in the center. Matches up. Perspective shift there as well, so I think that's about right. Wide air. I think we had it there. Okay. That's fine. There we have it. That's the full thing. You still need to add these these details for where the dials and buttons going. But like I say, that's all good to be done with textures. White's visible. Looking like something, isn't it? Let's just do a quick check with this black material here. Yeah, it's starting to look like something. Stick one more red. On the sides. I signed to look like something, is it not? I think it is. Let's try this on the dials as well. Maybe. There's some polygon clipping here because that's actually you're getting this artifact here. That's just in the viewport when you have two polygons in the same space. So if you just met that up a little bit, it should eliminate that. And partly it's just to do with the viewport clipping plane. I just small, it should probably eliminate that. I tiny. I probably come back. Yeah. Usually, just adjusting this will fix whatever is happening there. Okay. I think the pads are going to be next. So I'll see you there. 17. UV Mapping the Pads: Okay. Onto these pads. Just need to UV wrap these, so go to UV edit. Let's delete this UV tag. Select all the plies and create. Let's just try an automatic one. Automatic packed. Okay. They're all there. And for our pupses. I think that will do the trick as well. Just check our UVs looking okay. Look at the kind of fingerprints to these and a bit of dust. So it helps to have them all separate. You know, otherwise, it looks just to make sure it doesn't look too repetitive. Bit natural. Yeah. Okay. Now the buttons same procedure, select order. As. UV Nap. Say wrap here works pretty well. There is going to be texts on these buttons. We need to make sure these are all facing the same direction. So to take a bit of extra fiddling. So let's just do that now. Go rotate down shift. Let's make sure these are all facing up. K. Oops. When when we pack this, this should be all um We're going to pack these UVs, you know, automatically. And oops this next one. Okay. Yeah, it doesn't like this selected on that. So back to here. I take that. How are we doing? L et's try packing all these and see if it keeps the same orientation. Which it does. So that's nice. You just need to kind of remember which ones are the tops. You know, and which at the bottom. But if we guess we can put the top on one side. Let's do that. But it is out here. So when we come to texturing, we know where everything is. I, everything else. Let's just p hacking those. L et's see if this respects the fact that we've moved these. Don't. So let's just do it manually school way. But we are going to be using different techniques. But we should do the trick for now. Come back to it if we need to. Cable these t. Sont it down that way. Es move these here. That's one. They're not in the right order. It's kind of annoying. It's part of any order that we want them. One, two, three, four, five, six. Lining them up. Okay. We can just move these out of the way, anything in the way, move it. R double clickon. Select the whole shell. Bach. There you go. That's fine for now. Now, the top buttons, same process. V from projection. And yeah, we know where we are this time, so it should be quicker. That's upside down. Troll T for that tool. It's the same orientation, sir. Just do it. This way. That one upside down. T again. Grab these four faces. These are the parts that are going to have, um you know text. And make sure they're in the right order, so we know where which text is going to go where? And that one there. And Is that case to me? Pack those. I don't like that. So I s grabbed these as well. Cracked them in. And it lasts so much. And Yeah. Isn't a real quick way to do this. I wish there was. Do as much as you can, you know, to make sure it's functional. So I'll put these two up there. This one. That's kind of in the order that I want them. I know generally. Okay. So that's all the buttons? I'll be changing that again, but this is just for kind of getting my head around what to do next. Okay. See you in the next video. What, one, one, one. 18. UV Mapping the Side Panels: Okay. So now we're going to be unwrapping the sides, UV unwrapping these. I think I'll do it once again. No point in having doing them both. So I'm going to delete that. Just take the one. Select all those faces, go into UV edit mode. And try another automatic UV. Doesn't quite work, does it Maybe A that UV. Let's try again. It's very odd, isn't it? So let's go to the side view and do a frontal or, which one is it frontal? Yeah, that's got the actual shape, so we can get rid of this first U V tag. Next what we need to do. Let's just get rid of soft selection. I might have been doing something to it before actually Let me try one more time. Now, that's fine. So basically, we need to this is unwraps. Well, the front and back of this panel. So we just need to do these side parts there as well. So I'm just going to select one of these. Just select the middle two, and then, U Y. That will grow your selection. Okay. And let's just try it automatic just on those, see what happens or something. If that's done one long line, that's what we want. But we can split it into two lines because otherwise it's going to lose detail. So let's split it from let's just do the top part, and we'll do this bottom part separate that you can't even see normally. So control T, shrink it down. Just see how it looks see if we can get it as a perfect square. Let's just drag it out. Make sure we've got You see they're a bit elongated there. So let's go to control T again. Odding down shifts. No. Hoping down shift and find your scale part here. Yeah, this will make it even bigger just so we can see the squares. See there. And then control to again. We'll just make sure that's giving us those squares that we want. Yeah, that will work. Okay. Um, and we obviously want this top UV to be the same size as the bottom. So we can just try packing it. Let's try that. Select pack. Is that then it? No. All right. Okay, let's just use the top Vs here and just pressing t, just shrink it down. And um Let's split. Let's split it somewhere. We've got the right proportions now, so let's find somewhere to cut it. Let's say here. So let's just find this segment. In the UV view, wherever that is here is. And in Oh, there we go stitch, I guess. Yeah, it needs to be in vertex mode. So if you're holding down control, it'll go to vertex mode, and then I think we need to disable Unselect those other parts first and then go stitch UV. And then we go that's created a UV two separate UV islands there. And now we can grab all of these. Let's just find a different segment. Yeah. So if you double click on that shell, I'll bring a shell there. Next shell is the longest one, and that's the bottom shell, even though it's the least visible. We can make that smaller. Let's do it on the corner instead. So if we can connect these UVs together. Grab those. Weld. Yeah, U V World. I guess. No. No. I you why, they're the wrong way round. So they correspond to the other sides. It's actually actually. We want this to be connected to this side. Let's just check there. These and these. T to those. Yeah, that's the one. Just bring them there. I wonder if it'll do it automatically. Just cut the edges, I guess. Please select the edges you don't want. And then U V weld. Hey go. H a. And I'll just cut these these order parts, and we'll do it like as a box. So using edge mode, edge select. Stop to that one. Maybe even this one. And then control and vertex mode and then stitch. That'll give us a bit more resolution on the final U V island. I think we can connect this to the bottom part as well. If I can find it. Not that one. This one connects to Not there. No there. Not there. Let's be there. Okay. Let's connect that to that. It's a edge mode. And Yeah, let's just bring it in. Watch dear, very loud. Let's go UV world. And there you go. That will do the job. Okay. Just make sure we have all these line. That's a bit too long as well, isn't it? That goes all the way to there. So let's Let's just keep that as it is because we're going to be all day otherwise. I'm going to pack these UVs. U V packing. Send your UV packing. And the main face, we need this outside face to be big because that's where the details going to go for this p map here, that's going to have the logo on it. Okay. So selecting that one, let's just make that part bigger. The rest is not too important, but it's good practice to know how to do this stuff. I'll just drop that at the bottom there. And you know what? I think I'll do it for both. Just shrinking these down and then we're going to put them all as one That's one UV for both sides, okay? So one UV map for both of these red panels. So to do that, I'm just going to copy. Top view again. It the third time we've done this, right? Go to tools, axis center. We'll try again with the symmetry tool. But the symmetry right in the middle of the scene. Tri this. So make sure that. Okay. Because now we should have two we should have the whole thing done twice. Okay? So in theory, if we select all just these faces, and then drag those up. There we go. We've got two UV sets there. We just need to make sure these are facing the right way. So UV map. So there. That's the right way round there. We look at the other side. Are they facing the right way round? Let's find out. They both need to be basically facing these letters need to be the same way, I guess. So they look kind of in reverse here. So let's get this map. I guess if we just reverse all the normals on this side. Reverse normals. Didn't do it. Okay. So we need to reverse all of these polys, so we just flip it, mirror you. There you go. Doesn't it? It's now when we had the texture, I should be facing the right way. Okay. Super. 19. UV Mapping the Pitch Bend Stick: Okay, for the joystick. Let's check the UVs on there. Looks okay. But let's just do a UV from projection automatic packed. Tray cylindrical. Yeah, that looks better. And texture selection UV map. Joystick, and just shrink this down. Ouch. I do this string this down on. Come on. Where I am. Oh I go for shift. Yeah. It's warping, but very minor. The top part needs more attention, though. Let's do this top part. We'll do this as I guess it's a frontal. We Okay. Just pack these in. All righty. And the stick is just a stick. It's probably done already. Let's just take that one out. I reconnect these two. Makes it easy. Let's just connect these and delete. And we have the top part of the UV, select the stick part, go to cylindrical, and then there you go. Dont need to do the top of the bottom because I'm never going to see those, even if you are animating it, unless you take it to pieces, but even the real things pretty much colluded in place. So et's just not bother. Or, in fact, let's because I have this is well. I'm going to do that anyway, it because it's very quick frontal. Boom. No. No, I've ruined everything. Just those two. That's why. Yeah. That's why it doesn't matter. Let's not go down that rabbit hole. All right, that will do. There's your Joy sick or UV Matt. Anything else? The keys. I haven't done those yet. L list you the keys now. White keys and the black keys. So so be quick. U V from projection. How many of I got selected. Yeah. Select all these polygons. And we're going automatic. Come on. Help me out here. There we go. No quite what I wanted. Let's try box. Box. That's the way. And then checking our UV map. It's going to make it really big so we can see if they're square enough. Yeah. Looks good. H. Yeah, that's what I was going for. Already. Sup et bring these in Yeah, that's fine. We might not even end up using the UVs, but part of the job, you need to know this boring stuff before you can do the fun stuff. That's just the way it goes. Okay. The last UV part, this is going to be hopefully much quicker. We've still got box mode on. Yeah. There we go. De. We only have 12, three, four, five, six, seven, eight point, ten of those. Let's just grab all these. Boom. There you go. This is how I used to have to do it. Well, hopefully they'll bring out some kind of AI U V per UV and rapper. It would not surprise me if it existed somewhere, but maybe it's in to, and it's very well hidden. But I would say there's a lot of demand for this kind of thing using AI. So there you go, Back to the full view. There we go, everything's UV unwrapped, everything's modeled. In the next part, I guess we're going to move on to texture. 20. Exporting UV Map / Texturing the Main Case: Okay. Before we do the texturing itself, we need to export these UV maps we've made to an image, which we can use to line up the textures that we're going to be creating. So I'm just checking. Is this the right way round? This top one? This is the main one we're looking at. This is where this panel here is where all the information is going to be. What's on that side? What's the bottom? What's this? That's the inside. I guess. Yeah. So it looks like this one just needs to be flipped around because we're kind of topsy turvy. Just make sure everything is mapped how we want it. Let's just let's turn everything around because it just makes more sense. There we go, it looks ready. So from here here is where our textures are going to be. Yeah. All those two, three. Yeah. You get what I mean. All these are going to be the information for Pad one Pa and everything. Let's get on to that. Before we do that, we need to export this as a PNG. It's slightly fiddly in cinema four D again, but let's have a look. So first, just select all these polygons. Yeah, we're going to use this wizard tool wherever it is. Oh, you're going to paint mode. This paint setup wizard. And then we just want D selector, we just want the main case. Select next. Don't rec calculate the UVs. We have done that already. Single material, yes. And go with color and change that to a sort of bright green, nice and visible. The texture size four than and 96 by 4,096, leave that as it is. Finish. Okay. That's created a new material, which we will be able to go into U V edit mode. Close that. I do the black keys. Oh yeah, I did the black keys, but forgot to delete that. Yeah, that's fine. So now here we are with the these texture. So these UV map here. So we just need to go to ayer. Then create UV Me, make sure you have polygon selected. Layer, create UV mesh layer, and then go into your layer panels, Layer manager. And then you'll see in this window, in this layer, you'll have the actual UV map ready to export, so just go save the texture as call that main case. All right. So that should have exported that if we're doing everything correctly. And I'm going to do this in After Effects. Sure composition. Sure. All the texts just from this image that I found. If you want to do it, you can go in and find the fun. If you want to do it perfectly accurately, you can find the font for all of this and type each one individually. I'll take a bit more time, but it could be worth it. I'm going to stick with this for now. Okay. There we go. All right. Just keep that as a black background. So we just need this top part. A full. And I'm going to import this. Double click in there. Just in case you know if you copy the actual file from Explorer, just Control C, and then paste that into here. You have it already opened in another window. You don't need to go scroll all the different u File folders, just a time saver, kind of a basic windows thing, but it can save time. Okay, I'm going to lock that U V mesh layer. Lo Mal. And I'm going to line this up in a way that I feel. So let's just cut out the part that I need. Let's cut out the parts that I need. There today. Alright. Let's make sure that lines up. So that's a bit too wide there. So let's pig that. So I'm just matching this up with with the UVs, really. So if we keep these red parts, we can get a good idea of where it ends. Okay. It's just for lining up. We're going to it looks like we might need to stretch it down a bit as well. So we're coming to that bottom edge there. Uh huh. Okay. Before we go any further, I'm going to test this out just to see if it indeed lines up. So I'm just going to save that frame. I'm pressing control ol S, just to save one frame. And call it infonG. And back in cinema 40 making sure it lines up. Okay. I'll set that to viewport. Big porque. And yeah, I'm happy. Numbers up. Check they're role in the right place. More or less, I'm not going to use these al colored parts, these red and white bits here. Is it just to represent the light on the image as far as I can tell. But yeah, everything else looks to be in line. I after effects. So everything that is white text is what we need. So how are we going to isolate that? Let's go. Well, Start with a tint, set it all to black and white. Go to levels, Let's crush this. So the white is white and the black is black as possible. There we go. P controls. I could use a bit more. A bit more crushing there. Playing with a contrast. C and these move swing ARP. That looks all right. All right. Now, what we'll do is shift channels, and we'll get rid of everything. That is not white, basically. Using the zuminan, take Alpha from uminan. Okay. Now we just need to trim out the parts that we don't need, which is everything that is not the white text. And these boxes here. We don't need those. We'll come back for the LED display. Do that later. So I'm going to put this into a new composition. Just drag that into and just start trimming out the parts that I want. Okay. So there we go. That's our initial black and white texture map, which we're going to be a adjusting and adapting and layering on top of other textures and using four different parts. Another part we haven't done yet, though, is the back. From here, basically, I've done the same thing. I've just taken this image, and I've just printed that on the back. You know, simples. Let's bring that image in. Have to drag that in here. Let's put the UV map back on. Drag that actually into C. Okay. Let me just find out I'm just opening this just to find out which UVs to work with. That's funny. I don't think there's anything at the front, just that on the back, and then the sides are a separate separate component. So in case. So the back part is this bit. G U L, selects Y. Let's make sure they're actually facing the right way, so that's at the top. No. That's at the bottom. Because it's unfolded it, so that'll be upside down. Okay. So, big. Let's do that now while we're thinking about it. 180 Such a glamorous job. This is when you get down to the nitty gritty. Well, you know, what, let's do this is let's disable the top one for now. While we're working. And Okay. And now we're just going to apply the same all these to all these effects here, shift channels and everything. To this. And then we'll just out the parts that we need, which is just logo here. And US being sustained. So tract. Some tract. Okay. Let's see how that works. Has the Alpha channel embedded. So what shall I call this text. We're going to be coming back to this in the future for different passes. We're coming back to standards. Go to the material. Find the material we just created text Alpha. 21. Texturing the Side Panels: Okay, again, we just need to export these maps here. These UV maps. So going back into paint mode. Paint set up. Deselect all apart from let's just call this fide panels, and enable just that one. Go to next, recalculate UV off. We've done that already. Single material, yes. And then again, can set this to I think this makes much difference, but the most important part is this part here, 496. By 4,090 64k. And finish close. So you've got the side panels here. Go back into UV edit mode. Just grab all these polygons in face mode. Create UV mesh layer window yer manager. Right click mesh layer, save texture as PSD. And Yeah, side. And knows. Okay. Now coming back into after effects. Is it there? Let me see. There it is. What's this? Is this a solid color or is it a image? That's just an image, so just to let that. Don't need that. We do need this. So we just need the well, we just need that achy logo, which we can actually grab from our other composition here. It's quite big, big enough? Maybe from the back take it from the back part. It looks bigger there. Yeah. So it just this part here. I'll copy that paste. And I'm going to get rid of all these masks. I just create one mask for this bit here. All right. Let's turn it over. Over there. Just center the pivot point control and anchor point there. Alright, scale it up. We're going to blur it a bit, so that's fine. Just need to make sure that kind of lines up with the the reference image. The positioning, we need to have this incent as well. Actually I haven't done that part. I think did I do that with textures? Oh. I don't quite remember, let me see. Yeah, I just did that with a hype map as well. So Okay, this will be a bit of a displacement map procedure. I think I found a good way to do this. I'm going to go here. Layer fill polygons. There we go. And now I'll just re export this texture. As side panels, U V Bill. Yes, I've just filled in these polygons. And then, hopefully. We Import that into after effects. Yeah, those are all filled in. Let's get rid of the background. And now I can outline this. Create a copy. The auto trace. All right. We just need this one here. The rest. So that's the brown one. So everything apart from that, we can get rid of. Okay. I'm going to press M M and then also change the color. This is going to be the inset part of our height map. So let's just create a fill. Set that to black. And we'll set that to add as well, so we're not worrying about these other plies here. And then just bring this in. Okay. So these rounded edges. So we went to Fast Box blow. B. Yeah, and then just put some levels. Soften the Alpha. Here we go. Maybe a bit more. Yeah. And we could just tweak that to make sure we have the, you know, this part and this part. It's a bit wider on that side. So let's bring it in even more. Just stretch this in. Yeah. And this side as well. 'Cause it's a bit wider at these ends. Let's just bring this in. And measure this if you want and make sure it's all perfect. But to me, that will work. That's fine. I'm just going to copy this layer. Yeah, copy that. And scale -100, flip it over. Bring it down. And align it with this side as well. Bit rough. But I already measured this all out on my other version, so you know. For the sake of this tutorial, I'm eye bardic. Control Shift H. You can get rid of all the details on top, but you can see a bit more clearly what you're doing. Yeah, that's fine. That's good. So that's a map part one. And then we need to add the details. We can just copy these and bring them into the original UV. What's the original UV layout here. Let's not do that. Yeah, so again, let's just trim out the parts that we do want. Just a couple. This one and this one. And then let's grab the main case again. I put it somewhere before. No, I put it here. I put yeah, grab it from there. Make that visible. And yeah, start down here. Let's sat as side. Just trike it in. It's more than 200 s Yeah, about there. And since we know this is pretty much a mirror, a mirrored version of the other. We can just well, patrol shift. Y. Create a knoll. Oops. Copy this. Attach it to the no. And take the knoll, tip it over. That's on this side now. That's pretty much the position that we want. Unparent it from the null and set that back to 200. Live it back where it was. I should be okay. L back a little bit. Hyping. Okay, there's a hype map. Looks all right. Just add one black backgrounds. I'm doing control shift old down to put it all the way to the back. And control old S, save a PA and G. I call it side panels, H Okay. Just make sure that fits. Let put it in a color. Color channel for now, just for reference. Okay. There we go. That's where the bumps going to be. Let's make that a bit more visible. There we go. That's fine. And it's going to stay red. But this is the white parts here. I should have explained this before, but I'm sure you might know a few things about it already. Or you might not, but that's why you're doing this course. But Yeah, the white parts will be kind of out the black parts will be in. So the white parts will be the bumpy parts, and so on. And you'll see what I mean. The next part is something I may have I may need to check. Again, because the top has these red buttons. And the way I've U V it, obviously, means that I'll have to kind of chop out each one individually. Which could take some time, but well, I started it this way. Let's do it. Let's carry on then. Unless I go in two buttons here, my buttons there. U V edit. Maybe they can be one mesh connected delete. Let's get rid of that map. Set this to box projection. Okay. Well, that might be a better job already. Yeah, that's more proportional. So I do love wasting time, don't I? Well I'll probably get rid of that other video that you probably wouldn't even know about because I would have gotten rid of it. So There we go. Let me just this is like from converting to one piece of software to another. Always learning new things in three D. So like I say, I'm trying to keep it all in one program. Normally, I would probably use Maya for this kind of work, but you know. That's what I grew up with Maya. But there's a lot of things you can do in Sema four D that are a lot harder to do in Maya and a lot easier to do in Cane Ma four D. And you can get some really good results with a lot less effort. So you can be more creative. It's more of a creative tool. Great. It's a bit more technical. Let's export that one again. Other sides, you know, that. Let's just make the bigger. Have a rule where I never say that'll do. I mean, I've been saying more and more recently because, you know, I have enough work to know what I can and can't get away with and what is worth and what isn't worth doing. And there's a line between OCD and just you know, getting the job done. A. Yeah. I can paint mode. That one, and then we just want buttons top. Deselect, where are they buttons top. Yeah. Recalculate UV is off. Colors, yet, that's all set to the same setting, so that's fine. Finish, close, go to UV edit mode. Strange processes should just be one export button there is in Myer, but there isn't go to Layer UV mesh, window sorry Layer manager. I Save texture as Okay. So there's a PNG this time. Ah. F my layers. And what was this again? So top buttons buttons. Because it's all the buttons. Back in after effects. Where are I buttons? I go to keep my layers. We told me it wasn't going to, but I didn't listen. Never listen. So try that again. Save as PSD. Fats PSD. And that should keep the layers and we can get rid of that big green backgrounds. All right. Superb. So let's one this one. This on this on this on this one. We have these top ones. Let's do the same trick as we did before, so go top big, put the top big one in. And we need to align this slightly differently. So we know they're going to be the same size. So let's start with proportionally, I mean, this top corner can go there. Put that under the UV mesh layer so we can see. Let's lock that so we don't click it by mistake. So top corner starts here. That's our first button. Right on the corner. And then I'm going to scale it up. I'm going to be very bad. Scaling it up all the way to 348 c. It's terrible. And these times of AI up scaling, I'm going to assume that you have a way to do this and that you can find time to make it perfect. As a workflow. I feel like this course is going to show you. Give you a good head start, at least. Brilliant. That's fine. So let's trim that part out copy it first. No. Well, let's trim that part first. Okay. And then copy. We'll just move the mask to somewhere that we can't see yet. So let's just bring it down. Here, we're going to need to move this. Let's get rid of the mask. Just. Move this to roughly where we want it. We know it's the same size again. See? Don't need to scale it again. I might need to scale it again. But let's just get everything where we want it. First. Okay. And then just trim all those parts and this topic. We don't need that pad controls. The lines there that I missed, but, you know, too fussy. C, I mean, you can if you're trying to find your first job, I would recommend being as fussy as it possibly can. 'cause that's what they want. I've managed to find that medium point of piece between obsessively getting everything and doing what is comfortable. Good for your your mental health. Now, I am just going to isolate these red parts, these red colors. Blue tree. Color. It's a nice color grading tool. B is everything you want. So that all the way to red, that's too much red. That's a contrast. Just trying to isolate this red. There we go us doing something. Blacks all the way down. Yeah. Let's just switch off this mesh layer. There you go. Ps will bless all of me. Well, another way to do it would have just been to linear color key. Try key lights. Key out the red inverts the mat just like a pain. Yeah. Copy that. This one without the key light, and then just track alpha. Alpha mat inverted. There you go. You go. Heap and cheerful. And they'll be pretty small when they get to the actual buttons themselves, so bad if it looks, you know, just type it in. You'll probably do it quicker that way. But you just have to fight a fun. You know, I thought they try to be clever. Didn't work. Anyway, here's one I made previously. And it came out okay there O or less. Alright, Well, let's just keep it this for now, and if it does look bad, then we'll change it or you can change it. Okay. Troll P and G with Alpha. So, buttons, buttons Alpha. Bring it back in to Cinema four D. Check. That's what I can. 22. Create an Anisotropic Texture for the Dials: Okay. It's 1:00 in the morning and I found a bit of time to do the next video. So everyone's asleep, so I'm going to have to be quite quiet. Okay, what I'm going to do next is I'm going to do the texture. What that was, the texture for these dials here. So she's got the one, and that's being duplicated eight times the cloner. So we just need to export this texture, and I'll do that in after effects and create this kind of bumpy ridge. Okay. So b the potly selected. Let's go back into paint mode. Okay, let's import this. Di US Di UV PSD. Get rid of the background. Let's create a black background now because we know we'll need that eventually. And we're just going to create some circles. Lots of tiny circles that will kind of fan out. I'm going to use well, I'm going to start with another solid. I'm going to use the radio waves effect. So re let that play. See it creates these waves automatically. Change the frequency. There you go, bring that up. Change the color to white. We know that's in the center because we made sure that was central. So good thing we did that. Let's make a few more of these. Just make sure it's proportional. It doesn't want to go all the way to the edge because the outside edge is actually straight, so it goes up to about. To a wire frame mood to about this edge here. That's where it stops. All right. We, it's more like this edge. It is pretty much go mostly to the end. Just make sure that matches. Yeah. Let's put it more or less to the end. Save a couple of millimeters. Los that a bit more. If you have it too high, it's going to cause a bit of banding. So yeah. And then, um, make sure. The polygon has enough sides, so it's not like Jagged 12. You know, It's a polygon. So let's make it smoother, one, 28. It's more round, can do even more. As round as possible. Okay? So you might be getting some headaches looking at it now. I know I am. So like I say, if you have it too many, too much detail, you're going to get this kind of funny banding effect. So I'm going to bring it down just a little bit. Just to reduce the chance of that happening. And Okay. I think that will do. So control S. Save this as a PRG call this dial height. Render. And then let's just check that one. Check it out Dial height. Check it fits properly. U viewport again, bring that so there you go. That's cause the. That's where make sure it hasn't done the UVs as well. Yeah. That's where the height map is going to be working. That said. Last thing we need. I'm saying last thing now, but I'm sure there something else will come up as well. But for the minute, the last thing I need is the displacement on the back panels here. Okay. So let's just use the same Same panels we had before. That was our main case. Black ground now needs to actually be gray. So 50% gray, that means it has no effect. White means it goes up. Black means it goes down, gray, 50% gray means it stays where it is. That we'll do it. Do you think we have any other height maps on here? Well, we do we need to do those parts. We'll do that next. We'll do that on the same, so we'll do the insets on the dials here underneath. And the pads and the buttons. LED display. We'll do that next. Now. Okay. Other part, done. 23. Working with Displacement Maps: Next section, we're going to make these insects. These rings here, the place where the buttons go, the LED panel goes, and just around the pads and these buttons as well. So I think let's start with the pads. I'm just going to create I'm just using this as a guide, the same images before to feel that we have sustained and input height parts there. We're just going to do the same thing. With these top bits here. So start with shape to round rectangle. Again, I'll create one and just duplicate it a few times. Hding down shift to make it proportional, though it isn't quite proportional, it's slightly stretched, so work. Rectangle path, change the roundness down, bring the stroke down all the way. So I can see maybe bring it up a little bit. Change the roundness. We should really match the rounds of the mesh. I just this for now. That's okay. Now I'm going to duplicate this. A quick way to do that is using the repeater copies, I guess 14, change the offset. Offset. Same as a cloner and cinema four D. P. Okay. Let's create another just duplicate the repeat of sipping someway. That will be anything again, but we want to get it downwards. We just want to do two or one hang on, possibly one. Keep position x, x to zero, and then bring in the y. That's it. We can re positioning afterwards. Once you bring it back into three D. It. Next, we've got the buttons here. I do these buttons first because they get forgotten easily. So just call actual easily. Let's do the rounded rectangle. Make sure that's unselected. Drag around there. The rectangle settings path. Bring the round this down. Do this round in the actual shape layer, but not in the mask. That's why I'm doing it this way. So a again, repeater. S tpicate this a few times. The looks right. Four. I have a feeling we have an extra layout on you. Bring these into place. One sec. And bring this down. Strike out a little bit to four. Okay, same again, stop. Using the arrow keys, the deposition. Looks like those are the same distance apart. Sooner the same distance apart on the x axis. So you find everything we've we've changed before. 11 on the side and two. Duplicate that repeater. And we want to copy of that three times but going down. So zero plain and why? It's just just that. All right. Next, we got to do these dials here. Att sta in the middle. C down shift, control, and holes shift and control. And just line this up with the circle a di. I let go there. Los fine. Repeater. Again, transform position four matches. Okay. Picpea. One copy is two copies. And bring the y. And just holding that control I can find you positioning. All right. Last thing the LED displays. That's another round the rectangle. Rounding straight down against the sea. Change the size. Okay. Okay. That's all my high ps, I think. E matter too much. Are we exporting this anyway, he's labeling. If you need to come back to it, it's nice to know where everything is. All right. That's okay, provided I haven't forgotten anything. That's my main height match. So export that PNG. I main case. It. All right. Now we've got the height maps in place. We're going to just start setting those up before we do any of the detail on the surface itself, and padding on the surface interventions. We'll start with the height map to make sure they're working and tuned. So I'll do that next. 24. Materials #1 - Dials and Case: Hello again. So for the packs with all my rendering a general, I'm going to be using Octane. Pretty much the same techniques for work in red shift or most of the GPU and renderers. I wouldn't recommend using cinnama four Ds native renderer for displacement as like we're going to be using because they're not really quite tuned up for that yet. The physical renderer is slightly better. If you have red shift or octane, arn I think my mic was off back there. Then you're going to get some good results. Also in Blender, as well, if using. Either just exported to Blender, but I'd rather just stick within Cinema four D for now. And an advocate for Optane because I think it's well, I know how to use it more than Blender. So I feel like it's a lot more creative, especially Cinema four D. You've got a lot lot less faffing, lotless fiddling, and just get results much quicker, and it's a bit more reliable, so not that I work for them. Okay, let's just do a test, render. Let's a good path tracing. Get some basic render settings just so we don't overblow our GPU. I'll come back to these later and explain what I'm doing. Yeah, let's just render that up. Do a quick test. All right. Big white background, low lights in the scene, a big white background. So just for visualization. Well, I'm just, you know, usually helps to start from scratch. This is actually moving into the lighting section, but lighting materials and rendering are usually quite synonymous, so I'm just going to switch off the background. There we go. I've got some light coming from the luminans here, so let's just switch these off. And I'm just going to create a directional light. Yeah. The direct light. So for, like, testing, and visualizing. Okay? Let's save this up. We don't need these modeling planes anymore, so we'll call this materials one. Get rid of these image planes. Get rid of this x. We have that in another version. Anything we don't need to get rid. And I tend to go into cameras perspective for this. So I usually have my camera set up on the main view. And in the second view under here, I usually use that for scanning around if I need to without adjusting the camera. We don't have a camera this time, so you know, I'll leave that as front because I know. You know what I will we can just zoom in and we can adjust things more easily. My That's what we're doing. Got a direct. Got our knobs and panels here. So we need to first get rid of any materials. We don't need to delete unused materials. Those are from the image planes, did that a couple of times. Okay. Just in case you have any mixed materials, which I think. So just in the material editor, Control A, and then materials in octane. Convert materials. I'll convert those two octane materials. A Let's start with this dial here. So I'm just double clicking. Let's just give it a name. Dials. Cats. I click on that to open it. Node editor. That's always in the in the top panel. So we've got the displacement map loaded in. But it's in the color channel when we want it to be in the displacement channel. So. First, let's s change this from die to glossy. It's going to be a slightly shiny material. It's quite shiny there, but we'll adjust that later. Let's go to displacement, drag off from there, and go displacement. Let's unhook the image texture from here and put it into the displacement texture. See, that's done some modeling for us. A bit too much. One might argue. So let's set that to 1.1. We're losing some resolution because the level of detail is set to 26 when our image here is actually 96, so let's bring this level of detail up. Looking better. See getting closer. This is also a float texture. So we're not using this for information, so we don't need this legacy gamma, That's using like linear work flow, which is a whole whole different story. But quick answer is to fix that. Change this to one, we're not adding any extra gamma and set the type a normal. Sorry to float because it's just using that for zeros and ones, basically, instead of colors and RGV values. Okay. As you can see it doesn't actually done very much. Often if you just just that well, especially in the roughness channel. Okay, well, it didn't quite prove my point, but it will come up again. It's at the mid level to not 0.5. See that is doing something that we don't want. But just make sure we have if we zoomed in. Switching off displacement, we should have zero effect on the edges, but just on the parts that we've uh We've got it here, and I remember now, what have I done wrong is I exported this as black and white instead of gray and white. So we want zero effect on everything. No, it needs to be gray and black because it needs to be going in, not coming out. So mdable. All right. So let's fix that. L EDV, change the black background. Control shift, changed that to 50% gray. And this needs to be the radio waves. Set that to black. Maybe make them slightly wider. I do think this might work better as a bob map. I think we use it. I think this is a overkill doing it this way. Cause it's such a minded detail. Let's try with a bob map. So bring this back as side. Set this back to let say white and black. Leport that again. Recall this style Okay. So scratch the whole displacement of that thing, and we'll go with keep it as a, you know, a float value. But we'll bring the dial bump instead. And plug it in. To the bump. Okay. I like that. Try that to zero height. My being very minor. Know what's going on with that. Yeah. Okay. So we've got some bump there. You see what I mean? Looks. We're going to just this a bit more fine with a multiply. So I'll just multiply this Pi a smaller number. So Multiply node drag from the second input. Use a float texture and put that into the bump. So we'll have a bit more, more fine control over the level of the bump. It's kind of distorting a bit too much, but if we bring it down, O here, we can find that sweet spot, whoever it is. I very odd. I think that looks all right that way. Okay, that's copied across to the other ones. Very small detail, but that will show in you know close up shots and when you you know, when the camera or light moves. So set this to black as well. Not quite black. And also, it's very rough. I mean, it's not rough enough, so let's make it slightly more rough. Okay, for now. Well, And next moving on to the main case. This is where we started, wasn't it? So we just finished off the height map for this part. So let's load this material. Again, we want glossy, but keep it died for just for checking. Drag out the displacement. We definitely do want displacement for this one. That to six. And main case height. Right. Just move that out of the way. We've got the height working. Should we set up let's just set up just a basic white light or an HDRI environment. So we can see everything of it clearly the cafe. Just switch that off. Hm. All right. So we've got the information working. Just a bit too high, so let's just bring that down. One sent to me to say, as you can see there's the inset. This needs to be 0.5. And you go that's moving itself down. So let's just say 1 centimeter. This is where it's good to be working in a real world scale because then you can compare that to real world values. Check that's doing something. Here you go. So roughness, some jagged stuff. So let's just add a bit of a filter. Ts. To That's kind of blur the edges slightly. Bring this down a bit more, not 0.5. Okay. That's a bit nicer. And now maybe a bit less. My 1.5. Maybe two that edge is not working. Let's bring these pads back if they actually fit. In theory, we should be able to drag these down, and fit them in these displaced holes. Go. It's good. Yeah. Some parts slightly off, but I'm going to fix that with sky it up a bit. Too much. Let's just do it. X axis 1.1. 2.5. Seems to fit. There you go. And also, yeah, the same things happening here. So we've got the N sets for the dials here. Bring those up. Just a tiny bit. All right. Maybe thorough, let me just stretch it out a bit. There. Cool. 25. LED Display Remodel: Right. So I'm going to change the way I do this LD display, and it will actually make it a bit more accurate when it's done. So Mm. Let's just copy this, put it into a new scene, control control C control, n and n control V. It's just forgetting the proportions, right? Let's just put this in the middle, tools, axis center axis two, and then just zero the out. I'm going to create a tube strain tube? Because this is just going to be eventually a rectangle with a hole in it. So set rotation segments to four. Change the heading the H to 45 degrees. Pressing W to go to world mode. Pressing wild coordinate system. You know what I mean? I should hope so. And then press just make sure we've got. And B height segments, and then just let's just try to match the height of this. C. And then Let's just fit this to the same size. That's the original one. Okay. Just isolate that. Face mode, U L. And let's bring out these Internal edges. I'm going to no normal move mode. Bring them out. So they're going to roughly match on here, this kind of black internal part. Maybe a little bit. Inset there. Okay. Now, edge mode, select, Bevel, O in, say 0.2 had a subdivision. 0.03. 02 was fine. That's the part that's going to be inside. Get fide that one for now. Now, let's just duplicate this. We'll make the outside the glass cover. So let's isolate that. Go to face mode. You write lete. Edge mode, close polygon hole. Well close that one, sts grid. Close the bottom one. Also to grid. And grab all the faces. Isolate off, grab all the faces on the outer. Woo. Move. Normal move, and just drag that out ever so slightly. Okay. Learly there. So we can apply two different materials. All we need to do is add polygon selection to these bottom polygons. Uc. It's everything that's visible? Is that's visible from the top. You see? That work? So select store selection. Call that mission. The rest the rest of it. Let's just do one for that as well. I sorry, deselect and then select again. So it de selects the tag and go store selection. Then we've got a new tag. If you have that selected at the same time, it will just add or replace the selection you've got. So make sure you click away from it before. You add a new polygon selection. Call that glass. And you sure that is, so just that's all going to be one material, anyway. Let's bring that back in. I'm just going to make that a child. Of et's just select all these because I think it's going to mess with it. Select new selection, and then that can be the black plastic. Okay. Object copy paste. Bring it back. And g He I should have used the Babel tool. Now, let's just grab these materials. Go back into I'm gonna do in the mode. Pardon me. It's going to undo. Forever. To start stewing and outside.play. Get to this two materials. Got glass. Let's just drop out there. There. Set it to render. Shift level. I 0.02, I think it was. Okay. And we need to do that everything. Hide the in apart there. I don't know the know we want it. Okay. I think that's just to do with the environment duplicates. Switch off bevel for now. It's going to be internal also. That as it is. Slip these inside edges. Find out a mission. Whenever we put it. Close hole. Bottom first. So it is this one. She that work. Mission. It has selector faces. Drop that normal move out and then put your ppois tag in there. Is that working? Yeah. Don't put the s s that segment get rid of double selection. Right click. Revers nothing overlapping. I still that working. Okay. I know we just need to grab this, bottom pod. Why that again. But there's a quick work around store selection. Yeah, let's just do wrap of this. Okay. So that's outer box, and that's Okay. M to an That's a very handy. We'll call that LAD display copy. And let's paste it back in here. We can keep the position if we just, uh, zero that out. There we go. Get rid of the one. There are often the sides. Let's level that. Sure. I 45 degree. The same as the original. So maybe 0.0. This is the one that had the five Another poly. Another couple of subdivisions. Emission. Get rid of this original one. Hide it. Here we go. Go slightly in just with the same because it might be slightly different. Hi, one for wrapping this in, Texere we go. LED display. There we go. So Procedural drag that in. Cool. Hopefully. Let's check on the octane. Now, let's just grab these materials. Go back into the mode. Just take the T bag out again. It's going to start stewing. So on the out of display, got two materials. Got glass. Let's just drop down there. Set it to render. Okay. Well, I'm just gonna stick out of play idea. We're gonna get of Altogether. Looking how we want it. And grab a polygra a bit. Mmm. We've got a UV map issue. Just check the Shrink it down. Maybe without the bed, we'll see what happens. I think that's just to do with the environment. It's going to be internal also. That as it is for now. Find out a mission poss That's not good. All right, bring it down. Is this one. Everyone. It's enti S. That's underneath out and then put your polygon selection tag in there. All right. Now, is that working? Back into redo mode? No, so just select that that's sub Let's have this selection here. Right click, reverse normals. Still not working. Did I even put the emission in B of the U V again. We have the U V again. But there's a quick work around. U Yeah, let's just do a quick U V rapping tag standard it. And I'm just going to use the transform in octane. I just do. This is why half the time is like the worst UV wrapping things. It takes a long time and it's very kind of uncreative. We just want to do something creative all the time, just want to get it done. There are often the sides, show the 45 degrees. So that's at the bottom the go to be in the side. Now, we just need a sort of black plastic materiion. For the internal part, going to see use the same glossy, that low roughness. Very low. Map as before. Text display. There we go. So the roughs a bit. See how it. Hopefully. Check on the octa There you go. Got something. Let's try fake shadows on here. Common fake shadows. We're getting more detail there. And let's just produce a specular. I just want that to be as dark as possible. Well, I'm just going to stick out of the plate. So I'm going to get rid of that altogether. Grab more rough holy gone. That's rough L to do with the Transmission Too much transmission, too, too much reflection. We're get in the Black part. We've got in a place where we want. Shrink. Let's just go with that for now. Come back to it we need to. As far as techniques go. I mean, you probably just want to probably really figured a better way or re kind of you know, hypothesis the same as me. A big it down. It's a big making a course, and it's just as big as it is to to finish this course. Okay that's underneath. Okay. All right. Now it to red. That's like a blue tint on it. That's. That works for me. Material. Hide fine. T add a bit of a put a blue tint to this. I even put the O. Yeah. Y. Blue equals antagonit times blue is blue. Okay. And I'm just going to use the transforms green. This is why half the time. Si. All right. Wore. Okay, things. Let's pause that for now. Take. It's very kind of. If I do get around to fix that, I'll explain how there's just a few things I would like to tweak. But I just want to do something. For the time being, I'm going to move on to the main case pads again and border material for anything else. Okay Shod in here again. So that's at the bottom there. That's fine. It's going to be inside. Now, we just need a sort of black plastic material. There for the internal part, is there. Glossy, diffuse. Is it that low roughness. Very low. And how's that? That doesn't work. I'm quitting forever. Boost the roughness a bit. See how it looks. That to visible. There you go. Got something there. Let's try fake shadows on here. Common fake shadows. You know, we're getting more detail there. And let's just produce a speculate. Just want that to be as dark as possible. A more rough. Rough. Maybe it's to do it there. Transmission. Too much transmission, too little, too much reflection. We get in the Black part, but not in the place where we want it. Et's just let's just go with that for now. Come back to it with you too. As far as techniques go, I mean, you probably want to you probably ready figured a better way or you've already kind of you know, I just want to move on same as me. It's a big commitment making a course and just as big as it is to finish the course. Yeah. Okay. That's saying that's got like a blue tint on it. That's go to work. That works for me. For eight. Come on. That's fine. Just add a bit of a bit of a blue tint to this. So Malt by by Blue. Equals white times blue is blue. So it was kind of more dewy green. C. All right. All right. I guess this would work. I'm just in my emission material. Taking the diffused value. I think this was to should be, you know, receiving some of the light, but it's not ready, so I'm just going to boost this up a bit. Leyte add a tint of the same color. I'm just to bit there. You know. That looks all right. I'm still getting this glare there. Could be to do with factors. But I think for all intensive purposes, I think that looks good. Okay. Next, Pads. 26. Materials #2 - Surface Imperfections: Okay, I'm not actually going to start with the pads just yet. I'm going to hide those. I'm going to start with the actual detail on the main case because this will define the actual overall color of all the other components. So let's find that material. I open that one up. Node editor. Let's track this out. Let's set this to a glossy material. That's very glossy. He plugged this You know what? We did do an Alpha version of this before, didn't we? I think I might need to redo that because I think we did two versions. The Alpha is what we want, because in this case, U we're going to be overlaying two different materials. So in main case, I'll. Okay. Yeah. So let's start with a mixed material. Materials, create mix. So this will be main case case. Mix and put that on top of this. So we're going to have one material for the actual, you know, the plastic itself, and another material for the text and all the print on top. So let's start by going into the node editor. Mixed materials, put the material that we just had before. Where did I put it? That one. I lost it. That one Let me just find that again. Where did you go? Here it is. This is the main case case. Class. Right. And we can drop that into material one.'s remove the float texture for now. Keep it plugged in, but set it to either one or zero. Set to zero. Sorry, set it to one. This this is the amount, it will mix between each material that we're going to use. If you have it, for example, wow, let me explain. I'll create another material for the text, it's going to be a basic glossy material. Text. Let's just boost the roughness a bit just so we know what we're doing. So bring the text into there. And the float texture, the amount here will blend between the two materials, so we have this white material here, a black material here. So we're basically going to be blending using a texture and that will be the Alpha that we just created. Mince Alpha. Case back to front, so just switch these around. So that goes in there. That goes in there. So let's just bring this back. Where was it? Let's D D. Okay. And we need to tell it that it's an Alpha as well. Okay. So we got all the texts there. Only issue. Well, there's no issue there, yeah. It's all in white, so that's lucky. No issues there. Checking on the back. Yeah. So if this is just as a normal, it's going to create some artifacts there. Did you tell it it's an Alpha? Tell it's an Alpha. She also set the gamut to one just for For safety. And then we got these two different materials. If you look closely, you can actually change color on here and do all sorts with it. So you've got two different material settings happening. I'm going to fix this roughness here because this is quite distracting. I'll just set that to no 0.5 for the minute. Cording I'll shift in the viewport, I'll just hide these buttons as well. Hide the dials. Um, yeah, so that looks better, doesn't it? Yeah. Okay. It's bring the color down. It's a very, very dark black. It would be black, but not quite black. I see. So do 0.001. Specular. Usually best to have that do 0.5. If you look on the real thing, it's not like perfectly this is kind of a ro diffuse to it. Very subtle. It's kind of a diffused shining material. Okay. So let's fix that. If we take in our roughness channel, find noise, octane noise. Plug it in there. We're going to get some variation on the amount of roughness, and it will just kind of add an extra dimension. Hard to see from there, but let's go solo node. It doesn't really work when you use the Yeah, I'll try that again. Yeah. If you Yeah, Well, yeah, with the mixed material ready preview what you're doing. So I'm just going to find that material again, put it on top, go into that material just for previewing. Right click so nodes. And then you can see clearly what that noise is doing. And we can adjust the transform, adjust the scale of it. You know, I think some something subtle like that will probably do the trick. We can actually adjust the amount of noise, sorry, of roughness on each part by using a gradient octane gradient. So then we basically have this is shinier. This is more rough. So we can make it. So it's less shiny. The darker parts. I just a contrast of that you'll see how that looks, you know. But that's much too much contrast, isn't it? Yeah. The main selling point on here will be the fingerprints and the dust, surface and perfections. So let's have a look at that. Let's just get rid of this test material. Another thing, before I move on to the surface perfections. When you use a mixed material, the displacement needs to be in its own channel. So if we find this displacement here, we can just put that to this displacement channel. Remove it from there. You've got these insets there. K. Let's just find the smooth spot. I'm going to disable it for now just for just to make it easier to see. We just keep it fugged in and then go use displacement off. Right. Serbs Imperfections. Right. You might need well, you will need for this Quicksel bridge. You can find this if you type in Quicksall bridge. And I recommend I strongly recommend for any kind of work that you create in a carrot with Quicksall is through epic games. And real engines company. And this basically has a ridiculous amount of free, super high quality, three D scans, and textures and images and materials. And they're all pretty much for free. So this is like, you know, uh, a gold mine for free textures and materials and models as well. We can create a whole environment from all this stuff. Very helpful resource. I already have it installed on my computer just needs to create an account, sign in, works with real Cinema four D. To get it working with Cinema Four, I should explain. You need to go to was it Plug ins. You need to make sure you have the cinema four D plug in downloaded and installed. Export settings. You want to make sure the export target is Cinema four D. If you have problems setting up, then just check out on the website, you'll find some documentation on how to set it up in Cinema 40. And most of the three D packages for Blender, Maya real. So, please take a bit of time to make sure you got that working. It will save you a hell of a lot of time in the long run. Okay. Before you start importing things, in cinnama four D, make sure you have octane renderer enabled because then it will import the materials as octane materials automatically. If you don't, it will import them as like ogeneric. Cinnama four D materials, and it will take a lot of fiddling, just, you know, rewiring everything and converting. So if you have that selected before you import, you're going to save some time. Okay. So if you look here, we've got imperfections. We're looking for dust and fingerprints, really. So There we go. Fingerprint. L et's find a good one. Obviously, it's being used a lot, you know, being tapped with the fingers. We can use this all over the the keys as well, and on the pads. So if we find a couple, kind of represent fingerprints as much as we can. Without being too obvious, obviously. Because I've been used a lot of time, the fingerprints will be quite faded. Something like that's a bit too defined. So let's go with And I think this one looks pretty good. Happens to get the first one as well. Let's just download that. Let's get another one as well while we're here. I think let's try this one as well. I've already got this downloaded, but I'm just going to export that. And if you look at the material, editor. There it is. That's the first one. Just call that Fingerprints one. And then the other one that's finished downloading. See the Export there. And toser. All right. Fingerprints two was the first one I downloaded. Well, I'll tell you what. I'll just change these round just so I can tell which one which order I downloaded them in. So if we open that one up, load editor. Basically, all it is is a roughness lab. And that's all it needs to be. So we can actually just grab the roughness. Forget about the color correction. We're going to use a gradient for that. Copy those. Back in the main case. We just go main case mix. We can delete these that we're not using. Go to the roughness channel. So we have here. We're going to add this to this noise, paste. But again, I'm going to do this as a kind of preview material. So you know what? I will use that one after all. That's not copy in there. So let's copy again, paste. I'm going to put that in directly. And we can see what effect the fingerprints are having. I guess the best the first thing to do is to be to make sure they're about the actual size of real fingerprints. We're working in real world scale. Yeah. And it looks like a quick saw but also working in a real world scale. So it looks like we don't need to adjust that too much. Maybe bring it down a little bit. 0.9. Okay. I disable so though. You can see it's very subtle. I don't But that's the kind of thing you want really. This is never going to be perfect. Take another gradient. I think this is pretty much set up out the box with the best setting. So the way it's scanned, it's already been pre processed. So this is set to Gamma one, set to float. So I mean, you can play around with it. I think Quick actually made sure. That you don't need to do too much to it. If you try reducing that. Yeah. Okay. So that's a nice kind of an uneven effect there. I think that will help sell the realism. If you want that more defined. Just try bringing these in, so you can see it a bit more clearly. Something that's often done, but obviously, it can kind of draw away from the realism. If you overdo it, you really want to try to make it noticeable to show how much work you've done. But often subtlety is key because if you want it to look real, real, real, you know, most of these details are very subtle. Okay. That looks good. Let's try that with displacement switched on. There you go. Some nice kind of used looking. I mean, Yeah, I mean, you could put this into the kind of channel as well. I mean, the fingerprints, the parts that are not fingerprints will be kind of darker, kind of brown almost browny color where the dust has been built up. So let's have a go at doing something with that. I'll put this one back on. Going to the make a copy of these. And well, maybe maybe the need to copy it just put this into a multiplier. Multiply it by color. RG B spectrum. No. Let me drop this into the diffuse. And see if we can flip between these two colors. We might need to We might need to invert it a little bit. So let's have a look at what's it doing. What's it doing? Yeah, we might need some contrast. A few other things. Let's actually use the color correction. Now we're use grain. Using the gradient. So we want the parts with the fingerprints. Ah, This is really tricky, isn't it? Let's bring this all the way up. So you see those parts are going to be dust. The rest is going to be a standard black. So it's a super effect. Yeah, something like that. Bring this way. This is almost like using the levels effect in after effects. That's your blacks, that's your whites. Okay. And the color that we're using, be kind of dark brown. Very faint, practically invisible. We'll see if it works. Yeah. Look there's something. Maybe it too too well defined. You see? Well, there's that. There's a dust, but there's a lot of it. Maybe if we just bring this color. We bring this color down. Yeah, that might do something. It's like something, isn't it? We can even add this to the bump as well. Because the dust would generally be slightly visible. We just reduce the amount of bump by a lot. You see? Dust is a very hard thing to achieve, I have to say. There. For product shots. You generally want to have it look at as clean as possible, but slightly used. So I'm actually going to bring this down a bit more. They're super subtle so it's visible, but not quite visible. Okay. And then with the displacement. Yeah, you want to something. Looks good. Let's bring back the pads, and in the next video, look at those. 27. Materials #3 - Pads: Okay. For the pads, we're going to be using pretty much the same technique as with the main case, but we're going to go for a slightly more rubbery effect. One thing I just did notice on the pads is that we have two separate materials. There's your black part on the top, and then there's another line underneath where the light comes from. So I'm going to fix this really quickly before I do the materials. Go to normal standard mode. Go to polygons or edges actually. Create a plane cut. I'm just going to slice all the way through the middle. Maybe slightly higher. Something I don't like. Yeah, just holding down shift. Just slice it through the middle there, pre center. And then these bottom faces. You can select those tolerant selection on. And um let's select store selection. This will be the. Everything else, Y, D select, select again. Will be Rubber. Okay. Se. V quick. Okay B and obtain. I'll start with the top the top part of the pads. So let's create a glossy material. In fact, I'm m Yeah, Let's create a new material. Let's do it again. Cost material pads, call it. Drop it onto the pads and bring the rubber part there. Just make sure it works. Drop the color down. There you go, see. This is about the same Is going to be the same color as the original case. So I I will do what I said I was going to do before. And then I changed my mind. Delete that. Okay. Don't net that. Okay. So have your main case? Plastic. Duplicate that. Call that pads. Not the mixed material, just the actual sub material there. Drop this. Onto the pads, and then drop in the rubber. See what halfway there already. Looks pretty good already. So I think the only difference is the pads are going to be slightly less slightly more rough than the rest of the main case. So so with the gradient texture with a roughness here. A nice way to do this is to just increase the whole thing. So we don't have any shiny parts. So let's go multiply. Float texture, which is just a number, not a natural texture. Gradient into texture one, that into roughness. See with a lower value, it's going to be more rough one is going to be the same, so maybe with something slightly higher, 1.5. You can go all the way to infinity. It's just going to be pure rough. And you can see the colors are still there. But set that to 1.5. No. 1.5. And you got your pads there. I think it would be good to change the the rotation or the position of the fingerprints here. Just to make sure it's not just it's not obvious that it's the same texture being used. Maybe a bit of rotation on the y. Are you doing anything Do. Yeah. Yeah, we actually need a slightly different scale because, yeah, you ma things differently, so let's but the s to two. Yeah. So be okay. Decent. C beans. Indeed. Let's copy this again. Because it's basically rubber. Copy this for the missive part. Pads and miss. And drop that onto the bottom. This display tag we made before. I think what we'll do, I mean, you could go into doing, you know, subsurface scattering and everything, but I wouldn't I wouldn't do it for something so small. So let's just change the color. We don't need this fingerprint material. Not going to be any fingerprints there in real life with there. B that down there. Okay. There's a Okay. There's some overlap. I don't want to spend too much time on that because that's more something you can you can mess about with yourself. And just getting these details perfect. I think I'm crashing. I think my computer is about to crash. Give it a minute. I really hope I saved it. I really hope I saved it. T is one I saved was. Oh, I should be okay. I think I just saved it, luckily. Luckily, my reflexes are still saving reflexes. So let's just quit that. Always save your work. Close this down, save memory. Look at these. While we're waiting. Wow. It's an incredible freaking three scans. Is points. I don't know what that means, but you can easily just get everything for free. It's all there. Great for making the environments, kit ashes and things. P Pi. Okay. Showing you what you can achieve with very little efforts. Okay. That was I materials one Key. I have to redo anything. Yeah. I did this bit. All right. So, yeah, there's still overlap. Perhaps sees are a bit too big. Well, that's fixed it. Okay. Okay, that was fixer for now. And if you do you're measuring correctly, then you won't have this issue. Okay. Yeah. Like on this part, if you want to add on the emission material. You have these little red lights coming out the side. This won you can't use emission on the glossy texture. But let's use universal because this will. Whatever you want. There we go. It's much too high. Set that one set this two plugging the spectrum, kind of red color. Okay. Very faint, very subtle. Maybe even lower p five. So you're still getting some of that rubber, maybe not point point. Say not p 5.35 0.5. Let's call. I think what should we do next keys or buttons. I'll let you know in a 28. Materials #4 - Buttons: Okay. So when we're on the subject of emissive materials. I think I'd actually like to do the buttons next, which is all of these. Got these all on one. This is going to be the same material, more or less slightly smoother version of the main material, the main case. Let's take that. Call this button. So the pads were rough, This is going to be less rough. L et's just open this one up. So we have this material, where we want it. So just going to copy that from the original test material. Drop that into button. Yeah. No No we know where it's going to be. Okay. Let's drop this on to the buttons. Not going to see much. Let's just test out, make sure it's where we want it to be. Everything's in line. Yeah. Super. Well, you might say, Oh, that's fine. I'll do. But we want some kind of admission there as well. Since this is a solid texture, we're going to need to do a similar technique to the way we did the main case. So I'm going to copy the main case mix. Save having to go there. We'll call this button. Mix. Drop well. Not going to drop it just yet. I this where we can visualize what we're doing. First, I already told you I was going to make sure this was a slightly smoother. So let's just multiply this. We're going to multiply this by a lower number. Super subtle, maybe even 0.5 or work. And there you go. Looks right. We can even bring them down. So it's not so obvious that we have these height maps. I could even just model these down on the side. I tried my front view on my side view, was it? Yeah. All of those. Just take these bottom vertices. So it's not so obvious that it's sticking out with the displacement map. And then we go it's a bit more Refined that all of them? No, no, it hasn't. As these as well. C. I should have. Yeah. Just drag them in. Okay. Cutch your mean button material. Just going to offset the yeah. Just make sure the The scale is good as well. So you can see that's a bit. Those are not real fingerprint sizes, are they? So it's being up even more. Two again two. Cool. X. Emission soap. Now we could look at this emissive material. So button mix. We can drop that there now. Nod layer. But we still got the displacement from the other one, which we don't need. This text material we're going to replace. Let's create a new material, just to die and call that button emission. Back of the button mix. Could do it here as well, right in the vision. We still have some other got the main case plastic here, but we want the button plastic there. So we'll drop that in there. That cleaned up. What what's up with that. Organize this, getting a bit messy. Also arrange everything. I'll remove everything I don't need. Set that full view. Don't need this. Don't need this. No. Don't need that. I do. Don't need that. Maybe I do. No, I don't. Also arrange those again. Okay material one. I just I just got rid of. So drop that back in to there. Let's go again. There's the button emission. Let's just sable diffuse emission. Black body emission. Let's pick on the tab. Create a RGB spectrum, it's just a color, and then give it a red, just this later. Set this on the e emission to two. And last thing we need to do ease. I guess that wouldn't need this roughness. That's our fingerprint texture, which has somehow made its way to there. I should be and should be in here. Multiply head it multiplied to 0.5, remember? P texture 0.5. Drop that in. Phm. We don't need, maybe we do. Maybe we don't. We don't need this. This is going to be like a, you know, the amount. So just unplug that. And we're going to do the amount with So that's on zero. That's on one. So the emission parts are going to be defined using the texture that we're about to make in after effects. We were about to edit because we already made it before. It's in buttons, buttons two. It's just this one, basically, but we just want the Alpha, so get rid of the background. It's all there. But color is not too important when we're looking at Alpha channels. Because it would ignore the color. I'll just read the Alpha part. So I'll call this buttons Alpha. Save it. Back in here, amount, drag off from there, image texture. Buttons Alpha. And then set that to one. So that to float. Set that to Alpha. There you go. Now we can adjust the brightness of this emission with this slider here. So that gives it a bit more control. So switch off F. Switch on. There we go. That's a nice little technique. Check it works on both of them. There we go. Yeah, if you. That will do. C. This this pitch bend, Joystick is as grief, so I'm going to fix that next. 29. Materials #5 - Pitch Bend Stick: Okay. So the pitch bend, gray a new material. I just discovered that the outer part is plastic and the actual inside part. This part here is more rubber. The outside part here is actually plastic. The same as as the buttons or the main case. I think maybe the main case. I guess the buttons would be the same kind of material. So let's start with the buttons. We're going to do this with let's start with the plastic. I'm going to use selection groups for this. So let's call this joy stick plast And then all I need to do there is a the material. I sell it kind of rubbery. So we can just boost the Yeah, we can boost the roughness on there. Yeah, keep that as one, so it's more of the same as the main case. Set this to reds reds. Mt is more or less the same type of reds as maybe the real thing. Well, at least as the same as these sides. That's the finer red here. We can just pick it from the original picture. Yeah. Let's use this image here. We'll just pick it from one of the high points. We'll get the correct hue. We might need to adjust brightness. So trying to find a quite a light point there. There you go. Um, and maybe just make it. Just lost it. Bring bring it back. Out there. We'll call that the color the red shading that we're going to use. That's a plastic part. Back in the details. Let's just copy this, call it Joy sick rubber. Grab these top bodies. Selection. Y. And then select store selection. Joystick rubber on top and put the new selection into there. Rubber. R J Joy stick. And now, we just need to make this slightly more shiny. It's not even noticeable. You'd probably hate me for doing this kind of level of OCD, but that seems not to have even copied. I changed the name afterwards. Put that in here instead. How is that working? There we go. Okay, in the roughness, make it more shiny. There you go. You've got that kind of rubber. Rubber, look in the middle. Cool. Last thing. Well, two things. Black plastic. We can use for this, the same as before for the stick there. I'll just make another selection. I'm just going to U, select those U Y. Make sure I've got d of that. Select. Make sure you have the other one unselected. Again, store selection stick. And then we'll just use the same plastic as it. Um, there's the buttons, I think. Stick. And we go, there's a plastic on there. And the ultimate final thing. I'm going to there's actually a felt. This little ring here is made of a kind of felt material. So I'm seeing some artifacts there on the edges, but I'll fix those in a minute. F fix those a little later. Let's just isolate this tube here for now, call it felt. And being me, let's going into pixel Ma scans. Let's use the plush carpet and we'll just adjust it. Two K res down the felt. How does it look. Look like anything. Okay. Cote complete overkill for something so tiny. That is how we roll. To arrange displacement down to something we're a two K, and so an 0.1, for example. Let's see how that. Works. Come on. While we're here. Yeah, let's set this to a black. 0.01. And now we're going to create some barely noticeable details. No doubt. I don't even need or that or that. I just do that as a black any displacement, any transmission. Yeah, that will do it. Okay. O was for me. That's fine. You see? You go to stare too much at that. Back in the main case, we're seeing some artifacts there, which I said I would fix. So I will. I'll try. So that's going me from the displacement. Okay. Displacement map. That's just some reflective thing if it wasn't even really the displacement map. Should be fine. Just track this up a bit. All right. We've done the dials. I'll just have a quick look at these first. They look about, right? I make sure they're the same color. Yeah, they look fine. They could be a bit wider at the top, a bit wider in general. Soft select, enabled. We have the display tags. That's 'cause you have the clearer on. A T that lower 0.5 d in. That's a one still and clear and enabled. Yeah. I think that did it, really? A bit less. Yeah. That was fine. Right. Yeah, that looks good to me. The final part of the first final part. I'd like to move on to the keys next. So I'll do that in a minute. 30. Materials #6 - The Keys: Okay. Again, for the keys, we're going to use we're going to use the same as the button material, but we're going to make it more shiny, much more smooth. But we're going to keep these fingerprints on as well. So duplicate the button. Call it white keys. Drop that on to the white keys, disable the black keys for now. What color are they going to be? White. Roughness, multiply flat texture, bring it up. We might need to adjust the the surface imperfections on here as well. Be they're going to be more uh. Let's just do this straight into the roughness here. So that roughness. All right. So the white point is going to be it's going to be the opposite way around, that's seeing so gradient. The white point is going to be lower. Black point. It's going to cover more. So if we bring that down or even bring this up Then we want to make sure we've got more on the dark side. But with enough. I think if we invert these, then we'll get bit more. Scale wise, I think maybe that's a bit too wide. Said that to the original 1.51 0.5. And I think this needs to be the black part needs to be less slightly less black. Be 25%. Just say well, look, see if we can figure out what's happening. Because these keys are so bright, it's really difficult to see the effect that the roughness is having on them. I can see if I turn it down. So what I will do actually is, I'll do the black keys. I'm just going to call this black keys. It's easier to see. Bies. I just set this to back. Instead, for easier visualization. Yeah, you can see the differences is pretty much too high. Yeah. I say that's too shiny. Try inverting that again. Gradient down a bit more. Let's just do it by y. We want more on the shiny. The shiny needs to be slightly less shiny. So 15 even. How does it right just get a rough a rough feel Roughness to I think we could probably get away with using I'm going to delete that. Use the button. Yeah. Black keys. Any texture in there? Just this fingerprint. Down the back ies. It good to go. And I'll do. Um, just check the scale again. Is that. 11.251 0.5. Yeah. Okay. I'll try this again with the white keys. Because they are smoo No much smoother. Another tip quick tip here. Got a fall off to the diffuse. You can help it define and make the color slightly more visible. This will create a fall off depending on what angle you're looking at it from. Anal effect. I remember which which way around it is. Yeah. A maybe two. Makes a slight amount of difference. It really helps to define it. Helps it pop. Yeah. And I do think those keys on top. Just check the texture on here again. Yeah, that's okay. The black keys. Let's just right click node, editor. And boost that to. Something lower. Yeah. Okay. Cool. Last thing I can see, apart from some of the minor minded details. At least side parts here that we haven't done yet. So I'll do that now. Next video. 31. Materials #7 - Side Panels: Okay, we need a red material for the side panels. We've already created a red material for the joystick plastic, and that's a color that we want to, so let's duplicate that. Side plastic. Drop that on to side panels. Already halfway there. It's a bit of a over there that I didn't notice before, but I will fix that soon. I'll fix that now. I've done it. I'll fix it now. Um this one here. So, turn off soft select. Grab these. I'll be careful. I don't want to do it too much because I will mess with the the UVs. That's not what I want. Bing up a bit more. Yeah, for visualization. Is. Strike that up a bit as well. Sculpting, whittling, as usual. There we go. Let's fix that part. Now we need to bring this height map that we made earlier to the side panel material. No. I'm to use a displacer this time, Displace bring the text, show how it works. What was it called Side panels height. That's very messy. So let's start with setting this to afloat. Set the level of detail four K. It's going to mess with it a lot, set the heights of one. Mid level, 0.5, I guess, and let's just try messing with these parameters, 0.1. We're getting some overlapping. Well, this will happen sometimes, especially with displacement of maps. That that's to do with the y Epsilon. I ask me what it does. But if you mess around with this setting here, usually fixes it. We've got something going on here. Maybe a bit less po one artifacting at the top. Let's try a filter. Gosen I'll just help it fit together. Why let's do that. It might be to do with the normals. So. Yeah, that has to do with the normals. Anything now is, I think the top normals are pointing a different direction to the side normals. Well, they're all the same, but I think the way it's working It's kind of back to fern. Let me check the other side. That's how I want it here. The side works, okay. No artifacts or we can reach this even more. Perhaps we only need to apply this to the front surface. Maybe that will help. Just the Yeah, let's try applying the displacement. So we'll create end of the material. But first, we'll select this front surface. I'm going to go font brake selection. Say anything under 2020 degrees. It will select and select store selection. And we're going to copy this material. Sides And add that polygon selection. Actually, I'm going to call that something. Logo. So the logo will be like that. And then we're just going to remove the displacement from the rest. You can see. So there goo, it's not having any effect on the top, but on the sides, just on the faces that were selected. It's pretty much closer to doing what we want. Maybe a bit a bit less displacement 0.05. I'll keep it out one. I see 0.1 0.75. Point. The second five. And I think we need this filter so badly anymore. We have it before too. That's a one. Okay. That's nice. Other sides. Do the same thing. Just select this front panel already selected there. And select store selection. Or maybe we don't need to do that. Maybe we. Yes, we do. Yeah. So we'll just call this logo and duplicate the displays, and then drop this in this selection into there. You codings. Wow. Look at that. No, I just want to say it, it's finished. Now, I'll upload it to Sketch fab. Sell it. Upload it to C Z trader, whatever. A couple of more things. We go to make a couple of the final touches before we do that. But you see this? It looks a bit a bit too dusty here. So I'll fix that first. Um I'm going to just add a kind of metallic material to the sustained USB input. So materials. I use a metallic. I'm not sure how to use this one. It's easy to use the universal, but this is its own charms as well. So I just call it metal. And apply that to the tube and this tube here. I call this being to the subdivider, and also to this call USB. And the metal objects, it looks okay, a bit too shiny. We can change the actual metal well, the specular map. That's basically metallic channel. Don't know why it's called specular map there. It would be easier and intuitive if it was just called metalic just ping up the roughness slightly. Because if you're looking at a universal, it's the same thing, but it's just called metallic. It's a speculum there. So not sure why. It doesn't see metallic there. But if you ever get confused, that's exactly the same thing. Okay. And you can even change some of these if I can think if you want to, for whatever reason. So nice different colored metals for whatever. Different armors you're working on and things. Okay. I'm not going to worry about this whole because That's fixable. I just don't really want to fix it right now. Let me just check something. We've got this here. Well, another thing I would do while we're on the topic of details and being professional and everything. Well, first bring this up, make sure this matches a whole properly. We should have the text there as well. Yes. These inner parts here possibly could be distracting on all of them. Well, that one I want it to be there. But I'm going to keep it as it is. Just delete those faces on. Add I'm going to leave it for now. You can just trim a hole. Like, I'm just gonna do it this way. Boolean. I'm gonna use a Boolean forbidden tool. Sometimes you just want to get the job done. Just put that to. Okay. Somewhere like that. I'm going to trim a hole like this. Two. P the bui down there. There go hole. Happy now. In Cinema four D, I believe it. There's a better job of Yeah, creating the right topology. So it has new edges, but they're just not being shown. Okay. Yeah. Cool. I do. Mm hm. Looks pretty good. You couldn't tell me that that wasn't an chai PK mini. Next video. We'll be coming back to make some refinements and to also check out our ner settings and everything. Looks really enough, doesn't it? Come on. I'll see it a bit. 32. Materials #8 - Input Ports: Okay, I just sort of a quick work around that we'll fix this thing here. It doesn't really look that great, does it? So I'm going to get rid of this Boolean the cylinder. Don't need that in the end. I'm going to take this main case material. I'm going to find it. Copy that. I call it. D S B, I'm going to call it input. Mix, put that back here. I'm going to grab the edges that I want these faces. S store selection, and then just call that input. Put that into the new material that I just made. And the find my displacement. Let's boost it. There you go. I'll do. Cool. We've got this metallic material on the inner part here that I didn't notice before. So let's fix that as well while we're here. Wire frame grab this edge. Those parts. Select the store selection. We want to kind of rough plastic material. I'll just create a new one. Shall I? Is it worth a new material? I think I can use the buttons for that. Yeah I'll just drop that in there. Boom, boom, boom. No. Boom. Okay. Quiet. While I did wrong. Sit there, and we want it to be. All right. What I'll do is connecting deletes. I USB. Do that again. Y. The stuff at the top. Y. Select store selection. Cut the buttons again and just drop. That. There. Curious. Yeah, that's it. Super. Even bring this displacement down a little bit more. Not really necessary, but I'll do that'll work. Cool. Next, I'm just going to refine the fingerprints on here. Look good at one point. But I think maybe without the color. I don't think we need the color on there. It's just kind of distracting. So no editor. U Let's get rid of that diffuse. There you go. Is it coming up on here? Yeah, same in I guess it's go to do the same thing. Because it's the same material. Okay. Okay. It's kind of reflective, not too reflective. Can we say that's done? I think I might call that done. Oh. Alright, I'm going to have something to eat before I do the lighting. You might think the lighting looks perfect as it is, I do as well. I think HDRI maps. There's no problem with them. It's the most realistic lighting you really can get. I feel like there's something in the CG industry where people want to make sure that they're using photography skills, but let's go over some lighting skills while we're here in the next lesson. Okay. 33. Product Lighting for Ecommerce / Lifestyle : Alright. Okay, for the lighting, let's start with the lighting. Yeah. You might think that looks pretty good. It does look pretty good. You know, I can't go wrong with HDRIs. But I'm going to start from nothing. Complete apart from the emission from the buttons. So I'm going to do this as a silo render. This will be like a completely white background. Just to make, you know, just so that you can see as much detail as possible without drawing attention away from the product itself. And I guess this is kind of a product render that we're going for. So I'm going to start with a ground plane. Create a plane. Make sure it's underneath. The model. Let's just grab the whole thing and put it into a knoll, so PK. Sorry door is the winds get in my door 1 minute. Lights. Try again, MPG. Just drop everything in there apart from this apart from the plane. Collapse that. And then we can just track this up to make sure it's at ground zero. I'm not going to bother with the bottom. That's for another time and another time and place. Okay. Let's create a camera. Objects camera. And that will lock to wherever you have it when you create it in the perspective of you. Watch led do first. I think I'm going to use like a kind of commercial lighting technique, which is just basically 22 big lights on each side, so one octane area light. Yeah, for lighting, I tend to use this view. And it's always facing in the direction of the blue, the z axis. So if we turn it around, 90 degrees, shrink it down, stretch it up. Good. Let's make this a bit less intense. It's a bit hot. Say 50 for now. I'm going to copy this. We move it to the other sides and rotate it. I mean that looks like something, does it not? Let's reduce these together, say 25. It's quite sensitive this power bar, this power setting on the on the lights on the area lights. I think we could set to the plane for now. Maybe leave it there. I'm going to create one all for the back for the rim light. Or down control. I'll explain this in a second if we put this behind it. We can use this to kind of show off this outer edge. That down a bit. Bring these down, maybe to ten. I call that. This one L for left. That one rim for rim. Uh huh. Let's bring up the resolution 1080 by 19 2010 eightP. Right. I think one of these could be a bit higher. Perhaps both. And there we go. I want this to be raised because what I'm going to do is add a shadow capture. So let's do that. New material. Add that to the plane. Common shadow capture. What that will do is when you flip to Alpha channel, Alpha Mage. If you have the plane off, it will render everything apart from, you know, that which is not really there, like the lights and everything. If you have this plane with a shadow catcher, it will keep the shadow information. To make sure the shadows are the right color, go to texture, environment, set this to visible and set this to black. I'll make sure the shadows don't come out kind of like a white color. For visualizing. We're going to export this with the Alpha to After Effects, but for visualizing in cinema four D, we can go to background, create a background. We need to create a cinema four D material, put that onto the background. And it's funny the way it works here. I mean, you can't just use a color like that. If you go to the luminous channel, and well, you should be able to change the color there, but you can't, for some reason, so go to texture color and add to whites. No, it's not in there, is it? It's in the color channel. Copy that shade color. There you go. That's all it is? Yes, I I got the luminans. That's overthinking. And now when you have the alpha when you actually render it, it won't render the background, but you can see how it will look with the white background. So Yeah. Okay. Let's just to this rim light of it. Make sure that edge is quite it's a bit more well defined. Let's make it invisible opacity to zero. And's out. That's, I think see. Yeah. Let's sprig it back a bit and up and curve it down. What do you think of that? And if these keys are a bit too dark, compared to the rest of the keyboard. Just bring that up a notch to a 0.5. Apps if we do this. Sort tune it. P five, 0.01. Your basic silo render. I don't like the way these are kind of bouncing off each other. So I think I'm going to move more towards a three point lighting setup. So I don't like the way these double shadows are working on the keys. So I'm going to create a animation right click on the light at a target. Create a knoll, which will be right in the center, and then target that object to the knoll. So it'll be pointed at that all the time. And I'll add this to the left side as well. And I'll bring this a bit more forwards. Maybe forward isn't right. Maybe the left needs to be more around the back. Maybe more even more forward here. Let's just experiment with this until we get something that looks good. That's a bit more subtle on the keys. And we could really see the shape of the keys and see the reflectivity there. It's coming not quite from the camera, but slightly to the left of the camera. And we have this one bringing out some of the binder details, the right hand lights. I can even reduce that. I set that to one. Maybe five, to clean up those shadows. And I think I'd like to put one on top as well. So just holding down control to duplicate that. And then we can bring out some of the detail on top as well. So just call that top. Yeah. If we want two, we can add some I think that's a bit too much on the top. We can't see any shadows there now. This one, shadows are, you know, I don't think it wants most commercial products don't really want too many shadows. You know, I just want to be able to see all the contours, all the details of the product itself. And I think that's why we have these filler lights here as well. Let's say that to one, maybe. Just to fill out those shadows a little bit. If you want to do something more moody, I'll show you a quick technique. I guess this would work for Amazon or putting our turbos quid, for example. E coors. This is called a silo render, you know. But if you want to do something more artistic, a bit more dangerous, Let's Let's do another setup as well, while we're here. Call this lighting two. I'll delete all these lights apart from one. L et's change this to, like, a black color, a background, which means we won't need. Yeah, we're going into darker territory here. We won't need the shadow catcher so much. Let's bring this up. L et's put this on the side all the way to the side. There you go. We can have this almost acting like a sunlight or like Maybe it's coming through like a window, you know, It's kind of casting its light directly on there. So I mean, I could actually just create a window. So let's do that. Just create a plane. Make sure it's fac in the right direction, set that to say 22, 133. And trink it a bit more. So it just could be one light illuminating the whole thing. Press C, and we can delete this middle face. Let's make that whole even smaller. U L. Trink it down. And I guess this wants to be like a dark material just to absorb any light that we don't want. So It's all pretty much subjective lighting is. You get some standard commercial lighting setups. How's that looking? Put it off. Put it on with see if it's working. Yeah, let's work. Another thing we can do is to add some kind of volumetric lighting, so some kind of god raise. I'll show you how to do that. Go to post processing. I cly what's in the latest version of octane, but you have a light beam effect. We can enable use analytics. And do analytic parameters use in post volume. Then we're getting this y, kind of getting a dray effect, and we can reduce the density of this light, we can reduce the fog distance. I'm going to disable shallow capture, see if that does something there we go. And I'll keep that kind of black. We're getting a lot of fog in there. So I would just recommend to play with those until it kind of does what you want it. It's a nice little feature because you don't have to worry about red the time so much in there. Another way to do the same thing. An older way. If you go to ometric spot light. You can basically let's just set that 90 degrees. Drag it up. Bring it from this angle. Let's have this coming through the window. You see? It's doing something there, isn't it? That's using the scattering medium, which is using a fog volume, which can be a bit problematic and octane, which is probably much why they added this new feature. And with a bit of tinkering, I'm going to just keep this one to normal for now. I'm going to add another lights. Which is where I'll get the the volumes from. Let's just make the smaller. Let's get these god rays from here, analytics, post volume. And let's see if we can get there. We get something there. Okay. Maybe it's coming from the opposite direction. It would be coming from the window, I guess. So let's try keep it from the window. Smaller and maybe brighter. Spread angle, maybe thinner, just check for testing. See lots you can do with this. Okay. There's a fall off. Oh. You've already got something happening there that was kind of create a blue light as well. Orange light. There you go. It's good. We can try and retain some of the details by adding another light on the other side. It's just copy copy paste this one. And I guess it would be more ambient, so quite big and very low, like one, maybe. Just to pick up some of the shadows. And it couldn't hurt to have another rim light just for showing off the top side there the back top there. There you go. Cool s right, isn't it? Be say there's lots you can do with this. And that looks pretty good. You can even add, like, some details to the floor. So let's just add, like, well, we find something in Quicksil for example, in bridge. I mean, what would work for a keyboard, what would kind of make sense? Maybe some bricks, some solid, like some stone, maybe some gravel. Got gravel? Gravel. Move fabric. But I think keyboards are like street, you know, urban. I think some cracked concrete would work pretty well. Make sense. Four K download. Go eight K if you want, but I take longer to render and to download. Let's try that. We can adjust the colors and everything afterwards. There you go. Let's kind of play with the transform on there. Let's just make sure that displacements working. I's on 256, but it needs to be on four K. We said that's a 0.5. It's got something going on there. Maybe a bit less or a bit more on the height. Less on the 0.1. Depends on. Yeah, that's a bit too much because it's repeating there, so maybe even 50 in the height. See what that does? No too much. I think ten was about right. And we can just the color of the concrete as well. We change the game to like 0.5. Saturation as well, even. Maybe keep that gain to 0.1. Maybe gain at one. Oh, yeah, gain at 0.1. And we've got something a bit more gritty there. Can move this. Here you go. Kind of call. Ten. We can even add some extra props and stuff. So it's nice to have a few Maybe a couple of cinder blocks in the background. So what have we got? Building blocks. Oh be do b bricks. Could that be? No that one. I think I already got one before. Let's just try three d assets. Just some of the things I've been playing with. Yeah, let's just check a couple of. Check a couple of fools. Concrete bricks. There we go. C. Let's make sure the materials are okay. Sometimes displacement is disabled, so it doesn't crash your system when you import it. Is a. B 0.5. Maybe shrink it a bit, bring it out. So little things that help sell, whatever you're trying to achieve. I guess we're kind of doing a product render as well. It wasn't quite what I set out to do on this course, but you're getting a bit more for your money here, I guess. I do have another product rendering course, if you want to have a look for actual rendering beauty products and plastic bottles, that kind of thing. Quite in demand in the industry. Neat. Well, that's cool. I think that looks good. We can even just place the keyboard itself on a couple of these blocks. I'll look good watch. Maybe have them to the side like that. Then we could just drop this. I might even use this. The title image. Bring that up. Here. You see what I mean? Looks alright, isn't it? I think the blocks are too small, though. Let's set them to the size they were supposed to be when they came in. And, uh, Well, I can't quite tell if that is scale or not. But I think it definitely helps add a bit of attitude to this keyboard, which is a great keyboard for, you know, making electronic music. I'm going to try a different floor material because 'cause I'm not sure about that. In the end. Uh surface is asphalts, or maybe a darker, a naturally darker one. I think. Let's think we're in skate park or something. Let's try that one. Sometimes less is more. And where are we? It waiting for that. Then drop it onto the plane again. Yeah. Good. 2096. Get all that detail. That's I think that's more what I was going for. And bring down the transform of it. It's pretty nice. Less of the displace. Probably bring it transform down even more. Just until it starts repeating and it started repeating there, I think. That's it. F25. I think that looks good. Maybe a bit darker. C. As you can see you're getting the detail of the all the keyboards. Bring it up a bit more. Just make sure it's all balanced. And another quick thing you can try camera a come back a couple of steps. With a camera imager on your octane camera, switch this on. You can try some LUTs that are built into octane just to give it a bit more. A bit more punch. I think I've already quite like it as it is, though. C try it just in the gamma. It's always good to put the high compression. Yeah. Do that look right? And then if you want to bring up the up the hole, you know. If it looks too dark overall, just boost the exposure, some It looks pretty good. Maybe a a bit of depth of field. Yeah, turn off to focus. I your focal point there. And when you change that aperture. It will basically focus on the position that you click on. So I think here, the aperture is quite high. This is a really easy way to do. Dep to field, maybe a bit lower and set the aspect ratio to two, you get some kind of a bit of a funky look. Cool. Yeah. I'm kind of happy with that. They got his silo render. And now you've got your more dramatic cinematic render, kind of thing that might sell the product itself. And yeah, so there you go, there's lighting, materials done. Next video, I'll move on to the render settings, and we're really getting to the end now. So I hope it's be. I hope it's still with me. All right. 34. Best Render Settings for Product Shots: Okay, render settings, right? We want to create maybe let's just do one static render. We have everything set up. We have the camera imager, we have the motion blur, we have the post processing. We can even add a bit of bloom, maybe I think tends to usually a good amount, but I don't think it needs at this time. If you wanted to well, okay, if you want to fast render, I recommend using the spectral AI D noiser. I is good for animation, and if you want to get a lot of images done in the small amount of time, this will clean up any artifacts and things. I'll show you a little bit more detail in a second. Well, first, let's go to the render settings. Edit render settings control D. Make sure you have depends on what platform you're going for as well, this does. So, you know, I'm going to say, I'll do this for Instagram. So I'll set this to 1080 pixels. As you can see, sometimes if you were just the aspect ratio, you can lose the original position that you've had, but there's a tool for that where you can zoom in without messing things up too much, and that is the film Zoom. Have to wait for a minute because I'm not really sure exactly where it is. Film zoom. Keep the focal length of your camera. Keep the focal length, proportional to the distance, which means you can zoom in and it will look exactly the same as when it was further out. I think this does need to have a slightly higher focal length anyway. And then we can just bring the camera out. To the left of b. There we go. Let's call. And then we can just readjust the vocal legs from there. So the depth of field. Maybe lower it slightly. 25. Nice. Another thing for framing your camera. This is kind of rendering, but it's all kind of the finishing touches that we're looking at here. If if you click on this grid, like that. Let's just hide one of these lights, that gets in the way. Well, Okay. Well, there we go. You can see you have a grid of thirds here, which is a good rough guide for setting up your camera. Of thirds. There you go. Ick here in the middle. Your focal length right. And then what's next? The actual render settings. I mean, for Instagram 1080 will work fine. I usually go for 1920. It takes a bit longer, but you get a lot more detail from the render with F unchecked you know, you can zoom out. If you click in the render window. Let's go to the red the settings then. So at the moment, I have it set to 1,000 samples. GI clap comes in by default at like 1 million. But I would just recommend to set that to ten or even one. But ten seems to be a good number because it's just using more information than it needs to. Specular depths. There's only two levels of specular there, so even with two, you might be okay. Let's just set a eight anyway, by default. Ray Epsilon, that was if you're having artifact problems with your specular or your displacement maps, and we fixed that before. The main things you really want to look at, then things I tend to look at. Well, in this case, switch off the per channel. Don't need that. The main things you need to look at are the maximum samples, that will define the quality, but also how long it will take to render. And Pretty much your screen size. You can try with adaptive sampling. I don't find it makes a lot of difference personally. Yeah. I look again with the camera image might be able to get this nice. You could try with different LUTs in posts as well in after effects or Photoshop or ever you take it. But yeah, if you want to do a quick render, I'd set this to say 500 and then enable the spectral A ID. I'll take, you know, five, 10 minutes. Well, that's for a two K image. For this tutorial, keep at one k. I can show you a bit quicker. At what I'm doing. See it's boosted the render time a lot, just half in the size of off the image. Can you even try things like changing the camera rotation. Is you can do with that. Keep it here because I'm not feeling that adventurous. So anyway, my basic camera render settings would be set this to say 15 or even 1,000. Any more than that kind of pushing it to more than you go to notice, but I'll set it to 2000. This is a small image and it won't take long to do. And then, just find somewhere to save it. About current frame. That's one frame. The rest is for animation, so that's another tutorial. I usually do it as PNG. You can try EXR, if you want, but for this, I don't think there's much 0.16 bit per channel, find somewhe to save it. Nda render folder. I'm going to call this cinematic one. And then I'm going to add this to the render can handy feature. We working. B. And while we're here, I'm going to save these render settings. Save this as a preset or I can just call it AI. And then going back to the other scene that I just had up, Silo Render. I'd like to do this, as well. So we're going to have two renders running at the same time or one after the other. U This could be a square as well. But it just quite batter because I'm going to be compositing that anyway. Post. Let's see. We'll keep the same render settings, 1,000, size, 1080, give it a name. PNG. We do want the Alpha channel. When you're doing the Alpha channel, make sure you have it selected in the octane render settings, and you'll cinema four D render settings, 16 bit per channel. In a folder, call this silo Alpha. And then thousand speculate that is far too high to eight used to eight to 12. Everything else would get the same. 2000 again. We can effectively disable the background. That's just for a guide. I don't think it will render, but just to be safe. I had to render Q. Yeah, safe. And then let's let these render then. Take about 10 minutes. Okay. See in a bit. Well, we'll come back a bit later for some post processing and compositing in after effects. Okay. 35. Post Processing & Colour Grading: Right. Renders are done. First took about 9 minutes. The Alpha version took about 3 minutes. So it's time to bring these into after effects. For some post work. Just bring them both in at once. T the cinematic one. I'm going to close cinema four D because it doesn't always like it. Just open that up again. Something to do with the GPU renderer working, and it just hogs, called a video am. So just give it a second. I believe I will edit this part out it has taken longer than usual. What's it doing? Come on. It's all there. That was all gone. Alright. Come on. Here we go. Come on. All right. Let's just import those two renders that we've finished. Looking at the Give it a minute. Ish to update my after effects. Just going to save it while I'm here. It is boost Here we go. So you know what, I don't think that needs a lot. We can just add a lumetri color. We can boost exposure a bit. Contrast. That's a ten. Add a vignette. No, it's negative. It's pretty cool. What else can we do? Black and white don't usually work so well in rendered images because they're quite the quantized. But if we reduce the shadows, bring up the highlights a bit, get a bit more contrast, a bit more punched to the render. That's after I like to add a bit of film grain sometimes. I'll see if it works this time, see if it makes any difference. I have this It's called holy grain. I give like one free sample, which I pretty much use for everything. Which is this one. So drop that on top that I didn't need that adjustment layer. Set that to overlay. And may be reduced there. By 50%. Yeah, well, I think it does something because it has a bit of extra kind of urban. An urban touch to it. If you want it cleaner, you can just keep that off. I think that looks good. I'm just not going to use it. I think it's fine without it. Cool. I've set out about 100 times in this course, but I guess that's how I think. Cool. I think that looks good. All right. Save. Silo render. Click new com. And all we need to do is control had a white background. And well, as you can see, It's not really b Alpha My shadows. So there's something up with that. Maybe they weren't too strong to begin with. Since it's so subtle. I think that's it. So let me just double check. There's any difference. No shape. I want to mask not shape. I'll just try trimming it out and see if it's doing anything. I think I is doing something, like I say, it's very subtle. Co, that looks pretty good, actually. And that will work as, you know, a representative product shots. Even bring in the sides. If it will work as a square. So not quite. But then the good thing about having an alpha channel is that you can shrink it down. Make it fit where it wants. Go. Maybe 80. So that's cool. These edges here. We can fix those by just I can see this edge bottom. Let's just create a mask and feather it. So Yeah, hide it and then press F and then feather it off. There you go. Barely visible to the human eye. There you go. Um, Wicked. So you've got this one. Got this one. Hope you've done something more creative. I hope you've had a few other ideas, and you've really kind of pushed your creativity to the limit. There's a lot of smaller companies that were looking for more creative, more kind of forward thinking artists. This is where you come in. And you need to know that you have the right to be creative. And don't let them tell you not to be because why else would you want to be a three artist? Okay. There you go. I'm just going to do a quick round up video next. I'll just do a quick breakdown of what we've learned. Okay. 36. Final Thoughts: Okay. We made it to the end. Well done. I'm so glad and proud if you got this far because it was quite a long course. It was a bit finicky, lots of details. But in the end, I think we got a really good result. I really hope you got one too. Just as a quick breakdown, I guess, we covered modeling, referencing materials, lighting, textures, UV unwrapping, and lighting and rendering, just said lighting twice, but and also how to create, like, you know, a product shop from the model that you just made, so, you know, triple threat. Um, cool. I guess I could just use this as an opportunity to show some of my other stuff that I do. This is my website. Gree light media.com. And, you know, I'll work with just like motion graphics, some kind of motion capture retargeting, product shots, you know, music visuals, do all sorts of things. I've got a little shop here. If you ever want to buy anything, I've got lots of other courses here, how to model a record, how to make this is the The other product shop course I was talking about that might be of interest. If you couldn't be asked to do the whole course, and you just wanted the keyboard. I'm going to give you some buyers remorse now by telling you that I already had this keyboard up on my website, the whole octane scene in cinema four D. But you would not have learned anything if you had just just, you know, bought a template. But if you want to see how I did it, there's nothing stopping you, you don't have to. Right. What else? Yeah. Artwork and all this fun noise. Cool. Yeah. So I really hope you got something out of this course. It's taken me a lot of, you know, a lot of focus to get it finished as well. I quite enjoyed making it. I hope you enjoy doing it. If you have any requests for other courses in the future, then please, drop it in the comments or send me a message. Yeah. And yeah, please share your work. I'd really like to see what you've done with it. And if you have any technical questions, like if something's not working or, you know, there's something that seems so obvious, but it's just not doing what it's supposed to be doing, then yeah, please just, you know, drop me a message, and I'll do my best to reply. Okay. Well, until next course, until next time, then yeah. Good luck.