Create Backrooms In Blender Step By Step

1. Backrooms in Blender Introduction: Hello, guys, I will disappoint you, but backrooms does not exist. It was created in three D software mostly in Blender, which is free and powerful. Even K Pixels created his backrooms in blender. Software, I use blender and after effect. The good news is that a step by step tutorial on how to make backrooms has finally been recorded. The whole process of how the video you watch was made was recorded. In the four hour long tutorial, you can create backrooms with a lot of details, even if you have not used blender before. 2. 01 - Setting up a camera and creating a maze: Hello, everyone, and welcome to the most detailed backroom tutorial you can find online. We will try to achieve a classic backroom space look of office rooms with yellow walls and carpets with as much details as possible. In this tutorial, we will create realistic lights, pipes on the ceiling, ventilation system, stains on the floor and ceiling, graffiti garbage on the floor, smoky space, and even reptiles. Let's get to work. If you are completely new with blender, you need to go to blender.org and download your free version here. When you start new project, my recommendation is to first create folder and I will call this 60 because this is 60 project, and I will call this terms. Now we can open blender and go to file and find your folder. Okay. I will also call this crums First thing here, I will this cube and this light here, and I will go to render settings and here we have two render engines, V and cycles. V is much faster but less realistic render engine is more for games and stuff like that. We will go to cycles to GPU. I will bring the samples down to maybe 20 and for render also. Okay. If we select camera and press zero or RPD, we switch to camera view, and now we can see resolution of our scene. I will go to Output property step and set here 1024 by 768. And the reason for this resolution is because I want to achieve all camera we look. So this is aspect ratio for this camera look. If we press on our keyboard, we open this step here, and if I select here camera, this is location rotation and scale of our camera and I will now press one on NPD, we go to front autographic view and we can see where our camera is. So I will bring this down to about 1.8 meters. Because this is height of human yes. I will type here 1.8. I will rotate this camera on x axis by 90 degrees. When I press now n zero, we switch to camera view. Now I will press seven on the switch to top orthographic view here. I will go with Shift A and create first object and this will be our room. I will go with cube and I will enter here dimensions of 50 meters. Now this is 50 by 50 meters and on Z axis is 2 meters and I will bring this to 4 meters. I will press numb at one. I will bring this up to this x axis. To be more precise, I will say this 2 meters. First thing I will do here is fix the scale. You can see that our cube is still two by 2 meters, but this stretch 25 times on x and y axis and two times on Z. For example, if we go with bevel, you can see that our bevel is not working because this stretch 25 times. This will also happen with materials. Also materials will be stretch and some modifiers also. To fix this, I will select this cube and press Control A and apply scale. Now this is all one. If I now try with control B, you can see that now all levels work correctly. Next thing I will do here is delete this ceiling because we will create ceiling later and now I want C inside. Go to edit mode, select this phase with phase selection and delete phases. In object mode, when we go to overlays and face orientation, we can see that inside this red color and outside this blue. And because our scene will be inside this cube, we need tele blender to flip this because red color is incorrect and this can affect our shading and materials. We need clip this. I will go to edit mode, press A to select all press three and type here flip. So now blue coral is inside, and that's correct for us. Now, I will turn off this face orientation and press num ped seven for top portographic view, and I will select our camera and move camera here. Num zero camera view, and so I will keep top portographic view and I can rotate camera here on the axis. And I will move camera more on left. Okay. And you can easily navigate the camera with these settings here. Just slide this. Okay. 3. 02 - Creating carpet material: Okay. Now we can start with materials. For back room floor, we need the yellow carpet. You can see reference here. So I found the nice one on BncG com, and I will put links in the description for all texture I use in this tutorial, but we can go to material and search for carpet. I use this one. I download this two K texture and you can also download this and this is how this look. Okay. And now I will copy this address with Control C. So I don't need later navigate to this folder, and I will back to Blender pet seven to top photographic view and switch here to material preview, and go here to select objects and go here to material property create first material and I will pull this carpet. Now we can go to shady tab, and here you can see carp tecture You need enable in added preferences not regular. Now when you select here principle, BSF, you can click you can press Control Shift T, and now face here. Address where is your texture and we can select maps we need. I will go with color displacement and ness. Because we use displacement map, we don't need this normal. I will just click texture setup and we get this. And we can now go to edit mode and in UV editor, and I will also turn on viper shading here. If you don't see this icons here, you can just move this with mouse grow button and turn on phaing here and go to top Potographic view and on left side press A to select everything and scale. This is one way you can fix this UV and another one is to go to shading tab and just scale this, bring this scale up like ten times or 50 times. I think I will go maybe to 17 Only one thing I will change on this material is a some stain or dirtiness on the floor. I will go with shift A and search for mas grave texture. If I hold control shift and click on this texture, we can see how this look. I will now select this and control and we get this texture coordinate and mapping. I will bring this scale to 50. And I will play with this scale. I will bring this down. And now I will go with color m. And there is a white color, there will be our stain or dirtiness. So I don't want too much dirtiness, and I will bring this something like this. Okay. Okay. And now I can use this black and white map to add stains on this floor. I will go with mix RGB and plug this here, I can use I will click press Control shift and click on this principle BS DF to back our texture. I will use this as you can see now is white color is this color here. Okay. And where is black color is this one. So I will not use any of this color. I will just go with hue saturation and plug this here and this one here. And now you cannot see anything because this default value is same like this one. So I will go with saturation down and you can see some stains here. And I will go also with value down to be more black Okay. And you can also change this hue value. If we go more up, it will be more bluish color, and if we go down, it will be more reddish color. I think I will go maybe with 0.6. I will just increase scale or if we go down with scale, the stains will be bigger. I think I will go maybe 0.5. Okay. And you can plainly told these values here? 4. 03 - Creating wall materials: And now we can create material for this vs. I will go to lay out and add new material here and call this vs. Go to edit mode, pace selection, and hold shift and select all these phases. Select this material and assign. I see a few bedroom tutorials on YouTube and what most people do is just go to shading tab and go to texture.com. Like you can go to texture.com and search for wallpaper and you can download any of this one. I think I use this one last time. Most people bring texture in Blender. And connect this to base solar and we can go with Q projection to unwrap this. Now I will select all this here and scale this up. And scale more And if we go here to the preview, I will add some light here. There is no variation in roughness specular and there is no bump information. You can go here and go with color ramp and plug this top roughness and bump. Now this is a little better than before we get some reflections here and we get some bump here, we have better solution for this. Now we can see that we have more glossy and bump information is flowers, have no to sense because behind this wallpaper be concrete or plaster texture. 5. 04 - Creating wall materials, mixing materials: I know where we can find some good concrete texture. This is Chaco fool.com. You can download this, go to these three category. I will put this link in description. You need first register for free and you can download all these shaders for free. This is how this loop, and I will go to concrete and get them this concrete texture. I will use this first one. Just open this file, cochlea this object and paste this first, select this object and I will remove this material and I will go to new material and choose Stroke all concrete here. Now, we can come back to viewport shading. And I can, you can see in the viewport shading, this is black. You can change this four here. Here in the Viewport Display. I will change this. Hello. And now we can select this material. And if we select this color, this material here and go to Edit Mode and select this face is assigned. You can see now is this force is yellow and we know that these words have different material than this floor. So I will now delete this and go back to viewport shading. And we can see how this looks like. I think I will go to Edit mode, go to UV Editing and scale this little down a little more. And this looks pretty good. Now. Now you can see that we have with this material or this bump specular roughness information here. So I will go to shading, select this material and go to Shading tab. And you can see how this rook, if we open this group, you can see what is behind this. And now we can use this wallpaper texture will download from textures.com. So I will just bring this here. We need only colored input for this texture. So I can go with makes RGB. Plug this here and this texture here. Control Shift and click on this to see how big is this texture. And I think we need to change this texture. And I will go with Control T to get this mapping node here. And I will scale these two or three. Maybe 2.5 connect this principle of VHDL. We have same reflections here and bumpy information. And now we change only this color texture. And I'm going to bring this all to one and we'll multiply four bedrooms. We need more yellow color. So I will go with another mix and set this to multiply them again and plug this here. And I will go here with a yellow color. And now we can control how much this column we want. But we will play with this later when we create lighting. I think this is too much lumping formation here. So I'll bring this down. 6. 05 - Ceiling modeling, Blender shortcuts: We can now create ceiling. So I will delete this light and we don't need another one here. And read. Now that said the seven go to orthographic view and create plane. So I will now press numpad period key to isolate this object. And if you press this again, we're back to our scene. So now we can work with this with this object. And I will press N on keyboard and go to transform. And I will set the x-axis to three meters and y, y axis. So I will now go with Control a and apply scale. If we go to Edit Mode and press Control arc, we can add a loop cut. And if we scroll up, we can add another loop cut. So I will go with two loop cuts. And now this part here, one meter. And I will go with Control R on x-axis. And I will add five loop cuts here. In edit mode. If I press a, I select all. And if I press I, we can insert this. So if I press, I advice, you can insert individual faces. So I can get this. And I will now extrude this finance on z-axis. So E to extrude and hold z for z axis. And I will select the funnel sphere. And I will extrude this even more because here we will be like later. So it to extrude and z for z. One thing do we need to check here is face-like patients. So go to object, moved to this overlay here and tweak face orientation. And because this is a part which is visible in our camera, we need to flip orientation. So I will select I am the F3 and type three. And no turn-off this. And now I will go with level modifier here to get to this level here and move it to one centimeter, maybe 05 centimeters, 005. You can type. And another segment here. I think two is enough. And I will go with Shade Smooth. And then on a normal mouse, I think we're still this too much. This is my reference and I will share this reference images with you. This is maybe only two millimeters here. So I will just quickly fix this. Select on this basis. And if you press G and Z, so G is for grab and g is z-axis. We can now move this. And if you hold Shift, you can move this slightly. I think this is just a few millimeters here. 7. 06 - Material creation and UV: And we can now start creating material for this. I will start with this here. And this is usually like aluminum or metal. So I will the new material and call this my talk, grow with the metallic gold to one. And we can turn on this material. And I will bring the roughness down. Either now go to Shading tab and we can use this. You can search for image texture and use this concrete texture to create variation in darkness. And if I press here, and I'll pick period key for selling this object and the numpad period key we can heat are also isolated this object. So first I will again two material them and create another material. And I will call this. And we can now select a, we already decided these phases and then we'll assign this material here. So we can now see only this metal Chrome here. And I will now connect this with the color ramp. And two, roughness. And if I press Control Shift and click on this color ramp, we can see how this loop I will now we'll do Portal graphic view in edit mode. Select the old and you project from you. In the UV editor, we can select this concrete mop and see how the slope and I will scale this up. Black color is completely shiny and white is completely wrong. So I will, I want to be this part shiny Simon being like color here. And now we can see how this looks. So if you go more like me, completely shiny and I will bring this to light and this more to like, maybe more consciously. Okay, now we can add some roughness variation. And I think this is enough for this texture here. So we can fix this stretch is here. If we select this basis and just go to this angle and this new project from you. Now this is much better. 8. 07 - Procedural materials in Blender: Now we can create the texture for this one as a reference, and we want these dots here. And we can create this completely in Blender procedurally so we don't need any textures for this. I will go with Shift a and type water-in-oil texture. If you press Control Shift and click on this, you can see how this look. And I will increase this to about 75. And weed control D, select this and press Control T. We get this mapping node. I will play with this scale, something like this. And you can copy these values here. And I will now move to follow them. And just to increase a little contrast here. Now we can plot this base color and also to normal. So I would go with ****, pay a lump and connect these two height and to normal. And now we get this strong bond here. So I would bring this down. I think I will move this too strong. So I will bring this white color. Now we can create these stains here. So I will, this small little n will be Moscow texture. So type Musgrave. And also select this and Control T to get texture coordinate and mapping. Note, Control Shift. Click on this. And I will now play with this. Okay, maybe something like this. And I can also go with the color ramp and various white color will be our stains. So I don't want too much. This white color here, something like this. Just, just try with this slider, we get natural log. So I will play little more with this. If we bring the scale down, it can be bigger. So I wouldn't go from all this. Okay, We come back to this later when we see this with lighting. And for now I will go with comics GB and make these principles and these two color one. And these two factors. Now where it's okay to connect these two base color. And now very light color. It will be this color. So we can put any color you like. And I will go about this color and make this darker. Maybe make more conscious to see. But on this end, here we can see how this book and this is now completely white. If we bring this more to break, it will be less visible. So I would go about here and make more conscious still visible. So bring this down and blaming this color here. And you can play with this one too late, late, that awesome. So I think that this looks pretty good now and just make this more visible and this edge a little sharp. 9. 08 - Adding lighting to the scene: And now we can create the texture for light. So I will add another texture, heat and cold this and select this face and assign this texture here. So I will use these textures, these two texture from textures.com and I will put the link in description. I will bring this texture first. Because this is two different texture and we need different UV map. Here, we can first few remarks by default and I will go to UV map, name this key, and select this UV map. And now we can connect these two base color and see how this project is. Go to orthographic view with not at seven and New Project from you. And now we can scale this. And I will select this one, the g here, and also this one. And now go to select this light mob here. And now we can close out of this. So select all day and rotate on zee bike night. And I will know I mentioned this. I think this looks good for now and now we can go with another texture here and we will mixing these two texture. So I will create another UV map and go to UV and connect this with Control Shift and click on this, we can see how this look. So we need go to UV editor and sues another texture here and just scale this to this a. Okay, now we can see how this look and now we can make this texture. So I will go with mics and connect this to color tool. And I will go here to multiply it. And now we can choose how much we want any of these textures. So I will bring this to about here. To turn on this slide, we can use also this texture and I will connect this to emission. But now I will just go to work tab and bring this completely to malloc so we don't have any light XM this and go to viewport shading here. And now you can see better how this light look. And I will go with math and reading this. Now we can control this much we want to like here. So I will set this to multiply. And now we can increase our light. And maybe I'd be moving. And Ivan create one likely to. It's not working like he's turned off. So I can go to Material tab and on another material and select light material here and duplicate this. And call this light off. In edit mode, select this face and assign this material. And I will now just turn off this. Not all to 0 or to maybe 0.1 or 10 vector all seen with numbered period T. And we can place this position and bring this on z-axis to four meter because this role is also four meters. And now we can go to modify and doesn't bring this column. And this is on x-axis. And on another array modify and change this on y-axis, minus one, minus one. If we now go to render preview here, we will see how these cooking cycles. So I think I will put now go to select camera and go to Properties tab and set this to panoramic. And I will go with this lens. And this is now more like a GoPro camera or security camera. And because we want VHS look like old camera, there is more sensitive care, less, about 50. But for now, looking better. We can see more details with this lens. So I will keep for now, plenty, but we will see later what we will do with this lens. So I will now rotate this one z-axis and position this camera. So this is a rendering viewport and to get a random new window unit, press F. But I will first increase the resolution number so we can see, but and maybe I'll name this samples to 40 to get more details and render this again. And I know that something strange with these panels here, and so I forget to connect this. If I go to Panels, material and shading, I forget connect this principle to material goods so we can make this now. Okay, this is before and after. 10. 09 - Creating walls: Now we can create some walls. So I will back to layout. I will split this window here. So just put my mouse on this edge and move this on right. But now we can turn on the preview here and we can see what happened here. The next thing I will do here is select the ceiling, press M to order this object to new collection. And I will call this ceiling. This ceiling is ceiling collect, collection. So if I press this button here, I will hide this viewport. And on left is also dark because we have all lights in the ceiling object. So I can just bring some lights in properties here. And then now we can see what we do here on left. And now I will pick some walls. So cursor here and shift take cube. And I will start at 1 m cube and the z-axis is 4 m, because this force is also four meter on z-axis. And I will bring this to 2 m. And now this is perfectly on floor. And we can turn on this material preview here and bring this selling this object and bring this material here. Now in this is stretched because we first need to apply scale. So Control a and scale. Now go to edit more than you do projection. If you now go with S to scale and x2x axis, we can scale this object, but we stretched texture and we can go to Edit Mode and select this face and move this on x-axis. We also stretch this texture, but we need the non, this correct Paste Attributes. And now if I move this, we don't stretch out texture and we can work with this. And the next thing we look here is a modifier. So I will go with maybe five centimeter cubed or for sentiment. And the more segments we can right-click and say smooth to this. So we get a nice edges here. And this wall is too thick, so I will move this on y-axis, something like this. And now we can vote with the numpad cell and to talk orthographic view. And we can duplicate this object with shaving D and Z, Nike to rotate this axis by 90 degrees and we can play with this. I think I will duplicate this. Shift D, move on x and rotate this by 90 degrees and start placing this over our scene. So maybe we can, we can go to Edit Mode and select this face selection and this x-ray mode. Because if you don't select this x-ray mod p, select this top face and one text to this or more. We get this. We need to go to x-ray mode. And now we can select this face Shift D to duplicate this again and take this on z-axis by minus nine. So as z minus Nike, and maybe I can put 1 mol scheme. Then you don't need to do what I do. You can be creative in this process. I haven't tried to eat somewhere. Cool on scared. I will duplicate this object with Shift D and move this here, and it's just a column. I will set origin to geometry, objects set origin to geometry. And if we go with alta di or Shift D to duplicate this with Shift D and with all day, we make a instance of this object and this. So I will go with Aldi and put one column here. And with shift arm, we can repeat the last process. Shifts are. And now we can create columns the same distance from last time. Because we use the, if you go to edit more than one object here, we added on this, and now I will turn on this ceiling to see what we have on left side, I will go with f 11 to open image preview and then go too slow too. And I love this app. To render this. I will try now rotate these lights here. I will go to three and plus z, Nike to take this on z axis by 90 degrees. And we can hold this position. We can go with a G takes, and now we can move this on x axis to about here. And now G and Y, to move this on y axis, it is, I mean, just a few centimeters here on our array modifier. And this was with our panelists. So this will not be perfect. Like before, I will those same on this. Are they on x-axis? So just 4 cm. Now you can see we split this. Okay, I will first lecture all settings to completely black. Because before I see some lights here. And this is before, and this is after. I think now is a little better when we rotate this lights and panels here. And I like these imperfections here. Maybe this is too much, but I like this one here. And you can see also I think here we have problem that now our walls intersect with these lights here. So I will try. I will select this walls and just move this on x axis. I will put this in the middle on this. This is before and this is after. That you can jump between these clots if you press J on your keyboard. So before, after. I will not keep this shade smooth because when we click shape flip, you can see that there is difference in shading. And this is before and after. You can see how this effect on our shading. I usually fix this problem. When I apply this modifier. Then you can like go into Shade Smooth and this big face, select all these big basis and shade. And now this works because we can shade this face mood, these bevels here and all these big phases is correct. But I don't want now apply all this bevel modifier. For now, I will just go with select all this object and move it. Shaved flat. These walls seems like they're too dark. And I will try to fix this. I will go select this folder and go to Shading tab. And maybe we can go with another node and algebraic curves here and add more white holes here. So if you go down, it will be more Narcan and of this more white color, more upright, too much and too saturated. So I will add another node hue saturation and maybe being this little down. If you go like something crazy like them, it's going to be completely saturated. And if we go to maybe 0.5, this will be desaturated. So I will go to about maybe 0.7. Okay, and I think he's better than before. I will also add more white color to this cartilage here. I think this also too much saturated. And if you look, our ceiling is look. There is also yellow color, but it's not, it's perfectly white, but because this carpet illuminate yellow color to floor to ceiling. So I will try out the right color to this carpet. Also. Select this object and select go to material them and select carpet texture. And I will just mix RGB here and here, white color. And now we can decide how much light color I want. So if you're being told this to one, it's going to be completely white. So I will just maybe 10% or 7% to white color here. Maybe it's too much, just fine. This is before and this is after. One thing you can do with these color correction is if you go to layout and I will just connect this, I will remove this left side. So just right-click here and join areas and click on left. So we can go to Image Editor and type here random, random result. If I go to Render properties and to call our management, we can choose between contrast here. So now it's medium contrast. If we go with high contrast, at this high contrast, look even more or low contrast or very low. You can just bring two medium and play with this exposure and my wife. And two back again to 3D view port and just go here and press three developers here. 11. 10 - Lighting and atmosphere in Blender: If you look at our render now, we can see that we have perfect alignment. This turn off and turn on lights. And I think it's time to apply this array modifier. So if we want other dislike to be turned off, we can not do this because we use a modifier and we can only change the slide here. And this will affect all these panels here. When we apply this array modifier we can make anymore. So I will make just one backup of this object. So I will go with Shift D and move this on x-axis. I will press M to add these two new collection and call this Mecca. And now we can backup collection here, and I will just turn off this render view-port. So if we forget something, we can always use this backup. And for now, I will apply modifiers. Now, we can turn off for the non-annual this slide. So if I select this slide here and go to material, preview and selling these lighter assigned, we can turn off this light here. Now we have a problem with stretch texture here. Because if you go to material and panels material, use this generated texture projection. And because we now apply, modify this, this object is about ten times bigger and also this texture here. So we can learn this material preview here. And I haven't just play with this logo here to fix this. And on this list, those are water-in-oil texture. So just play with this again and fix something about this and this stain or so It's too big. Now. Press Control Shift and click on this. We can see where is our stain? This is our stain, this light color here. So I will also play with the settings here. This is too much things. So being this black color here, okay? And just basic principle be as df by clicking Control Shift and click on this. And what we can do now, we can turn on and turn off any of this slide. So just go to Edit Mode, selection. And let's turn on the slide here, wiped off. Or we can turn on lights here. We can now play with these slides and make more variation here. And I think there is too much lights on this area. So having, I think I will turn the knob on this slide here. I will turn off this one. Here is too much lights for me. On this one. You can play with this as you like. So I will also turn off this light here. And we can speed through this window again and see that preview. So zero to camera preview and turn on this render preview here. And I played with these slides and this is what I get. I don't know a lot of lights and background because I don't want to flip. Look like is when everything is too bright, this looks too flat and I want more contrast in my scene. So here is like bright area and here is these stances, dark carrier. So I create this more mystic and the horror is atmosphere with this lighting. And you can play with this light and create atmosphere if you like. So you can see how easily we can change the atmosphere in our scene with playing with lights. One thing that I want to fix here is I want to discard that to this edge here. We can do this in UV editor. Just go to Edit Mode and select this floor and go to UV editor. And now we can on left side, select this with a and press G and X. This is X axis and you can hold Shift to move this slightly. This is before and after. 12. 11 - Modeling ceiling ventilation: Next detail we can create here is ceiling ventilation. Something like this. I will create one here. So select the ceiling, go to Edit Mode and select this face here. And with Shift D, copy this object and now press P and selection. And now we separate these by selection. And this is now a separate object. And go to Object Set Origin, origin to geometry. And now with the numpad period key, isolate only this object and remove all this materials. Now, we need to create this rounded edges here. So because this is playing, we need a control Shift. Select this and go with the control should be. And the scroll mouse to get to other modal class here. Okay. The next thing we need to insert this plus I. I want to get to this part here. Now. So press I to insert this. And if we go too much here, we get the intersection here. Solution to fix this is to go with I to insert this and then click and then go with S to scale. And now we can go deep, how much we want something like this. And now press again and S to scale and go to a with numbered one to front orthographic view and bring this up. And now we can go with the solidify modifier keys to add the thickness. And I will increase this to 2 cm. I will apply this modifier here. And this bevel don't work. I think. I will remove this bevel and I will create a bevel manually. First, I will increase this face here. It seems that the taste too small. We can do. We can select all these old. Now, I will go with control here and control and the scale a little bit. That's okay. And now we can go with I will select this edge here and go all the way. And with Control V to bevel this. Okay? And the next thing I want to do here is create these plots also. So I will move it to shift D and S to scale. This is one, 2.3. So I want to scale this part. I will go to Edit mode. And I make one mistake. I made them for bevel first, then, now I have too much loop cuts for selection. I showed this before, but we can, we can quickly fix this now. It's not a big part. So I will not to go back and do this again. Okay? With this, we can scale this lethal. And I will quickly lose saying with this one. Now we can go with that. We can select all these parts here and we'll, we'll Control J. And now this is one object because they need to go from a local view. So numpad period's key here and I will now press M and create another collection. I will call this dictates. And now we need to select the ceiling. Go to Edit Mode and select this face here, and grab this blue line this up. And now our ventilation is reasonable. I haven't tried to make this more visible. I am not happy with this material, so I will go too slow too. Then I later can compare these and the first selling this object and create new material. And I will call this ventilation ceiling and go to Shading tab. And I will read the numpad period keys, bring this object here. And I will go here with the gradient texture with Control T to get a texture coordinate and mapping node. And if I press Control Shift and click on this, you can see how this look. And I want to rotate this y-axis to 90 degrees. Now this go from from down to up, and I will go with color ramp. And now we can add the color here. Now, I want to add white color here. Inside. I want odd little, maybe this brownish color. And then I want more black color here. So we can connect these two base color. Okay? She will black color and here, like a little brownish color. Okay. This is a before and after. I think is so much better because we are the little separation between this here. Now we can add this in several places in our ceiling. So I will to talk orthographic view. And we can just read all the copied this or which shifts the end because I will not change this object later. It will be same. Old time. I will go with you all today and just make, make instances instead of copy. So go with Aldi and just more solar. And maybe I can place one. Okay, Let's see, where is this? Maybe I can place one here. Okay, then I will just select the ceiling and the ceiling, this face. Grab this real axis and move this up. 13. 12 - Wall ventilation: Next we can create here is this volume ventilation and this is reference. So we can create this easy. I will put one here on this floor. And I will go with cube shaped, take a U-bend risks, and I will scale these to 1 m. I think this is also too much, so I'll scale this down about this and well, with the numpad period key to isolate only this object. And I will scale this on X-axis about this and apply this scale control a applies k. I will select both of these spaces and press I to insert this unit. Enable this add-on tool. Here. Just type group and enable this add-on. And now we can go with right-click Loop tool and breach. And maybe we can try create this seam here. I will go with the control refers to bevel this. But I don't want to live in this part which is not visible. So I will just select this face and go with Control V to bevel this. And maybe we can select this part here. And just small little suppress G to grab. And X4 x-axis and hold shift to more dislike. Okay. I'm not sure if this will be visible in our render, but we can try. Now we need this part here. I will copy this face here and go with Sheila Lee and hold z for z axis. And now I will press P and selection, separate these by selection. And objects set origin to geometry. And now I can extrude this on z-axis. And the ADH level here control V and just one segment. So scroll mouse down and press and rotate this, press X and Y axis or y axis. Okay, this go down. Something like this. And now with all d and z, copy this. And now press Shift R to repeat the last process. Okay, something like this. And now I will select all and go with Control J to convert this to one object and set origin to geometry. And I will now bring one of these free chocolate for materials here. And I will go to metal and maybe I'm going to go with this one. So just coping this object and paste this here and bring this material. And I will select all this and you will read a select with a and go with you to projection. And now press numbered period key to beg to our scene. And if you have a program with the navigate to this, we can always turn off in viewport this ceiling. So now we have a cleaner look for this. And what I will do here, I will move it shift day. And so we need the cut, this part here from this war. And the scale is two. About this. And now select this wall and go to modifiers and odd Boolean modifier. And now select this object. Now we cut these walls, this volt with this object, but we can see behind this object here. So we need to select this object and go to Viewport display and set this to one. Now we can see that we can cut this object with this one. And I will move this on x axis inside. But now if we go with F, okay? This is now black because all ceiling is, all light is on our ceilings, so we need the non renewed our ceiling. So we have three back our lights here. And then we can see that our cube is visible in the render. So I will call this rename this cube. Just double-click here, and I will call this Boolean. And now I will hide this render. So just click here and now this will not be visible in our render. And if you don't see this icon here and just select this icon here. And if you now go with now these are boolean object is not visible in render. Well with Shift a and add another tube and scale this down. First, I will set origin to geometry. So I'm now see very center of this object and I will move this center and scale this z-axis. Okay? And just add one bevel thrombi and just one segment. So first, Control a and apply scale. And now we can add the liver and Control J. And then all this is all one object. And I will go again with Select All and you feel projection to fix these problems. This is no better and just, just get this solid and move this Humboldt here. And now we can adjust this Boolean object also. So S z to scale along the z-axis and S y. And this can be sunlight. And now we can also duplicate with this. It should be and move on y-axis. And I will turn off this ceiling in viewport. Now we can navigate easy. And I will place one maybe here. So I will update this z axis by 90. So z naught z minus nine and place one maybe here. And now we need another Boolean here. So selling this ball and odd Boolean modifier and select this Boolean one object. Okay, Now we got this law here. If you want another ventilation on same role, you can just go hit Shift D and move this on x-axis and you can add another Boolean here. But I will not. I don't need another one here, so I will go with control Z. 14. 13 - Smoke detektor: Next, I want to create this smoke detector like this one. I will put the cursor here. And the goal with Shift a and cylinder. Scan these down and scale on the axis. So press S and Z and you can scale on z-axis. And then this small. Now press Period key to isolate only this object. And now I will press I to insert this and move this down. And I will do this again one more time. And now it to extrude and z for z axis control V two level. But we need to apply scale first. So Control a and apply scale. And now we can label this called all end with this edge, select, select this edge here and also Bella. And this one. Now with controller or the long loop cut here and maybe one here. And I will now select these two faces. Select first one and hold Shift and second one. And now I will skip this too and repeat this process. Now. I will go with alte to extrude this enormous and move inside and press delete faces. And I will now create two lights here. So I will move it. I sell this and extrude on z-axis. I can bevel this also it's Control B. And now I will go with control are an odd one loop cut key. Selling these two edges and go with Control V and x2. This on z-axis. For this object we can treat, we can use this ventilation ceiling, your material before. But I think this transition is too intense, so I will duplicate this object because it's ventilation ceiling two. And I will go to Shading and the number tilde key twice. Bring this object here. And I will just smooth this transition. And maybe we can go with Shade Smooth. And the normal scheme. For this slides, I will add the red emission material. And I will select these two faces and go with control plus on it. And now I expand selection to this area and I will go now with a sign. Now we assign this material here and I will go to Shading tab and delete this principle, beers df and go with shift day and emission. And plug these two surface. Choose a red color here. I will now animate this material to look like it's blinking. I can do this is by splitting this right-click on this edge and split this by horizontal and having chosen our timeline here. Now on the first frame, I've said this string to find, to increase this. And I will put my mouse over these five and press I to insert keyframe here. If you don't see this keyframe scale, you need select this node here, and I will now go to maybe about 20, which is about 1 s 24 premise 1 s, I will now go again. We tried to insert this again, and now I will go two frames and set this to point to one. Like now it's almost a turnoff, 0.05. And press I to insert this keyframe and go 20 frames more and press again. And now I will copy this. Go two frames more and just paste this to repeat this animation. You can see now what this slide is now anemic. So if we go to cycles, we can see better. Now we can make it all seen with an armpit period key and make a tester ended. I think I will scale this one z axis. And maybe it's going to be. And I will go with D and more. This one here. Here is our smoke detector. And I think is maybe a little too big. I will just scale this. We can scale bolt if we select both of them and go to individual origin and press S. And I will now Baker bounding box. And I will just select this ventilation ceiling material. I don't need this timeline anymore, so I will join these areas. And we can now make some duplicates with oldie and place this over our ceiling. 15. 14 - Pipes: We can create even more details on ceiling and I see somewhere, but I can find now like these two are open and we can see pipes behind these two. So we can create this also. And I will go to Edit Mode, select this ceiling. And I will now delete this, these two faces. And now with an unpaired seven, I will go to top orthographic view and put the cursor here and hit Shift a and create a cylinder. Okay, and I will remove this because I have selected this ceiling. This is now one object, one object. So I will press L over this cylinder and press P and choose selection. And now we know this is another object. So because this was a part of this ceiling object, we copy these materials and you can see also copy this. So now this is a separate object. Then we can go with x. And we also called the origin from this ceiling. Okay, we have a lot of problem because we create new object with selected, this one. I will go to set origin to geometry. And now it might take to rotate this on x axis by 90 degrees and scale this down. Move this up and scale on the y-axis. And this will be one. And now go with Control a and applies k. I will now create a new material and call this file and go to Shading tab. And with the period key twice. We get to this object here and now I will use this material from textures.com. And I will put the link in description. So I will bring this to render and connect these two base color. In edit mode, I will go into production. Now say it's smooth and I haven't done auto smooth here. And we can in UV editor just scale this a little more detail here. Maybe a little more. Stroller and control me. And all t and they've stood alone normals. We can add this detail here. I will select this, hit Alt, this edge here, and go with control V. And then repeat this and maybe here. And I will now, I will skip this little end. The lubricate this object. I can rotate this maybe on, on my axis. So press X and Y and maybe rotate the solid and shift dx and maybe I'll wait one more. I think this looks okay for now, but we have a few problems here. First, this, I've seen this guy here which is completely black. We have this intersection here. So I will bring this up, select this shift and G to grab the z for z axis. And you can hold shift for slight more. And to avoid this sky here, I will just read some plane. And I replace one plane here. Like this is another ceiling. And I think I will extrude this z-axis. Now, delete this face here. Okay, I think now it's much better. We cannot see this guy anymore. We can create the mesh here like so. I will try. I will duplicate this object. Should be. And now we can move this on the y-axis. And I will press P to separate these by selection. And we can go with the numpad period key again to work only on this object. And I will remove this material and on the pipes material, same material like before. And now I will go with added more than control are a lot of Lucas here. On the x-axis also in the press a to select all. And now we can go to Face a poker face and this face again and these two quads. And now we get this type of mesh. I can go with a modifier or no, I will go with Control F and go here to Washington. And before clicking anywhere, you can find this menu here and you can change the thickness of this. Maybe 1 mm centimeter. I will remove this bevel modifier because this creates a lot of mesh here. And we can see how this looks. So I will first set origin to geometry and now with all the make a duplicate. And let's see how this loop now. This is before and after. I think this measure densities to high soil. You can change this or I think I will, I will remove this. We don't need the complicated this too much, so you can choose what to like. 16. 15 - Post-processing in Blender: I think we can now go to compositing and make this a little more realistic. So first, I will go to this layer properties tab and turn on Miss past because we will use miss passed later in compositor. And I can see how this Ms pass loopy. If I click here and go to this miss passed, and I can go to Properties, and I can see tab. And I can change the look of this and this value is missed start. She's like 7 m from from camera to miss the start. And this is where missed end. And I will try Ableton, this value here. And now I can, I will make here, combine it. And now we can press F2 and render this again. And now we can go to compositing and click here, use notes. The select this node here and go with Control Shift and click here. And now we bring this over note in to our scene. To zoom this out, you can press V or all three, doesn't this scene, this compose node, these are random result. And if we search here, we can also see we were not. And now they are saying, and I will now just disconnect this because Don't confuse you because this is now same and we can work here in viewer node, which is what you see here. And when we are happy with the result, we can plug all these to compose node to our render. We can start now with glare. So shift day and search for I will go with fog globe here and we get this nice glow over lights. So I will bring this if we go up with this faded this here. I will copy this again. And I will now go with streaks. And I will say this because it's too much. And we get these details here and also here. And you can see before and after if you select this node and press M to mute. And this is before. And now again M, and this is after. And I think this is too much. I want control these two nodes together. And I will go with mics. And I will connect these two. First input and this one to last. Now I can. So this second input is one hand first is zero, so I can choose how much I, right? So this is without glare and this is it like 50 per cent of this glare every war about 50%. And you can see that this is not real time, so you can read this. Next. We can add the lens distortion and lens and this person just by lens distortion old and I'm going to bring this fifth. And if you increase this value, we get this wide angle camera. And now it's more like a security camera or a GoPro camera. And I don't want too much of this. Maybe just a little. And if we increase this dispersion, we get this effect. So I want to also literal this, maybe 0.04. And this is before and after. Now we can add this to our scene. And if I press Control Shift and click on these nodes, we can skip between these policies key. And here is how our midst first look. I will go with next RGB here and first color will be, this will be first color, all these nodes. And second color is white. And I will use this. Mix us vector and plug this here. You can see how this looks. So various white color in our midst Is this color and all the various black is this core here. So I can change this white color to any color you like. And to control how much the intensity of dismissed, we can use, color them in this miss paths. So if I bring down white colors, it will, it will be less missed here. And if I bring this bright color, it will start from, from far or opposite. But I will not use this white color here, and I will use a blue marble. So miss this, usually blue. So I can go with blue. And I can plug this image here. And now we can increase this to about 300. Okay, we need the date. It's a little too slow now. We get to this image, just blue or red. And I can use this here. And with Control Shift and click, bringing back this here. And this slowed down a lot. So now you can see that here is a little rodent and it's not too much visible, so I will bring back this white color to be more visible. Okay, and we can add even more white color here. And this will add the more mist here. I will just plug this in composite node. And this is our random result. So I will go with f 11 to make our image editor and you need to wait. Okay, this is allow render result and this is oval node. And you can see the difference. And this is with compositing and this is, I think this miss false is too dense. So I will bring this little more tube-like. Okay? This is before and after. And now when we are happy with this, we can plot this to compose. Because when we press enter, we get this. And this is just a viewer node to see what we do here. And this is just a simple compositing post-processing. And we will do all post-processing later in, After Effects. And I note one problem here. You can see that this path is not match with our scene. And that's because we, our main render, the source light and this light blue here. We need copy this node here to our miss paths. And you can see now this fix our program. 17. 16 - Graffiti and leaking: Now we can get some graffiti on walls. And this photo site take yesterday, and I will share this with you. But I also find some textures on textures.com. And you can go to textures.com and search for graphics. And you can download any of these. But I, I try and find some high contrast the graffiti because I will isolate the fetus from background with color ramp. And I don't want to download something like this one. And this one is good because it's black on white. Then I can easily isolate a background with color ramp. And this one is also this one. This one. This one is a bad example. And we can now jump to blend them. And I will put the origin here, copy address of this folder. So now we can go with shift day. First unit enable images as plain add-on. So you need to go to Edit Preferences and search for images and enable this add-on. Now we can go with sheep Tay, and image images as plane. And I will navigate to this folder. I will start with this one. And I will go with a G and Y. And Moody's salad alone y-axis. Because before it was overlapping with war. And now I will go to Shading tab, double top numbered period key to bring this here. And now we can see what we do. You can see that we have Alpha value plug in alpha. But because this is just a JPEG image and it is not PNG, there is no Alpha value. And I will unplug this and I will go with cholera and I will try and get the alpha value from this color information like this to Alpha. And now you need to flip this here and I will try to isolate this background from Lockheed, something like this. And I will not go with completely with black. And we'll just add a little white. I will add just a little red color here. So all graffiti will really tell a transparent. Okay, and I can go with k. I will remove this part here. I can go with Control R and remove this line here. And just delete this edge. Okay? I think it's better if we select these vertices and delete vertices. And you can see that this is a simple but effective way to add graffiti or anything on war. And this brings a lot of the two RC. So I would just make this more, a little more transparent. Because before it was too dark. And I see this line here. And I can go with K. So just go to any more than press K. And you can always cut some of this and remove these vertices. We can now add the more graffiti. So I will add the one I take what all yesterday and just go with shipped a image, images as plane. And I will go with this one. And now just go with my T to rotate this on z-axis by 90 degrees. And I will check face orientation because if you look at this on this side, and now it should be red. And red is incorrect. So I will take this on my 180 degrees on z. So I will now move this little. And we can repeat this process. We look before. So colorRamp and inverted this here and we can see our feet. This green color is too strong. I can go to Shading tab and I can add hue saturation node. And I can bring the saturation down. And you can now repeat this process and add more graffiti to this false. And I think I will speed up this process or skip and see you later. I can also use this technique for the dirtiness or leaking on the wall. And I search on texture.com leaking, shoot and I download. Some of these textures. Should take image, images as play. Rotate this on z axis by 90 degrees, G and X. To bring this here. And just check the face orientation is good and I will go to Shading tab. And because this is a PNG image and this Alpha value works now. So I can just go here and put this position. Because this is transparent. You can always go with Viewport display here and now I can see my texture. So I will go with the g x and bring this here. I will also shift D and bring this here on this area. And I can scale this one z axis. And this is before and after. And I will add another one. I will go with this one here. Shift images as playing. I think this one is good and rotate this one z axis. And bring this here. 18. 17 - Garbage and details: We can now add some garbage on floor. This is Brent by I prepared for you and this is photo scans of garbage I made. These days. We can put this on floor. And this I also take photos and only this object and this is like electrical installation. And I will start with this. So I will copy this object. And I will fight ceiling or no. This here, and here's our object. I will put this on this also rotate this on the axis by 180 degrees. So z 180 and stick to this rule. Okay, something about this. And I will now go with the curve, shift day occur and Bezier curve. So first I will set origin here and now go with curve, Bezier curve. And I can rotate this on y axis by 90 degrees. And I can now go to edit mode and this. So I will isolate this curve and I can go to number seven and line up this. And now we've turned on petri to write orthographic. And I can rotate this on x-axis and line up for this wholesome. And now we come back to our scene and I will go little out with this. And now x2x to the n, z for z axis. And we can extrude this one z-axis. And the Extrude one y-axis also and rotate on y-axis. So SYN or Davison y-axis. And go to number seven and rotate this one z-axis. And now we can select these vertices and press S to scale, to scale this here. And I think we can rotate this one x axis. And we can now, or the thickness to our curve and this will be our cable. So I can go to occur here in the tab and geometry, and I can add that here in better. So I will go with 1 cm. And I will also extrude this z-axis here and scan this and rotate on x. And just more here. I want to bring this object here in the foreground. I will also duplicate this with Aldi and move on y-axis, then rotate on z-axis by rotate Z or two by -90 degrees. And I will put this one on this wall here. I think this cable is to white and to clean. So I will try make a metal texture for this. I will call this gamble with numbered period key twice. I really try and add some dirt in SQ. So I can go with noise texture. And with Control T or the texture coordinate then mapping note and we can see, okay, I will add more details here. First time you try with the object. And we can see some variation here, but we need to call them. And tweak this. And I will go with more details, could be something like this and I can just know more colors here. So first, I will go with brown and maybe little yellowish and the right color, but not completely white. This is before. And this is after. And I forget one thing here. I will add this graffiti, two separate collection. So I will select all these graffiti and press M and create a new collection. And now we can easily remove this from our scene if we want later and keep this organized. And those same with this leaking textures. 19. 18 - Lighting and details: Remove this ceiling huge in Newport. And we'll do this. I will share with you and I will copy this here and just read control removed camera and this floor. So I would copy this and paste here in our scene. And I will bring this empty space and press M and other, these two new garbage collection. And I can now alter the move to our scene. So just all D and move on x-axis. And they were just checking, is this one floor? And two can play with this. No. No, I didn't make one test render. This is how this loop for now and I will play more with graffiti, this leaking texture, garbage, and see you later. Before we continue with the curation, I think it has more sense to make all walls and the maze and predict where our character came and I will go through. So then we can decorate or I don't want to long animation here because these costs then the time and I want to maybe 30 or 40 s long animation. We can make our character through, through here and maybe, maybe I can make a longer hallway here. And I will now start to copy this evolves. And you don't need copy me because in bedrooms, everything kept sense. You can just make random volts and it will look good. So I think all call they will be here. So I can duplicate these columns here. It's shaped D and rotate this on the axis by 90 degrees. So 90, and maybe I can put this here and look within this one more time. And with shift or I can repeat this process. I can duplicate this fall and go with D. And also this should be around the x-axis. You can jump between object more than edit mode with them button on your keyboard. And you can jump between this vertex, select the Edge, Select and face select. If you press 12 or three on your keyboard. So I need to select, and I can select these tools here. So I would select this row here and the control deselect this floor. We need more space here so we can go to Edit Mode and select, just move this. And now we can more space. And also on Vioxx, they will duplicate this row here. Maybe I can just next to this. And maybe I can duplicate this shape and make something like this. And this is a uniform, but I think it can be. It can look good. So I will just make one more here. It should be and all this way. So go to this area. What I think here's two empty, so. Maybe we can duplicate this ball and place here. And we should lubricate this and repeat this process. And we can take this scale is on x-axis by minus one. To flip this like something like this and duplicate this. Now we need the more sealing keys, so I will just duplicate this. It should be and this one y-axis. And in edit mode, just delete this vertices. And I will just move this precisely. So for glib and y, for y axis, I will join this. Make one object and it should be, I can move this on x-axis. Okay, I think this is enough. And I will just move this wall here. Now we can go through all these walls in render mode and see how these look and play with light. So I will turn on ceiling because this is our writing. Here. I will move it. One solution, extend this 200. Now all render time. It'll be three times faster. Step 11 and these two slot one. So we can later compare results. So I will now press F2 well and see how this look. Okay, this, this is first frame and this local wood because we said this early. So I can go to second slot and I will press the number zero, select our camera. And in x-ray more than we can select our camera. So we will go through this way and I will set camera here and we'll do another render. Okay, I like this dark area here, but I think he is too bright. And first time we rotate this camera to see better what happened here. And maybe we can do the same with our camera animation later life. Our guy look through this hallway, so I will move it left well, okay, that this area is too bright so we can play with light. And we can now turn on this material preview to see our lights here. And I'm enjoying this ceiling. So now we have one object here, and I can go to edit mode. With this face selection. I can select some of these lights and turn off them. So I can go to material properties and assign this light off. Now we can compare before and after. Okay, I think I didn't select these slides here. But I want to keep this area a little bright so I will try this. Okay, this is a before and after. And I just want to make one role here because this here we see Blake and we can continue with going through scene. So I will select Camera here. You can jump to number zero and select this plane. And now we can go through this area. So I will move camera here and rotate this on z-axis. We can jump to slot four and see how this area, okay, in this area here, I will turn on these two lights and now we can compare before and after. So this is before and this is softer. I want also likely in this hallway here. So I will select this. And I can, I'll play with this a, I think this is methanol, so you can play with this more and you can make atmosphere you like. And we will also go through this hallway. So I will put the camera here and rotate this one z-axis to see how this look. So I will go with g, y for y axis and move to this line here. And this is before and after normal intersection here with lights. I think you understand this process. So we need to go through area where our camera will go later in animation and fix intersections, lighting and add more decoration like a graffiti, garbage or similar. So I will play with this and see you later. 20. 19 - Skirting: I'm done with the declaration now and I add a lot of graph. It's garbage fives, ventilation, smoke detector and all this stuff. And now we can continue working on new stuff here. The next thing we will create here is edges around walls. And I think this is called an English molding isotopes for molding and I found something similar. So we need something like this. And the first, I will select all walls and I will join them in one object. If you select rockets on something another, which is not what you can easily dislike, this hold Control and just slide. Now you deselect a boat objects and just hold shift. And you can select this fall. And you need all time hold shift when you're selecting volts. So I think I'm done. We don't need the select this war because they are not visible in camera. I need select this one. And now I will go with the Control J. And now all these walls are one object. And I will now go with numpad to isolate this object and numbered one through four front orthographic view and turn on x-ray mode here. Go to Edit Mode, select Edge Select here. And I will now select this bottom part of this. And now go with Shift D to duplicate this object. And you can see we isolate these edges down and now I will press P and selection. And now this is a separate object. We can select this and this one. Back to our scene it non pet period key. And then only select these edges down. Okay, we need to go down and she resolved edges. And the next thing I will go, I will do here is go to Edit mode. Press a to select all and E for Extrude and z for z axis. I think I need more these edges. So I will go with the G to grab hold of z for z axis and ships for a slightly more of this. I think this is good. And next I will do here is I will go to modify and odd solidify modifier here. And now we can add thickness here. And this level is too strong, so I will add one or zero q. Okay, We can try it. And I will now on the other material for this. So we need to delete all these materials. It's X7, this real, so this material is this one. So I will need, I will keep this first material here and you can remove material in edit mode, so you need to go to object mode. Then I will now delete these two materials and duplicate this one and call this edges. So now we can go to Shading tab and numbered period key twice. We can bring this object here. So I think we can try not to be doing what with like a generator object. Okay, I think this looks pretty good. I will now just change this color to make difference between this and so I will add something about this color and I will bring valuable down to make this more darker. And now we can make test render. And this is before. And I think I don't like this too saturated color and haven't tried play with this. And also the little more thickness here. Maybe about 3 cm. And maybe it's too dark. But you can play with color. You like. So I will I will add the more yellowish color here and maybe bring this little off. And we can see this little blue, red dirtiness here. So I think this is from this texture here. And I will go with Control T here and adjust the scale, this ball, maybe five times or ten. And if you see this image here, you just need to switch to run the result. And you can make another render with it. And if you don't want too much flour and concrete texture here, you can add another mix here and mix all this with just a colo. Okay, and then now you can choose how much you wanted this textures here or just color. And Davis talk on about 50% here and you can make another test render. Okay, I think it's a little weird for now and I will stop. We spend too much time on these edges. 21. 20 - Seams: So now we can try another detail to bring a little realism. So if you look at these walls, they're completely perfectly flat. And because this is a carpet on a wall, they shouldn't be some cuts or seems. And I will show you how I do this last time. If you look at this render, you can see cuts here and also here one. And also in this area and this logo in random because this catch lights, I think this is a very nice detail. And you can see also on this renders, you can see this here. And it's much better than we do these things. And also here. And one here. We can create this very easy. So I will first find the ceiling. I think I will duplicate this face here. You can duplicate any phase and I will prove it should be. And big selection. And now this is a separate object. And I can just add solidify modifier or just extrude this on x-axis. And I just want to maybe 1 mm or 2 mm here. So I will, I will go with G to grab x or x axis and hold the Shift to slightly move in this set origin to geometric and scale. This on y-axis. Can place this object in overall. So I will go with g, y for y axis and hold shift and move this about here. And duplicate this with all to D. So all we need Apply Scale because we can see that our weather doesn't work correctly. So control a scale. And now this works correct. And I think I can scale this more on x-axis. And I will bring this, the segments to three and Apply Scale again. And with all the, duplicate this again about here. And now I can just copy this and put on these goals. And we all day and move this position. And all the again and XX x1x axis. And we can repeat this process with Shift R. And if we go with double resolution here and with more samples, this will be more visible. Okay, you can see how this is an hour visible. This is without and this is wheat. And we just made now copy this and place to place. 22. 21 - Spider web: I said in the beginning of this video, we will make also a spiderweb. And you can see in this, my random how this detail look like. But I try in vector form, send the list no tomorrow sense because it's not so visible. Because our camera is always far from ceiling and the walls. But I will show you how I do this here. So you can see this scene and you can see this nice detail here and also here. And inside this object falls. I download this image from fixed, some band is free. You just need to search a spider web. And now I go to blend that and I make same reduced graph. It's just the import images as plain. And plug these two color and plug these two color ramp and you just need to isolate lakes and white color here. To make this spider transparent. I think you can also plug these two admission straight and you can, or you can increase this visibility of this spider web because this white color on our little MAC. So this is before and also can make this plane more three-dimensional. If you go to edit more than press K work knife. If you cut this object, something like this, and you can now back to Layout and I will now go with subdivided. And you can see this temp here. And if you go with fractal, you can deform this solid. Now this is more three-dimensional. Or you can go with selling some work. This is angle with proportional editing and with G and C. You can also deform this. And now you can just copy this object and we can place where you want. And I can scale this rotate and position. And you can see how this render. This is adult and this is sweet. So you can decide if you want to detail and you can play with this. And if you want to delete all this in same time, you don't need click on each one. So you can go to select linked object that because we use old D or you can, because they are same material, you can also move it select linked material. And this shortcut is Shift L. And now you can choose material or object. And I will delete this. 23. 22 - Flash-light in hand: The only one light source we have in this scene is from the ceiling. And if you look my last render, you can see another one source here and this Cerner present battery light in hand. So you can see this through 4D render. I think this helps create multi-color atmosphere in our window. So we will create this now. You can see here. And this is especially visible when you are close to moles. So I will show you how we can create this. Remove this ceiling from Newport. And now I will go with I will put the cursor here and go with Shift a and add light. Spotlight. And I will bring this up to about 1.81, 0.6 meter, maybe, because our camera is on 1.8. And if we imagine that this is in the hand of this guy, I will bring this little down. And now I will rotate this by 90 degrees on x-axis. And also I will follow the angle of this camera here and z axis. Something about this. Or maybe we can copy this notation here. Okay, and the next thing I want to do is parent is to object. And first I will select the light source and then camera. And I will now go with controlled p set to object. And now if we animate our camera, you can see that our source of follow-up came out all time. And if we select the light source, so we can see in this object data properties tab called disliked, like look and I think I will bring this maybe 16. And you can increase revenue source and spot size. But we'll try and make this standard to see how the slope, okay, and we remove our ceiling. And that's good for now. So we can clearly see how this look. And I think I will go with radius down to two cover less a here. And now I'm back on a ceiling, then we can make another test trend. And you can play more with this setting, so can increase or decrease this power of this slide. And I will bring this radius down. If you look this, my last render. You can see that in this area there is a few lights, but when I close this door, there is there is no lights in all this area. And I think I get this dramatic and horrible rich atmosphere with only this light met that in all this area is only these three lights. This one, this n, These 24 lights and most of these slides come from this battery in here. 24. 23 - Camera animation: And the next we need to do is camera animation. So we can imagine that our character will go through this area. You will find something strange here. That's how basically every veterans with the finish, so I can replace for now tube here. Just to know where our character needs to go through. And I will show you two ways. You can animate camera. First way is a better way. And this is this add-on, Gemara. Shaky, my add-on from Ian Hubert and this course, I think $7. So I will share a link with you. But if you don't want to buy this add-on, I will show you a free solution. So first I will show you a free solution. First thing, I will increase this timeline here to maybe 1,000 frames. And we said here, frame rate to 24. You can see here in output probabilities here is 24. So if we have 1,000 frames by 24, we get the 40 1 s long animation. So I think we need more seconds here. Here. I will select camera for now and I will set. I think I have a range here. So I will delete this one. And I will set camera to first two position here. We will start from here. And I will rotate the camera a little. And we are now on frame one. And I will show you how we can animate Gemara like in any game, which WE as the buttons on a keyboard. So if you go to 02 camera view and there is one option or call in their view. Navigation. Navigation. And if you click here, you can try to play with double VA is the buttons on your keyboard. And you can see that we can well through our scene like in game. And now when we know how to go through scene, we need just record this. So I will make two camera view. If we activate this auto gain button. And if you press Space, we start our animation. So now we need to go to View Navigation and walk navigation. And if we now go through our scene, we can see down that we record our animation. Now we can select these keyframes and bringing these two. First one. And if you press Play Space bar is for play. Our animation. We can see that we have recorded the animation here. And if you want to speed up this animation, you can select all these keyframes. And you can scale this, press S and X for scan this on x-axis. So SX and just put moles on this area, S and X. And now you can see that we scale this. Basically we slow down. We need scale this on this, on the left side. So we speed up this animation. If you are not hip, how you record this, you can always delete these keyframes here and start again. The one-to-five will show you here when you press Space to play, you'll navigate to this new navigation. Navigation. We lose a lot of time here. You can go to View navigation navigation, and if you click right-click here, you can add to favorites and now you can press shortcut you want. So you can see I press Shift F here. Just don't take like S and G a because we use this shortcut for scale, Grab, Select and similar. So that's the reason I choose a shift up because I know that I don't use this shortcut before. And now when I have a shortcut for this, I can try again with this. And now I will press space for start and shifted for navigation. And now I can use the buttons skew. Bring this first frame now and I can see how this look. We have another problem here. I will press space now and Shift F4 walk navigation and which WE as the I will go to scene. But if I look up to ceiling, you can see that we will go to space. And if I go down, we will go through floor. I want to all time we give this guy to 1.6 meter. And how we can do this? We can do this easily with shortcut G. So are we press Space for Start Animation, Shift F for work navigation, and g for gravity. And now I can go with WE. A is d. And I can move my mouse. And you can see I'm still on 1.6 m on z-axis. And I will try last time, I'll record something with this method. So turn on this auto king, space for Start Animation, Shift F for work navigation and the g for gravity. And now we can go with double V. Is the liking gay. You can move your mouse and look to floor or ceiling. Various Cuba will be like a monster or something. And I will look on this object here. When I'm happy, I just click and press Space to stop animation. And I can bring these two first, Graeme. Okay, I will delete this one. And we can bring this start and you can see how this looks. And I will speed this with Sx and bring on left. And that is flipping. So you can make this look better. If you want. You can smooth this animation. You can open this window here and I will go to graph editor. If you go here with the smooth case. And you can see that the shortcut is Alt 0. So you can click here or you can go with the shortcut Alt. Oh, and you can see how we can smooth this animation here. This will be more smoother animation. Now, you can do this if you want. This is how you can make this animation smooth. But if you want, make this animation more shaky, you can open here location. So I will select for now x location and I will press, if you don't see this tab here, just press N on left side. We can add noise modifier on this x-axis. So I will select here noise. And if you press Start, now you can see that our animation is noisy on the x-axis. So I think this is too much, but I will go down with these values here. This is still too much. I want my 0.14, 0.05, 0.01. So you can see that we can get a little shape on the x-axis, but we can, we can copy this here and we can go to Y location and paste this also on right location. So we now have shake on x and y axis. Then we can do this, also leads to z location. And you can play with these values here. But I will now show you another way how he can animate came out with this add-on here. 25. 24 - Camera wobble addon: And it will join Ian Hubert petri on, you can go to this add-on tab and you can find this Gemara shaky fire Aidan here. And if you click here, you can download this from this link. And to install, just need to go to Edit Preferences installed and select it from your computer and click Install here and Save Preferences. Here's a venule next time open Blender, it will be when we select camera and you go, I will go to numbered zero to camera view. In the camera properties tab, you will see here camera shake it by Arlen. I will add the new shape type here. And if you press space, you can see that our camera is now anemic. And you can choose this. You can just type from here. So if you select this by quantum gravity, you can see how this look. If we watch this video, you can see that they record this in real life. So motion tracks, camera shakes from real life than it had been movable, Lego with car and today phone or camera. We record this, this animation and you can see if we select this, our car window that this looks really they dry. You can play with. We can test all these camera shake, but I think I go with, last time I go with candy, come around. This, look really like a. We go through this. We will go through this space. Can play with these values here. And if I increase this to two times, this will be much more intense and you can place also play also with this game. I think this is too much. You can also go down with this one, you too small to this animation. And you can also combine two animation here you can add another one. And like if you add this by Robert, you can see that both of this animation, but this one is too intense, so maybe we can adjust our little Otis. Okay, I'm going to remove this and keep only this one. And the only thing you need to do with this ethanol is odd more keyframes. So old guy go from this area and I will now go to about 20 frames more. And I will move this guy here and rotate a little camera and add another keyframe. Sweet. And I will go to about here and move this guy here. I'll rotate this and insert keyframes. Okay, this is now too fast, so just increase this until this loop nacho comes to here, and now I will add another keyframe here. Rotate camera, and insert keyframes. And you can also, I will now go to here, and we can go between these two frames. And I will go to camera perspective, and I will also look to ceiling. Now and see how this look like. He looked to ceiling. And now I'm going to go to about here. Rotate camera, lethal end. This is too fast and I will adhere to floor. Move this a little on z-axis, insert another key frames and I will go a lot of frames or more now. And I will move this to the end and insert keyframes to see how this looks. Too fast. And I think this is still too fast. You can add the key frames in between, like I will insert a keyframe here and on this area, we look to this hole right here. And now I will make look to these following any cell keyframes and we get this animation. Now what we are here, where is our master? And I will now insert keyframes to this influence here. And I will now go with influence more down and set another keyframe here. And you can see where we stop here. And we look now to our monster here. How we can find this keyframe. You can just click this button here. And when you see, when is this yellow, we find these keyframes. So I will go to this one and I will increase this influence liter. And we tie here. And now we can see how these look. I think we can add here this investigation type, camera type. You can see why I like this setup because we can control everything with only ten keyframes. And we get to more natural camera movement here. This is too fast. I will play more with this. But I hope you understand how this works. 26. 25 - Mixamo: I'm done with the camera animation and I will show you how these look in material preview. Now we just need to replace this cube with something interesting. We need to fix two things here because we join all these balls together. Now we need to fix this Boolean like this wall and the Boolean again and just shows this object to fix this. And I have 2 mol here. So another Boolean. And so this object. I will also active in this motion blur. And this will add a lot of realism in our render. So I will go, I will activate this rolling shutter. And if you go more with this value here and less with this value, motion blur will be more reasonable. So I will go over all these values here. Now we just need to replace this cube with something interesting and great software for this is Mixamo. Luckily, you don't need to know how to make a character send the animation because this is not easy and we can do easily with this software. So even just need make a free account. If you go to Character stamp, you can see a lot of free characters. You can try any of these you like. After you choose your character, you can go to Animation tab and you can add the animation to this car up there. And I think I will choose this one. But you can choose any of these you like. So you can search for this name. And for animation. I will use this one crawling backwards. And now we can download this. You just need to click here to download and choose this vx 7.4 and the 24 frames per second. And you can download this animation. And now we'll just move this to your computer. Now we just need to replace this cube with our character. So the width of this cube. And go to File Import vx and vy. Find your FBX file on your computer. Okay, here is our character. And you can see all these keyframes are here. And I will now move our character to position. We can move timeline here to see where is our wall. So we need to put a character to this wall camera. And I will now rotate this on y axis by 90 degrees. On x axis by -90 degrees. So plus x minus nine. And you can also hit G to grab x for x axis and move. Now, I want more, this one y-axis, so g, y, and we can move this out of here. And also g z for z axis. And now I just said, okay, not this one. This one. Now, I haven't said that this character is moving when this guy with the camera comes to here. So I will say camera and let's play. Okay, here about 11,000 is frame. I want, this character is moving. So I will now select this bone. And I was like these keyframes and move to here. Okay, But this animation is too long. So I will cut this. I want to cut all these keyframes before and after this. Now we have only this part of animation. And now I want these two position. Okay? I want to start getting them moving a little before. So I will move this on that and let's try again. And I can see now this in camera perspective. And now we can make one test render to see how this look. And I would just rotate the camera on x-axis here a little. So I will put one to keep them here. And now we move camera on x-axis. And seeing all this look, not ceiling and we can make a test render. I think this character is a little too dark, so I will just play with this material. I will go to Shading tab. And here in color input, just add RGB curves and bring this up. Two materials, so on doors. So it at least one. Same thing. With Mixamo. You are not limited only to these characters. You can find here. You can upload your character. And I found, I will show you how I made this one. I found this for this human-based mesh for free on blend sweep. And I download this and important in Blender and I make some changes see in modelling in materials. So I just cut this part here in with the Boolean and just add some greebles here. And the model, this part here. And then I export this file, export FBX. And then I upload this to mix some more. You can go here to upload character. And now we just need to set the points on here so you can see referenced on the right side. Now we can apply any of these animation to our character. Now when we are done, we just need to render this. So I will make viewport shading here and go to Render Settings. Then my suggestion here is to first, first time we select camera to see various when our animation is done. So I will stop to about 1,200. And we need to render 1,200 frames, which is divided by 24, which is 50 s. And my suggestion here is to first render this in a very low resolution and see how these look in when you are happy you need, you can increase the resolution. So I will send this to 50, 50 per cent of these values here. And I will go with low while loop samples maybe and two samples. And now I will create a folder where I want render this animation. And this will be test for. And here in output properties and just choose this folder and send this to J peg. And now we can start render this. So just go to Render, Render Animation. Okay, This least five second frame. And just check your folder here. And this will take a walk handled two tau, 1,200 by 5 s, 6,000 s. And this is in minute hundred minerals. So after 1 h and 40 min, you will see how this look and then you can go. If you are not careful, you can fix some issues and if you are happy, you can go with the double resolution here and with more samples. 27. 26 - Creating an animation: Now we are done. We can see how this look. And you can see that this is a low resolution, low-quality image. If you hold the button for next, you can see how this look. But I will render this out to animation goes smooth. I will show you how we can do this in Blender, but I really liked that. It was aftereffects for this because I will also do post-processing here and some other stuff in After Effects. I will go now too, video editing. And here I will go to Add Image, Sequence and navigate to your folder. So I already rendered this high-quality image. So I will go with these images, see here with a select all these images. And click here. And now you can change your resolution. And I will go here with 24 frames per second. And here I will have three types. And I will go with me. Shows here all live in a very one. Save this video and you just need to go to Render, Render Animation. Here is our render. And if I open this now, this will be 24 frames per second. And the final render I go with this resolution. I increase this to 150 and I said samples to 200. And I get this resolution here, 1536 by 1152. And if you look bedrooms example, as you can see that most of them are not in high resolution. You can see how this is blue or red because they mostly try achieve old camera wake edges look, which is not a high resolution camera. So if we go down this resolution, 100 or 5%, it will also look good because you will get this old camera effect, low-res. So you can decide how much you want, the sample size and resolution. If you have a slower computer, you can go down with this. If you want more details. You can, you can go up with this resolution. Because I worked hard on all these details. I will increase this resolution. And I will try make something different with this Render. Blender assignment for my last, Malcolm's widow are in a lower as in low variance. So this is thousand 24 by 70068. And you can see how this loop, this loop also good. 28. 27 - Post-processing in After Effects: Now we can do some post-processing in After Effects, and I will share this file with two, so you can open this file. And this is mostly just a color correction. And later we will also add the UK just overlay. And I cannot share overlays V2 because it's not mine. But I will show you where you can download the package, like this one. And how you use this. First thing you need to do is delete my render result here and just double-click here and import your renders. So just check this important JPEG sequence and for this here, set to 24 frames per second. And now move this to bottom here. And you can see that this resolution is too big for our resolutions. We can change this solution here in a Composition and Composition Settings. And this is my resolution and this is a duration. So you can, if you run the more frames you can change. Here. Durations. I will now select this render result and press S to scale this. And they will scale this down this new line and go to Composition. Composition to work in the area. And now we will cut this part we don't need. Now I will turn off all these effects and I will just quickly show what I do here. So first one is green. You can see before and after and just a little green here. So I will delete this and you're just going to go to New Adjustment layer. And I will rename this to grain. And just go with the auto-grade effect. And this here. And you can set this to final output. And you can choose the type, grain type here. I think this is too much. So you can put here maybe 0.5 hour. You can rest t here and set the opacity to maybe 2%. Because I don't want too much on this green. Next thing here is this color correction one, and I call this S curve. And because I use this in algebraic curves, I use this S curve here. So I just want to show this strong black colors here. And also whites. You can see this affects mostly film and this is the example. So you can see this black color here and a black color in this film. And also white wash out. So you cannot see too strong bright colors and those strong contrasts. So you can add this curve as current vertex here. Just go to Lumetri Color. And lumetri color is in After Effects is basic color correction total with all this option. And you can also add this in Blender. If you go with sheep day and color, you get all this color correction tool here. In after effects. They are mostly in this Lumetri color. So if you don't use After Effects, you can also play with the blender and try and find this option here. You can also search for curves and just add a few points here. And you can also make S curve here. So I will now go to Curves and just make them slightly S-curve here. So bring the blacks more to whites and whites more to black and make a little contrast here. Okay, I said to opacity to 22. So this is 100 with no past. I will set my thirties. Next one is color correction base. So you can see effect of this. Mostly add a little green tone here. I will set this opacity to one harder to see better. How these look. I can do to Lumetri color here. And second one is just I play with this color waves and I add the little green to midtones rule used to shadow orange to highlights here. And the first one is just basic color correction options here, I added this thing minus, so this will add more green color here. If I go to plus, it will add more reddish color here. And I also add highlights, shadows, whites and blacks down. And I go to saturation down. So if you go up, you'll get more colors here. If you go to zero, it will be black and white. But I will use only 20 per cent of this. So this is a before and after. So just little greenish tint because I think this is too red and yellow for me. Next is violation effect. And you can see how this look, this basically add the colors to light. Maybe this is too intense, so I will bring this maybe 30%. Some cameras have this effect and you can see how this look here. In this example. I will now delete this and I will go with control C and control V, lubricate. They send the result. And I will now precompose this. And I will call this hellish. Now we can work only in this composition and this is folder. If I click and double-click here and now open this only this relation here, then composition is in this tab. So I will now go here with the levels and can bring this here. And I will now, if you see this red line here, just press Caps Lock to reference this. And I will now isolate only these lights here. Next I will go with thin. So I won't cover this white color to red color. Mutton, not completely wet. I will go with a little bit orange color here. Next I want to lower this. So I will go with the fast growth and send this to five or ten. Now I will go with curves to expand this curves and just bring this value here. So it will be now more expanded. And we can now back to our composition and we can set this, we can set this to screen to ignore black color here, a screen blending mode. So we'll ignore black color scheme and keep only this red color here. So you can see this red color over this over our lights here. 29. 28 - Post-processing in After Effects 2: Next is vignette. So this just add a little black corals on these edges here. And this is another Lumetri color here. And just down to vignette. Just if you go with plus, this will add the white colors here and it will go with minus. This will add black color sphere. And this will put more focus in the center. So you can go to minus three. This is before. Next color correction here I call VHS. And you can see before and after. And this is three tenths. So I will bring this down later. And I will show you what I do here in Lumetri Color. I play with this main settings here. So I bring this exposure up. You can see how this look, if I go down to minus one is too dark, so I go to 0.6. And I just bring a little contrast and I'll go down with whites and go up with blacks. But I think most of this happened here in these adjustments tab. So I feed to feed them to produce plus 40 and go down with this Sharpen. And if you go up with this sharp and we get this sharp edges here, and we don't want this in a reheat to achieve because it just looks so. If I go down to minus ten, we get this blue red edges here. I will go to minus phi. Also vibrance down. So if you go up, you'll get more color here. And I don't want too much color here. So I will go down. And I just add the little purple color in this shadow tint. If I go here, you can see how this layer, this is still greenish now and I'm just a little too purple color here. The next is channel blue effect. And this effect, we can separate the red, green, and blue color scheme. So if I go here with 15, you can see how the expand this red color here. This is before and after. And I also do this with, okay, I put this only in one channel, blue, so I bring up a red color and blue colors. And you can see the effect of this. And this is similar like chromatic aberration effect. But the chromatic aberration with other effects to all three color scheme. And with this channel, blue or blue arc control only red and blue colors and I keep green colors to zero. So I will delete now this chromatic aberration and they're not this channel Breuer. And you can see how this look. Next I use is this unsharp mask effect. You can see before and after. I just said this store 30 and reduced to sell. Next is turbulent displacement effects. So you can see before and after, I will delete for now and I will go with the new one. So you can see the effect of this. And I will bring this to maybe just one or two. And with complexity, I will go to ten. This will add more little details here. And this is to ten, so I will go with one event. The nice thing here is that you can animate this. So if I have a play with offset and evolution, so I will set keyframes to offset. And I will now go through them small and just move this. And just repeat this a few times. And we can now copy these keyframes and just repeat this with Control C and Control V. Just duplicate this effect to all our timeline. And now we can see how this looks if we press the spacebar to play this animation. But we need the rate for this green lines to be in real time. Okay, I'm about to show you how these look. I will just bring this to three. Because now is not so visible. And you can see this, this effect. But this is too intense. I equal to one point. Just a little this distortion. This is before and after. I found most of these characteristics in this window here. So if you want more deep explanation for all all of these settings here, you can watch this video and this is in Premier Pro, but Premiere Pro is just a smaller version of After Effects. So you can see in this video you can just copy also in After Effects. And in this we have just two layer. I'll just basically add more this leakages effects here. So you can see how this effect of sin. And the last one is the Lumetri, exposure. Lumetri and I just go up to this exposure and contrast and shadows here. This is before and after. We are done with this color correction and all of this I will do later is just a recap, just overlays I found on the Internet. So I shared this file, links to video overlays used in After Effects. And you can download this tool package for free. And this is what to get. This is from Premium Beat overlays. And this is from Max NOVAC, we cages or less. This is how this look. And my recommendation is to try all of these overlays and see what is best for you. I will start with this aspect ratio. So this is just a PNG image with black and white color, ends with this age red edge here. So I will now go to project and my recommendation is to create a new folder here to keep this organized. And I will call this overlays. And I will all important this speculation for start and put this in this folder. And I will set this to top cups look to refresh this. And I will go to S to scale and see various My going this down. Okay, here is my overlay end. David just said is here to about 67. And this is before, and after. We just get this blue, red edge here. This widow or less, you just need to make one, repeat one things over and over. So just important this here. And I will go now with this leakages, green, this in this folder and send this over all this color correction. And I'll press S to scale this. Scale these down because this is high resolution. And now you just need to set this, change, this blending mode here. And this blending modes here, we'll ignore white colors. This one will ignore black colors and this one will ignore gray tones here. So because this is because this is Greg, I will go with overlay and you can see how this look. But you can always try a different blending mode and see how this slope, this is too intense, so I will go with overlay. And the nice thing with this OLS is that this is animated. So if we press Space and play this, you can see how this little life to our scene. I will now add this statically the Occident, and this is only one less than 1 s. And you can see all this look. So I will screen, maybe no screen I think is odd. Too intense. I think screen. And you can see how this looks. If you want to duplicate this, you can go with Control C and Control V and just move this here. And now we'll repeat this again and again. But my suggestion is do this in one composition. So just go to pre-compose. And now we can keep this in one folder, so just double-click here and we can copy here in this composition, this q times. And now we just need to move this in our timeline. And now we can get to our main composition and we have this fx over and over. I will now are the one overlay from Max Novak back. I will go with this one. And if you don't see this overlap, that's because this is too short. This overlays is list the 20 s and our animation is 54 s. So I will also add this to composition. And now I will just duplicate this. Move this here. And now we cover all this timeline. And now I will send this to screen, checking this scale here. And maybe we can add this one at the beginning of video. And I will call this just to 2 s. So select this and go to Edit Split layer here. And I will delete this part here and I can, maybe you can see how this looks. Okay, I think this looks pretty nice. I now see that I forget to share this link with two because I use this overlay also and I like this one. So we get this text here. And if I forget to share this link with you, you can just Google this website and just, just copy this name of overlays in Google and you will find this overlap here. So I will import also this isn't to scale this and set this to screen. And I think this is, this text is too sharp. So I will go with fastball root here. And I will move this to maybe not too much, maybe two. And we also need to expand this to your timeline store. Precompose this number, click here, and just both be this good times. Now set this composition to screen. You can play more with this overlay. So I will stop here and I will now show you how you can render this out. So we can enter this in After Effects. If you go to export, but size of this video will be so big. So my recommendation is to download this adult adult Media Encoder. And now when you download this program, it will be connected with After Effects automatically. So we'll just go to composition, add to Adobe Media Encoder. If we click here, we can see that our window is only 71 mb big, which is almost nothing. And if you increase this a bit rate, it will be the size will be bigger button this will add more details to our videos. So I will now choose folder where you want to save this video. And you can notice this will take about 2 min. 30. 29 - Sound design: I'm done with the rendering. And the last thing that I will show you here is how I add the sound effects. Sound effects theories from this video over. But you can see here that we don't have sound. And I will do this in Premier Pro. Premier Pro is just smaller version of After Effects. You can do this also in After Effects and blender with the editor or any video editor program. In Premier Pro. Is this so simple? So even if you don't have experience, you can do this easy. I will open up Premiere Pro. And I will just make new project here. And I will say in this on desktop and just drag and drop this window we made here on the timeline. And you have 1 million options for finding the sound effects. You can search here for sound effects. And you can use arc lists. Epidemic Sound or premium. But I find this is not completely free, but you can download this soundly. And you can find a lot of sounds here. But if you want to unlock all of these sounds, so you need to pay $15 per month so that you can search here four steps and the steps, steps, you can find a lot of free. All of these are free and this is paid. So you can play this and see what you like. Okay, I've searched for reading. I think we can move this one. Only thing you need to do this is just drag and drop and copy part of this and important primer. Okay? And this is too intense, so I will bring this down to maybe minus. I think this is too fast, so I will now just so well done with this speed. So I would say maybe 50 per cent. And also too intense, so I will go minus ten. And you can also add keyframes here. So if I go here, maybe -30 and beg to minus ten. We can see here, you will see now this. Okay. Hello here with -40. And you can bake here. Maybe we can search for horror, horror or MDS. Just for and maybe we can try this just the same as before. Okay. This is also too intense, so I haven't been to -15. You can also go to YouTube, YouTube Studio. And here two audio. And here you can also found a lot of effects. You can just click here and download this and import. Also in Premier Pro. You can also search for music. And if you click here on category, you can easily isolate this. So I will click here on dramatic, filmic. Or you can find, I think, horror category or dark, I think that category I search. So I will now remove this and Sorry, I find that dark. Okay, here is a calculation dark. You can play a lot of this and download one you like. I use this one from YouTube Studio. You can set it for this time. You feel like this. If you click, right-click here, you can add another layer here. And now you can add that this ECS also here. You can also cut this audio in this knife or razor tool. I'll just put moles here and click here. And now you can delete this part. And you can do the same with window also. Then you are done. You just need to go to File Export Media. And just saying this they want and choose name and click Export. That's all for this tutorial. Thank you for watching. I hope you learned something new. And see you next time. They enjoy in the final animation.