Create Anime Traffic Light Scene in Blender

1. Introduction to Class: Hello, everyone, and welcome to this new course where you will learn how to create a beautiful anime inspired traffic light animation from start to finish just using Blender. We'll cover the complete workflow from molting and texturing to lighting, animation, rendering, and post processing, learning the techniques used to create a cinematic anime style scene. We'll begin by modeling the traffic light from scratch, building every part of the scene step by step. We'll then set up the camera and composition to establish the overall look and framing of the scene. Once the modeling is complete, we'll create stylized materials for the entire scene, including painted metal, glass, traffic signals, and other surfaces that give the project its distinctive look. Next, we'll set up the lighting and rainy atmosphere, creating rain, reflection, glow, and adjusting the color settings to achieve a soft anime inspired aesthetic. After that, we'll polish everything using Blenders compositor, along with a few Photoshop enhancements to produce a portfolio ready render. Finally, we'll animate the graphic light signals and create a realistic brain animation, adding subtle motion that transforms the scene into a cinematic anime inspired shot. Whether you are a beginner or an experienced blender user, this course will teach you practical techniques that even apply to your own stylized projects. So I hope to see you there in this course. Thank you. 2. Blocking Out the Traffic Lights: Hello, Ann, welcome guys to this new course where we will be creating an anime style scene in Blender. So if you go into the course files and open up the reference images folder, you will find this image that we will be using as our main reference to create the scene. So this image itself is from the movie Garden of Words by Mako do Shinkai and all his films have a really distinct art style that kind of blend detailed photo realism with the traditional anime hand painted look that we can see over here. So yeah, we'll try and capture that style in this project. Also, this movie particularly was based around the monsoon season and rain. So we will be adding, like, rainfall and some traffic light animations in our scene, as well. So yeah, let's just start. If you look over, I have also added the reference images for the traffic lights itself, and we also have this rain animation that we will be using like to add rain in our scene. Alright, so let's just start right away. So now in a new blender file, press A to select everything and just delete all of these existing objects. Now you can just press one for the front orthographic view, basically to align your viewport with the front view like this so that now we can add in our front view reference image. So press Shift A go into image reference, and now in your reference image directory, just select the front view. Press G then Y and just move it back like this. Now you can press three for the right side view, press Shift plus A, and now add in the side view. This way, we can easily model out this traffic light without any difficulty. Also, you can select this image, press S, then Y, and type in minus one so that the image faces this way. All right. So press one, once again, press Shift plus A and add in a cube. Let's select the cube, move it down over here, scale it down. Press tab to go into the edit mode enable Xray. Press one for word C select and just select this left side word C and bring it in. And now basically match it with the reference image like this. Obviously, you don't have to be exactly precise, but as long as you are roughly matching with the reference image, it would be fine. All right. So now that you have done it from the front view, make sure you press three now for the right side view and also align it from over here as well. So again, press tab, select the front word C, and just move them back till here. Press G then Y and move them back. Again, select the backward C press G and Y to lock on the Y axis and bring them over here. This way, we can very easily model this by pressing one to go into the front view and then press three to align it with the side view as well. All right. Make sure you go into object, set origin and origin geometry to fix the origin point of this object so that now we can use a mirror modifier to basically duplicate it. And how we can do that, press tab to go into the edit mode, press Control R, to add edge loop and then hit right click to add the edge loop exactly in the center like this. Make sure you have Xray enabled and just select all of these bottom word Cs so that you can also select them at the behind as well. Now press X and delete the word Cs. This way we only have the half top side of the traffic light. Now we can simply go into modifiers, add modifier, and select mirror modifier. Select it on the Z axis and disable it on the X. This way we have easily added the miror modifier, and basically, whatever we do on the top side would automatically be duplicate it on the bottom side as well. Alright. Again, enable X ray. Make sure you press Control A and apply the scale whenever you change the scale of any object. And now we can just pressTab, press two for Ecellen and select this edge and select this edge. Again, press one for front view. Press Control plus B to bevel it out like this, and then you can use your scroll wheel to add, number of segments to basically smoothen it out. Now just match it with the reference image, once again, Ma sure it is pretty smooth. We don't want it to look rough or look low poly. And yeah, basically, I think this much is pretty good. Now you can just right click and shade auto smooth this. Let's move it to the top and also add in a bevel modifier. Again, make sure your scale is applied. So press Control A and apply the scale. Let's decrease the bevel amount. I will also just quickly go over here and enable cavity and shadow. This is basically to improve the edge visibility in the viewpot. It does not really do anything like with your final vendor, it basically improves visibility in the viewpoart. I will also enable hardened normals from over here. And now we can start to add more details into our object. All right. So to start off, press three for the right side view, Enable X ray, and now press tab, press Control R, and add one edge oop right over here. Then again, press Control R, add one Edge Roop right over here, to create these uh, extrusions. So now we can press three, whole dot, and select this loop completely, then hold Shift naught, and again, select this one completely. Make sure you have clipping enabled in your mirror modifier. I'll just quickly show you what it does. Basically, if you don't have clipping enabled, you can move around the word Cs, pass the midpoint like this, which we obviously don't want. So make sure to enable clipping. This way you won't be able to move them around, pass the midpoint. If it's disabled, you can see they're going past each other like this. Just make sure clipping is enabled. And once again, press three for face select, hold dot, select this completely, hold Shift naught, and again, select it completely. Let's enable X ray press Alt plus E and extrude faces along normal and just extrude it a little bit like this to create like this extruded part over here. I think it's maybe a bit too much. Again, press plus, extrude faces along normal, and I think this much is fine. Once again, press three hold Alt, select this loop only now, and again, press all plusE, extrude faces along normal, and extrude it just a tad bit. Like this. What I will do is, as now the bevel modifier is not really working, you can go in geometry and disable clamp overlap. What this will do is it will basically allow geometry to overlap over each other. But you can also manually control your bevel and you also kind of figure out where the problem areas are. Maybe we can decrease it a little bit to like 0.002. And that seems to be working fine. So let's just go with that. Press three, enable Xray, press tab and select all of it, and just move it down to once again match better with the reference image. Press one for the front view enable X ray, and it is a little bit out from the reference image. So just select both of these sides, select it completely. Press, then X, and just squish it in like this, so we are matching the reference image properly. And with that, I think our base shape is looking pretty good. Alright, so let's add in some more details. We can create this extrusion right over here in the middle. So for this, just press Shift plus A, add in a plane, press R, then X, type in 90 to rotate it by 90 degrees like this. And I will just go over here so that we can see the edge properly. All right. Now just once again, press tab, select this word C, move it down over here, select these ones and move them right over here. Yeah, that looks pretty good to me. Press Control A and apply the scale. And now what we can do is we can press A to select all of the word Cs. And instead of pressing Control plus B, which is basically used for beveling edges, this time we will press Control Shift B, which is basically used to bevel vertices. Now, once again, we can create a bevel like this. And I think this match is looking pretty good. All right. So now, how we can actually create this cut on our model. So we will be using knife projects. So how we can do that, make sure you are in the front view, so press one to go into the front view. Select this main object that is our base object, press tab to go into the edit mode. And now you can press Control. So just hold Control and use your left click to select this object like this. You can see we will get this orange color outline. So as soon as you get that, you can now press A to select everything, press F three, and search for knife project like this, hit Enter, and Select our main object, press tab and you can see we have created this cutout over here. So now we can just select this object and press delete to remove it completely. Again, enable Xray, press I to inset, and just insert distill here, press S, the Z, scale it down to match it better with the reference image. And, I think that's pretty good. Press three, whole lot, select this loop completely, and now just press E to extrude it outwards like this. Yeah, again, I think thismg is pretty good. Before proceeding, let's just press Control plus S to save our files. And then in the blender files folder, I will just save it as traffic lights. All right. Let's move further. We can add this like this part that is on the top, covering the light. So press Shift A, add in a plane. Once again, place it right over here. Let's scale this down, so press S, then X and scale it down like this. Select them both and move them back till here. I'll just kind of make sure it is in the center because we can try and use the mirror modifier with this as well. Scale it around till here. Press control, apply the scale first, press tab, press Control R, and add edge group right in the middle. So hit rightly, and we can just remove this side, press X, and delete the word Cs and now add in a mirror modifier. All right. Perfect. Press tab, enable X ray, press E. Sorry, not this. Make sure enable clipping first and just select this left hand side, and now press E, then press Z, lock on the Z axis. Now we just need to make sure that both of the edges are lining up properly. So for that, we can move it like this, scale it down a little bit. And yeah, now you can see, both of them are matching up perfectly on the left and the right side as well. And now we can press Control, apply the scale again, press tab, select these two edges. Sorry, just one edge because the other one is automatically done by mirror modifier. Now press Control B and bevel it out. Yeah, I think that's pretty good. Right click and shade or smooth this. Again, enable Xray, and let's just align it up quickly from the left hand side as well. I'll select this word C, move it down. And just adjust these as well. Yeah, I think that's pretty good. Press S and X and scale it up just a tad bit outwards. I'm just trying to match it with this edge right over here so that we don't really see much space. And I think this is pretty good. Now to give it thickness, you can just simply add in a solidify modifier and just make sure to move it in the negative direction like this. I think this match is pretty good. Let's remove the pin from the smooth biangle modifier and move it to the top. And now we can add in a beble modifier and also enable hardened noels. Decrease the bevele amount so that we don't get any shading issues right over here. And I think this is looking pretty good to me. Just select this press tab, press A to select everything, then we can just press Shift plus D and lock on the z axis and just bring it down. Yeah, that feels pretty good to me. Let's just hit Save. And I think this t is pretty good for this first lecture, we'll continue adding in more details into our traffic light and working on the model. So yeah, thank you for watching. I will see you in the next one. 3. Creating the Top Part: Hello, and welcome, guys. So let's continue modeling our traffic lights. One thing that I do want to fix before starting is that if you look over here, just at the middle of our traffic light, we do have some shading issues over here, and that is because I kind of forgot to again, enable clipping for that. So let's just quickly fix them first so you can turn off the mirror modifier and also turn off the bebl and we can clearly see we do have some issues going on. So first select this press tab and we can press three for face select and just select these two faces, press X and delete them. Now you can also press one for tic select, select these two vertices, press X, and again, delete the vertices as well, so that we have something flat like this. Next, what we have is we have these vertices flying around. So what we can do to fix that is just press one for the front view, enable Xray. And I know it is over there on the left side as well, but you don't have to worry about that. You can just select it all like this and press S then Z and type in zero. This will flatten this entirely like this and make them all on the same plane, which is exactly what we want. But now the problem is that we do have some double vertices like this one. So what you have to do is just press A to select everything, press M, and then select merge by distance. This will remove three vertices, as you can see over here. Basically, it removes all of the duplicate vertices. So any of the vertices that are overlapping on each other, it will remove and now the last thing is this vertice is not connected right over here. So instead, we can just hold Alt. So press two for H, select, select this edge completely, press X, and we can dissolve the edge loop entirely. And this way, I think all of our issues are resolved over here. Now I know we do have the same issues over here on the left side as well, but you don't have to fix them over here, press A to select everything. Then you can go to mesh, symmetrize and you can see it has symmetrized the left hand side on the right hand side. So now you can just click over here. And flip the axis. So basically minus x two plus x, we can change this plus X to minus X. And now you can see this has entirely fixed our issue over here as well. So now we can just safely enable back the mirror modifier and you won't see any of the shading issues up here. I will enable back the bevel as well, and yeah now it looks much better. I'll press tab press 34 face select hold Alt and hold Shift andat and select this loop as well, and maybe just scale it up just a tab. And with that, I think we are done. Let's move ahead, press three or sorry, press one for the front view, and let's start working on the top piece right over here. Start by pressing Shift A, and let's add in a cylinder. Press R, then type in 90 to rotate it like this, and you can scale it down. Let's enable Xray, and again, match it with the reference image, press S and X, scale it up. And let's scale it roughly like this. Obviously, it does not have to be exact. Now press three and just bring it in over here, once again, match with the reference image. Now to create this slanted part right over here, it's really easy. First, press Control A and apply the scale, press press one for words C select and select all of these word Cs. Now hold Shift Alt and control, and then press S. This is basically shortcut for shear, and now we can make it like this. Just move your mouse towards right inside, and yeah now just move it back. Perfect. We have created that shear as well. Right click and shade to smooth this and we can also add in a Bbel modifier. Make sure the scale is applied and obviously reduce the Bbel amount. Let's enable harder normals, as well. And now we can just press Tab, press three for phase select, select this phase. Maybe insert this a little bit, and then we can just extrude it. So it is extruding in the wrong direction like this, so just hit right click and now you can just press G then X and move it back. Yeah, I think that is pretty good. All right. Let's continue. Press one for the front view once again and let's start working on this type of thing, which is connected to the traffic light and to this pole as well. So let's first select our cylinder, press or sorry, go into object, set origin and origin to geometry to fix the origin point right over here. Now, press shift plus cursor to select it. And the reason I'm doing that is basically wherever the cursor is placed, if you add a new object, it will be added right at the cursor. So let's say you can move the point or this cursor point by holding shift and using your right leg and now dragging it around, you can place it wherever you want, and now wherever you add a new object, it will be added right over here. So I want to add the object roughly around here, so just select this pre shifts, cursor two, select it. Press Shift A, and let's add in a cube. Once again, press one for the front view enable X ray, and we can just quickly scale and place it like this. Now let's press tab, press one, move this down. Press three for the right side view and just scale it in. Yeah, I think that's pretty good. Now what we need to do is we just need to delete all of these faces that are right in the middle, press X and delete the faces so that we have this hollow shape right over here. Press Control A and apply the scale. And now we can just press tab, press two for insult, select these two edges. Before that, let's just add a solidify modifier to basically give it thickness, and we will also be able to see it properly because without any thickness, we cannot really see our object. So I'll just add a solidify modifier and set it to even thickness because as you can see, around the corners, it gets a bit squished in like this, so make sure to enable even thickness. And now we can just adjust the thickness according to the the difference image itself. Make sure the scale is applied, select these two edges, and now you can just press Control plus B to bevel them out and give them a bit of smoothness. Maybe decrease the solidify thickness tad bit, so 0.015. I think that's a bit better. All right, right click and shade at to smooth this. Let's go to the front side, enable Xray, press tab for the edit mode, and now we can just select these vertices over here, press Control Shift and B to bevel them, and to create this rounded out corner. All right. Now what we need to do is we need to create this curved out part over here that is in the middle. So just select this edge like this and now you can just right click and subdivide it a couple of times to create a lot of vertices. Press one for the front view. Select all of these vertices, press S, the x, and just squish them in this way. And now we can just move them up to create this curved part over here in the middle. Maybe you can press Control R, add a couple of them over here. Yeah, I think that's pretty good. Now we can just finally add in a wel modifier. Let's move the smooth biangle to the top, enable harder normals over here, and then adjust the wel amount. Maybe a bit more, 0.005. Now we can add in a weighted normal modifier. You can also increase the bevel segments over here to improve the shading around some corners. And if you feel like this looks a little bit too weird, you can select these word Cs and then press Control Shift and B again to bevel them out to give them, even smoother look. But not too much. Otherwise, they will collide with each other and create shading issues for us. Yeah, I think that's fine. It looks pretty good. Now we can move ahead. Let's press shift A. First select this go object set origin and origin to geometry. Once again, press shift plus, c to select it, press Shift A and add in a cube this time. Let's enable Xray move this cube down over here. Once again, press three move back and just match it with the reference image. Yeah, T one is pretty simple. Let's just press Control, apply the scale first, press tab, select this phase, press X, and delete the pace, and maybe I will select this phase as well that is on the top, press X and delete the phase. Now we can maybe press two for select, hold Control aught, and select all four of these side edges. And then we can just maybe bebelt out just a tad bit to smoothen it out this way. A to smooth this and once again, do the same steps, add a solidify modifier for thickness, and also add in a Bb modifier for smoothness. Mable hardened normals. And you can also add in a weighted normal modifier to further improve to further improve the shading. I think this looks fine. Maybe we can increase the number of segments over here. Yeah, that looks a bit better. All right. Let's continue. Again, I will select this, go to object set origin, and I'll set the origin to geometry. Shift plus cause to select it, and let's create this piece. And again, this is pretty simple. We can add in a simple plane, press R, then Y and rotate it. 90 degrees like this. We can go into the wireframe shading mode as well, but I think this is better. Just place it at the top over here and this one right over here. Press one for the front view, we can just move it towards right over here like this, to match with the reference image, and let's add in a solidify modifier, apply the scale, and I think the thickness is perfect. Now we just need to create this curved out path. Once again, just select these two vertices, press Control shift in B, and you can kind of bevel it out. Increase the number of segments to make it a little bit more smoother and just increase the bevel until it is like matching roughly with the reference image. I think this much is pretty good. I'll go ahead with this. And now we can just first, right click and shade out of smooth, add in a mirror modifier. This time, select the mirror object as this one, so that we can mirror it on both sides like this. Maybe I'll increase the solidify a little bit more and move it a little bit inwards like this. Now I think that's pretty good. Now we can just add in a bevel modifier to again smoothen out the edges. I'll move the smooth biangle to the top. Enable hardened normals over here and adjust the bevel amount. Yeah, I think this is pretty good. Let's just hit safe first. And now we can create these parts right over here. I think I'll just move them a little bit ahead to match them better with the reference image itself. Let's increase the solidita bit more. Yeah, that's fine. Now we can just press Shift A add in a plane, scale this plane down and just place it around here. Press three, press tab, enable Xray, and just select these two words Cs, press X, and delete them. We just need these two like this edge, and now place it right over here and just extrude it to match with the reference image once again. Yeah, I think that is pretty good. Now we can just add in A solidify modifier to give it again, a bit of thickness. Let's add in a Bbel modifier now. We can do the same steps we did earlier. Yeah, I think this looks fine. So with that, we can hit Save. We can finally just add in this cylinder. So scale the cylinder down. Pace it roughly like this. Press three, and let's see. We can match it over here as well. Let's move this down a little bit, press tab, enable X ray. Move this edge up a little bit and this one over here. And, rest everything looks pretty good to me. Right click and shade out smooth with the cylinder as well. And we are doing pretty good with our model. Let's just sit save, and we'll continue from over here in the next one. Thank you as watching. 4. Adding Details: Hello, A, welcome, guys, so let's continue modeling our traffic lights. And in this lecture, we will wrap up with the modeling phase of our course. So let's just do that. I'll press one for the front view enable Xray, and let's just create these small, like, nut like things. Add a cylinder and rotate it by 90 degrees on the X axis, scale it down and place it right over here. Press tab to go into the edit mode, press A to select everything, and then press Shift plus D to duplicate, place this one right over here. Then once again, duplicate and place this one right over here. Now, let's spring them out. So press G then Y. And they are not really, placed correctly, so just place them according to our current model. So let's just move them towards the right a little bit. I'll select these two and just move them in a little bit. Supply the scale and add in a bevel modifier and reduce the bevel amount. Okay, in shade to smooth this and enable harder normals and yeah this is pretty good. Now I'll just select this and now we can press Shift plus D and Z to lock on the Z axis and just move this down. I think somewhere around here is fine. I also want to quickly fix this part right over here, so just bring this down a little bit so that it actually lines up with this edge of the traffic light. Yeah, now it looks much better, I think. I also want to just quickly, as you can see, it is a little bit overlapping over here, so just disable the mirror modifier. And this is pretty easy now, so we just need to select all of the bottom vertices, make sure X ray is enabled. Then press S then Z, type in zero. Let's move this up a little bit. And now when you enable back the mirror modifier, you can now just simply enable clipping and now join them together at the center like this. Now it is perfect. All right. Let's continue. Again, press one for the front view enable Xray, and let's create these parts right over here. These are again some nuts. So let's just select this press shift puss because I selected, and we can start by adding in a cube, scale this cube down and place it right over here. Now we can just press Control, apply the scale, press tab, and now we can press two for it select, hold Control and naught and select all of these edges. Now when you press Control plus B, just don't give it any segments to smoothen it out, keep it like two only so that we can create this type of, I think, octagon like shape. Yeah, that's fine. Now, bring this out. Three for the right side view. And yeah, that's fine. And Now I will also just press tab to go into the Edit mode, press A to select everything. Again, press Shift plus D to duplicate, and now you can hit right click to place it exactly over here and just increase the size of it. Now we can just move it back to create a small base like thing. Yeah, that's pretty good. Press Control A, apply the scale and just simply add in a bevel modifier. Reduced amount of bevel to really low number, 0.002 and enable hardened normals Yeah, I think that's pretty good. Now I will also just select this and press Shift plus to duplicate. Press one for the front view, and let's place it right over here, so rotate it like this and place it right over here. Nb X ray and just place it and match it with the reference image. Yeah, this is fine. It does not have to be like, perfect. I'll move this back. I think I will reduce the bebel modifier a little bit. So 0.001 because it does look a little bit too smooth right now. I think this is good. Now we can just add in a mirror modifier to this. Let's try and select the mirror object as this one. And yeah, I think it is working perfectly. With that, I think the only thing left to create are these pieces right over here and also the ones over here, these ones. So let's create these two, and I think we will be done with the modeling. Okay, we have to create one more thing that is the actual glass of the traffic light that covers it, because right now it looks pretty flat like this. Let's do these things. Press shift, add in a cube, scale this cube down, place it right over here. Sorry, just scale it down. A apply the scale, press tab, enable Xray, and just add sage loops. Now I will just press one for word, C, select select all the behind word Cs, press X, and delete them, and then you can press three for face select, select this pace, press X, and again, delete the pace. Now we can just select this all, press E, and extrude it backwards. I think this much thickness is fine. Now we can add in A, D modifier and enable harder nomals. Let's select this loop. So hold Out and select this loop entirely and just scale it in a little bit more. I click and shade or to smooth this and move this at the top. I think I will also just select all of these edges, so hold Control and naught and select them all, press Control plus V and bevel them out a little bit like this. Yeah, that's better. I will also bevel these two edges as well on the side. Now that looks a little bit better. Just select this press Shift plus further to select it. And now we can simply add in two cylinders. That is pretty basic, scale them down and match it with the reference image like this. Duplicate this one and fit towards the left. Make sure it has enough thickness. Auto smooth both of them. A, I think this is pretty good. We can maybe just select them both press Control J to join them and add in a bevel modifier, apply the scale, move the smooth biangle to the top, reduce the bebel amount, and enable harder normals. Yeah, pretty good. So let's just select these two now. Now we can press Shift plus D to duplicate them, pre z to log on the z axis, and just bring them down over here. Yeah, it looks pretty good. Press three for the right side view. I'll just select this image that is on this side view image and then press slash to go into the local mode. Basically, this way you can select any of the objects and press slash on your number pad, and you can isolate them in a local view, which really helps out a lot when you have to single out one object and work on it without the interference of any other objects. So I can just select this one, press slash to go into the local mode and easily create these things over here. So press Shift A, and let's start by adding in a simple single vertex. If you don't see this option upear over here, that is because you have to enable two add ons for this. So go into the add on section and search for extra, and you can just enable both of them extra curve objects and extra mesh objects. If you don't find these over here in the add on section, you can find them in the Get extension section. So, you can just go over here and search for the extensions, extra objects, and, like, download or enable them from over here. And then you can just press Shift plus A and you will get this option of adding a single vertex. I will place this one right over here. Press E to extrude it, press Z to lock on the Z axis. Now again, press E, and Y, lock on the Y axis and just basically trace out this shape. Again, press E, then Z to lock on the Z axis, then E, and Y, lock on the Y axis. Now you can select these two press F to join them like this to make it like a complete figure and connect it. Now what we can do is we can just place roughly whole shift and use your right click to place the three D cursor roughly around here, and now you can go to object set origin and set the origin to three D cursor. This will bring the three D cursor right over here or sorry, the origin point right over here, which will help us to easily mirror this object. Now when you add a mirror modifier and set it on the Zt axis, you can see it adds roughly in the same location. And yeah, that's pretty good. So now select it all press F to fill out this phase. You can press E to extrude it downwards like this. Right click and shade How to smooth this. Maybe what I will do is press Control R and add a couple of edge loops over here. You can select these two, press J to join them. Maybe I will move this one little bit like this. Again just select these two, press J to join them. Bring this one over here, select these two and press J to join them. Basically to create a quad shape so that we don't have any engons. We can add one over here as well, select these two and press J to join them. The ones behind don't have it. So what I will do is I will quickly just select the behind ones once again, press X and delete them. This way we have this phase. Again, press A to select everything and just extrude it backwards like this. Now we get the proper quad topology all over. So maybe we can select this phase right over here and raise it over here like this to create a bit interesting shape. Something like that. So, that's why I created all of those edges, which will help me create these shapes. Maybe move this a little bit inwards like this and create something like that. Now we can add in a bevel modifier to this, move this to the top, reduce the bevel amount, obviously. So let's go with 0.0 015 and it looks pretty weird. The shading looks weird. First, let's decrease the pebble to 0.001, and now we can enable harder normals from over here. And yeah, now it looks pretty good. Now what we will do is let's press slash to come out of this, and we basically want to place these over here. So press R then Z type in 180 and ate them like this and just place them on the left hand side. Maybe I'll select this phase and move it out and we can hold At and select this loop, maybe press Control B to smoothen it out like this. I think the earlier one was fine. Select this press shift plus further to select it, and we can also add in a simple cube in between them, just like a really small strip type of thing. Increase the scale of it on the Y axis, move it down. At something like that. Press controller, apply the scale, press tab, and maybe we can Heat something like that. You simply add in a bebel modifier to this. Again, reduce the bebel amount. So now I basically want to extrude it downwards. But if you just press E like this, it will create this weird shape. So what you can do is you can go over here and select the extrude manifold. And now when you push this down, it will work out a lot better. And I'm pretty happy with how this is looking. So we can just select this now. Let's press three for the right side view enable Xray. Yeah, it is pretty much in the same location now press Shift plus D and bring this down till here. The reason it is flipped like this is because we have to put it on the other side of our traffic lights. That's why it appears this way. But everything is pretty much done. Our traffic lights are looking good. Let's just work on the screens that I was talking about. So press Shift A. Let's select this, press Shift pluss further to select it. Let's press Shift plus A and add a simple plane press R, the next type in 90 and rotate it like this and make it just roughly the same size of the screen itself. Like somewhere around here. Now you can press three. And once again, I will just select this plane and select the side view image, press slash to go into the local mode, and again, press three, and now we can work a little bit more freely. Just bring this out till here like this. Press tab to go into the edit mode. Make sure to press control, apply the scale, press tab, press A to select everything, and now you can press E to extrude it and just scale it according to this part of the reference image. Now extrude it just a little bit, scale it down like this. Again, press E to extrude it a little bit and scale it down. Create like this. Uh, like smooth shape for the screen itself. Press slash to come out of the local mode, and let's see. And now we can just select this, press right click and shade auto smooth this. And yeah, I think the screens are looking pretty good. Yeah, I'm happy with the look of our glass over here. So just select it, press Shift plus D and Z and bring it down over here. Or I think we can use the mirror modifier for this. So just add a mirror modifier and select the mirror object as this. Set it on Z axis. Yeah. Perfect. We have got our traffic lights, and I think they look pretty good. Now just select this all Make sure to hold control and deselect this image, deselect this part as well. Just make sure to select the traffic light itself. And now we can press Shift plus D, press X, and bring it over here so that we can create these two traffic lights, obviously. And with that, we are basically done with the modeling part of our course. In the next lecture, what we will do is we will set up the scene a little bit, setting up the camera, obviously moving the position of them because they don't look as good, like, completely straight. So we'll just move them around, place our camera, and then we can finally just U and wrap them and start with the texturing process. So thank you for watching. I will see you in the next one. 5. Setting up the Camera: Hello, and welcome, guys. So in this lecture, we will be setting up our camera and composition a little bit. So first, let's select both of these reference images. We can press M and move them to a new collection and rename this to reference underscore images. And I can just easily turn this off. I will also select all of the models that we have just created. Again, press M, move this to a new collection, and rename these two traffic lights. All right. What I will do is I will also select these four things like these screens that we have created, press S and Z or sorry, S and Y and scale them up a tad bit like this, basically increasing this size of them. So just press S and Y and just increase it a little bit, not that much to make it a bit more curved like this. Next, what I will do is I will select this all and I will increase the scale of my traffic lights a little bit. Also, you can press N over here to bring this sidebar view up so that you can match the measurements that I'm going for All right. Scale it up a little bit next. I've also opened up Pure ref to actually see the reference image that we have so that we can kind of match up with this shot over here. So yeah, I have just opened this image in my second monitor. So I'll place it right over here. First, what I will do is, as you can see this part over here is a little bit at an angle. So what we can do is I'll just first scale it down. All right, so you can just select it all, press R then Z to lock on the Z axis and just rotate it a tad bit like this. Maybe something like that. Now, as you can see, this traffic light is facing in this direction, so just carefully select all these parts and then again, press seven for top you. Let's enable X ray and rotate it like this. I will go into the wireframe mode and place it roughly in the center of this part. And I think something like this is pretty good. And the left traffic light is facing in the other direction. So again, I will select it all. Again, press seven for top view. Now you can just press R and rotate it like this. So I am matching this circle with this line to keep it in the center roughly. I think that's pretty good. And now, as you can see the traffic lights roughly line up with the shape that we have in the reference image as well. I will move the reference image back to my second monitor. Press three or sorry, press one for the front view. Then you can press Shift A and add a camera like this. Let's move this camera over here, press G then Y, and move it back. Now press zero. To view through the camera, you can press zero on your number pad to view through the camera itself. Let's go to the camera settings like the object data properties and increase the focal length to something like 60. Now again, press G then Y and move it back a little bit. Let's move it up, press G and Z. Now what I will do is I will just select this camera and maybe rotate it up a little bit like this at an angle then move it down, so to give it a feel that we are looking it from downwards because we kind of have a similar angle over here as well. And now I think it looks pretty good. Maybe just move it a little bit like this. With that, I think we are lining up with the shot pretty nicely. I'm really happy with how this is looking. Maybe move it a little bit more to the left like this. Now we can also go into the rendered view mode. Let's just simply go into render properties, set this to cycles, set this to GB, also enable denoise, maybe just add like a simple sunlight glad we can actually see how everything is looking. And yeah, I'm pretty happy with how the overall model has turned out. Now what we can do is we can finally start to U and wrap it and start working on the textures. And then after that, we will set up, everything properly like setting up the lighting, the background, the rain as well. So yeah, I think this much is pretty good for this lecture. I will see you in the next one. Thank you. 6. Minor Fixes: Hello, and welcome, guys. So this will be a quick video where we'll do just a couple of fixes before we actually start the texturing. One thing that we can see is that this screen light thing that is in the front is poking out from over here. So let's just quickly fix that. So press tab on this, press Control R and add edge loop right over like here, just around here. And now you can just scale it in. In my opinion, that is a lot better because now it is not poking around anymore. Let's do the same thing over here as well. Press control A edge loop right over here, scale it. Yeah, that is pretty good. Next, what I will do is you can select this and you can also add in a weighted normal modifier, which will kind of fix up the shading a little bit, enable keep sharp and decrease this weight to zero. And you can see the shading has improved a little bit. Let's do the same over here. Just select it, add a weighted normal modifier. And set this to zero. With that, we have fixed that. I will also just select this object. Let's select both of them at the same time, press tab. And what I want to do is I want to select this single vertice and just kind of like I want to bevel it a bit so that it is a bit smoother. So hit Control Shift in B and just bevel it like this. Just so it becomes a lot smoother like this. I think this looks much better. Next, I will also just select it and decrease the thickness of this like the solidified thickness. So negative of 0.006 maybe. Or instead, we can increase the bevel amount to something like 0.003. Yeah, that feels a bit better, and I will just set the thickness too. 0.7. Yeah, that feels good. I will do the same over here as well. Now just increase the bevel. Alright guys. With that, I'm pretty happy with how our models are looking. Let's just hit save. We'll finally start with the texturing in the next video. So thank you guys for watching. 7. Adding Materials: Hello, and welcome, guys. So now that we are done with the modeling part of our course, we can focus on texturing, lighting and rendering. So in this video, let's add some materials to our models. First, what I will do is, I'll just open up this section, click on over here and change it to the shade radiator. All right. You can also go over to the rendered view mode so that you can actually see the materials, and you can just select this. Let's select this first, click on New and rename this to the glass material. So to make it the glass material, it's pretty simple. You just open up the transmission section, set it to one, and let's set the roughness to zero so that it reflects off completely, and then you can choose the base color to be like something dark like this. I think somewhere around here. Then you can select this one as well and just click the glass material so that they both have the same material. All right. Next, what I will do is, I'll just select our main traffic light body, click on New and rename this two traffic lights. All right. So for this material, again, we'll be going with something simple. So first, press Shift and add in ambient occlusion node. So what this will do is, if you plug this in, you can see it will basically add all of these shadows like contact shadows. You can just select your node and press to turn it on and off and see the effect it adds. First, before continuing, what I will do is I'll just select everything, like all of the models that we have created over here as well. Let's select these ones. And what I will do is, I'll just select this one at last. So select the one that has the traffic lights material at last, press Control plus L, and now you can select link materials. Basically, this will copy your material to all of them. Let's just change the color to something random so that we can actually see the material, like if it has been copied to all of them. Also select these three as well over here. And this, then again, select any of the objects that has the material, press Control L and link materials. Perfect. Now we can again, give it some type of color. So I will be going with a desaturated blue, so just decrease the saturation, the value as well. Let's make it a bit more darker. Yeah, something around here. So now we have the color of the traffic lights. So to improve this material, what I will do is I will add some edge highlights, which we usually see in like animate type of materials. So what I will do is there is, like, a basic setup of nodes to add edge highlights to any object in blender. So what you need to do is press shift A and search for a bevel node. And again, press shift a search for a geometry node. Now what we need to do is we need to press Shift A and search for dot product node and you can just plug both of them in over here, select the normal input from over here and plug it in the vector. Now you can take this value and we need to just map it, select a map range and then we are basically done. You can just change them two minimum value to one and two maximum value to zero. Now when you plug the result in over here in the base color, you can see we have successfully masked out the edges of our models. And if I increase the two minimum value, I can control the brightness of them, how bright I want them to be. And with this radius value, I can also control how thick I want these outlines to be. Like, if you put it at 0.01, let's say, you can see they are pretty sharp. So this is like a really powerful set of nodes that we can use to add these edge highlights wherever we want. So now to properly set them up, we basically need to mix the ambient clusion and this edge highlight thing. So first, you can just hold control and disconnect this, and we need to press Shift A and search for a mixed node. So just add a mixed color node and plug the result in over here. Now what I will do is I'll take the result of this and plug this in the factor. And you can take your ambit illusion and plug this in the A input. Now, what this will do is this B input or this B, color input is basically the color of your like the highlights. So obviously, I'll just keep it at white only maybe make it even brighter like this, and then you can control the value like this bevel value. So increase it to 0.04 maybe let's just decrease it a bit 0.035, something like this. And we can also decrease the two minimum value to 0.8. And yeah, as you can see, we get these very nice edge highlights around our model, and I think they look pretty good. You can just select it all and press to turn it on and off like this. So you can see this model was pretty flat and now we have added some edge highlights. Pretty good. All right, guys. So now to improve the look a bit more, what I will do is, if you'll go in the course files and in the reference images and texture folder, you will find this grunge texture that we can basically use to break up the surface of our material. So just drag and drop it into blender and you can plug this into the ambient oeclusion. Right now, it does not look pretty good. So what I will do is just select it. You can select these four pieces, press Control, apply the scale, then press tab, press A to select everything and press U, and then select Cube projection. This will basically UV and wrap them, and now they look a lot better. All right. So to obviously improve the colors of this, what I will do is press Shift and add a color ramp in between. So just plug this color ramp in over here like this. Now you can select the black color and just maybe make it a bit more brighter, as you can see, because we don't want it to look like too dirty as it is looking right now. So just maybe make it a bit more brighter. This way, next, what I'll do is I'll just select the white color over here, select this white slider and again, select it and give it roughly the same color that we had earlier. Make it a bit more dark. Something like that, and I will also maybe make it a bit more darker over here. Something like this. Basically, this will help us to break up the surface of our material. Otherwise, it is looking like too flat. Another thing that we can do is we can probably go with like a bluish type of color for this as well. Just make sure to desaturate it a bit. Yeah, I think something like this looks pretty good. Yeah, that's good. Next, what we can do is we can select this, again, click on New and rename this cue simply metal. And I'll first give it like black colour, set the metallic value to one, decrease the roughness a bit, and we can first just copy to the rest of the objects as well. So select them all you can just make selections like this. And if you by chance, select anything extra, just hold control and deselect this way. Now you can at last select this metal rod, press Control L, and link material so that all of the materials get copied up to the like all of the selected objects. All right. With that, what I will do is, again, select your graphic lights and just copy all of these nodes. Like this section, press Control C, and come back over here, press Control V, and just plug this in this way. Let's see. What I will do is probably I will reduce the metallic quite a bit because it does look a little bit weird, so somewhere around 0.5. I think the roughness is fine. Next, what we can do is we can definitely make our base color a bit darker. Yeah, something like this. And now for the outlines, let's see, can probably increase this to minimum value to something like this, and now select your outline color and maybe make it a little bit lighter as well, because it is a bit too bright. Yeah, I think something like this is pretty good. Also, the material of the glass looks pretty black, but don't worry when we will add lights in here. They will look pretty good. And yeah, with that, I think the materials are added to our models. Let's save. And with this, in the next video, we can focus on adding the background, the rain and yeah adding the lights as well. So thank you as watching. I will see you in the next one. 8. Adding HDRI and Background: Hello, and welcome, guys. So in this lecture, let's add our background and we can also adjust lighting a bit to make our scene look a little bit better. So first, what I will do is I'll just go in over here and switch the shaded tie from object to world so that we can add in HDRI. And if you will open up the reference images and textures folder, you will find this city HGRI available. What you can do is first press shift in and search for environment texture. So because this is a HGRI we need to add a specific node for it. So add in environment texture node, click on open, and we can just come into reference images and texture and select this. You can plug it in over here. And basically, it will give us this stylized GRI all around. But what I will do is, first, what I want to do is go in over here. And under the performance or sorry, under the film section in the render settings, you can enable this transparent thing. What this will do is it will remove the GRI. It will make it invisible, but we will still have the effects of the light. And also, I will just set the strength to something like 0.5. Because it is a bit too bright right now. So yeah, as you can see, now we get these nice reflections in our glass. So yeah, that's pretty good. Come back to the object now. We can select our sunlight. And let's see. Let's move it up like this a little bit. And what I will do is in the object data properties of my sunlight, I will start by increasing the angle of the light. What this will do is it will make it really damp and not really sharp, as you can see, that right now we get really harsh highlights, but you can just increase it a lot to maybe max only. And this will give you really flat shadows, which is exactly what we want because our scene is like a rainy scene, so we want it to look like really damp and we don't really want any shadows exactly. So yeah, I think that's pretty good. Maybe I can set this to 140. Yeah, that's fine. Next, what I will do is I'll also enable temperature. Basically, if you decrease this, it will give it yellowish tones to your scene. And if you increase it past 6,500, it will basically give these bluish tones. So somewhere around, I think, 8,000 8,500 is fine. If you enable or disable this, you can clearly see that it is adding these bluish tones in our scene, which we really want with R environment. All right. Next, what I'll do is I'll press Shifte, go into image, select mesh plane. And again, in the reference images in texture, select your background. Let's scale it up. And move it back somewhere around here. Just make it pretty far away from your traffic lights. And right now, the color of it looks pretty weird, but don't worry. We can easily fix that. Just select it. Go in over here, make sure to come back to your object shadotype and now you can just plug in this background like node directly into the surface, and you will instantly see the colors improve a lot. Because now it is not really going through this principle BSDF. We can just delete it now and the colors look a lot better. I will also come back over here in output properties and just enable render region. Basically, what this will do is it will only show us the area which is going to be rendered, and that is the important part anyway. So yeah, I will just enable this render region thing. Another thing that I will do is I will come in over here in the render property, scroll down under the color management section, you can just change the look from none to something like medium high contrast. You will see it will give your colors like this really punchy look, which we want. You can also change the view transform from AGX to something like standard. Which I really like to use for anime style scenes. Like, I really use standard, but you can work with AGX as well. For this particular scene, AGX also works really nicely. But let's go with standard for now. And when we create the final result, then we can compare both of the results of Standard and AGx and see what looks better. Let's sit save now. And yeah, this was basically a very short video. I think this much is pretty good. In the next video, we will be adding rain into our scene. So yeah, thank you guys for watching. I will see you in the next one. 9. Adding Rain: Hello, A, welcome, guys. So let's continue working on our scene. And in this video, we will be adding rain. So if you will go over in the textures folder, once again, you will find this rain video that I've added, which is basically like this black and white video of rain where we can mask out this rain animation from the video and use it in our scene. So yeah, it's pretty simple. But first, what I want to do is just select the traffic light, and I do want to make the material a tad bit darker. So just select the color ramp over here and you can move it a little bit to the right like this. And also just select it and just pull down this value slider so that it is a bit more darker. Yeah, I think this feels a bit better. Next, what I will do is I will once again just press Shifte and go to Image, select mesh plane, and we can in our textures folder, select this rain video. Again, scale it up and just try to rotate it up a bit so that it matches the camera angle. You can press seven for top view and you just move it back over here. Let's see. We can move it back over here, increase the size of it, and just make sure it is covering our scene like entirely. Also, make sure that the video is imported. You can see it is like green dot mp four over here. And if you play it, and I don't think it is showing up because we are in currently cycles. But yeah, it is definitely updating. I think it would be a little bit better like EV. We can see the effect a bit better. As you can see, the rain is playing up over here. In cycles, it is not really working correctly because it is a path tracer, so yeah, it is slow, but don't worry in the animation, it will look fine. All right. So next step is to just basically mask out the rain so we do not need all of these black parts. So what we will do is just select this penciple BSDF and delete it first, press Shifte and search for a mixed shader. So we are using a mix shader and to drive the factor of this, what we will need is we'll just use this only directly, so you can plug this into a color ram. And this can go over here in the factor. Now press shifty and search for a transparent node, and this one can go in the top and press shift A and search for an emission node, and this one can go in bottom. So basically, all of the black parts are being masked out with this transparent node, and all of the white parts are being used by this emission node. You can increase the emission of it to make the rain kind of glow, if you want that, but I don't think we will need that. Maybe you can set this two or three, and that would look better, but I think one is fine. One is pretty good. Let's switch back to cycles again so that we can actually see the rain animation. Okay, so it is not showing up properly, but as I said, it will look fine in the final animation. Let's come back to cycles, and what we can do is right now, we just have this one flat plane of rain. What you can do is just duplicate it and bring it a little bit closer and now increase, sorry, decrease the scale of it so that we have, like, a bit of layering effect. And once again, just duplicate it and bring it really close to the camera. And just scale it down so that you get these droplets which are looking so that you get these droplets which are really close to the camera and later on we can use a little bit of depth of field. So it will give us a really nice effect. Maybe you can put one over here as well in between. Yeah. I think this much is pretty good. Now you can just select all four of them, press M and move them to a new collection and rename this two Rain. You can turn it on and off from over here directly. And yeah, with that, our rain animation is also set up. Next, what we need to do is we need to add some kind of, like, traffic signs in our light so that we can further add those like those will be having some kind of emission, which will look really nice. It will add some color into our scene, and we can also use them for animation as well. So, I think this is pretty good for this video, guys. I will see you in the next one. Thank you for watching. 10. Creating Traffic Signs: Hello, and welcome, guys. So let's continue working on our scene. And in this lecture, I will be adding some traffic signs into our light. So yeah, that will add a little bit of color into our scene. So first, I'll just turn off this rain collection and we can select our background as well, the light and the camera, press M, and move them to a new collection as well. Just create a new collection so that we can easily just turn them on and off whenever we want. I'll just rename these two Lights camera. All right. So let's press one for the front view, press Shift A and go into Image, select reference this time because we just need the reference image of the signs of these signs. So just select it, let's scale it up a bit, reshift pluss to select it. And the way we are going to create this is basically just we can trace out this line over here and then we can add like these circular things, we can add cylinders and we can give them emissive materials, which will be emitting light of, like, red or green. So press Shift A and start by adding in a single vertex. Again, if you don't see these options, when you press Shift A and you don't find these extra options over here in the curve and in the mesh menu, you can go into edit preferences and just search for extra, and you will find the extra curve and extra mesh objects. You can just enable them both now press Shift A, go to single word and add in a single word. I'll place this one right over here. And again, it's pretty simple. You just press E and extrude it out like this and basically trace out the outline. I keep on pressing E to adjust it, just press E and move it around. You can also hold shift while you are moving it around, and it will move a little bit slower so that you can place your like the vertex a little bit more accurately. Now, if you want, you can just quickly fast forward this because I am just basically repeating these steps again and again. So I'll just quickly finish this up now. Now, when you need to close these two, you select them both and press F to connect it like this. And, we are basically done. So next what I will do is I'll just select these two t press control shift and B to bevel them out and maybe make them a bit smoother like this because they are looking pretty harsh edges. And yeah, just select this vertex press shift plus D and place this one over here. And this is a bit repetitive and boring process, but it barely takes 2 minutes, so let's just quickly get this over with. Y. Let's just select them both and press F to connect this. And now we are basically done with creating this outline. Now we want to give this outline a bit of thickness. There are multiple different ways to do this. Let me just quickly go over all of them because they can be helpful. I think the simplest is to just select this and add in skin modifier. And we'll get something like this. You can press tab, press A to select everything and just press Control A, and you can just scale this down like this. You can see how easy it was to add. Thickness to your like the model you have just created. Also, what you can do is maybe just press tab and hold Alt and just select this entire loop, press B, and separate the selection. This way, both of them are separate objects. So yeah, as I was saying, you can use the skin modifier to give it thickness. Just make sure to press Control A after you've selected everything. So press A to select everything, then press Control A, and then scale this down and you can adjust it. But as far as I know, this adds a lot of geometry if I just apply it now and you can see, we have a decent bit of geometry added. So the way I do A, sometimes I will use the skin modifier only if I want to do it quickly. But other ways to just select it all, press E to extrude it like this first, and you can extrude it on the Y axis this way. So just a little bit. So right now, it still does not have any kind of thickness, so you can now go in over here and add in a solidify modifier. And now you can just increase the thickness from over here this way. We can see there are a couple of issues. So first, press tab to select everything, press Shift plus N, to fix the normals, and you can see now everything is perfect. You can also change the mode from simple to complex, and that sometimes helps. I will also set the offset to zero. And now I can adjust the thickness. I think the offset to minus one was fine. And yeah, now I can adjust the thickness very easily. And I believe if I apply this now, this will have way less geometry than the skin modifier. So yeah, this is something that I wanted to mention. And let's go with the solidify modifier only because I think it looks fine. And yeah, let's do the same over here as well. I will select it and add in a solidify modifier, press tab, press A to select everything, press E and then press Y to move it on the Y axis. Just quickly make sure to press A to select everything and press Shift plus N to basically recalculate the normals and much better, you can now adjust thickness to whatever you want. Make sure you select them both and just check if both of them have the same thickness. So 0.03 is what I will be going for. Let's just select them both and give it 0.03 of the thickness. With that, our outline is ready. I will now press tab to again go in the edit mode, press Control R, and you can add edge group right in the middle and hit right click so that you can add it in the middle. Press Shift plus D to duplicate so that you can duplicate, again, hit right click so that it stays exactly in the location. Now press P and separate the selection. The reason I did that is I will now remove the solid if I modifier, press tab, press A to select everything and press F to fill out this phase. We basically give it this closing. Do the same over here as well. Press control R, over here, hit right, click press plus D to duplicate. Again, hit right click, press P and separate the selection. Basically, if you don't know, right click is basically used to cancel any movement. Like if I'm moving it around and now I just want to cancel this operation, I can hit right click and it will be back where it was initially. You can do this with any operation like scaling, hit right click, it will be back over there. Yeah. I'll select this now, press A to select everything and press F to fill out this phase. All right. Press one again, guys, enable Xray. And now we kind of again, have to do that repetitive task, but don't worry, it will be quick. So press Shift and let's start by adding a cylinder. I will decrease the word C to something like maybe 16 because we do have to duplicate them a lot of times. Press R, the next type in 90. And now you can just scale this down. We could also use UVSpay as well. But this is fine. I will now start placing a the cylinders, you can press Tab to go into the edit mode. Now press A to select everything and just keep on pressing Shift plus D to duplicate. I'm sure there is some better way to do this by probably automating it or using geometry nodes or whatever. But I'll just quickly do it this way because it's just easier, keep on pressing Shift plus D and move it around. And once again, I'll just quickly fast forward this video because this is a pretty repetitive process again. What I can do is maybe press X and delete this one. You can just select all of these ones, and maybe you can just quickly duplicate them because I think that will be a bit quicker. Press S and X, type in minus one to flip them on the left side. Yeah, works pretty good. Let's quickly do. These ones as well. All right, guys. All the for this traffic sign, press S, then Y scale it down this way, and let's move it back over here. All right, guys. So now we are done with this traffic sign. I do feel these over here do feel like a bit switched up. So I'll just press to select a couple of them, and maybe we can just space them out a bit more because otherwise it was feeling a bit too cramped over here. That feels a bit better. You can also hover over any object and just press L to directly select them. You don't need to, like, make a manual selection every time. You can just hover over the object you want to select and press L, and it will select it. Let's do the same over here. I will just select this one Presl and preseX, delete it, and just space these out a bit more. Yeah. Much better now. Again, press one for the front view. Let's select this, press tab and you can again, press L on any one of them, press shift plus D and bring it out over here. Press B, separate the selection. Let's enable extra quickly. Pase this one over here, press tab to go into the edit mode, press A to select everything, and just quickly now presifPlusD to duplicate these all. Alright, guys, this is also done. Let's just quickly see if it looks crammed anywhere. But yeah, I think this one feels fine. And with that, we are done with the signs. So let's just select them all and move them up right over here. Press one for the front view. And I think we will have a little bit of trouble placing them around, but nothing too much. So let's just place them like this. What I will do is, let's just turn off the lights and camera collection. But first, press and move this to a new collection and rename this to signs, and now we can just turn this collection off. I will select this top one. First, let's give this the emission material. So click on this. Let's move over to the rendered view mode. Click on New and rename this material to emission. You can remove the principal BSDFPresShift day and search for the emission node and plug it in. For now, this is fine. We can give it like a simple red color. And for this one, two emission green, remove the principal BSDFPrehifA and add an emission node, plug it in over here, change the color to somewhat green like this. Perfect. I will select these back plates. Click on New, just rename this material to black, and we can give it roughly darker color. Similarly over here as well. And now you can just select all of them in press Control J to join them together so that it is a bit more easier to move them around. Select this one, go to object and set origin, origin to geometry, and for this one as well, go to Object set origin, origin to geometry. I'll select this now. Let's press one for the front view enable Xray, and I can place it roughly in the middle like this. So the scale for it is around 0.013 I just select this one and place them roughly on top of each other so that they kind of have the same scale. And yeah, I do think they both have the same scale. I'll select them both and maybe increase the size a bit more. And yeah, now you can just move this one down over here. Like this, and this one is fine over here. Now, make sure it is like matching up with the rotation as well, so you can just rotate it this way. Base it like this. Similarly for this one as well, press seven for top view. Et's just quickly view through the rendered view mode, remove the glasses, and just select this one. Press G Y and Y once again, or press G Z then Z once again so that you can move it on the local Z axis. And that would be really helpful to, like, get you to place this. And similarly for this one as well. Press G, Y and Y once again. So both of them have a little bit of different local axis, but that's fine. Now, I think it looks pretty good. We definitely do need to, like, increase the emission of them because right now it's a bit too low, so maybe we can go to something like 50 for now. Let's see 50. Similarly, for green as well, you can set this to 50. You can notice that the color is almost turning up to something like white, but don't worry when we add stuff like emission. Oh sorry. Like all of the compositing and everything, it will look pretty good. So yeah, don't worry about that. Let's just select them both. And let's see. I'll select these two pressure plus D, and maybe we can place these two exactly the same over here. Let's match it with this line so that we know that the rotation is roughly the same. As I mentioned earlier as well, they both have different local axis. So just press G z and z once again to move like this. Make sure that the back face is touching the traffic light like this. Similarly over here as well. Press G Y and Y once again. All right, guys, that's pretty good. Let's press R plus H to bring our glass back. Let's enable the lights and camera and everything as well. You can turn on the rain as well. And right now, I do feel it does not look that great right now, but don't worry. When we add compositing and everything, it will start to look really good. Let's just sit save now and we'll continue from over here in the next lecture. Thank you for watching. But 11. Compositing in Blender: Hello, and welcome, guys. So let's continue working on our scene. And in this lecture, we will be doing some composting, which will improve the looks of our scene a lot. So let's move over to the render view mode. And over here in the render properties, you can just set the max samples to something like 100 because we do want the render to be done quickly. Also under the denoise section, make sure you use GPU because then it will be faster. I will also enable back my rain and you can just quickly press F 12 to give your scene a render and see how it looks actually right now. Then we will start adding the compositing and everything and see how that goes. All right, guys, the render is done now, and this is how it looks. It looks fine, but we can improve it a lot just by doing some compositing. So let's close this and move over to the compositing tab. You can click on New and I'll just quickly make a couple of changes. First, you can just hold V to just minimize this so that we don't see and get distracted by our render. Instead, we will just go over here in the corner and just split our window like this and we can instead, I will split it, I think this way. So go over here in this corner and split it like this. And now we can just change the top one to image editor and set this to render result. Now I think it is much better. Over here, we can add our nodes and over here, we can also see what effect they add. First off, I will start by adding a glare node, so press shift A and search for glare, plug this in over here and instantly, you will see you start getting all these streaks. If you do like this type of effect, you can definitely put it in, you can decrease the strength obviously, and you can add it a little bit, but obviously I won't be using that. I will be switching this to fog globe and I will decrease the threshold to zero. And now you can just increase the glaa size to one. And as soon as you do that, you can see, our traffic lights start to glow. But I do want a bit more of that glow, so I will just select this node, pre shift plus D to duplicate and add it once again. Now we get a lot of this glow. You can set the threshold to maybe 0.5 to decrease that a bit. Yeah, this is better. You can select both of these nodes, and now you can press M to turn them on and off and see the effect they add. Instantly with this glow, it looks a lot better. But let's add some more nodes, press Shifte now, and you can search for vignette, which is basically the darkening of the corners, which will help us to focus on the subject of our scene, which is these traffic lights. You can definitely decrease the factor to a pretty low number. 0.3 is fine. And maybe 0.6 for the feather. So, again, we want this to be pretty subtle, but we do want some darkening of the corners like this. Maybe I can increase this to something like 0.4. Yeah, that's fine. All right, guys. So that's pretty good. Let's continue. And next what I will add is I will add a pasteurized effect because right now, everything looks a little bit like flat, there is no color banding. So you can take this from over here and plug this into a pasteurized node. And first, you can see what the effect actually is. So plug it in over here, and this is the kind of effect it will give you. We definitely need to increase the number of steps. Also, you can go over here to options and switch this to GBU, and that will make your compositing a lot faster. So I think I will go with something like 23. Right now, we get a decent bit of color banding and like these variations. And now we can just mix it with our original vender, so you can press Shift A and search for a mixed color node. And let's put it over here. You can plug this in over here in the A input, and this can go in the B, and now you can plug the result in the final. This way, you will see we get effects of both of them. We get this posturize effect as well, and we get the glow as well. But I think again, it's a bit too much, so you can definitely adjust the factor over here. So one means it is totally completely using the B input and zero means it is completely using the A input. So we can go like somewhat in between, so around 0.25 because obviously you don't want too much of that posturize effect. This much is pretty good. All right. Next, we can press Shift A and search for a dispersion node, or sorry, lens distortion node. And we can just add a bit of dispersion, which is basically chromatic aberration. As you can see, we will get these splitting of the color. So I think it's a bit too much. So somewhat like 0.03 should be pretty good. Like this effect only looks good if you add it really subtly. So around these edges, you can see, we get like this disposion of the colors. Now, I think it is looking pretty good. So you can select them all, press to basically turn it on and off. Like the composting, and you can see how much of effect we can add just with these simple nodes. I will also be doing some composting in Photoshop as well as I think it will elevate the look even more of our scene. But if you want, you can do a couple of those things over here in blender as well. So let's say I add something like tune Image, which is a node I really like to use, you can increase the clarity. And you can see we get a bit more contrast in our scene, and instantly the look of our scene improves. I do like to add this effect in Photoshop itself, but you can add it over here as well. You can increase the clarity and detail. And you will see they instantly improve the look of your scene. Like if you increase detail, it is basically sharpening of the edges. And you get something like this. Obviously, this is a bit too much, but you can go subtle with this and get decent results. If you select this node only now press to turn it on and off. You can see earlier it was like everything a bit blurry. But with tune image, you can just make everything a bit more crisp. But, as I said, I like to add these effects in Photoshop, but I just wanted to mention that you can do these things in blender as well. I will remove it now, so hold all and remove it and you can delete it. Okay. So I do want to make a couple of changes. So let's come back to our layout, and we can press F 11. So this is how our render looks right now. So the things that I want to change are you can select your main traffic light material first. Okay, first, I will just turn off the rain thing because it gets in between our selection. We cannot easily select our objects, select the traffic light now, and I just want to increase the metallicness, because you will see it will get a bit more darker this way and look a bit better as well. You can increase the metallic and the roughness so that it does not like increase the roughness as well so that it does not shine of light, and it will get a tad bit darker as well. I will select the top part of the metal, and maybe I'll just decrease the bevel to 0.03. Because this bevel over here is looking a bit too much. That's better, I believe. You can now press F 11, press J to switch between render slots and press F 12 to give your scene a new render. This way, basically we can compare the two renders and yeah, it's kind of helpful to switch between the two. You can instantly see right now the traffic lights do appear a bit too bright, but with this, they look a little bit better integrated into our scene. Obviously, these things are totally up to your preference, how you want to, play around with them. But yeah, I will be going with something like this. Also, I will be selecting the background. You can press Shift A and search for a huge saturation value node and plug this in over here in between. And now what I'll do is I'll just decrease the saturation of it to something like 0.75 to make it a bit desaturated and you can decrease the value to make it a bit dark. Basically, this will again integrate it better with the sea because it is a bit too saturated and bright for the look of our sea. Again, I will just press F 12 over here only so that we can compare it with our initial vendor. Alright, now it's turn, you can press J to compare between the two. So earlier it was, like, a tad bit too bright, and now it's looking a little bit more like damp and cold also like you get a bit more of a sad type of Y from our render now, which I think I was going for. This is looking a bit too bright. But yeah, all these things are totally up to your preference as well. If you want this kind of look, you can definitely go for it. Next what I'll do is I'll also decrease the saturation of our emission lights because if you'll notice they do look a bit too saturated, in my opinion. So you can select this. Maybe I'll increase the emission to 100 so that they are more bright and we can set the saturation to something like 0.35, so that they are a bit desaturated. Again, set the emission to 100 and decrease the saturation too. Maybe I'll go same for both of them, 0.35. All right. Well, let's just okay, all of these materials are connected, so it's done now. You can again just make sure to enable Varain. Yeah, it's already enabled. It is just hidden only. So we can press F 11 and press F 12 on this. Wait for the render to finish. All right. This is how our render looks now, and I do believe the extra added emission helps us to not really see these dots which did look a bit weird, and I do feel like this look is a little bit better. Don't worry. Right now, all of the lights are glowing, so it does look a bit weird, but later on when we set up the animation, where the lights are kind of in like a strobing animation, it will look really good. So yeah, don't worry about this, but I do feel like this look is a little bit worse and this looks way better because everything is a bit more integrated in my opinion. Also, what you can do is if I come back to the compositing only over here, and you can scroll down in the render properties. Under the color management section, I do want to try different ones, so we can go for AGX as well, and with AGx we will get this type of look, and with standard, we will get something like this. I'm honestly still a bit confused which one I want to go for because AGX looks nice as well. But we do, again, see these dots because it has a higher dynamic range. That's why. So maybe we can go with standard only. You can set the contrast as well to none if you do like it a bit less contrasty, or if you like the contrast, you can go with medium high only. But I think this is pretty good for the composing in blender. The scene already looks like pretty much finished, but I will be doing some composing in Photoshop, as well, which will improve the look even more. So yeah, thank you for watching. I will see you in the next one. 12. Finishing Touches: Hello, and welcome, guys. So let's continue with the compositing of our scene. And in this lecture, I will be doing some additional compositing in Photoshop to make it look even better. And while I was testing things around, I kind of find out that the AGX color management gives me the best results as it is more dynamic. So yeah, you can obviously go for whichever one you prefer, but I will be going with AGX and medium high contrast. So to start off, just press F 12 to give your scene a render, and we can just copy this render from over here. You can either save it when it's done, or you can just copy the file directly like this. Now I can open up Photoshop, click on New create a new 1920 by 1085 and just paste it over here like this. So now we have our scene in Photoshop and we can start working. Let's see. First, I will just remove this background layer and you can just right click on the render, right click on it, and select Smart Object. Convert to Smart Object. Basically, what this will do is whenever you add, like, a new filter, let's say I add blur, you will see that it will appear over here and you can just adjust it however you want, enable or disable it or even copy it to some other render. So first, let's delete this Yeah. Okay, so first, let's do some image adjustments to it and you can go over here and add in a levels adjustment. Basically, this will help you give your scene more contrast. So you can just push this slider in over here like this. And you can also push this slider over here. This will basically give it the brightness that I was talking about. Because as you can see, right now, we can see all of the singular dots of our emission lights. But if I start pushing this slider in the brightness of our scene will increase and they kind of get faded into this. Singular like emission mask only. So that is the type of look that I want to go for. So you can push this slider in to basically increase the contrast and over here, you can just push it in to increase the brightness of the cea. So I think somewhere around here is pretty good. You can already see it looks a little bit better than earlier. I will also go into filter, sharpen and select sharpen more. Basically, again, it will sharpen up all of the edges, and now your scene looks a little bit more crisp. Earlier, it was pretty blurred out. And yeah, let's see. Next, we can also add in something like a photo filter just to give it some bluish tones. So around here, instead of choosing the warming filter, you can go for the cooling filter, and not that much somewhere around, I think, five or 10% should be pretty good. Yeah, this looks pretty good to me because we do want some of those bluish stones as it is raining. All right. Next, you can go into filter and select camera off filter this time. So what camera off filter is, it is basically like a combination of all of these filters in a single one only like you can do all kinds of image adjustments in a single filter only. So it is pretty powerful. But I won't be using too much of it. I will just be using the texture and clarity, which improves the look a lot. So you can start by increasing the texture to something like Okay, this is too much so somewhere around 60, 65. Then you can also increase the clarity to something like 30. I will also go into optics over here and increase the vignette a little bit to basically increase the darkening of the corners like this. But now you will also notice that the rain looks very grainy and you can kind of see everything over here, which does not look good. So you can open up this Where is it? Yeah, detail thing over here and increase the noise reduction. You can see if you basically increase it to 100, your rain now gets very blurry and we don't see all of that extra detail that we were getting earlier. So you can set it to something like 50. And now you will see that your scene looks a lot more cleaner. You can toggle the visibility of it by just holding down over here. And you can see right now over here, it looks very noisy, but this looks really clean. So yeah, I will also increase the noise reduction over here. Maybe you can add a bit more of vignette. And then you can also open up this calibration thing. And if you want to, like, let's say, make just the red light color a bit more saturated, you can push it like this, and it will be maybe I'll increase just a tad bit for the red and the green. Not a lot. Maybe you can increase the saturation of blue as well just a little bit. Yeah, I think this is looking pretty good now. Let's sit, okay. And if you just turn on and off your smart filters, you can clearly see that we have completely transformed our scene just with the addition of, like, a couple of few filters over here. So earlier it was looking something like this, and now it is looking something like this. So I think we have improved the look of our scene a lot with this additional composting, and we can improve it a bit more as well. If you go over in the reference images and textis folder, you will find that I have added, a couple of other overlay textures that we can use to add some more details into our scene. Just drag and drop this lens overlay thing over here and you can increase the size of it so that it covers the entire render like this. Hit Okay over here and first just change the blending mode to something like screen. Now it blends a little bit better, but obviously it is washing out our image a lot because as you can see, we can see a lot of these white spaces which we don't really want. We just want this overlay effect. So I will go ahead and add in levels adjustment. And what we can do is first, let's just push it in from over here, and we can also push it in from over here as well. Which will help us kind of isolate the effect, as you can see. It is a lot less washed out now, so just hit Okay now and basically just decrease the opacity to something like 30. Be obviously we don't want a lot of this effect. We just want it to be there like present very subtly. So yeah, I think this looks pretty good. Next, we can add in like the fog overlay thing. And the way I'm going to use this is, let's just again scale this down first, and let's see, again, change this to something like scream. Let's move it below the lens overlay and if I just go ahead and select my fog overlay and place it over here like this, it looks pretty weird. So what we can do is go to filter blur and select Gaussian blur. And yeah, set this to somewhere around 30 only. I think 30 is pretty good. Yeah, that's fine. Okay. And this looks pretty good. Press control T so that you can adjust the scale of it, and you can just place the fog around the areas where you think that the raindrops are going to be hitting. Obviously, decrease the opacity of this as well to something like 30, 35, because we do not want it to be very overpowering in our scene. Maybe we can push it to 40. Yeah, I think this much is pretty good. You can also use different blending modes as well. We have screen, color dodge, or even like this linear dodge thing. This also looks pretty good, in my opinion. But I think I will be going with screen only. All right. Now we can just select it press Control J to duplicate. Now you can press Control T to move it around. Let's place this one over here. Again, hit Okay, again, press Control J, Control to move it around. Let's ine the scale of it a bit and place it right about here. Again, you can press Control J to duplicate and Control T to move it around. Yeah, that's pretty good. I think I will do it a couple of more times. So we just duplicate and move it around and we can place like over here as well like this. One over here and another one over here in the corner like this. I think for these top ones, I will definitely decrease the opacity to something like 30. Yeah, that's better. Now you can just select them all, like all of the newly added overlays and put them into a single folder like this. And when you just again, enable and disable this folder, you can clearly see even with the addition of these things, our scene looks even better with all of the additional composting. Now, I think the only step left to do is to actually export out the animation. And also, we need to, like, uh, animate the emissive lights as well. I don't really want them to be glowing like all four of them at the same time because that's just weird. So yeah, we'll kind of animate them a bit so that it makes sense. Like first, the red lights will be glowing, then the green so that the pedestrians can pass. And yeah, we'll also have the rain being animated, so that will look pretty cool. But yeah, with that, we are basically done with the composting. The next lecture is going to be the last one where we'll just export out the animation, and I will show you how we can add all these effects that we added to our render, we can add those effects to the animation as well. So let's just save on this and I will save it as let's save it over here only as compositing Photoshop. And it's safe. So yeah, thank you for watching. I will see you in the next one. 13. Animation: Hello, and welcome, guys. So now that we are done with everything in our scene, let's focus on animating a bit. So what I'll do is I'll just go over here in the corner. You can go in the bottom left and just split your view like this, just a little bit, and you can add in a timeline. So obviously, we need the timeline to add key frames. So to start off, let's just select our red emission lights. So first, I will just disable the rain thing so that it gets easier to select everything over here, and now we can just select the glass and hide it. Now, select your emission lights and make sure to select the emission material from over here. Now what I will do is, first, I will just start off by making everything at zero. So just press I to add a keyframe, you can hover over here on the strength the strength value and just press I to add a keyframe. You can see a keyframe is added over here and you can just send this to zero. Make sure to press I once again so that the keyframe is recorded. All right. So right now at the start of our animation, the red lights are off, and similarly, I will just turn off the green lights as well. So type in zero over here, and then you can press I while hovering over the strength value. All right. Now, both of them have the emission lights off at the start of our animation. Now we can jump over to frame number 25, and we can just set the red light 200. So you can set this 200 and again, now press I so that it gets animated. We won't be able to see it over here, but slowly as we keep on increasing it, you can see the value is increasing slowly towards 100 and it gets to 100 at 25th frame. Then we want the red lights to be glowing for a while. So you can go over to the 75th frame now and just directly press I over here on the strength. Now you can see this highlight like thing. Basically, this means that the value stays the same throughout this entire region. So 25-75, the red lights stay glowing. Basically, that means the cars have to stop. Now we want to turn them off, so I will move over to something like 100 and then you can type in zero over here and once again, just press I. So now our animation starts off by all of the lights being off. Then at 25, the red lights turn and stay on till 75th frame and then at 100, they turn back off again. So after 100, we don't really need to do anything over here. Now you can select the bottom lights which are for the green thing for the green signal. So what I will do over here is I will at the start, you can see, we have the emission strength set to zero, so I can move over to something like 85 maybe and then press I over here once again so that the green lights stay off for all this region. So till the 85th frame, I want the green lights to stay off basically because till the 75th frame only, the red lights are on. So I want them to give a little bit of time in between so that we have a little bit of breathing room for both lights. So now around 110th frame, I can set the green lights to go 100 and then press I so that now they are turning on. And basically, what I'll do is I'll make them kind of like blink animation. They will quickly turn off, then quickly turn back on again. So now what we can do is we can basically make them kind of blink with like a 20 frame interval. So this was around here at 1:10. You can go to 130. Set this to zero, and again, just press I while hovering over the strength value. Then go to 150 now, set this back 200, again, press I. Then we can go to 170, set this to zero and press I, then 190, set this 200. Then press I, and finally add 210, you can set this to zero. And again, press I. So basically, this will make all of the lights turn off again, and we can shorten our animation to 210 frames. So just go over here and set the end to 210. So basically, our animation is done now. So it will start off by all of the lights being at zero, like completely off. Then around 25th frame, our red lights will be on. They will stay on for a while till around here. And then after that, they will turn off. So when they turn off around that time, we will have our green lights glowing and then they will basically give us this like blinking animation where the green lights constantly turn on and off. To show that the pedestrians can walk now. And then at last, at 2:10, all of the frames or sorry, all of the lights turn back off. And the reason I did that is so that this can become like a looping animation. So to make it a looping animation, you basically have to make sure that the first frame and the last frame are same. So at the first frame, all of the lights are completely off. And now at the last frame as well, all of the lights are completely off. This will help us to make a looping animation, which will look pretty good. All right. So next, what we have to do is first, make sure you enable the rain go in over here in the render properties, and let's scroll down. Just check the view transform is set to AGx and Los at medium high contrast. Then you can go to output properties, and I will click over this folder icon. Or first, I will just quickly make a new folder over here and rename this two animation and compositing so that I can move over my Photoshop file in here, and I can also click on this and just set the animation to go save over here in this folder and you can hit Accept. Then make sure this file extensions thing is also enabled, and next you can change it from image to video. Make sure to change the media type to video because we want to export out a video animation. And now we can open up encoding and change the container from Matroska to MP four. So Matroska is, I think, MKV, which kind of gives a bit trouble in editing software. So I like to go with MP four. And basically, I will set the output quality to something like high quality, which is pretty good. And yeah, rest of the things are fine. You can change the frame rate of the animation if you want to, but I think I will be going with 24 FPS only, and you can hit Save now. You can also go in over here in the render properties. And if you want to make a quick animation, you can send this to something like ten samples so that it is finished up quickly. But what I'll do is I'll just go with 100 only and wait for the animation to finish. So now you can press Control plus F 12. And this will take a while. So just wait for the animation to finish up a bit. And when it's done, I will show you how we can add, all of those composting effects to the animation as well. Alright, guys, so the animation is done now. Let's close this and see how it looks. You can see it has appeared up over here so we can check the animation. I think it looks pretty good. You can see we get the green lights blinking, and then it is a proper looping animation as well. We do not really see any cuts. Like it can continue. So it's a nice looping animation. So now what we have to do is that we have to add all of those extra compulsing effects that we added in Photoshop to this animation as well, although it looks pretty good this way as well, but we can definitely add all of these effects that we just added. So what you need to do is go over like in this Photoshop file, and you can go into view, I think, and just make sure to enable sorry, in Windows and make sure to enable timeline so that we can see the timeline over here and you can click on Create video timeline. And now you can see this video timeline has been created. Then what you need to do is just take your video file that you have and drag and drop it over here. Like as a new Photoshop file, don't drag and drop it right in this one, only just drag and drop it at the top of this bar so that it gets added as a new file. And now you can just copy the video group from over here. So just select the video group and the layer. So hold Shift select them both press Control C, and now you can just click over here and press Control V to paste it basically. And here, now you can see that our animation is added. First, what we need to do is if you'll notice that our animation goes on for longer, we can just first decrease the size of this, yeah, so that we can see all of it properly. And the length of like these overlays is a bit shorter. So just make sure to drag them like this and make them equal length to the animation. Otherwise, it will look somewhat like this, some of the effects won't be present. So just make sure to drag this like this till the end, so that all of the fog and overlay effects are present. Alright, so we have successfully added all of these effects to our animation like these ones. What we need to do is we basically need to do the like these ones. So to add them, just right click on your layer two, make sure to select Layer two, right click and first convert to Smart Object, and then you can just drag and drop this thing over here. Like if you see this icon, just drag this icon and drop it over here like this. And instantly, all of your like the effects would be copied up and you can just easily move them around and you can see they are working perfectly with your animation. Now, you can't really play and see how the animation looks because it is a pretty heavy file. So what we need to do is we need to render out the animation. So go over here, click on this and select Render Video. And now this dialogue box will appear, make sure to select your folder, and let's select the correct folder. I will save it over here only, and I will rename it to something like final animation. Once again, just hit render now and just wait for this rendering to finish for the animation, and then we can see how the final thing looks. Alright, guys, so the export from the Photoshop is done, as well. Let's just open it up and see how our final animation looks. And this is something that we have just a second. I will decrease the size of it because my screen is a bit too big. And, yeah, I think I'm really happy with the final result. It is also a looping animation as well, so that works out perfectly for us. Although I do feel like everything feels a little bit slow, but that's fine. We can increase the speed of it if we want adjusting the pre flames. But yeah, apart from that, I'm really happy with the final result. I hope you guys like it as well. And with that, we are basically done with the course, as well. Thank you guys for watching. I will see you in the next.