Create animated avatars with MASH for Maya

1. Course Promo: Hi guys, and welcome to my second course on using mash inside of Maya. In this course, we're going to be focused on creating some animated avatars. You may have seen them in some music videos, such as the music video for major laser, light it up. So we're going to be taken three animated meshes and apply in some of our mash techniques to those animated meshes. Now if you haven't checked out my previous course on how to use mashed, then I'd recommend checking that out first. But if you have prior experience with mashed or you're comfortable enough just to jump in with me in this course, then let's do it. By the end of this course, will have created a few different animated avatars. And I'd love for you to upload them so I can see them and give you some feedback. Also, if you do any other animated avatars, I would really love to see them as well. So we'll be using Arnold in this course. So if you have the Arnold render engine, then he will set F naught and you have another venue engine. That's fine. You'll just have to be used in that. So I'm really excited to start this course with you. So what are we waiting for? Let's jump on in. 2. Lesson One – Accessing pre-rigged Material : Hi guys, welcome to the first lesson of this course. Now what I want to start off by doing is I want to start off by showing you just a few of the things we're going to create. And then I want to tell you where you can get this animation resource from this animated mesh which we're going to use to distribute GO onto. So this is one of the ones that we're going to make a sort of quick look at, I think number 7. Yeah, we'll probably have a look at making something similar to this. And I'll show you where you can get the animation form as well. I'll show you that in this video. We've got another one here. Can have with these nice little trails which I really liked case can smooth and curvy, they lock. And the last one will be this one kinda got these lights, incandescent lights coming out. Okay, so what I wanna do is I want to show you where you can get this from a website called Mixamo.com. You'll need an Adobe login. If you don't have an Adobe login as fine because we've got other stuff in Maya that we can use. And so basically if you go into mixed-mode dot com login and then go to animations. You even if you don't have to search anything, but you can either just click animations and have a look through. And if you click in here, you've got a dance club textbox. So it kinda find some saw dancing thing. I think this is the one of the ones I used. And so you can kind of look at this and then you can, if you increase the range, for example, it's kind of how big their movements are, the spaces, how big, how far I've DevOps, kinda move overdrive again, I don't really know. Yeah, he's just like how competently and I have fast. So again, that's slow. And then you can give yourself more frames. And yeah, so something like this. You can, you can modify the kind of movements as well, which is pretty cool. So the loads and loads of things in here when we went into the dance genre. And luckily you've got 4 plus pages, so it's good to the end page. Hip hop dance in shopping cart on sinuous, quite cool. So this one, you've got stance. Um, so if you pull it down, you can kind of see what it does is basically look like how how bend their knees were. Space, maybe their arms or sway a bit more. If we turn this up, let's have a look. I'll get that up. Okay, So so basically I can mirror it as well if you wanted to. But what you'll want to do once you've kind of got a movement which is kinda work in if you do use this route, we can just click download. You'll want to FBX, argue for 24 frames per second. I keep the skin and I'll click Download. And what you'll notice is your little FB actual stuff downloaded here. It'll go to your downloads folder. Okay? Well, you'll then want to do is you'll want to open up soldier for you. I want to open up Maya. Okay? And what we're gonna do is we're going to set our project. So when we set our project, we want to put that FBX file in the Scenes folder. So you'll see I've got projects mash setup. This folder will want to put it in the Scenes folder. You can see I've got booty hip hop dance, Brooklyn, up lock and lumbar dancing. Okay, so that's where you want to put your FBX if you downloaded one in order to set up the project, just go File project window and I'm Nicole, I'm gonna click New and I'm going to call it mash avatars. Okay? And I'm going to click Accept. And then we'll file. And then I'm going to set my project. So I've created as now going to set it to mash avatars and click Set. And I'm going to open that up in Windows. And then it go back to projects. And let's open mash avatars and open a new window. And then from my downloads, I'm going to drag in this drive in a sort of hip hop one which I've downloaded. So drag it into the scenes folder. There we go. So drag that into the scenes folder and you will then be ready to go. However, what you, what you can also do if you don't have an Adobe account, that's fine. Because in here we've got a, we've got something called a content biota in general editors. And you've got motion capture. So you've got a bunch of motion captures here. So flip is one. We'll do this in a second video. And then you've got regs as well. So you can have a look at these people. So what you can do is you can click this or double-click, it'll import. And there we go. Let's also go to motion capture, FBX. And let's go to, let's go to flip. We will do this in the second video again. But I'll just show you just in case you want to follow along. The first one, we did have a job and Adobe account. So we've got this rig. And if I open up, go to Windows and open up the general editor, no, sorry, animation editors and the Human IK. What you can do is you can select, for example, different bet. So if I go and select that and I can now move it, move it around. Cases are rigged character. We've also got this flip. So skeleton and if we scrub through, you can kind of see that. Okay? So what you'll wanna do with your mesh selected NU Human IK, where it says source, you want to just go to flip one. And what you've now got if you could actually get in, is you've got this whole kind of thing which is being raped. Okay? So the first video, the next video in this series will be, well, I'm importing an FBX, so let's just show you that the one which we just downloaded. So I'll delete that stuff and File Import. And here it is, booty hip hop dance. Okay, So I'm gonna import that. And again, you can see if we just kind of like scrub foo. We've got that. Okay, So I'm going to end this one here. This is what I'm going to be using in the next video, okay, but if you need to use something from the content browser like I just showed you, then you use that all you want is some sort of humanoid animated mesh like so. And now in the next video, we are going to go ahead and we are going to have a look at making, let me just find it. We're going to have a look at making this, okay? So OK, chips for tuning in. And I will see you in the next video. 3. Lesson Two – Creating Voxels with Maya MASH: Okay, So we're ready to get going. Now from the last lesson is Human IK window. You can just kind of break this off and we don't need an animal. And the way I've got my stuff setup folks, is I'll have the attribute editor here I want to views and my eyeliner. So this is how you turn the outline on. And if you've only got one view, for example, or four views just go to Panels, layouts, and two panes side-by-side. You wanted them to be the perspective and the other one can just be anything. Now, we'll change that to our camera setup life tests so as we are going to perspective. So what we've got with this one in particular is we've got mesh and then a mesh here. So we've got two meshes now. Okay? So what I wanna do is I want to shift select both of these and go to Windows. So I go to Mesh, I'm in the modelling tools that go to Mesh and combine. Okay, So now just go back to the beginning and just check that it does play through. If you always play in too fast, what you'll wanna do is you maybe playback speed, maybe play every frame. And if that's the case, it kind of plays really, really fast. So you just want to kind of, I alternate between the two. Just go to 24 frames times 1. Okay? And this is what we've got. Cool. So what I wanna do now is I want to make a cube. And I want to go across to mash, and I want to create a mash network, okay? So once I've done that, I want to go to my mash distribute. And you've got distribution type and I'm going to go down to mesh. It's then going to say why there's no mesh connected. So this here, this mesh of the person. I'm going to middle mouse click and drag that. So let me get a backup. I'm going to middle mouse drag edge to the input mesh. Okay? So middle mouse drag to input mesh and boil notices I've got number of points, ten, so I've got a few other cubes. There is actually ten of them. You've got a dotted around somewhere. If I can pull these up and pull it to say a 1000, you'll see that now what we've got is we've got some sort of some cubes kind of dotted on there, which is pretty cool. I'm saying her because it looks like a soft feminine character and family dance, but you know, her, him whatever. So why I want to do is you've got method in here, scatter vertex, all these random ones. I want voxel, okay? So I'm going to click voxel and have a look what happens here. So basically it's kinda gonna kinda scattered everywhere and almost give it that kind of 8-bit luck and all that kind of. So, yeah, that's all game lock. And select the mesh control H, Just so we just see the voxels. Okay? So when I click mash and go to voxel settings. So if for example we increase, kind of know if we decrease the space in, this is what I mean by kinda block is looks as if it's a low poly game character. But I'm going to kind of have mine, maybe one or SCO 1.5. Okay. It's a bit too spaced. I want a little bit of space in but something like 1.4. Yeah, that's fine. I can always come back and I can change this later. Okay. So I'm kinda, Let's give this a quick, just a quick play and see what happens. Okay, So this is what we've got as it obviously is going a bit slower now. So cool, so light. Why I'm gonna do is I'm going to select these three things as well. This is like all over again information and I'm gonna hit Control H. It just hides the skeleton then. So I'm gonna go back to mash and I'm going to go to mash, and I'm going to go to random, the random node. I want to randomize and click add random noise. I want to randomize or less just to make it a little bit more messy as to uniform for. So what I'm gonna do is I'm going to probably bring these 2.5 each. So I don't want it to do the position really. Maybe even 0.2 to point to something like that. Yeah. Now in terms of the rotation, I think I do want the rotation to kind of be a bit mad. So I'm going to turn the rotation for each access all the way up just so it's kinda like rotated everywhere. And again, you don't have don't necessarily do exactly what I'm doing. Kind of like have a play around if you due to non uniform scale for example. And if you do turn on Uniform Scale, just do this x slider. You can have got a little bit of, they've scaled up a bit, for example, they will have random scales in that. So if I turn that up and get my original Q and scale that down, you probably will see now, you will see some sort of variation in size. So let's go back to the random node and increase that variation. And maybe Gao poly cube again and scale down. Or you have goes, you have got some variation in there. I'm going to put the scale of that cube back to what it was, which was one. And I'm also going to go into the random node. Now, marsh, one random. And I'm going to take the scale all the way down. I'm not for this one, I don't fancy doing the scale. Or maybe maybe a well and take it down. Or maybe we'll put a terminal point for, for example, still a little bit. And maybe now I'll get a cube and just scale it down. A touch is a slight bit of randomness and I probably won't even notice it, to be honest. Okay, that's it for this one. This is kinda block in where I kind of want it. So what I'm gonna do is I'm going to now go to mash and I'm going to add a color note. I can't remember what colors I have. I have a quick peek at the colors I had. So kind of blues and purples. Cool, No problem. So let's get blues and purples. So go to color in mash connote. And I'm going to go and grab a blue and pull it kind of roundabout. Close to the purple there. Something like that. It's like a bluish purple. Because now what I can do is I can randomize the hue. And okay, well I'm gonna do now that I've randomized it. It's kind of look in, maybe randomize it a bit more. And I'm going to now pull us further across into the blue so it gets more blues and purples. Excellent. And I'm going to bring the saturation down a bit. Nice pastel colors. And you can always darken them whatever you want. And you can also randomize saturation. So you can have completely random saturation and completely random values. Think of values, brightness and darkness, but I'm lovingness. Okay? So what I wanna do now is to be honest, I'm quite close to render. And what I'm gonna do first of all, is set up my scene, and then in the next video I'll do the rendering. Okay, so I'm going to go ahead get a poly modeling ground plane and scale this all the way up. And tell you all, I'm gonna do this in the next video because I want to sort of set up my camera and stuff like that. And if I'm setting up my camera, I'm starting to look at kind of like rendering. So what I'll do is I'll finish this one here. Go ahead by all means but floor plane in scaling up. But I'll stop this one here now and I'll see you in the next video. 4. Lesson Three – Rendering our Avatar with Arnold: Okay, so welcome back. I had a bit of a thought. Actually, obviously we can play, the students can see how it locks. What's interesting is we could, if you wanted to, if you go to modeling and animation playback and then click the option box for play blast. You may want to play blast is just to see if it's looking at you like. And what I would do is just turn it to QuickTime, H.264, quality 100, scale one and play blast avatar. And I'm going to click play blast. It's going to play through. And it's gonna kinda almost, almost from really record the screen just to kind of see if it's kind of what you want in. So this is what we've got and it's low quality, but yeah, I'm happy with the simulation. Okay, so you can have a look at that. Anyway. Let's go back. So we've made our ground plane and I don't know how big to make it. So that not depends on our framing of our camera. So what I'm gonna do is I'm gonna go to create cameras and camera. And in this view, I'm going to go Panels perspective camera one. And that means I can start kind of pull it out like this. And I know that we're going to want a side on view because she walks or he walks, or they walk from right to left. So what we wanna do is go into the render settings. And it was quite big. I'm going to render settings because I want to set up the resolutions. We can get an idea of the maze while going through all of the common tab now, so image format, I'm going to be rendered out later as a tiff with no compression. This is going to be name underscore extension and mavens go hashtag Extension extending between frames one to 1, 17. Okay? The renderable camera will be the camera one. And this is what I really wanted. But HD, HD 1080. And we go, As I mean here, I'm going to change my vendor device to GPU because I used the GPU to render. And by default on all the chapters up to like eight or something, give me a lot of samples. That's because my graphics card is a nice one and I can deal with that. You may choose to be rendering on CPU. And then you may just want to kind of just put maybe up to whatever your computer can deal with. Okay, so that's a lot setup in this field. Now what I want to, this is my camera one. I want to go to View and resolution gate because this is going to be the resolution that actually renders in here. So what I wanna do is I want to kind of pull through and think right, I can afford get closer. They don't go out. So it's kind of maybe a little bit closer. Frame it up a little bit nicer. And a thing. Give it a quick play. Writer. Her hands went, I would slightly that sub-command to bet back to the beginning play. And yeah, I'm probably going to be happy with that. But what we can see from this is that this flow plane y we'll do actually is locked. These cameras were happy with the position that floor plane needs to come over bet. And we can do in here, and possibly may need to be scaled. So let's have a look. There we go. And yes, kinda need to be scaled. So let's just get the scale and just scale out this way. Perfect, okay? And what I also wanted to is in a perspective view. And I want to take this back wall stucco, edge, click and hold Shift double-click. And if you hit Control E or Command D on a Mac, we can now just click and drag and extrude this up. Now in my, in my one I call it a patent, a patent back. So it's now time to start, like I said, kind of texture and stuff. So let's go to object mode. For this, I am the vendor, I'm using it on old. Okay. I made I'll make that clear when I record the one I put up all the information about S. But yeah. So you'll want to use Arnold. So right-click and I'm going to go to assign new material. And let's go to Arnold AI standard surface. And we're gonna do is I'm going to go, I like the preset of plastics. I'm just going to go back and let's have a quick look. My example, a common watercolors were ASL white floor has just go for white oak tag. So I'm going to go change this to white. And in the transmission or soy subsurface change that to white as well. So we've got our sorted. What I wanna do is I want to select all the faces for this. And you want to go ahead and basically get any pattern of your choice, or you can just keep it as a white background. You don't have to do this. And I'll only do this in this video, but assign new material and I'll go Arnold again, standard surface. And I'm happy with it. Precesses they are. I'm just going to go ahead and click this color because I want to plug in a file here. So go and get a texture or something of your choice if you want to or just leave it as the color was, and then navigate to where that is. And what you should do is you should put it in the source images folder. So I know that it's in mash and is the source images of this one. So let's just go for copy that. And I'm in a different project setup now I'm in this one untie, so paste it into here, and there it is. So I can select this and click Open. Now, let's turn on my textured view and you'll notice yet it's not looking. All right, So select the faces. Let's go to modeling UV and automatic kind of fixed it really as good a UV editor. And what you can do is you can make this window smaller for you. You can right-click and go to UV shell, select, select this one, just move it to the side. Select this one, and so scale it down. If you're known to be a bit bigger, whatever kind of look you want to go for. I'm kind of happy with that. So we've got a texture on here and on here. Now let's do, I'm going to show you what happens if we render. So first of all, open Arnold RenderView is not going to render anything by the way, because we haven't got a light. So render, camera one, refresh render. And if it's going to pop up, It says Look no light in the scene. So the light that I'm going to put in is going to be a Arnold's Light and I'm going to go for sky dome, I think. Yes, guidance. So let's give it another vendor and you'll see another issue which I'll show you how to solve. So openness and right Camera 1. Let's give it a vendor and a half. Some reason, even though you select Camera 1 and does perspective, what I've found to get rid of that is Cerda back to perspective, refresh the render again and let it kind of go through. So it's like maybe 70 percent and then you just change back again. I don't know why it does that. But cameras shape 1 now it will show you the proper view. But the problem that would get in is this is coming through gray. And the reason that is is it's fine, it's manageable. We can deal with it. But the reason is doing that is the color here is coming from the mash node and it's not got, the mesh, hasn't gotten Arnold material on it and needs non-material. But then you can't keep them mash kind of random color. So I'll show you how to overcome that. So this is the mesh. Right-click, assign new material, Arnold, AI standard surface. And I like, like I said, I really like the soft plastic one. And what I'm gonna do is I'm just going to change the color of this to white. But what I'm gonna do up here, if the color is, I'm going to click this file, this label. So what you're gonna wanna do is go to Arnold by here and type in data. And then AI, use at data color. Click that. And then here you want to type color set with a capital S. Okay? Now what you wanna do, get your repro mesh. Go into mash, repro mesh shape, come down to Arnold and say export vertex colors. All your vertex is in here. It's going to basically log what color was there and bring it through export vertex colors. And also just go into mash 1 repro and make sure I've put attribute color per vertex is ticked, it should be. So if you've done this, you've done this. And in the material attributes you've assigned an Arnold material and then the color you have typed in that. Because if we go back to mash record, this is basically the color set that's used in, would say in here somewhere. I can't remember quite where it was, but this is the color set that we're using. So let's, let's prove a point and go to Arnold render view. And let's now refresh the Render. And you'll see that the colors are now coming through. Okay, So that's kind of that. Now what I would be doing in here, which I should have done is add an imager, de-noise or optics. And let's just kind of give that a refreshed now. And it'll just get rid of some of that background noise. If yours isn't kinda lock in high enough quality, what you can do is you can go and increase the render settings. I'll get to that in a quick second. So if we come in, we've got some nice quality in there. I need to probably move this backdrop over a touch. So let's just full screen again and yeah, we can probably bring this. Oh, well we should bring this over. So go to object mode and boom, Perfect. Okay. Now if you render isn't coming out quite well, well, if you use a GPU, you can only do the camera AA. So just increase that. If you're rendering with the CPU, you've got a camera AA diffuse and specular transmission subsurface scattering. The materials I've used, there's no subsurface scattering so you can turn no, that is in the plastic and there's no plastic one? Yeah. There's no transmissions. You can bring the transmission down the fuel if you've done same as me but using CPU. And then basically you can kind of try and increase in each of these incrementally. But like I said, I'm on GPU and I can only do that one then. So what you would then do is, we've got this work in nice. I'm going to open my normal render view. Just make sure that you go render. And the camera one is selected. Because when you go to render the sequence, it might start rendering a different view. So just make sure that this render view, this isn't the Arnold one. Just the let me just wait for it to render. This is this one by here, so just click there. Make sure that it's camera one that's selected. And now what you can do is go to rendering and vendor and render sequence. So let me just check everything set up in here. So it's going to render, render sequence. And what you'll notice, I'm not gonna do all of it because I've already done it. But if you go to waive set your projector. So I did mine in mash avatars because the images folder, you'll start getting an image sequence. So you'll see, there you go. I've got my first one. And then it'll start doing an image sequence of each of your little things. Okay? So I really hope you learned some stuff in that one. What I'm gonna do now is I'm going to do I think thing as three more videos where I do slightly different things to get different looks. I mean, to be honest, most of it is playing around, but I'll show you kind of each of the different what workflows that I've used. So I really hope you enjoyed that. I am going to hold Escape to stop that render. Yeah, I hope you enjoyed that. I hope that was helpful and I look forward to seeing you in the next video. Cheers guys. 5. Lesson Four - Mesh Distribution Techniques with Maya MASH: Hi folks. So in this session we're going to be looking at a slightly different kind of take on last time, but similar in some ways, but a slightly different take. Okay, so let's, let's kinda jump on in. This time I'm not going to be using a Mixamo download just in case you know, you can't access Adobe. You can do it this way for each one. So the starting point is getting an animated meshes net. So what I'm gonna do is go to, I'm going to make sure I've got my two panes side-by-side. There we go. I'm gonna go to Windows, general editors, Content Browser, and unselect, I think I'm just going to get that. Flip back. Double-click this. So it's in the animation motion capture FBX double-click. And we'll notice now we've got our flip reference there. It's a sort of m skeleton. So select it and maybe we'll see it's more or less, yeah, cool. So if we scrub through, this is what we've got. We also need to go and get a rigged character. So click the Folder and I'm just going to get this guy by here. So double-click and he'll get imported. Okay, So let's jump back in close this. I'm going to make sure that I go to Windows animation Editors and no open Human IK. Again, I did show you this earlier, but don't, don't worry. What I'm gonna do is select eric. I think his name is Alex vet. And basically I am so so character is Eric. Okay, So make sure access character. And for example, I can now go and click if I wanted to, I can click this guy the Move tool, and I can start moving it around so you can see it's a fully rigged character. Okay, cool. So what I wanna do in this Human IK window is just make sure that the source is set to flip one. Okay? And what you'll notice, like we said, like we saw earlier, is if we go back to the beginning, this is what we've got, okay, you just flips over. So that's gonna be our mesh awesome job done. So I'm gonna close the Human IK window and go into these two things. This by here, I'm going to hit Control H. This is our mesh. And I'm going to hit Control H for this as well. Okay, arguably I'm going to go down into here and this route, and I hit Control H. So all we've got is this mesh. Okay, Pretty cool. Now, I've got that. So what I wanna do is I want to start with my mash stuff because I know that this kind of works. So, yeah, brilliant. Let's go and create a cube. Let's go ahead and go to mash. And with that selected, create a mash network. And you'll see then I've got these cubes. We're gonna do very similar to last time. What we wanna do is we want to distribute these on the match. So let's go to mash, distribute, and we want to go and turn this to mash. And it's saying Please connect a mesh. So this guy over here, middle mouse click the Import, the mesh to here. And you'll see that there's gonna be some on him. Okay, there is ten. Good luck finding them all. So we've got a few options now on what we can do. Okay, I'll show you one of them first. So first of all, in the distribution type, you've got loads of stuff on here. You've also got stuff in method. So scatter is the default one. So we can turn up the amount. And let's go to a 1000. Wallace go to maybe 3 thousand. And that's kinda what we've got going on there. Now the problem is it's clumping around these areas and probably his hands and stuff like that. The reason being is because there's so many faces there. So what we can do, and if I turn this off, you can see where the high kind of counter. So what we can do in the Distribute node is we can do use face area. And that will do a really even, It'll kinda look at the whole thing and it'll do it really evenly. The problem is with this, which is why I don't like it, is a CAT scan, what I would call noisy. So if I play just the first few frames, That's what's happening. Because they're not pinned to individual faces. As the animation kind of goes, it kinda boils around because it's trying to get the average in each frame. And like in the animation faces the form. So that's the resulting thing is it goes kind of very noisy, especially around higher areas. Like like kinda like his hands here get really noisy. So I personally don't like that, that method. So what I do and you know, ultimately what you should try and do is try and get this mesh. And let's have a look at the mesh. And you could try and do some real topology to try and maybe get rid of some of these faces to get, to get even phases all the way around really. That can be harder. Again, you don't need all this detail really. You know, you can totally lose the nose, but that's, that's one of the things you can do. I'm not doing, I'm not gonna do that in a series purely because this is, the series is about mash is not a buy wheat apologizing. And that'll be a long kind of thing to go through. So I'll show you another way. Let's go to mash back in the Distribute note in mesh. I'm going to go this time and I'm going to go to random face center. Okay? And again, you'll see this dark clump been around. Something you can do to help this is if you could have face and edge settings, it'll still clump to those places. While I'll probably do is, uh, may flood the mesh. Yeah, flood the national give every face a square. You'll see it gets very busy up here, which may be the lucky want. But what you can do is enable scaling. And basically it'll do for small faces, it'll do small cubes, big phases, they'll do bigger cubes. Now, I think looks a bit busy at the moment so you can get your original cube and kind of scale down, okay, and do something like that. Or you could do is go to mash and go to Mesh one, and go ahead and add an offset node. And in scale and maybe go minus 0.5 and turn up to each. And actually, that's definitely not give me the result I want. So let's open the mash editor and let's get rid of the offset and do it the original way towards being clever. And so get a cube and I'm just going to kind of scale that down. Okay, so I think this is looking kind of okay. And what we could do is we could turn off flood mesh and you could input how many kind of 1, G1. So let's say I'm gonna go, I don't know, 5000, just draw a few less. Oh, not 500, 5000 instead of flood in the mesh like this. What I also wanted to do then is I'm going to start adding some randomness again. So I'm gonna go to mash. I'm gonna go to random, wherever randoms gone to van down. There we go. And I'm probably just gonna do rotations and customer random rotations going on there. Again, you could, if you wanted to, you could do position, but you start to kind of lose the former bet. You still have got a bit of form. But for just put these back to 0, for example. I prefer that you can randomize the scale if you want to turn onto uniform scale and can randomize that. But again, i'm, I don't wanna do that is just the rotation. One would do then is I'm gonna go back to mash and I'm going to add a signal node because at the moment if we play it, we've just got, I mean, does a back flip and those kind of things are just stay in there really. And that's kind of all this happen. And so we're going to do is add a signal node. And I'm going to take my position to maybe five each. And that's just just play and see what that does. So you can see that kind of dancing around, okay? The position, I'm also, I definitely wanna do the same with the rotation. And I'm going to turn the rotation all the way up to the rotation is going to be kind of randomized and animated. Okay, so that's pretty cool. I'm like in that what you can do if it, if it's go in, let it, let it play through. And if that signal is going kind of like too fast, what you can do is you can turn down the timescale. If I turn that to point to and click back to the beginning, you'll see it's happening a lot slower. Or if you kinda bring it up to two, it's going to happen obviously a lot faster. I'm happy with one. What you could do is you can turn on different noise type, so looping noise, curl noise, and you can see what different effects you have. I'm not a fan of that. I do like this 4D noise now. Okay, So again, have a play around. Finally, what I'm gonna do is I'm going to go back to mash and I'm going to go to color, add color node. And I can't remember now what colors I was using. So let's have a quick look. Right? So sort of green, red, yellow, perfect as fine. And green, red, yellow. So let's go ahead and click in here. And I'm going to click Solve a yellowish green by here and select it. And now in a randomized my hue. And it's done this to me before. Weirdly. It's not showing me the textures in there. It doesn't really matter. We can sort that out later. I think it's a bug because it's done it to me before and it is really, really weird. Don't worry if you can't see it, It's all good. We'll be we'll sort that out later. For now. I'm just going to get my comeback, I'm going to get my color. And I'm just going to turn a random hue maybe to point to. And I'm just going to hope That's what I want. So like I said, when we get to render it like in the last one, we will, we will see the colors anyway. So what we'll do is we'll use the render view to adjust the colors. So I'm going to do the same as last time. Let's do the rendering part now. So, yeah, I'm going to go ahead and create a camera. I'm going to turn this view to my camera view and start kind of pull it out. And thought we lost him and cool. Now I need to go to the render settings to set up the resolution on a maze or do the other stuff in there. So tiff, no compression, name underscore hashtag dot extension. Because we'll be doing frames 12120. I could pass along the animation was renderable camera, we came a one, and here we go. Hd 1080. As I'm in here, change to GPU and chalk this up to eight is my default setup. Cool. So let's go ahead and see, right, let's turn in here. The resolution gate on. I think we can get closer. Let's see the flip. So that's the highest he goes his hands there. So we can definitely going to push you in a bit. And let's try and send to him so that E move it up just a touch. Okay. Cool. Happy with that. So I'll lock the camera. Now what I'll do is I'll make a ground plane again. I'm going to scale up and bring it over, scale it that way. Z. And I'm going to come into this view, but here I'm going to select the edges. So click and then Shift, double-click and Control E or Command E to extrude it up like so. And again, I can't remember what colors I have in mind. So he was like pink, pink, and yellow for the floor. Cool African go nice. Pastel colors. Nice one. Okay, so let's right-click object mode, get the whole object, assign new material. Arnold, let's go to standard surface. I'm going to go and select clades. That's quite a nice mat material and get the color. And I'll start with a sort of mild kind of yellow, something like that, pastel yellow. Great. I'm going to get these back faces now. And I'm going to select them. Right-click, assign new material again. Arnold, Standard Surface presets clay. And let's go ahead and get a nice soft pastel, pink, something like that. As just check that there is nothing, no subsurface. There is a subsurface, so let's select that as the same color, pink. There's no coat now. And let's get back to decimals. Can select one of these faces and go material attributes as good under the subsurface color of this one and set the same yellow. And there we go, cool by that. So this is looking, let's look in Nice. We want to do the same thing as we did last time now with this mesh. So right-click, assign new material, Arnold, AI standard surface. Again, I loved the plasticky lock. Level, the settings in that one, play around and get some, takes an ansi, one less one when we go ceramic, for example, okay, ceramic crowns, another good one for the color. We want to click this. And then remember we want to go to Arnold and type in data by here. And then AIE, user data color. And then we want to type in color, set with a capital S onset and get your repro mash victory from S shape Arnold, and make sure export vertex colors is ticked. And then mash 1 repro, just make sure it always will be probably about color per vertex. Okay, so now we're at a point where we need to add a light and we can render. So go to Arnold lights and I'm going to go for Why don't I go fall sky dome again? Yes. Well, cool. And let's go ahead and open Arnold RenderView. That's the normal vendor view. Arnold render view. I want to make sure camera one shape you ask the ones checked. Let's go ahead and refresh the render and we can judge those colors now. So just let that kind of preview in. And I can already see the colors. So on hold Escape to cancel the render. Okay, So I want to, basically, I want to switch those up a bit. Let's see if we can. And okay, so for the good to match spit nine units favorite uveitis so many times. Let's kind of turn this up to say 0.3. Do a quick as Turner render settings down as well. Just as a quick as 203. Just wanna see the colors. Let's do a quick refresh render. And okay, what I'm gonna do is get back into mash 1 and I want to call it closer to the red and maybe bring this up to point 45 and refresh the render. We should be getting some reds coming in. We've got some more blues coming in. So basically you want to kind of do it this way. So let's kind of go fine. Okay, Let's get this and maybe let's bring it into the reds then more into the right or more this way, maybe. Let's go and refresh the Render. And yeah, can you just, just kind of play around until we've got some linear happy with. I'm kind of happy enough with us. What happens if we put it on red? Let's go and refresh that render. Now we're getting some red in there. Now, what I may bring this down to 25 and randomness. And yeah, something more than I'm liking. And what I may do is you bring it down to two and perfect as bad. And I'm also going to bring down the saturation, a touch like that. Oh, too much, far, too much. Backup. There we go. Cool. So let's break off this render view. I'm going to bring up my settings and tell you, well, first of all, I'm going to go to that sky dome light just spits is a bit strong highlights from there we can start to 0.8. And yes, fine. And let's go to my render settings and chalk this up to eight and add a d noise or optics, so it'll denoise it as well. What I'm kind of thinking is I may be locking on this one to maybe turn up the size of the cube slightly. So let's do a de-noise and then we'll evaluate it again. A lot of this is playing around and having fun and developing looks really. So this is what we've got. What I'd probably do is I probably desaturate these two colors, and then I'll probably add a few more things. So let's get face right-click material attributes. Let's D saturate that quite a bit. And face right-click material attributes D saturate that quite a bit. Let's go ahead and go to mash. And I'm gonna go to distribute. And I think I'm gonna go esco seven thousand, seven hundred and seven thousand, five hundred, and maybe even get the original cube. And you get the scale tool and just scale it up slightly, gets a little thicker. Okay, so let's open Arnold render view back up. We're on one Arnold RenderView backup. I'm going to do in a little bit of a rerender now I didn't say the previous version because I've got it on interactive render. But this is looking a lot better than what it was. I'm still a fan of this technique. What I would do is possibly be read topologies and the metrics. You got a lot of small ones in there. And it looks nice color down here. Especially if I unlock the camera and kind of maybe move this over as well that we go and just it just didn't matter. And lock the camera again. Basically, if you kinda look at faced by here, we still got a lot of small ones. So what you could do is actually read topologies that mesh. But again, if you use the voxel way we did in the first one, that was fine. I showed you a few other ways area. Let's do a quick final render of this just to kind of see what we've got going on. It's already been doing that for me early on. And yes, that's pretty cool. I'm liking that, I'm loving. These are more saturated than that background. Lynn works quite nice, customized shadows kind of on the floor. So what we wanna do then is just go Render, Render Sequence. What you'll want to make sure is that you open this render view. Make sure it's set to render camera one. And let it cannot do one sort of rendering and then do when the sequence, because you might have times I've done render sequence, even if the camera wanna select in my render settings are just ranges, the perspective. So you just ask the weight that I found that you need to do to overcome it. So what I'll do now is I'll quickly show you what we're gonna do it in the next lesson. So let's open up this image test eight. So this is quite a cool one. So what we've shown you this in the next session will be used in maybe a slightly different distribution method and we'll be adding these. And this is a real fun one to work on as well. Okay, Cool. My S1. So choose material in and I'll see you in the next lesson. 6. Lesson 5 - Using the Trails utility in Maya MASH: Okay then folks, so this is a fun one. I really love this one. So this is what we're going to be making in this one, can be quite render intensive or intensive on a computer. So just bear that in mind. But yeah, cool. Let's, let's jump on in and do this. So first of all, I've got another thing from Mixamo.com.com, but yeah, I'm mixing my watch I showed you earlier. And I've got forgot a project, so I'll just import it here. Actually, my, I'm going to go to file, make sure you set your project to the correct place from the set mine to mash avatars. Click set. So now if I go to File Import, I've downloaded that and I moved it to my scenes folder. It's called rumba dancing. So click Import. And it'll set your, set it two hundred and forty, three hundred and fourteen frames because that's how long the actual FBI axis. So let's have a quick look at what we've got going on. Let's preview it and as play. So this is what we've got. Okay? Now, what I'm gonna do is we've got two meshes against, I'm going to Shift select both of them, go to modeling mesh and combine. Now we're not done this before. Sometimes it loses the animation, so just give it a quick go and give it a quick play and yet as fine. So I'll take all these things but here, Control H to hide them. Okay, So what we wanna do next is I would normally do this with spheres or I wanted to do with spheres, but even my CPU was just kinda like bargain. I was like no clavinet. So what you could do swap at the end, but for now, I'm going to click a tonic solid. So it's kind of like a sphere, but like a PlayStation 1 raise sphere. So cool. I'm going to make sure this is selected and go to mash and make a new network distribute node. You've guessed it, we're gonna go to Mesh. Okay? And I want to go to union. It's the say and please connect the mesh. So middle mouse-click the beater joints one which is where it is to here. And you'll see it starts getting distributed over that mesh. And the method I want to go to is random face center. Okay? And I also want to flood the mesh. And this is why I'm a stuccoed or too much not necessary spread equally. So what I want to do is I want to go to face edge settings and enable scaling. And then what you can do is if you wanted to, you can go into an app photonic down in terms of the size. So do kind of like that. If I turn the size down a little bit, it may kind of like that space in our backs, 0 to y. Nothing. I want to get rid of that space. And so I'm going to turn my backup to like maybe no 0.9. Kind of have a Luck. Yes, Carl, little bit of spacing. All escape 0.9 all the way around actually uniformly. Well, if we go one, how much of a difference did it make? Yeah, in a while, I'm going to stick with that. Obviously again, harvest folks were experimenting with what you kinda wanna do. But I'm going to stick with that. I think I'm going to turn off this mesh so there's less food, so I kind of render and you won't see a secret for you there then. Okay, cool. So what I wanna do is I want to add a random node, so mash, mash, and let's go random. And again, a lot of just random, randomizing the rotation. Or two. Did I do that? And the other one is have a quick, Let's have a quick look. Mesh and it's test eight. Let's have a quick pause. The thing, thing, I kind of thing that kind of, again, it doesn't really matter, but, uh, may randomize them and we have got caps there. So let's take, just to try and replicate it. I'm actually not going to randomize it. For now. I'll turn the position down and maybe then I can randomize. It will kind of a play around with me. And then I'm going to get my initial platonic and I'm going to scale it down slightly. And yes, a lot similar. That's probably what I did earlier. But again, folks just play around and have some fun. Unwillingly get color node. And for the life of me a continent or colors I was using. Asked do nothing again, I need to turn, I need to restart Maya. That normally solve the actually Saussure we started my do is match test eight. What colors work was a sort of a blue. Okay. So I'm gonna go and get a color. I'm going to go in the middle of the blues, go up there and randomize the hue by 0.15 and also the saturation by about 0.5, because I want a varied saturation in there and we'll have a look at what that looks like. I'd probably just need to restart Maya. It's so annoying when it does this. By, yeah, cool. Okey-dokey, even if you turn that on and see kind of just doesn't, doesn't have it. So what we wanna do now this is the most important bit actually because we've done the calendar before. What I want do is I want to add an in fact, what I might do just to help it may turn the color node off. What I wanna do now is I want to go to mash and I want to add trails. Okay. Well, you'll notice when I add trails, Let's go to the beginning actually, just to make sure as best we will notice when I add trails, trails node, it doesn't pop up here because it's not one that can be ordered. The rest of these ones can be ordered like all these ones can be differed in their order, but the utilities can't. So in order to see the utility is just click this little thing here and you can go to mash trails there. Okay, so what we've got here, Let's give it a little bit of a plagues between trials on, and it may take a little bit of a while. And let's stop it. You can see that we've got these kind of trails. Okay. You can see these trails coming in by hear the very low res. But we'll be doing a few things now. I played around and I know that 500100 trails is working. Let's just keep it a 150 at the moment that something like that. And go back to the beginning each time you can have changed something, just make sure you back to the beginning to play it through. Or you could do is you've got all these other things you've got joining the dots. Okay, so let's have a quick look of what that looks like. And that is totally bug and out it kind of tries to join them altogether. I'm totally going to click stop on that. What I may do is I may cause while and pause this recording while my computer kind of tries to catch up on us back, didn't need to do it. Okay, So I had a playground area and I discovered that 500 trials was kind of what was working for me. And I liked a trial nth 12. The longer you have them all I have on screen are more distracted. I might, they might be. So obviously trail length is how many frames they're kind of trailing behind. And then trails scale. I liked a scale of five. And I think what we'll do is we'll leave it there for now. Let's have a quick preview. Yeah, let's have a quick preview play. Okay, so we'll have a look and ask them. Mental isn't a really bizarre. It's kinda keep on going. But these are the trails that were getting at the moment. Problem is they're very kind of like flat that basically planes and that's not nice at all. So let, let's, let's deal with it for now. I'm going to go to I don't like that their planes, so we want to extrude them. So I'm going to go to curves and surfaces and I'm gonna click nurbs circle because we want to use this nurbs circle if we basically in here, so minus 2 and repro mesh off and trails mesh. Basically we want to use this and extrude it along. Okay. And extruded along with trails. So I'm going to select it and go to scale and type 0.131. It really small in there for each of them. Okay. And what we can do now is back in the trails mesh or mash 1 trials is, we can say right here's a profile curve. Okay? Middle mouse click, middle mouse. Under that, middle mouse-click noob, circle one. Let's try that again. Middle mouse click nurbs, circle one into this profile curve. Okay, and what that's gonna do is it's going to extrude that circle along each of those trials. Let's turn the trails down for now is 250. And maybe the scale down to a, scaled down to about three. Just to kind of make my computer run a bit faster, perhaps. Go back to the beginning and zoom out like this. Turn on the repro mash. Shift H, and I'm going to turn back on the trails mentioned Shift H. Okay, so what I'm gonna do is I'm going to play now just to kind of see what we've got going on. And what I think is going on here. If you get in, the same issue is made, which is having area where you want to do is you want to make sure you go into here and make sure play every frame is selected. And now it's going to be a lot less mental. So let's give it a play through now. What should be a lot less mental? Why I didn't do, they didn't click Save. So Player B frame save. And now try again. Now it's going to do every single frame and you'll see that a lot nicer. Okay, let's stop there. What you'll notice now is that actually bits of geometry. So I think that's probably big enough. What we can do is turn it back up to five because I've got a feeling that's the number I used area as player and yeah, that's, that's fine. What you will notice is snobbery, curvy, but it's not quite curved, says two things we'll do. We'll turn on curves samples up to 12, and that may help. So let's try again. And now it's not helping too much. It's because on those frames, but they're the hand just move so far within it. And so. What we'll be doing later is we'll be actually apply in a smooth mesh to that. So what I would suggest at this point, folks, is to do a play blast to see if it's kind of gotten, got the kind of look that you're 110. And again, it will be very low ways, but if you want to do that, just go to Windows, animation playback, play blast, and kind of play blast trails and go QuickTime H.264, quality 100 and click Play blast. Okay, so I'll do that. And most gonna do is it's going to play through each frame and then it's going to kind of record the screen like I said earlier. And yeah, what I'll do is I'll pause this recording now. So you will see it once I unpause it, you'll see the play blast. Okay, so here is my play blast. I'm like in what's going on. The only thing that I'm let me repeat that. The only thing that I'm not like in is there's so many located around the hands. It kinda does have a nice look to it or if it's just run the hands, but you may not want that. The reason that's happening is because there's so much GO around the hands. That's why it's happening. Maybe it's a GO there. Again, that's something which mash can't necessarily overcome unless you read apologize or two dominant cover in this series. But in the next video, and I'll show you the next app, animate the final animated avatars. I will show you one thing that we can do to kind of overcoming a bit of a cheat. Okay? So what I'm gonna do now is I'm going to set stuff up ready for rendering, because there's a few different things I want to do with the rendering. So I'm going to do is come back into the mash editor. And I'm going to turn that color back on that color node. So let's go ahead and create a new camera just like before. Feel free to skip a minute or two, but I will be doing it because we've done this before, but I will be doing something new in this one as well. So something like that. Let's go to Render Settings and work our way down to if none name underscore hashtag frames 100 to 114 because that's how many we've got. Perspective can change to that. And then HD 1080 and C important one, change the render at a GPU, and I'm gonna change this to eight by default. And cool. Wanna do now is go ahead and view camera settings resolution gate. Make sure now that this is a centralized and be the person doesn't go out of frame. What you can do is turn the trails mesh off command H to kind of play it phobic quicker. Yeah, I'm, I'm comfortable with that. It is kind of go in a bit slow, but I'm just going to work with that for the sake of this tutorial. What I'm gonna do is add a floor. And I'm going to select the edges. So shift click and Shift double-click, Control a, and bring it up. There we go. I think I had a rage, didn't I? So good. Object mode, assign new material and Arnold AI standard surface. Let's go for plastics. My default changes to a nice sort of red color. We may want to change, it probably will want to change the colors layer because it's a very strong right down. And now what I wanna do is I want to get this mesh, assign new material, Arnold AI standard surface. And let's go to presets and just gonna go plastic it again. And turn subsurface down here, outlook that blue actually. Click here on the checkerboard. Go across to Arnold, make sure you've got the data typed in there. And then AI userData color, typing in color with capital S. Go to the repro mash Arnold. Export vertex colors and just make sure in mash repro that output attribute is ticked color by vertex. So I also want to do this time is get my trails mesh, turn it on. And so Shift H. And what I wanna do is come forward a few frames, just sweet and kind of see it. Okay? What I wanna do is assign new material to that because that's going to need a material. Go to Arnold standard surface. And again, love the plastic. Just do that and change these two bright white. Right? White. Yeah, cool. Then I'm going to go to rendering or didn't have to actually, I'm gonna go to Arnold lights and this time I'm gonna go for physical sky. Okay. Now let's go ahead and open up the render view and you'll probably notice or you'll see one or two, not issues, but were things that I don't really like and I'll show you what we need to do to change them. So I'm going to refresh that render. I'm loving other color turned out on the actual avatar. So I'm going to hit Escape per second. Ok, and I'm going to turn my render settings down to like four. And right off the bat, I think the sky dome should be turned up in intensity. So I'm gonna turn up to two. And I'm going to give it a definitely Actually it's okay. What I like is the source shadow we lived in. I don't like the shadow, but I like the kind of light on her when you use a sky dome is really soft lighting which gives you soft shadows, but really like flat on the person. So I'm going to select the background, color, material attributes, and desaturate this. Why Tibet, something like that. And come and select that there as well. And I'm also going to do is maybe play it for a few more frames. We see more trials. I think we had a trail of 12 and let's give it 12 frames or lines around 13. That's fine. Let's go wrong. Window openness. Let's give it a 3D renders. We've got more trails and hopefully less saturated background. A lovely, small trials. Awesome. And the only problem now is this shadow. So I'm gonna do for that is in the AI sky dome, come to physical sky. And what we wanna do is you want to turn that sudden size up. So I know that a value of 40 was working earlier. Basically what you're looking for is a balance between having like dark, darkness here, in lightness there, and also a soft shadow. So as you turn that off, let's say take a screenshot and we render. It'll be a little bit more softer light and there will be a difference between light and dark see shadows under the neck with that. But this is a lot more kind of soft. Okay. So that's kind of work in wealth me there. I would probably orient the camera around a little bit more like that. Let's just see if that angle is what I want. Not I'm going to re-render. And again, BI, that gives me a little bit in lysosomes perspective. And then what I will be doing from here is probably increase in my render settings. So I'll liked, but you can see just the edge, but I wasn't too great, so I'd be increasing my render settings. And then after doing a render, so that is that one. I'm just end up going vendor and render sequence. And again, just make sure that in this render view, the one you open up by here, just make sure that the right camera is selected camera one. And I'm not going to let it render it again. So hold escape, but then you'll want to just do render sequence. Okay, so as we finish this one up, Let's have a look at our final one, which will be given in the next video. It is this one. So this one's pretty cool. I love this. So yeah, that's what we'll be doing in the next session. So I look forward to seeing you in the next session, and I will also be set in your task at the end of this. Cool cheers. See you later. 7. Lesson 6 - Using Incandescent shading with Maya MASH: Okay, welcome to the final session. Quick reminder then what we're making is still a funky kind of thing. Let's just call it a thing. So what we wanna do is every project happy to pains like this. I've gone and got a FBX monoline and that website again, I'm gonna go to Import, and it's called booleq, that booty hip hop dance. Let's click Import. We've got the cell animated mesh. Perfect. I'm going to get these two meshes and go to Mesh and combine. I'm then gonna get everything and shift select it. And I'm going to hit Control a and G to group it and double-click. And I'm going to call this distribution. Okay, let's just go back to the beginning, make sure it still play in a linked perfect. What I'll do is I'll select it and don't hit Control D because it won't be rigged. Hit Control C and then Control V. Or you could do Command C, command V. And I'm going to double-click and name this one visibility. Okay, so a little bit different. Just to make sure that both working, I'm going to hit the top one and do Control H. So hides it all. Go back to the beginning and play. So the visibility one is working. Hit Control H and Shift H on the top one. And it looks like Let's go back to the beginning. That one's still work in an animated. Perfect. Okay, So what I'm gonna do is keep mesh for distribution or the distribution one, this one on first. I'm then going to go ahead and what I'm gonna do, yeah, I'll do is first, I'm going to go ahead and create a cube. And I'm going to bend a vacuum when it's selected. I'm going to create a mash network. Okay? So what we wanna do is we want to distribute this cube over the mesh service. Could you distribute mode? And like always, we're going to go this and I'm going to go to random face center. Okay. And then turn it up to like 2 $300 the last time. 250, different. And I'm going to zoom in. And there we go. Oh, we need to import the mesh, don't we? So with this one, the mesh that I want to give, that we need to give it an input mesh. I want to go and give it the distribution one. So in the distribution group, go ahead and it's this surface by here. Middle mouse click this to the input mesh. Okay, so middle mouse-click input mesh. Now the problem that we'll have is a lot of them, again, a congregating around the hands because a high polyuria. So there's a reason why I've got distribution and visibility. What we're gonna do in this mesh. Turn off, we promise we can't see all the math cubes and turn off in distribution these ones, so select them and Control H. So I'm just left with this mesh in the distribution folder. And what I wanna do is I don't want any of them on the hands. So I'm going to right-click and I'm going to go face and I'm going to delete the hands. So nothing is going to be on the hands. Okay? And I'm also going to go maybe few more frames. And I'm going to delete all of these crickets but the arm as well as fine. And I'm also going to do the same feat because it loads in the feet and we don't want them kind of like stick into the floor. So I'm gonna just go yeah, cool. Delete. So that's that most of it from here on out, mostly the same size, the smaller ones in there obviously, but they're mostly similar size to activate that you haven't got tiny ones on the hands. So if I turn the repro mesh back on shift h, you'll see that none of that there were loads on the hands area and now we've got relatively even spread of them. Arguably a few more than the kind of joints by here and there, but it's not hearable. So basically that's the reason we split these up. We needed to animated meshes, one of them for the distribution only. Okay? And so with that, when we delete the hands and this one will be you remember that was a visible mesh in the preview that I showed you, there was actually a visible mesh underneath. And you want to see your hands so that one will be the one for visibility. Okay? So that's kind of why we did what we did. So I think maybe the amount because we are going to be making them quite beggar thing. I'm going to keep it as it is. Which is what, two fifty, two, twenty, two hundred fifty. Okay? I want to add a random node now. So random, random, random and write its position. I want to take all the way down, not fast on. Otherwise, they're going to be off. If you check up, they're gonna be off the mesh. All I wanna do is I want to turn Uniform Scale off, okay? And I want to make sure that my scale for this is to set all the way up, okay? It's just got randomness between mole. Next I want to go back to mash and I want to add a signal node. And I'm go into, again. If I, if I cannot give this a bit of a play, you'll see that the position is actually wiggle in a bit. I don't want that, so let's 0 all of that out. So we're not so of wiggling that I want to go to scale. And I think I used note you wanted to in uniform scale off. Now it's just scaling the y. So I think 40 is what I used earlier, something like that. So type that in and you'll see they're kind of hard secrecy is moving. But if you focus on 11 of the bars are gone ahead, you'll see that they are pumping up randomly. Okay? So that's that. What we wanna do. What you can do is you can play blast states like we did earlier to kinda have a look at the speed. Or you can do is you've got timescale and here you can speed it up so they move more fast or the fastest better word. But I'm just going to keep my time-scale at one as well happy with what was going on. Awesome. So I want to start adding stuff now. In the distribution, we've still got this mesh with her hands and feet cut off that still visible. So select that and hit Control H would just use not for distribution. I mean, if you wanted to, you could go ahead and you could kind of vendor that if you wanted to. But I want indivisibility now. I want in here drop-down. I want this visible. So just click visibility and hit Shift H. All these Wigand things. I'm just going to select these and do Control H to hide them. So we've now got a full mesh is nothing on their hands and nothing on her feet. Okay. So I'm going to get this mesh. I'm going to start applying my materials. So I'm going to right-click assign new material. And for this, I want Arnold standard surface and the preset, I want car paint and I'm going to replace. And I think I stuck with the same color to be honest. And then I'm going to get this repro mash, assign new material, Arnold standard surface. And this time I'm gonna go for wherever the incandescent bulb and replace. Okay. So what I'm gonna do now is I want to add a backdrop, okay? And then I'm going to add a light and we're going to see, I'm going to turn basically I know that unknown and up-to-date in the submission up because I know it's not going to be quite as much as I want. So let's go and get poly modeling. Let's go and get one of these four planes. But first what I wanna do is make a camera that I've set all that up. So cameras, make sure you tune is to camera view. Come out like so. Go changes to tiff. None. Name underscore hashtag. And it's how many frames 117. Camera one will be the view that we render HD 1080 and change it to GPU. And Let's just put it to five for now. Okay, so close that out. Let's go and get a view, camera settings resolution gate. Right? So I'm gonna come from side view, maybe something like that. Okay. So I can go into it further. Come out a bit into the side and just, just keyframing up as offset that, but they're cool. All right, so I'm gonna move this over. I'm like That's fine. Lock this camera by the way. And then what I'm gonna do is go to edge Shift, Control E and put up, go to object mode, right-click, assign new material. And I'm going to go to Arnold, going to standard surface. And I'm just gonna pick a color is going to be a bit of a sort of dark yellows fine To be honest. So we'll have dark light in. So what I wanna do is go to Arnold and I think the lighting ago 4s probably going to be maybe a physical sky. I think. Light physical sky. And again, if you remember the shadows we had in the last one, I'm just going to turn that sun up to something like 40 again. So any shadows there shouldn't be many shadows, a little bit dark, but just, just turn up or actually, let's make them even softer than they were last time it goes to 60. I want to go back to the intensity because if I were to render this now, well, let's have a look. Not this one, but this one. If I were to render now, then basically you've got some nice incandescent like they're not enough. But you've got probably a bit too much of a shadow. I haven't even got the de-noised on. And also the yellow isn't coming through on that background. So after a look at that, so let's refresh that render with the de-noising on. And again, I'm probably getting too much of a shadow on and the shadows or ICT as a contact shadow but soft. The, it's, it's too, it's too bright because we want these lights to kind of power over. So I'm just going to go to this and click assign existing material. And it was the first thing, it was the first node, the second surface with all, let's go and have a look. Let's just go to this object, assign new material, Arnold standard surface, and we just changed it to yellow. And let's go to presets and plagues as quite nice one. And change that to yellow Matt thing and go to subsurface and also change at the same yellow. And nothing in transmission. Nothing in any of the others are color up here. I'll do it in the wrong one. There we go. Cool as nice. So let's go and give that a rerender refresh render queue as the color mastery color as warranted. So basque kinda working well. But again, like I'm saying, it's too bright at the moment. So I think the intensities probably unlike ones, Let's bring it down to 0.2. So it's a fifth of what it was, yes, only R. So let's go in their intensity to point to see how that's working. Again, I think that's why I used earlier refresh render year as kind of Water want. Maybe push it to 0.25. But what we'll do first of all turn up the emission. So let's just bring this down. That's kinda nice. What I'm gonna do though is I'm going to go to the repro mash and I'm going to go to the surface VAT in the emission and it'll bring it up to like three. So open the vendor backup. Let's take a screenshot and let's refresh. It's random, you should be getting more bright lights out of that. And yeah, that's looking, I was looking kinda nice. London where we're going with this. And so if we look at what we had before, so that is kind of more like community to join is F5. Wants to have sex. Why not? Let's give a rerender of that. When I did the renderer area, I think it was on three. Let's take screenshots and refresh the vendor. I would've liked. It may, it looks like it's done to light up the walls by here as well. What you probably need to do is you'd probably need to start turning up your rendering settings. But let's have a look where we've come from. There. The sea that just looks like nothing there. Now we ask look in as looking nice. So if we zoom in, for example, we do with some more quality. So I would probably be for this point my settings up to rainbow, maybe even 12 and watches 2880 samples. Okay, what I'll do is I'll pause it while I do a re-render again, just to kind of show you the different cell it gives us. So I'll screenshot this. And now I'll do another re-render with the highest settings just to see the, just show you the increasing quality. Okay, So this is the re-render. And let's have a look at the difference in quality. So you can see there is a nice little difference in the quality, especially where it's distributed in that light, but they're so that is kind of nice and it is worth it. So it depends how much time you've got mine, but you can see that it is quite nice. Okay? So that concludes what you would want to do now is just kind of render sequence. So in the rendering and go Arnold and no Sorry, render, render sequence. But again, make sure you pop into here and make sure that's the right camera that is rendering just click Camera 1. I'm not gonna do it because it can take ages to preview my name. And then you can render sequence. So yeah, look, I really hope you learned some stuff in this course. I hope you've enjoyed it. If you tune into the next video, I'm going to set you a final task, okay? Just something that I want you to kind of post up in the project gallery. So join me in the next video and we'll go through that. 8. Project Task (Assignment): All right then folks, again, well done. You have made it till the end. So what I want you to do for the project, right? I'm really, really looking forward. Seen is obviously I did for different kind of animated avatars in there and hopefully you render each of them out. What I want you to do is I want you to find some royalty free music. Just make sure the query finds him royalty free music. Maybe do two or three more. And then what I want you to do is I want you to do a little 88 of them. So maybe you've got five or six of them together. Now if you want inspiration, if you go to major laser, light it up, I won't play the song. But basically, this is, this is kind of where I got the idea from, To be honest. It's got loads of these kind of like animated avatars. Okay, so that's voxels being used right there. So if you have ever watched this with sort of, I think we did four exercises from that. Yeah, I think it was four. So the ones that we did maybe kind of render them each child maybe do two or three more of your own or just do two or three of you own and then put them together with some sort of all three music into a nice little edit, even if he can't be a hands-on royalty-free music, put them together in little iodate and then upload that. Suddenly love to see, see them all and have been so nice. If I get a bunch of them in there, I could do an ADH of everyone's together and I kind of look so cool. Awesome. So again, well done for getting this far. Really hope you enjoy the course If you did give it a thumbs up or whatever. But I've got another couple match courses. Either they're now coming out soon. So check them out. Chief tune-in, folks. Thanks for tuning in and I'll see you again.