Create Commercials In Blender like a Pro, even if you are a Beginner: in just 1 Hour!

1. Introduction: Hello there. If you always wanted to delve into the world of production design, satisfy a client and receive crete, feedback, and substantial pay. Or simply create compelling advertisement for product. Then this tutorial is exactly what you need. It doesn't matter if you're a beginner, intermediate learner, or a pro. In this tutorial, we will explore various valuable aspects that are accessible to beginners and will be useful for professionals. The aspects will help you create commercials that will amaze your clients or elevate your product to the next level. Specifically, we will cover modeling simulations, physics, texturing, line rendering in much, much more. Thanks to tutorial, you'll be able to master skills for creating standing advertisement for your portfolio clients or for promotion in the wonderful worth of blender. Don't miss the chance to earn five stars and a long equated pack of money. Equip yourself with essential knowledge and provide your product with deserving advertising to attract attention. So without further ado, let's get started. 2. Part 1: Can Modeling: As always, we will start by removing the cube. I will turn on the Screencast keys so you can see a key. Press then press so plus A and add a reference that I will leave in the description. After we have added a reference, let's move it a little along the x axis so that he doesn't interfere. Then I press Shot plus A again and add a cylinder. We need to scale it along the Z axis, then go into the edit mode and select these vertices and extrude them using the key until they will match with the reference. I also extrude from above until our cylinder takes the shape of a can. At the very top we also the slightly scale it totally extrude can again and scale it at the top. The low poly version of our Can is ready because we need more geometry. We will add a subdivision modifier in order to smooth out can. And for it to work correctly, we must add lot from below using the key. And for the rest of the can press control plus R and move them so that the ship is smoother in some places. If you need also add the loop cut and scale it to match the reference more. Also forget to smooth it by clicking right Out button and press Shade Smooth in the same way, add loop cut in the upper part. I hear for more realism, at the bottom of the can, press three and then press the button and scale it after that remove on the Z axis and then press again, remove the face from the top part and it's time to make the top part of the can add our reference and scale it to the correct size and move it down so that it doesn't interfere our modeling. Then select the top edges and copy. Then using the shift keys. Then press P and then click Selection to separate our object. Then we go out from the edit mode and select our edges so that it is easier for us to highlight it all. Select the reference with shift and press the only our selected objects. Go to the tune and into the edit mode. Select everything. Press to extrude, and then to scale. Then select half of our circle and deleted, and add a mirror modifier. And don't forget to check the clicking box, then we simply move the vertices under the reference, then like them, and extrude in the axis. And then scale it. As we can see, we can slightly move it to the left side. Then after we show it matched the friends, extrude it again and basically do the same thing. Then we select these edges and extrude it. We have two methods, how to model the top part. The first way is to create a loop cut here and always extruded and feel. But there is a better way to just connect these two vertices using the key and then using control. Create as many loop cuts as we need. And press several times, if necessarily we can add new loop cuts and also everything we connect using the key in the middle, create another loop cut. If you don't have the edge here, then use to simply sold these two vertices and our top of the can is almost ready. All that remains is to select disorticies and extract them and scale it with the k. Then select the diortices, I just fill them. Let's turn on to the subdivision modifier so we can see how it will look in the end. As we can see, we need to add loop cuts for a moralistic result. Add them in those places where sharper corners are needed. And also, do not forget to smooth them out. And then move the mere modifier up so that everything works at its shoot and the tap is ready. Don't forget to save our file. Do not lose the result in the future. It's very essential just press control plus and name your file and save. And all that remains is to create a part that opens again. Press shift A and create a plane. Scale it in edit mode and place it somewhere here. And change it so that this matches the reference. Just let the edges extrude, rotate and move the word. This is, it's nothing complicated here, but in this moment we need to add a muromdifier. Also need to see how it looks. Let's move it up here. Don't forget to check the clipping. As you can see, it's not very comfortable to continue to edit for better visibility. Select our reference and the object and press this key and continue to extract and change the plane until we achieve a complete match with the reference. Conside these vertices extrude and scale them slightly and finally fill them, the K. Here we go, but as we can see, it doesn't have any thickness. Go to the modifier, stop and add the solidifier modifier, and change the thickness parameter. Also, we add a subdivision modifier. Of course, don't forget to add loop cuts for realism. As usual, add them in those places where there are sharper corners. Add one here and here, and also here. Don't forget to add it here in those places where you can expect the edges and also don't forget to smooth it out In the end, do not struggle with the position. Click on this icon and select Phase Project. This will allow us to magnetize or object to the nearest phase. Select our object and moved along the z axis with control held down. I don't really like how high the top of our can is. I'll move it down and to make it more realistic, I'll add a couple of loop cuts again using a control plus R here. I will move this edges down to create a small innuitation. Add another loop cut. Now go directly to the can and in edit mode, select and move the first Ss. That's pretty much it. I concretulate you because the first stage of our tutorial is completed. We have created the main object of our tutorial, to which we'll add a simulation animate and also deal with textures, lighting, and creating an environment for the scene. But we will look at all of this in the next part of the tutorial. Let's get started. 3. Part 2: Liquid Simulation: Welcome to the second part of the tutorial. This part will analyze the water simulation. We also will find out how to create it and find out that problem can arise when creating a simulation and ultimately create something unique. Let's get started. So press shoot plus A and create a Mt and scale it, then it's like the can and are empty. And press control plus P, the object K transform. That will be useful to us later. With animating toward a simulation, we create a cube and increase it to 26 or 28 meters. And our can should be about 10 meters in size. It's very important for convenience in the viewport in dis plate solid wire to see through this object. The ext we need to create is a plane rotated in 90 degrees and move slightly behind our can. Now it is important to check the phase orientation of a plane. This side should be blue. If it were red, then what drops would not fly in this direction. But in the other disabled phase orientation, let's go directly to the assimilation setting for a plane. Go to the physics tub, then select liquid and select flow flow type. Liquid in service emission sets the value to six or five. This value is responsible for the amount of liquid enable initial velocity and sets normal 200 for the cube. We also select liquid but in the type select domain, in the main type we select liquid. In the border collision, we clear all the check boxes, then click on the mesh In the particle radius A, change the value to 1.7. In flight, we remove gravity to zero so that water does not fell down. Here, select Modular to be able to bake everything separately. The last value that we need to change is the resolution. The higher the resolution, the more realistic the water will look, the more it will affect the performance of your computer. For the final results, we will set 138, but for the test, I will use a value of 80. Do not forget to change the visibility of our Q tire to better see what is happening. All that remains is to create a cage for the can so that the water simulation runs smoothly. Sector Can and go to the editor. Then press three to select Pass. Then select the face and press L. Press Shift plus D to duplicate, and then press Alt plus S and kill our object quite a little bit. Then press P, click selection to separate our object. And we can also check the phase orientation and make it fire in view port visibility. Now we can add physics for the cage that we created in the physics section. We select the liquid, and this time we select the effector and set the surface thickness to 0.04 Our simulation is essential already. All that remains is to bind the cage to the empty in the main settings, click on the bake data. After it's ready, then bake mesh. In the end we get this simulation. For our simulation, we can return the visibility to the solid and also add a smooth modifier rope, increase to five, and forget the shade smooth. The simulation comes out quite good, but if you look closer, we see how particles of water pass through the can and it's not right. It will be very noticeable in the final animation. To fix this, we need to slide the cage for more comfortable modeling. We can return visibility, turn to the edit mode, slide these vertices. You can also scale them a little bit and press then important step with control plus a, apply the size. Now we go to the domain settings and bake everything again. It is not necessarily to wait until 250 frames are loaded in order to test simulation. 50 or 60 frames will be enough. As we can see this time everything has fallen into place and everything is working properly. 4. Part 3: Can Animation: In the previous part, we learned how to create a water as simulation in blender and how to bake assimilation. In this part we will animate or can, and in the end we will do the final baking animation of the water. Let's select empty and lower it down in rotated along the z axis, y 45 or 30 degrees. Press the eye button and select location and rotation. Here we have created a key frame. Send code to the frame. 12 pre empt rotated to the opposite direction. We can also rotate slightly along the x axis. And don't forget to press again and select location and rotation. This is what animation we get from N. It seems quite good, but I want this animation to last a little longer. I will draw the last key frame to the 26 ten code to the frame 50 and again, lower are empty. And press the key and apply the key frame turn code to the frame 70. How it up. And again, apply the key frame. For now we can remove the bake simulation. We will make it later, and that's what we get at this stage. It look good, but I would like to can levitate the duration of the entire animation. To do this, throw some 90 frame, the 50 frame and duplicated the same. Just duplicate the key frame from 70 frame. We can move it slightly so that the distance between our frames is the same. And again, go to the frame 50 and rotate it by eight degrees and apply the changes, then go through one key frame, and we also rotate it this time in other direction, and apply the rotation, and as we can see, such as an emission we obtained. Then we duplicate our penultimate key frame it to frame 170. But since in the last frame we rotated it by eight degrees, now we need to rotate it by minus eight degree, that is returning to its original position. Do not forget to save periodically, and this is what we got. Now we can make for all 170, the resolution of 128. I decided to check before that how the simulation would react to the animation of the can. In the end, I decided to add a slow move effect in the domain settings. I set the key frame, frame 26, with the timescale of one, frame 46, edging the value to 0.5 or you can do lower. It's up to you suddenly duplicate the last key frame in the domain and move it to the frame at. And also duplicate the first one and move it to the frame 90. But now we can freely back the Vata simulation for the last time at 170 frames at resolution 128. And this is what came out in the end. 5. Part 4: Ice: Welcome to the next part of the tutorial. In the previous part, we learned how to create animation And created a simple animation for can ebit assimilation. In this part, we'll learn how to create an interesting addition in the form of ice and animated. Let's go for the ice. We create a cube. Let's give it a better name. We will find it in the future more easily. Then we go to the edit mode by pressing the right mouse button. We subdivide it eight times, send code to the sculpting node. And don't forget to add a subdivision modifier here. With all of these brushes that you have to give the shape of ice. When we have achieved the shape that we like, it's time to animate, go to the first frame and place ice in such a way that it is not visible from the place where the expected camera will be. Then put a key frame by using key. And then go to frame maybe 26 or seven and sector cube. And move that piece of ice in the direction in which we want it to move. You can also rotate it a little. And then forget to put the key frame here. What we got for now, Go to the frame AT, and again, move the cube. Rotate and set a key frame. In order to further animate the cube, we need to add a camera to the scene and place it in the place where we think it will be the most beautiful place. And after we have decided on the location of the camera, we can continue to animate the ice code to the frame 90 and move it farther than usual, so that there is an effect of sudden acceleration, of course, as the key frame. And now we will make such a natural transition using ice. We code to some frame and move and rotate it towards the camera so that it occupies half of the camera. Then again, read a key frame here, what we got. Also move it to the frame 150. Now we can see that it doesn't look very natural. We go to the Frame 120 and move the eyes to the right side, and rotate it. Then to soften the approach of the eyes to the camera, I go to the frame 148 or 147 and put the key frame and just move it to the frame 140. And now we need to do a similar animation, but on the other side we duplicate the ice. Then we go in to the frame 26 and move it to the other side of the can. We can also change its rotation or height and apply a key frame. Then in order not to get confused, we simply let all the key frames starting from the 18 and begin to animate in the same way, rotate and move this last time, only this time in other side, you can place it somewhere here. Rotate it like that at a key frame. And now go to frame 150. And move the ice cube to the camera. And rotate it and place it in that way until it looks good. And again to the 120 frame and move slightly to the left side. And apply key frame and again to smooth the animation in the end, apply a key frame 147 frame and move it to the 140 frame after we are satisfied with the result, to Frame 170 and move the ice in different direction, not forgetting to set a key frames, I also decided to rotate eyes a little along the ear axis, because it seems to me that it will look better. So I decided to create and animate more eyes in the same way only I gave them a random direction. And this is what came out in the end. Now let's put a little order among our objects so that there is no confusion where reading the second part of the transition. So let's call the press and create a new collection and call it whatever you like. As long as you remember that the ice lies here also creates a collection for the remaining items. And call it something like that, why it's better to sign our cane with its name and leave it separately. 6. Part 5: Texturing: In the previous parts, we learned how to create simulation of water, learned animation, and even created a small transition using ice. In this part, we will add color and paint to our scene. Namely, we will do texturing. Let's go first, go to the shading mode, select and Ice Cube. You probably won't have this. You most likely will have this. Click on New and create a new material in the first line. Select multi, scatter G X and increase transition to one. Then add a frontal node and then connect it with roughness and change the frontal parameter two to 1.15 Then add a mouth mode and place it in the middle, and then duplicate it in the first node. Change it to multiply and increase the value to two in the second node, decrease it to 0.1 After that at a noise texture and pump net and connect them in that way else texture change the scale to two, little to 2.8 and roughness to 0.4 And also decrease the strength in bump, not to very small parameter. In my case it will be 0.08 strike the knives and bump, not duplicate them. And connect it to clear normal and change the scale, no structure to five and the strength to 0.12 Here we go. Our cube material is ready. Yeah, you probably wouldn't have that environment. You will have basic setting in the world. But don't worry about that because you can easily add any environment you like. Just click on this yellow and select environment texture. Then open and choose your environment texture. If you don't have any, then go to the poly heaven or any other side and unload one of hundreds of the environment textures. Ad is just personal advice to apply our material to all ice cubes. Select all of them. And the last, select one that has material and press control L and choose Link Material. Here we go. A very important thing is to turn off visibility in the render for the cage that we created earlier. Otherwise in the render we will see a not very pleasant picture. It's time to create material for first, go to the edit and press to and from above. Sell the vertices from which the label should be. Then click Create mouse button and then mark, Seen you do the same from below but marks in that place where the label should end, then go to the shading mode and create a new material. And also go to the spanel and create another material and call it metal. The first material, call label, and also move the second material up, press label material, intercontroll and select the label image you want. You can found it on the Internet or you can create it yourself in Canva or any other program. Or you can simply upload made ones, which I will leave in the description. After we have selected the label, we apply it to the area that we selected earlier. Also, don't forget to mark another line of vertices at the back of the I almost forgot to do this. After that, select all of the area, click and then unwrap. And don't forget to apply the scale by clicking control plus A. All we can do now is change the shape, size, and rotation of the map until we are happy with the placement of the label for metal. Increase the metal parameter to almost one rough change to 0.3 and the topic to 0.4 or 0.6 tropic rotation to 0.2 and C code to one. After that we apply our metal material to the end just like the part that we need. And then click a sign for the label. We will also make some changes to make it more realistic here. We also increase the metal perimeter to almost one. Let's change to 0.3 anisotropic, to 04 or 06 anisotropic rotation to 0.2 That seems good. Also let's add texture node and press control plus T in mapping, change the size perimeter along the x axis to 0.12 and change size texture to 700 or 800. And then add a bump node and connect them that way. Then reduce the strength in the bump node to very small. And also reconnect from generated to UV and the texture is ready for the splashes. Create a new material and increase transmission to one. And reduce roughens to zero. If we want it to be ordinary water, then we can leave it as it is. But if we want, for example, for it to be a splash of some kind of drink, then we can change the color. 7. Part 6: Creation the Second part of the Commercial: As we can see from this animation, we are missing a new scene. That would be after frame 150. Let's fix it and make it, but before that sled the ice cubes that create the transition and then the camera. After that, press control plus P and select object transform. Then frame 150, apply a key frame for the camera without changing anything and go three frames forward, rotate the camera and net decrease and apply a key frame here. What we will get here will be our second scene to create a scene, create a plane and increase it and place it below the camera. You can also lower it in the axis If you need to text, create a cube and place it in the same place as the plane and also increase it. We can also make it wire for more comfortable editing. Then we create another cube and place it inside of the previous cube. Here we need to apply modifier to it and increase the number and distance between them. Then duplicate the modifier and do the same thing, only changing the factor on different axis. Here I will change the count to 26. Only 22 handing in the placate as a modifier. This time I will change the Z factor, hand increase the col three. Let I give it a physics for a transparent cube. At rigid body physics, set the type to passive and the ship to math and into the same plane, I decided to change the cube size and quantity in the ray medifier, but this is an optional step. After we're happy with the result, we can apply all of the modifiers and make sure that our cube with Ray medifier is placed inside of the transparent cube. Then go to the edit mode. Select everything by using ak and click and choose by going Parts. Then create a collection for the cubes and name it. After that, select all these cubes and select one of them. Shift, then click right button, set Origin and origin to geometry in the object. Select transform and then randomized transform and set the value that you want. After we have decided on the randomization, go back to the object up and select rigid body and choose a Active. If you press space, then you will see an animation. After the select any of these cubes, press Shift and select Cours to select it. Then duplicate the ice as that we created earlier and delete as animation on it. Then press Shift again and choose Select to Coursor. Now we need to fit our piece of ice into the cube so that they coincide in size as much as possible. Also, if this piece of ice made earlier ends up in the same folder along with the cubes, then the next stage will be failed. So make sure that the ice is separate from the cubes, Then join these two objects with control J in added model the cube and deleted. Now as we can see, instead of animation of low poly cubes, we had full fledged animation of ice. But I personally was not satisfied with how the pieces of ice looked after the animation. I decided to change the scene a little, now it looks better. All that remains is to add our can to another scene. We duplicate can and disconnected from the empty. Then we transfer it to our second scene. And then scale it and rotate it until we are satisfied with our results. After the duplicate the can a couple more times and place them on the site. For other cans, you need a different label. Go to the shading on this icon and change the pictures. As we can see on the animation, one of the cans blocks the view of the camera. We just move it up and we can also move the rest and it's time to add physics to the cans. We add a rigid body and choose active and do the same for the other two. Then go to the Frame 170, check the box on animated inside the key frame. Then move to the next frame and dissllate the box from the animate, and again inside the key frame. And do the same to the other two cans. For the top, can we also do the same thing, we do it all earlier. Somewhere on the frame 160, don't click on this icon. And in the rigid body world, we change the start of the simulation to frame 120. Don't make it yet because I encountered a problem later. The fact is that I forgot to change the size of the transparent cube when I lifted the can. Now, when stimulating has a can, it just falls on the cube. The solution for that problem is very simple. You just need to change the size of the cube and start the animation. I also decided to add a speed animation here. But there's nothing complicated. Just set the speed to one on the frame. After a few frames, set the speed to 0.3 or 0.4 This is what came out at the end. 8. Part 7: Scene Setup: It's time to create the environment for our scene. In the case of the scene, we simply select the plane, add material to it. Here we can choose any color and setting that you like. You can change literally any parameter and see it comes out of it. For now, I'll just change the color and roughness for the part where you have water animation. We also duplicate the plane, rotate it, and place it behind the animation and scale it so that it covers the entire camera. Then go to the eddies mode and setting at the bottom corner, extrude it towards the can. And having selected this corner, press the combination A control plus B and turn the mouse feel a couple of times and also don't forget to smooth here. We can also experiment with settings and colors to achieve the best results. 9. Part 8: Lightning Settings: Lighting. I used a regular area light, which we placed literally on all sides of the can just create an area light, scale it, and increase the power. You can also change the color. Let's show you how I set up this lighting from above. I selected power 7,000 and choose the red color. On the left side, I choose orange light and power at 3,500 At the right, I choose the blue color and power of 300. In front, I just choose power 7,000 without changing the color. Another very important light source here is the spot light that he put towards the wall. What it does is it gives such an effect from behind. I also change the color and increase the metallic in the environment playing parameters and reduce the roughness. As for the lighting of this part of the scene, I did the same here. Here I choose the color red and choose the power of 3,500 On the right side, I did the same only in a different color. On the top, I didn't change the color, I just increased the power and change the size. The last slide is this one in which I only changed the power. As you can see, I also changed the parameters by changing the metallic color and roughness. I also added an environment texture to the scene. You can add it like I showed you earlier or you can also add it in another way by simply processing control and sucking the HTRI that you want. The advantage of this method is that you can rotate your HTI. 10. Part 9: Render Settings: And the last step is setting up the render. Let's get started. Go to the render settings in the render engine slide cycles. In the device like the GPU, compute in max samples choose 800-1500 And the last king in color measument is to choose a medium height contrast. It slightly improves the overall color in the scene. You can of course change it to any other setting the to your taste. 11. Part 10: Bonus: As a bonus, I'll show you how to create water drops on the can. Let's not waste time. Create a U sphere. And we can slightly change it with portional editing or we can leave it as it is. Then we rename our sphere to something recognizable. Select any of the Gents and create a particle system for it. And select here in the render, we select an object. Here we select our drop of water. Create the size if necessary, and we can randomize it a little, then put the mark on advance, then turn on the rotation. And we can randomize the rotation. But as we can see, our drops are not very pleasant to the eye. This is all because our lack of geometry in some places. Let's add a couple of oop cuts. As you can see, the problem is solved. All you have to do is play with the settings and the drops are ready. But if you want to animate the drops so that they fall along with the can, then we will encounter a problem. Solve it. You need to click Make Instances Real, and then apply it. Then with all drops of water selected, Click on our Can Withholding Shift and click Control and choose Object, Keep Transform, and see how blender crushed. After our blender is alive, everything is working properly. For the drop water material, you can apply the ice material or create another. Here, select as a glass B SDF. If you created a system particle before for another object and want to apply it to other objects, then you don't need to create a new one and try to repeat settings. You can simply choose forms already created. 12. Conclusion: And now the Torial has come to an end. I hope you have learned a lot of new and useful things for yourself and are ready to enter the vault of three. Any case, this is the result that we've got at the end. And I will be very glad to see different versions of your works and perhaps be inspired by your ideas. Do not forget to share your opinions and your works in the comments. If you have any questions regarding the editorial, I'm always ready to answer and help you, but unfortunately the end and see you in the next editorial.