Create Product Animations In Blender.

1. Introduction: In this class, you will learn how to create amazing product animations in Blender. These high-quality renders and animations can be used in multiple ways. You can create an entire product advertising video ends. You can even upload the animations separately to create some amazing portfolio pieces which are also perfect for any kind of social media feeds. Multiple 3D modelling techniques will be used to create the wine bottle, label and capsule. We are using the free version of Canva to create the label. The simulation materials, animations, and lighting will all be done inside Blender. The rendering workflow and post-production will be discussed in depth. So you can create these amazing animations all on your own. Thanks for taking a look at this glass, and I will see you in the next video. 2. 3D Model the Wine Bottle: In this video, we're going to create the 3D model of this wine bottle. Before you're going to create any products or model, it is often good to look at reference images and maybe look even into the anatomy or how a certain product is made. This will help you be better than your competitors and actual people that wants to have their products rendered. They can see you understand their product. A wants to hire you to create these renders. So let's go over the anatomy. At the bottom we have the heel, which is the corner or base of the bottom. We have also a punt. This bond is an indentation on the underside of the bottle, and we can also see it in this image. This bond was more prominent in older wine bottles, but nowadays they recreate it just to get some authenticity. We also have this body. And the body is the wider cylindrical part of the bottle. And on top of this body we have the label. And here of course we put the brand and the wine information above the body. We have the shoulder. This is the sloping part between the neck and the body. And of course, after that we have the neck. This is the slender part below the capsule. The capsule is a wrapping around the closure. It could be from metal, but you also have certain plastics. And we also have a closure. So the closure could be a cork or a screw cap, and it is not always on top of the capsule, often a dislike already underneath. So let's jump into Blender. I have my screencast keys on. So if you ever are kinda confused on which key strokes I'm using, you can see them down here, right? So wherever I'm pushing, even right-click, left-click, they all show it down here. Now are of course, also explain what I'm doing just to make it a bit easier for everyone. The first thing that we need is a image, right? And we're gonna work from an image like this. I don't want you to feel forced to create this exact bottle. This class, this course will work with any kind of bottle that you want to recreate. But this is the one that I chose. So what we're gonna do an image, we're just going to drag it into Blender. And I highly suggest you first insert blender, click on one to go to your front view, and then you can drag your image in. This image is important as an MTS we can see here. And we can move this empty around. So I could go to Item and puts the x, y, and z at 0. This doesn't mean that this bottle is perfectly aligned in the middle because it is of course, an image that we have taken from Google or whatever, right? So it could still be that it's a bit to the right or a little bit to the left. That is totally fine. And we can check this quite easily if you just de-select or cube or create a new cube. So here I'm just going to create a new cube, scaled a bit down. You can see at 1, it starts to hit one of these sides. And at the other side is like not really touching it, right? So what you could do is just move this empty now around the x-axis just to make sure it's perfectly in the middle. Then when I scale this cube a bit down, you can see that both sides hit perfectly, right? Awesome. So we can delete the cube right now. And we know that this bottle is nice in the middle. When we want to recreate a bottle like this, we need to keep a few things in mind. Of course, the anatomy of the bottle. But we can see that all here. But also the geometry that we want to work with. Because often we want to recreate just the big details in the beginning. But you could already think a little bit forward and see where we might want to use some extra edge loops, where we might want to add some extra sharp edges with bevels or even buffer modifiers. In this case, there'll be here. So that's handy to know. But the first thing I would like to start with is just adding a circle. We can scale the circle a bit down. So right now it is the same size as the body of this bottle. If you go to Edit Mode, which is stop, click on a to select everything and extra this downwards. You can see that we already have the beginning of this bottle. Another thing to keep in mind when creating a model from an image is that most images that are created are created with a certain focal length. So a camera has a lens on top and that distorts the image a little bit, right? It's not an orthographic view as we might say. And I can also showcase it inside Blender. So this is kind of a non orthographic views. So you can see that the bottom, even though it's flat, it doesn't look flat because this part is a bit more in front. But if I click on one, you can see that now it's perfectly flat. So this also happens of course with images. And with this one, it is not that noticeable. But here in the bottom, for instance, we know that the bottom of this bottle is flat, but we can still see a curvature. So I want you guys to graph just 1 perfectly here in the middle in this case. And from there on we start building. So I'm just going to put this here perfectly in the middle. And from here on we start extruding. And also the next point, next point is going to be around here. We can see a curvature starting from here on, we are starting to go to the shoulder of the bottle, then reacts through this and somewhere around here will be the start of the neck. You can see this nice curvature. We can recreate with extra edge loops. So Control R to create an edge loop and scale this up with S. And you can create as many as she wants. I wouldn't advise creating too many, but a decent amount will always get you quite nice, smooth results. Around here it goes inwards of bits. And then here we have to start the neck. So here to start the neck. And here I want also some extra edge loops just to showcase how nice and smooth this is. From the neck. We just go up here again. We get this distortion. So I want you again to focus on the middle, right? So it will stop around. Harish, I guess you could see that the sides don't match up at all, right. If you would look at the sides, who would stop the kind of the bottle or the neck and around here, but it doesn't match up. But because we chose the middle, we should follow this middle. I hope that makes sense. It is not that important, but I hope it makes sense. Now we can extrude this. Then I'm going to right-click. So it snaps back into the first place. Then scale it up until we reach this and then extrude it on the top. And we can see that here it's a bit more smooth, so extrudes GI, smooth a bit outs. Or you can even move to bid on top. And then create some extra edge loops and scale this up so we have a nice and smooth fall off. So very handy, very cool. Does it need to be perfect? But in this case, we kinda get the feeling of this bottle. Just the bottom though. We have this ponds where we talked about before. So let me showcase it again. Scan of this shape, right? And not all bottles have this, but in this case we do have it, so let's recreate it. We can also see all these dense in here. We're going to recreate this as well, but that will be for later on. Okay, so let's just first focus on the big shapes. For this shape, it's going to look a little bit messy, but eventually it will work quite well. Okay? So we're going to extrude this skill, the bid down, then actually it again and move it inwards. So skill z, right? I'm going to inverse here. And you can kinda see from these reflections or you can kinda see inside of this bottle where we need to go. So you can follow this. It doesn't have to be perfect, okay? And then extrude wants more extra again. And then with this extrusion, I'm actually going to, let me showcase this a bit better. I will select this extrude right-click so they snap back into place. But there are still selected. Then I click on em to merge my selection at center. So now all of these which I had selected, they will just merge at the center, which creates a nice merchant, the middle. This looks quite messy. And the way that we have to fix this is with a subdivision surface because then everything becomes nice and smooth. So here, select this add modifier and add a subdivision surface. We can add more subdivisions and even right-click to shade smooth bots because we are using so many subdivisions, you can see that all of our shapes are smoothed out and we lose a lot of the details that we created. So let's get some of these details back again. Because the sub deficient surface smooths everything out. That is essentially why we lose our details. And if we just add more geometry again, so if I grab here an extra edge loop, you can see we get some shapes back. So you can do that here and here. Of course, this heel here should, anyways, be a little bit more skilled down here in the bottom. Right, a little bit here. So we have a nice and smooth shape here. But now this already looks way better. Here. We're losing a lot of detail. That is because these edges of course, also gets smoothed out. And you can also select the whole edge loop here. Click on Control B to manually create bevels. Or you can do this with a modifier. So here we can grab a modifier. Let's put this modifier above the subdivision surface. And let's change the limit method angle to wait. With this weight, we can select certain edge loops. So I'm going to select this edge loop and this one. Then go to Item and inactions data. You can put the mean birth weight to one. And you can see that now these edge loops became blue. And now only in those blue edge loops, we get bevels, right? So we can put the segments Smith up if you would like to, and also play with the amount if needed. Very, very cool. So here in the bottom is also a little thing that I want you to notice. This kind of weird geometry is created because we, let me show you go from geometry. Two triangles, right? And if you stop the fight at these triangles will become quads and then you get those weird shapes. So how do we change this? There's not a lot that you can do, but you can select this edge loop. I'm going to move the inverse. We have double-click on g, So g, G and move it inwards a bit. And now I'm going to create an extra edge loop here, just so it's nice and smooth. And now we have to put the bevel and the subdivision on again. You can see that there is still a little bit of this happening, but it is way smaller, right? So if I'm a little bit further away, already, cannot see it anymore. So that is one of the ways that you can fix this. You can also move them a bit of rounds that sometimes helps, but it's not that big of a deal as long as we cannot see it. So the next thing that I want you to notice is that this bottle right now has no thickness to it, right? We need to make it more solid. So this also can be done in multiple ways. You could opt for a solidify modifier. The problem with this is that this insight also gets solidified, right? You can see that the outer details that we had also goes inside here with a normal bottle. We don't get this weird little bump, right? So what I would like to do, instead of the solidify modifier, I like to select everything in edit mode. Click on Shift D to duplicate this. I also like to go to the front view just so I can see it a bit better. Go into wireframe mode and then click on Alt S. So S kinda inflates it. If you just do S, you can see the scale, but Alt S works a bit differently, right? So Alt S and move it here. Choose a right thickness for your glass. So in this case, I think this might work. And now I'm going to click on Shift H to hide everything else except what we just created. You can see that we still duplicate this parts, but we can just delete this. And the next end of the month to do is click on Alt H to unhide everything and move this part up. So just go to the front view wireframe mode and just move this upwards somewhere around here. Now we want to bridge these edge loops. You can just select this edge loop with Alt select, then Shift Alt, select the next edge loop. And I like to go to F3 and then just search bridge edge loops. You can also go to Control E and look for bridge edge loops again. So here, bridge edge loops. One thing that I want to explain though, because we extra this inwards, probably the normals are a little bit weird. So if you go to your overlays, you can check the geometry. Face orientation can see that the inner edge loops here are red and that is wrong. That is also why sometimes the bridge edge loops don't really work the way that you might think. So if you have a problem with the bridge edge loops, I would highly suggest you select all of these inner phases. So all the way here, then go to Mesh normals and then flip normals. So now there are flipped and we can see the blue side. Blue is faced towards us, and red is like faced the arrow side, right? So we want this to be facing towards us. And then you can reach them again. Just select these F3 and then bridge edge loops. Perfect. So that is essentially that. And then you can turn off face orientation again. And that is essentially it. So these are the basics of this model. In the next part, we're going to build a bit extra upon this and make it more realistic than it is now. And I'll see you guys there. 3. Finalize the Wine Bottle: In this video, we're going to finish this bottle. So in my case, I think I need to fix two things with this bottle, right? The first thing is this top part. And if we get this reference image back, I can see that it just looks way too sharp. This looks nice and smooth, and really looks like glass, of course. And my sharp edges look way more like a metal. So I want to change this for sure. Also here on the bottom with the pons, I think I over-exaggerate at this shape a little bit. It's to guess the inside is too big. And we need these little shapes on top of here, right? So we can easily change this. Let's go to the top. And I just want to select this whole face tube scale shift. And then what does does is it just scales it around every access except the z-axis. Here. And now my bevels have a bit more of a lead way. Otherwise they are way too sharp. Then I can also select all of these edge loops and just scale them a bit upwards. So it's just a skill. Or again, skills shifts set could also work. I will also create two more edge loops here, just so this is nice and straight and then it goes inwards. I might also create an extra edge loop down here. Alright, so this already looks way better. I do think though, that this is still way too sharp and this is not narrow enough. So I'm going to select this whole phase loop skill shift sets to make this a bit smaller. And you could opt for deleting this. Let's look here, mean baffled weights. And then just creating your own geometry. Or you could just keep the bevel style, but that's a bit up to you. This in my opinion, already loose way, way better. And you don't have to spend too much time into this because we're essentially going to put a caption on top of here. But I still want you to know that your final model needs to look quite close to the reference images. Because the more realistic you get with your model, your textures, your materials, the more realistic your rent. This will be an artist for this bottom part is going to be quite simple. I'm just going to select this edge loop, scaled a bit down. And I'm going to show you right now how we are going to create those little bumps. It's gonna be very simple. Don't follow me yet because we do need to do a little step in between. But we're essentially going to select this whole edge loop. Click on I2 inset, you have to do it twice. And then we can essentially just extrude this downwards and we get these little protruding shapes. But we don't have enough geometry first of all. And these shapes are just random way too big, right? So if we add more geometry, we can make it look more like what we have here. So to add more geometry, we can add a subdivision surface, keep it That's levels view port one, and then apply it. But if we apply this right now, what you will see is that all of this gets smoothed out. And that is because we first need to apply our bevel. So make sure your bevels or the way that you want them to be, apply it and then apply a new subdivision surface with left viewport, add one. So now that we have applied this, you can see that we have more geometry. And we can of course play around with this geometry. So first of all, I'm going to click on skill Xero with these two edges selected. So now I'm going to select this whole edge loop, click on X and delete this edge loop. Then with my face selection selected, click on i2 times again and get these shapes out of here. Then you can actually go down and you can see that we get these nice shapes. The thing however, as you can see, is that these shapes also the forearm, the rest of the model, a bit more geometry will for sure help getting rid of that. But you could also do it even in the beginning. So if you already have this here, create more geometry now. Then select this edge loop or face loop and do two times i extra this down. Now you can see because of those extra loops in here, this is always smooth ER, but if you put them too close to each other, you can also see that it makes these edges quite sharp, right? So, yeah, you can move this a bit more up to make it less sharp and then you get the result that we are looking for. I hope you guys learned from this. We have these shapes now. I also fixed the top. And of course you can always go in here and I think that now it's a bit too big. Do I need to maybe scale down? It's all up to you. It is what you see in your models. And yeah, that's it. So the only thing we need to create now is some extra fluids for this bottle. Because of course we have, in this case wind inside. But it could also be maybe you're creating olive oil or whatever. What you want to do is you want to go to the top view. So we're looking into the bottle. Then go into edit mode and make sure you have the vertex selection. Select it, and make sure you select this vertex. Then when you click on Control Plus, you expand your selection. And if we go to the side view into wireframe mode, you can see where we have our selection and where you want your wines to end up. So in this case, if our liquid is going to end up around here, they click on Shift D to duplicate this. Then P two separate what we just duplicate it. Then hide your bottle. Select this extruded a bit, inverts, extrude again and then again at center. So the liquid can be quite sharp at the ends. That doesn't really matter too much. Just make sure it's nice and filled. And this is the liquid. This top circle is of course, our glass bottle. Bottle. Now that we have these two very important models done, we can go onto the other models, which are the label and as last, we of course have the capsule. So I'll see you guys there. And I hope you guys learned from this. If there are any questions, just ask down below. 4. Create the Label: In this video, I'm going to show you guys how we can create some simple labels. Normally, you of course, get the labor from your client. If you get paid to do this job, they'll send you the labels because they want to showcase those labels. But in a lot of cases when we don't have any freelance work yet, then we need to create our own labels. And it's very time-consuming. And we as 3D artists, don't really know how to create compelling labels, right? So there are lots of websites which have like free labor makers have some templates and they are quite easy in handy to use. So in this case, I chose the website called Canva. You can use any website, any program you can create your own. But I just wanted to be a bit simple and easy for this tutorial. In this case, when you are in Canva, you can search for a template. So if you go to templates and then we can look for a wine label, something like that. So Canva is not necessarily free, but it has some free templates and that is what we're looking for. So yeah, you can choose here, I think I chose this one. And then you can customize this template if you want to. So the cool thing about this is that you can literally just customize anything here. But keep in mind pictures like these labels have watermarks. And if you want to download it without watermarks, then you have to pay for Canva. You can download them with watermarks. In this case, you cannot even see the watermark, so it's not that bad. But you can also just import your own, Let's look elements or your own images that you have found, right? So you can do a lot here. Just make sure that you're not using the pro version if you don't want to pay, which is totally fine. We don't have to pay for anything in this class or course. If you don't even want to create a label yourself, you can also just download the files I provided. So let's say I'm going to dial this, then you click on Share. When you download your file, the PDF print is probably the highest quality. So if you want to edit some stuff there and then go inside Photoshop or any other editing program, I would highly suggest download the PDF print, but if we want to insert electrode inside Blender, you can do PNG. I think that's the best in this case. Let's do PNG. And then you can of course do download a free watermark draft in sub blender. I want you to delete the default cube. Then go to the front view, which is one. Now let's go to edit preferences, look for a add-on. And this add-on is called Import Images as Planes. Now, when you take that on and save your preferences, you can click on Shift a image, Images as Planes. And here you can import your newly downloaded label. So let's rotate this label for 90 degrees around the z axis and look at the label itself. So it goes with the Viewport Shading material preview. You can see that minus flipped so I need to rotate it again around the set access for a 180 degrees. And let's go to Shading. In such shading, I again will just go to the front view, zoom a little bit in, and I go to their rendered viewport shading. Now, let's go to the random properties and go to cycles. Cycles is way more realistic than EV, and that is why we use it. I'll also put my device at GPU. Now you can see that for this plane, which automatically has this material applied to it, we have one image, texture or principled shader and debt creates what we can see here. I do, however, want to put my light a bit closer, so I'm going to move it in front and a bit closer here and see what is happening. Here we have a decent looking label. Now, I don't want this alpha to be disconnected because I don't need any translucency. In all honesty, you could just use this label and that's it. But we can always go a step further and create really something more interesting. What if you want this label, but with golden letters, Devin needs to create a mask. And most masks look like this. So it's a black and white map, which is a gray scale map. Most of the time with masks, you use total black and total whites to separate these colors. But if you have a gray in-between, it takes the average of both. So how do we create a mask like this? Let's go back to Canva. As you can see here. I can duplicate this page. Now in this page, we can change the colors and make everything black and white. So what do we need to delete? I only want the text and this little line around here to be black or white and everything else should be opposite. So I'm going to delete all of these shapes. Change the color of the text to black instead of blue. Also, this little cube around here. Then we select the background and make that totally white. This label here also has a color, so make sure that it is white and the transparency should be a hundreds. So now we have a mask for this. Again, just got to share downloads. Make sure it's P and G. Then instead of all pages, we can just tick off page one and only downloads page two. And here you can just download it. When you have download this, you can go back into Blender. And here we can add this mask. The first thing is I want to do is create a new principled shader. So just shift a and look for a principled be SDF. This principled shader is going to be God. So I'm going to put this into the surface of the material outputs and make this a nice golden color. And of course, the metallic should be all the way to one. Now you can of course, play around with the roughness however much you want. Now, this is the goal of color that we have, but we only want this text to be gold. So let's grab an image texture. And here we're gonna put our newly created mask. And we need a mix shader. Because we're going to mix this principled shader, which is gold, and this principled shader, which is this label. So let's mix them together. And a normal mix shader without mask just mixes the two shaders together, right? So if the fact is at 0, we have this shader, the goals. And if the effect is at one, we get this shader and anything in-between, It's kind of an average. But if we put the color of this mask in here, you can see that now the black and the white gets separated from each other. So we have the golden text and everything else is just whatever we see here, right? Because if I turn or take this base color out of here and just make this black, for instance, get this very, very cool. What we can also do with this, because it's a black and white texture map. We can put this into a bump node. So the color goes into the height of the bump note. And I will just put the bump nodes from the normal into the normal of the principled shader. Here you can see some height difference. So I actually want to put a strength way lower. Plus I want to have this text on top instead of carved in. So I'll make sure that I will grab a color ramp and pour it in-between the texture map and the bump node. With the color ramp, you can switch these colors and you can see that now we of course get the opposite. So the text lays on top. And the cool thing about the color ramp is that we can put it to ease as well. And now we can play around with these two sliders because you can see that the text is very blocky. So if we just move this a bit around, you can see that now we get less blocky texts. And of course the strength is just a bit too high still. But playing with those things will create some very cool effects and some extra depth to your texts and label. Overall. This is your label. Awesome. So in my final results, you also saw that I had these cool shapes. So these plants, they were a bit more reflective. To make them more reflective, we need to create another mask. So just go back to Canva, are actually duplicate, just this top one again. Here we don't want the text so we can delete the text. We can delete this extra little cube around here. And from this wide thing here, we should make the transparency all the way at the hundreds. And now we can start thinking about the mask. We noted we don't need the tax. That's why we deleted it. But we do want these parts here. You could do this in two ways. We can make everything else White and make these flowers black, or make everything else black and make the flowers white. So it doesn't really matter how you choose to do it, but in both ways it would work. So let's make everything else black. And to select this background, you need to go in-between these symbols. So here, make this also black. And all of these flowers are going to be burly white. Also for this one, just download this. Now inside Blender. We can again just use whatever we have here. I'm actually going to keep the base color and black and change this image texture to our newly created mask. And I'm going to put this mask into the roughness. And now you can see that we have a roughness difference. We still want to play around with this roughness because the roughness itself is not really what I want yet. I want them to be flipped first of all. And maybe not as strong to edit this roughness, we can grab a color ramp. I'm actually going to switch these again. To edit the color ramp, we actually need to know what these colors are doing. So if you have your thing all the way at white, you can see that the roughness is just set at one. If we have both colors at all the way, black, it is the same as the roughness set to 0. Now we can play around with the roughness so I can put the white a little bit darker, right? So we have a bit more roughness in the label area. But if you think these blends shapes are a bit to reflect. If you can just put the black a little bit higher, right? So the higher it is, the less reflective it will be. So, yeah, that's a bit up to you what you want to create here and how you want it, this difference to see you can also put them closer together so you have more of a sharper fall off, let's say in-between these two shapes. But it's a bit up to you what you really wanted to create here. So in this case, I think this looks quite cool. Now you can also create a thickness here. So you can literally just duplicate this. Put it down here. Then color goes into the FAQ and this bump goes into this bump. If this is too much like bumpiness for you, you can of course, change this as well. And in this case, we need to switch these colors again. So yeah, that is how we create this cool little label. And you're not forced to create the exact same label that I have. If you liked the color that we had before, like the white, please use that. But in general, this is what we need. Now I want you to save this and just save it as a label. Then later on we can go inside Blender and import this label and make sure it also fits nicely upon our bottle. I see you guys there. 5. 3D Model the Label and Capsule: In this video, we're going to import the label that we created in the previous video, and we're going to create the capsule on top. So let's start with importing our label file append. And then here we can see our labor file. If you double-click on here, we can choose our mesh, which in this case is this label. So that is literally everything that you need to do. And if we go to the rendered few boards here, we can see that of course our material is also automatically working in an instant. Awesome. So let's go back to the solid viewport shading and we need to fit this label on top of the bottle. This actually quite easy. If you go into edit mode on the bottle and just select one of these edge loops all the way around. Click on Shift D to duplicate this, and I click on P to separate the selection. Now we have separated this little circle and we need to convert it to a curve. So select the circle, then go to objects. And underneath convert we have curve. So now it's converts this mesh to a curve. A curve looks like this. So right now we have a lot of geometry here and that is why we can barely see it. But if you zoom in, you'll be able to see very small little arrows. Okay? And why do we need to do this? Well, let's put our label in position. I'm going to select a label, put it around the y and x-axis all the way to 0. Then rotate it around the x-axis for 90 degrees and move a bit forward. I just want to see if my Texas goods he had a seem all to fit quite well. So what I want to do now is I want to add a modifier. I want to add the curve modifier. We can select our previously created curve because we don't really have any extra geometry. You can see that kinda works weird. But if you just click on Control R, crit, extra geometry here, then we can see that it follows this nice curve. Okay? So that is essentially what we want to do. And you can create as much geometry as you want. But because we are only curving around this bottle, right around this way, we don't really need any of these edge loops that we can see here, right? So it's better to just create this. And then you can always add some extra subdivisions, put it before the curve modifier. And that is essentially it, of course is subdivisions, as you can see, it will make this more smooth. And if that is not what you want, which in this case we don't want this. Just select all of these outer edges. With edge select, select all of these outer edges. Click on Shift E, and then just drag this all the way up. You can also click on down here and make sure the factor is all the way at one. This way, these corners are, these edges here are creased and they will not be a smoothed out by this subdivision surface. However, we do see that some stuff seems to be wrong, right? First of all, we cannot really read this because it's flipped. So yeah, we could just select this model then rotated around the Z axis for a 180 degrees, which flips it around. But it's still is not in place. And that is because I moved it a bit around the y-axis, right? So if I hide this, I can show you, I just moved it a bit around here just so we could see what was happening. But yeah, this kinda messes up how it works with this curve modifier. So the X, Y, and Z should all be at 0. And then you can activate this curve modifier. If it intersects like this, you do not scale up the model itself. You just go to the curve skill that a tiny bit up. That's all that it takes. Okay? And now we have a little bottle here. So if you go to the front view, you can see that this is not perfectly in the middle. So you could just rotate both of these models at the same time. So the curve and the label, so rotate around the z axis. And here you can put it nice in the middle. Now makes sure this also has a smooth Modifier applied to it. And that is essentially everything that we need to create this label or to input the label and put it on top of our bottle, right? Awesome. So what is our next little part? We need to create the capsule. And what is a capsule? If we look at the capsule, you can see here that captures are just crazy like this. And there are many different types of capsules that are also different materials of capsules. So you could keep that in mind if you want to have a different kind of reflection and wants to be true to whatever material is used. Here you can see that they do, however, all have the same kind of shape. And this shape just goes on top of the bottle. Then it gets heated up or down, or maybe also different ways, but then it just shrinks down. This makes sure that our Cork stays in place. And of course there will be no air added to this wine bottle. So if we go to Blender, what we can easily do is just select. Of these edges here. And then we can just go to the front view, select the edges that we want. So maybe I want it all the way up here. Then I'm going to de-select these ones on the insights. So this should be fine. Shift D to duplicate this p and n selection. So now this bottle tool is now names, but we can rename this to capture, should be a bit bigger. So go into edit mode a and then Alt S to just inflated a little bit. And then we can merge this in the middle. So just this E m at center. And here we have this model. So here again, you can just move some stuff around if you want to make it more smooth than underneath. But that's up to you. But let's say this is the capsule. Then also for the capsule, we need a decent looking material, right? So you can select the capsule. And first we need to UV unwrap it. So if we go to our UV Editing and then click on a new and unwrap. You can see that this doesn't really match up what we can see here. And if I just put a random texture on here, so I will go to Shading new and then image texture. I can create a new texture, and this is going to be my UV grid. And then click on, okay, we can go back to our UV Editing and we can see what the UV texture should look like. We should have these kind of nice square shapes. But if we go to our material preview, you can see as they get very weird shapes here. And this shows us that the texture is being a warped, and that is not what we want. So we're going to select certain edges and vertices, and then we can create a UV seam. So I'm going to select this edge loop here. Then go to the back view which is going through one right front view is one Control, one is backfill. Select this vertex here, and then holding control and make it go all the way. On the bottom. Click on Control E to create these seems. So mark seam. Now you can see that these vertices are red. And if you pick a u and unwrap again, you can see that this whole model here is changed, or I mean, these UVs are changed. The model is the same, the UVs are changed. And now, because we've cannot cut into here, you can kinda see it like paper. If you made this out of paper and you cut this piece and this piece, that you can glue it back together to make it a 3D model or make it flat, like it will be seen here. So now we also can see that all of these textures are actually shown correctly. Of course, we do have a cut in-between here, but that doesn't matter in this case, right? Then the squares are nice and square, and that means that we don't have any warping going on. So we're not all the way done with the UV maps yet. That is because later on I want a nice straight line of gold. And if we look at our uv maps, it is quite hard to get a straight line with this. Yet if these UVs, there are other ways to create these lines, you can do it in a number of ways. But I do think a nice UV map is just the easiest for us to understand. So what we're gonna do here to make this more straight, we're going to select this outer edge loops. So just Alt and left-click, right-click on scale x 0. Now you can see that this gets nice and flattened. Now, if you select the next edge loop, you can just click Shift R and this repeats your last action. So we just have to select it. Shifts are, selected, shifts are. Now we're going to do the same for the top edge loop, but now it's gonna be scale. Y is 0. And then again Shift R on all of these. Now that we have done this, our next little task is going to be way easier. So it takes a little bit, but we'll have a better result at the end. So let's go to shading. What we want to do is we want to select our label material and then we want to duplicate this. You can just rename this to capture. Now. Now you want to start to thinking about what you want in this capsule material, but you don't want, you, of course do want this nice gold ends. We wanted the other color as well, which is black in this case. But I don't really need any of these little plant shapes. So I'm going to delete the roughness, the mask, and of course, the bump node of these small little plant shapes, we still have this black color. The next thing is going to be this gold material in the God material, unlike the bump, but I don't really need the text. However, this material also has the mask applied to this. The only thing we actually need to do here is just change the mask. If we change the mask, we also have no texts anymore and the bump will still be there. So that is what we're gonna do. We're just going to create a new image texture. You can rename this to whatever you want. Width and height of 2048 should be fine. And I'll put the generator to type two. Blank, click on. Okay. You can see that now it became gold. So if you go to texture paint, you can see the whole texture map is black. And if we paint any white on here, you can see that now we are painting the black. I want to switch this right? So you can do this also in two ways. We can just switch these two little shaders. Or you can use an inverted nodes inverts in-between the mask and the mix shader. But this adds an extra node. And I think it's quite unnecessary if we literally just can switch these two shaders. So that is why I chose those Shader option. So let's go back to the texture paint. Whatever you paint on here you can see now becomes cold. Awesome. So what do we want to happen? Well, the first thing that I said, I want a nice little line here in the bottom. And we can do this with just the brush that we have now. So I'll put the strength or the radius, at least the way down strengths you stay at one. That's Luca, maybe a radius of five. We might change this later. And let's go to the fall off. I want it to be just very sharp, so almost no fall off. And what I want to do next is go to stroke and stroke method is going to be a line. So what happens with line? If I click and drag, you can see a line appears, and then that line, we will have a nice panes, right? So this makes it easier because if you go with dots you encounter needs to drag it, right? And that is not what we want. So that is why I use line. We're flying, we can put, now we can fix the radius. Let's just put a line here. That looks quite nice. So I'm going to click this, then hold Alt, and with all that kind of snaps to a certain amount of degrees, right? So here you can see that now I can make a very straight line. And that is all that. We want it. Perfect. So that is our little golden line. Now, for on top, I actually want a blended logo or any other logo that you might want to use. We can also easily do this. Just make sure you put the stroke method back at dots. And we're going to add a texture. So click on New, go to the Texture tab. And here we can open our texture. In this case, it's going to be this brush texture. So when you create a brush texture, just make sure it's black and white again, it should be a grayscale map. So just select this one. And what happens now? If you go back to your brush? Here we can see the texture and our mapping is set at tiled. If I click and drag, you can see that we have a tiled kind of effect. I personally don't want that and output the mapping at stencil. And stencil is quite handy as you can see, if you click on seven, we are in the top view and we need to put the stencil in place. You can do this in two ways. You can move your whole screen like this you normally do. Or you can right-click and move the stencil itself. We can hold Control and right-click to rotate this tensile. And we can hold Shift and right-click and then drag around to scale the stance or up or down. So that is how you move it. So just right-click and now you can move it, shift to scale and control to rotate. If you're happy, you just click. And now you can paint wherever you want and it makes this nice and goals. It is also possible to just click and the host tensor will be applied at once. But like this, I'd also works right? It's just a bit longer, but that's fine. So now we want to go back to our materials. So let's go to Shading and go into the render view port shading. Here I want to see if our gold actually looks like it has a little bit of a bump or not. And in this case I think it actually goes wrong. It goes inside. And I wanted to protrude. So let me just put a strength with higher see what's happening. Yeah, it goes to the wrong side. Right. So I'm just going to switch these color ramps around. But you could also again use a invert notes. I still need to change something here because this just doesn't look like I want to, but this is how we do this. So now we have created the label, which looks amazing, and we have created our capsule. Keep in mind, when you have created your capsule, you have to save this image. So go to texture paint and just go to image and save S, right? So you can save it as maybe a new mask. So this is going to be the capsule mask. But this is very important because if you don't do this, you will essentially just lose your whole texture map, right? And we don't want that, but that is it for this label and of course capsule. In the next part, we're also going to create some cool materials for this glass bottle, the wine inside. I see you guys there. 6. Create the Glass Material: In this video, we're going to create the glass material. Before we can create a glass material, we need to create a little studio. Because if we don't even have decent lighting, how are we going to create a normal looking materials, right? So you cannot really work in a dark, Let's say. Now, let's add a cube, go into wireframe mode and scale this up until we cannot reach this point here in the bottom of the bottle. We can always make the scoop bigger later on. But first of all, I want you to delete these two vertices or this edge. This creates a nice and evenly distributed two planes. Of course we can scale this up. And if you want to scale it up so it stays underneath the bottle, the only thing you have to do is select this face and then click on Shift S to do the curse to select it. And make sure our transform pivot point is that 3D cursor. This seems like a lot of steps. But if you now scale it, it will be skilled around this 3D cursor. I'm just very used to these steps because I use it a lot of times in different kinds of cases. But we can just go back here and put it to medium points. And now everything will be skilled as normally. And there were probably also weighed different ways to do this, but this is one of them. Now, when I create a studio, I still want to be able to edit it at any point that I want. And we know that modifiers are the best way to do this. So in this case, if we go to the rendered viewport shading, then we can see a clear defined line back here that is often not really what we want. We want a nice and smooth line. We can create this with baffles as you might already know. So let's select this edge loop and go into item, then put the edge data baffled weight all the way up. We can create a bevel modifier and then put the limit method at weight, because that is the weight that we literally just put there. This weight is one. You can put the amount and segments, of course higher to create a more of a smooth looking Studio. Right-click, Shade Smooth to make it even more smooth. So now we don't have this yet. That's ugly little edge that we had before. The next thing that I want to do is add some extra subdivisions. This is not always necessary, but sometimes you can see that we still have some of these lines. However, this extra subdivision does give us extra geometry, but it makes also this here smooth, right? So these corners, if you select this whole outer edge loop, then click on Shift E to crease these edges, then there will not be impacted by the subdivision surface. So that is how I create that little studio or I will rename this as floor. You can see that all of these names and everything in a collection is altogether, it is very, very disorienting and I'm not sure what I'm clicking each time. So I would like to create a new collection, which is just our studio collection. I like to put my floor, all my lights and of course my camera in this little studio. Now we can delete this reference image. It's not that important anymore. And we should rename everything else. So this is going to be our wine bottle. Then this is our glass bottle. This is our curve. We can keep it for right now and we will later on, we can just accept it if you would like to. This is going to be our label. And what more do we have? We have our liquid inside and our capsule. So everything seems to be named quite decently. So we can actually work if this and click on whatever we need. This is very important and sometimes I totally forget. But the bigger your students get, the more important this gets. Okay, So because if I don't want to see the studio, I can just turn this off at one-click instead of turning multiple pieces of very handy. Now, I want to explain one more thing to you guys. We have a decent studio. So let's put now our camera into position. I actually would like my camera to just be in the front view. So we look from here. If you click on one and go into your front view, select the camera, go to few, Align View and alive and active camera view. Then it kinda jumps where you're at. It doesn't do it perfectly. But we can easily change these locations and rotations if you would like to. So the z and the x should be at 0. And this one is the y's just how close we are at this bottle in this case. And if you have this red little dotted line around here, make sure you go to View and turn this off. Otherwise we might move it by accident. And that's not really what we want. This is where we start off with a good camera position. If we go to shading, we can essentially start to create our materials. So you can select your Bottle here, create a new material, and here we can start adding our material. The problem here is I still wanted to move around my lights. I want to look for my camera here in their rendered viewport. And I want to play around with the materials. How do I do all of this at once? Well, it is not as hard as you might think. We can change these editor types and we can add new ones and delete even once if we don't want them, right? So this is very much user-friendly and we can change it to our needs. So in the case of a model like this, I would like to have one rendered viewport shading open. I would like to have a 3D view port where we can just move our camera around or AR lights around. We can just change whatever we want here. Then I'm going to move this a bit to the right. I could even zoom in right, because we just need to see our model. And here we can move like zoom in as well, so we can still move our finger around. Then here I'm going to combine these two together and change this to a shader editor. Select whatever model you want to change the material off. And here we can see all of these nodes. So here in this viewport here we can see the materials and see what is happening with our, um, yeah, are seeing that we're creating here, we can move our cameras, lights and everything around or even add extra models if you would like to, without impacting this. So I don't have to get out of here and click on 0 again. This is always hair and it will always be updated. And here we can change the materials. So that is really how I like to work with these kinds of scenes with almost every model actually. So what do we need to do to create a glass material? Well, it is quite, quite simple. We need to just put the transmission to one. That already makes a nice and glass material. It however, does create a frosted glass. There's one problem though. We are still inside EV and we need to go to cycles. And cycles are two different beasts. Ev is quite quick. But as you can see with transparency translucency, it is not really realistic. Cycles, however, is very realistic, but it is not the quickest engine to work with, but it gives us the best results and we want that. Let's put the device at the GPU, because now it uses our GPU and my GPUs is way better than my CPU. So here we can see our glass. And our glass is a frosted glass right now. And that is because our glass has a roughness of 0.5. So if we put this to 0, we can instantly see that it is a nice and reflective glass, right? However, we also have a fluid or a liquid in here. And I actually made a little mistake in the last video. We don't want this liquid to be smaller than the object. We actually wants to make it a bit bigger. So let me show you how we do that. Go into edit mode, select everything out S and scale it up a little bit. And you just want to scale it up until you go a little bit further than the inside right here you can see instantly what for impact that has, that is what you want to have and that's also what we can see when we look at reference images. So if we look at the wine bottle which is full, you will never really see a separation from the glass and the liquid inside. That almost seems like it is for, and that is how you create that. So just make it a little bit bigger than the inside. So that is essentially it. However, this liquid should also be a wine color, right? So click on New. Again here, transmissions should be up, roughness should be 0, and then we can play around with these colors. So maybe a red, dark red wine should be fine. A dark red wine is probably not perfectly like a glass or Clearwater material with a color. But because we already have a glass over here which also has a color, we will not refund really see this, right? There's more of a, a little object which creates a shadow for us. So let's select the glass bottle again. We have a nice wine inside this glass bottle. And I want you to look at some reference images from wine glasses, because wine or wine glasses are not always white, they might be yellow, there might be green, and it might be brown, right? And some are even that dark, that they are black. This is probably more of a lighting. But yes, there could be quite, quite, quite dark. Most of the time they create these darker colors to protect the wine against the UV rays of the sun. That is the main reason why it's often so dark. For lighter winds, I think you have to drink them even earlier anyways, and that is why they don't really have to protect them. I don't really know that a 100 per cent, but that is just a little guesswork. We, however, are going for a car like this, so it's quite dark. I wouldn't say it is black, but it's probably very dark brown or dark green. So if you go to your base color, you can literally just change this. So let's say you go to the more of a brown sides. You can do that quite easily here, right? And the light position here matters as well. Our lights, of course, is from the front at most of the times right now, it doesn't even create really nice highlights. That is because of the shape of this slide. I will go into that in a later part. However, I want you to see that if I put my light in the back, we could make this light a bit bigger, so the radius a bit bigger, that we get some reflections or that we can see through this model. If you want to have this later on in your animations, makes sure this color also fits what you want to showcase. Mine essentially looks a little bit reddish right now. That is weird. I wanted to be more of a darker brown or green color, right? So makes sure that actually matches up. So keep that in mind. So for Brown, you probably go around here and keep it quiet, dark. Let's put our light in the front again, just so we can kind of see what's happening with these reflections. We are not all the way done yet with this glass material. That is because if we look at some of the images of glass, so even here, we can see that glass is not always just very clean and smooth. Glass actually has small imperfections, even if it is produced in mass. As you can see here, these are little hide imperfections. So some Hide Details could give us a more realistic look through our material. We can create these details quite easily. Just create a bump map. This is going to make sure that we get some bumps into the normal of this principled shader. And we need a noise texture. If you click on Control Shift and select this noise texture, you can see what's this noise texture does and how it is displayed. This, however, only works if you use the add-on named Node Wrangler. So make sure the Node Wrangler is ticked on. It is quite important and I use it a lot. But Control Shift, you can just see every node group is doing, right? So in this case, this is our noise texture. And I do see that it is a little bit stretch. So if we click on Control T while selecting the noise texture, you can see that instantly a texture coordinate and a mapping note will be added. I like to use the object as factor, and here we can see that it gets displayed a bit better. At least that is what I want. Now, we can scale this up. And I like to put the scale of the z also a bit higher, so everything's stretched a bit out. I feel like I look at some of these reference images of these wine bottles. It seems like these bumps are kinda stretched towards this way, right? I hope that makes sense. So I like to fake that a little bit here and just stretch them like this. Now, perfect, So skills should be little bit higher. It should be quite small details. And that should be fine. So we can always check this value. We can always change this as well. Nothing is set in stone. So if we connect this fact to the height of the bump map, we get this kind of bump map as you can see, and it will look like this. So this is a very, very bumpy, kind of nasty looking wine bottle. But we can put the strength way down, right? And here we get these kinds of reflections. So 0.003 might already be enough. And right now this looks kind of weird because our light gives us a very, very sharp kind of highlights and we can change that. But our show you guys that in our next video where we talk a bit more about lighting and then we can still jump into this bump node and put it a bit higher or lower, depending on what our lighting actually shows. Because often we want, of course, to create a very good-looking material. But sometimes immaterial might look different in a particular kind of studio setting or seen then another studio setting or seen. Personally. I make sometimes still some edits to my materials. And even in post-production, I might do certain stuff to make it look more realistic or more like the client might want. So I hope you guys are excited to jump into the next video because the lining is really going to change a lot about this model. It sounds weird, but even changing the shape of the slide will already make this modal pop way more than you might've thought. I see you guys there. 7. Lighting the Scene: In this video, we will go more into depth, into the lighting. The lighting is very, very important if we do not have any light. So if we go to World, put this background to 0, click on our lights, go to object and put this note to 0. Then of course our whole scene is black, which means without lighting, we get this result, right, and that is not what we want. But if you put the emission a little bit higher, we can instantly see something happening. Our whole scene comes to life. Our light has multiple purposes and you can also manipulate these purposes with changing the light. So of course, the light lights up a scene, but it also creates certain reflections. These are called highlights, and it will also create shadows. And shadows are also very, very important. So the main light in your scene, we often call this a key light. The key light. And this key light is also often the most bright light in your scene. We can change the power here, or if you click on Use nodes, you can also change it here. Now, the key light has a certain radius. In this case, if we use a point light and this radius changes the highlights and of course the shadows. If we look at these shadows, we can see a clear difference between a hard light or a soft light. If the radius of our light is small, we can see a very, very hard light here. So the shadows and the light, It's a very much of a contrast between them. If however we scale this radius up, we can see that we create a nice and soft lighting. This is of course changed with the skill of this light. But if I move the slide very far away, then still put the strength bit higher. But you can see if I put it very far away, even though it's a bit bigger, you can see that it's still gets sharp, indicates that it's very far away. You need to scale it even more if you wanted to create a softer lighting position. And the scale matters a lot when creating hard or soft lighting. You can also compare this to the sun. The sun is huge, right? But it is very far away from Earth. So if we don't have any clouds and our sun shines nice through, we can see some very hard lighting, right? So all the shadows are very sharp. But if there is a lot of overcast, so a lot of clouds, the light from the sun, we'll go through the clouds and scatters around, which essentially creates a soft box. The light gets scattered around, which makes the light source way bigger. So this creates soft lighting. Now, this is of course quite important. And the size of our lives is also important for the highlights. So for a bigger radius, we of course get bigger highlights, which incidentally makes our wine bottle pop out even better. Now, the shape of the light can also matter, right? So if we change this light from a point light, area, lights, we can see here the shape. The shape is a rectangle in this case, but the shape will also be showcased as the highlights, right? So if I go here and just change this a little bit, moved a bit around. We can see that the shape also matters a lot. And this actually looks very good in my opinion. Nice and square highlights really makes this model pop in my opinion. So of course, you still have to play around a mission, and this is actually quite important. But when do we know when we are overexposing, underexposing our Render. Well, what is exposure? And why do we even care if we are under or overexposing our render, we are losing color data. And this is not what we want. We want to keep as much color data and they are as possible. Otherwise you get kind of a flat render. Plus the post-production will be way harder if you have less color data. Now, let's click on the random properties. If you scroll all the way down, we have color management. And in color management, we can check our exposure. So in fuel transform changed from filmic to false color. And here we have a very trippy seen. What does this do? This essentially shows you if you're under or overexposing your model. And it does it with a heat map. So everything which is blue. And if I put this strength way down, you can see that we even go into the purple or black. This is being underexposed and there we will lose color data. If you're overexposing, you can see that we go to what's the dark red or even white in those cases, we will also lose color data. So we want to be somewhere in-between. And what is a good rule of measure is when we get a nice and a gray color. And as you can see here, this is the kind of color that we're looking for. And this of course, will not work on the whole entire model. But if you get some of this gray, that is often a good sign. Now, if you have a more reflective model or if your model is a brighter color. So let's say white, it will act differently than, let's say, darker colors. Or if you are, have a non-reflective kind of object. Alright, so you can see that the bottle here in this case is way darker about the highlights are super bright. Or if you look at these reflective letters, you can also see that they will often be even some rat in there, and it is not super bad to have some almost orangey red in there, but you don't want to go too dark, okay, so keep that in mind. So your job here is to try to find a middle ground. How do we don't want to overexpose anything? We don't want to underexpose anything. But in some areas where it's very reflective, you could end up with some rats, right? So that's almost not possible to avoid. But just keep in mind what is happening. A normal key lights is often not enough. Let's put the fuel transform back to filmic. Select the key lights and duplicate it and move it on the opposite side. Often what we do if the second lights, we rename this to our fill lights, is as the name already suggests, it fills up the shadows that we create with the key light. And filling up does not mean we get totally rid of the shadows, but we wanted to make the shadows a bit more bright. So if we duplicate that this key light, we already know that the strength of the second light should be a little bit less strong because we still want some of the shadows, but just not as much. This also creates nice highlights. So the position also for this model will matter. It depends on what you want to create in this scene. But you could duplicate this light. Again. I personally would like to change it to the point light and width we're going to do if this slide is create a rim light or a backlight. So also rename this to rim or backlight. And the goal of this backlight is essentially to separate this model from the background with the lighting. And I often like to hide certain lights just to check what a particular light is doing. So this backlight, for instance, could be maybe a bit stronger here and maybe even a bit bigger. Just so we get some nice reflections from the back. It is a bit hard to see because the floor here is just a white color. If we create a new material and make this a bit darker, you can see a bit better what this backlight is doing. It really creates this very cool little rim here. And it just looks very beautiful in my opinion. So also the strength here matters. The radius matters, as you can see, and the way that it interacts with the model and the background also. So very, very cool of what is happening here. And all of these lights should complement each other to create a beautiful scene. Right now, you still have the ability to change the reflections or the roughness, I should say, of this capsule and the label. They should reflect on what your client wants or in this case, what you want. So I might want to make even a bit darker here, which means more reflective, right? So a bit more reflective could be there. You can change the color still. Maybe you want it even more dark. It's totally up to you what you want to create here. But once you have your final kind of render setup, which is all of these slides in here. And your materials. Now we're starting to look more towards the final render. And when everything starts to compliment each other, then we can start to look into our next video. So please play with around with the lighting, maybe even go in some of the materials. And then in the next part, I will show you guys a bit more about creating an animation. One more thing that I would highly suggest you do right now is to save this file. Save it. So later on we can just start a whole new blend file and just import our finished wine bottle, right? So just save it. It's gonna be really handy with all the upcoming videos. Then we can always imports are finished wine bottle whenever we want. I see you guys in the next video. 8. The Rendering Workflow: So how do we render a simple animation? For this simple animation, we're going to stay in EV, but we will go to the output properties because here we can always set a resolution. The resolution is could be different depending on what your client wants. If you want a Instagram video, you need a different resolution than for instance, a YouTube video. We also have a frame rate. 24 is kind of a weird frame rate. Often 30 or 60 is used. We also have a frame range, right? We have a frame start and a frame end, which is showcased here, but also here in our timeline. Then we have an output. The output essentially means if you create a folder, Let's say I created this tryout kube folder. You can click it, accepted. And now every file that will be rendered will go directly into this folder. This is very handy. We of course, also have a file format that we can choose. Normally, you want something better than a JPEG or a PNG. A lot of people are rendering with PNGs, but there are way better file formats. I personally like to use Open XR multi-layer, especially for videos that might be a bit longer. So if you use open XR multilayer, we essentially can add all our layer passes, and I will explain later what those mean. Now. We have a black and white RGB or RGB and Alpha. So RGB is normally set if you have any transparency in the background, you want to put RGBA. We have float half and float for which food is 32 bits of color channels, and the float half is 16 bits. And right now we're saving them as zip lossless. These files, however, are quite big. If you want smaller files with almost the same quality, you want to choose DW a lossy. And that is essentially it for the output. I however, would like to explain why I choose an image file format instead of a movie when we are rendering animations. When we render with an image file formats, what happens every image that gets rendered will be saved in this folder. So let's say we have rendered 90 files, but a frame 91 blender crushes. The nice thing about having this image saved is that you already have saved all of these 90 images. So the next time you can just start from frame 91. So we did not lose any time here. Well, what happens with a movie file formats? If we choose a movie file and it's crashes at frame 91, then it will not have saved all this file before here. It will actually lose all this data. Thus, you have just lost a lot of time. That is the reason why we choose an image file format. Now, Why Open edX are multi-layer? Again, this is because I want to save time if anything goes wrong, I can always go back in my passes. So let me explain these passes for a little bit. If we have our model here, um, I will very quickly go to cycles GPU and change some of these shader settings. So maybe I want it to be a bit more reflective. Let's put the roughness a bit up. We can change the color to maybe some blue. Here. The layer passes, we can select here, so few Layer Properties, and here we have passes data, but we're going to focus on the light section. We want to take on everything that we are using in our scene. So if you think back about the bottle, we have a diffuse, we have glossy, we have transmission, but we do not really have any volume. Now, emission environment, shadow and ambient occlusion and shadow catcher. Those could be chosen as well. I often like to use or safe ambient occlusion as well because it is very handy for post-production. And the crypto math is also very useful for if you want to mask off certain pieces of objects or materials, Let's just select object and see what happens later. So I'm actually going to duplicate this and change the material of the second one that just so I can show you what a crypto math does. But right now the only thing you have to essentially do is just render, which is F2. When this is rendered, we can look here at the top right, you can see few layer combined. It, that means all of these passes are combined and that creates our final image. So that is what blender always does. It always renders these separately, these layers here, and then combines them together. But now we have the opportunity to go into them separately. And we can also look at them. If you'd just click on combined, you can choose. A0. So this is what the EO looks like. We can look at the diffuse color, right? Makes sense. We can look at the glossy color or the glossy direct. So if you are, maybe at the end of your animation, you see like, oh, it might be a bit too glossary this part. They can always jump into these files and just change it. So you can all do this in post-production without having to render this whole timeline. Again, the whole animation that is very, very powerful and that is why we often use this. There are multiple programs and waste too, combine all of these separate frames into an animation. But right now we're just going to stay inside Blender. So if we create an animation, I'm just going to make a very short animation. We'll do like a 100 frames. And then I'll put a time limit per frame at like two seconds. I'm going to render this animation and every single render is going to end up in this folder. So Render Animation and I'll see you guys when we are back. Of course this you can set two combined because that is how our renders are going to look like anyways, right? Like this. So now we have rendered our animation ends. If we go to our files, we can see that if I click on the trialled cube, all of these files are here, all of these EXIF files. So how do we combine this and make this a animation file? Very simple. I often like to open a new blender file. I can essentially delete everything from here because I just need to go to compositing. In a compositor, we can use notes, and instead of using the random layers, we're actually going to use an image node. Here. We can combine this with the composite and open the images that we just created. One all the way. Until hundreds open image. This will create frames, so a 100 frames and the starting frame will be one. Which you also can see is that all of these passes are also instantly shown in this node. So this is a lot. And how do we combine these? Well, first of all, we have a combined one, right? And if we want to see the combined one, you click on Control Shift and then select this E XR. But again, for this one, we need the Node Wrangler add-on, as I said in previous parts. So here we can see what is happening. Now. If I just have the diffuse direct, we can see this. If I have this one, we can see this. So we need to combine all of these ones together to end up with our end result. And this seems hard, but it is actually quiet, quiet, easy. If we go to the blender manual, we can actually see how we can or how we have to combine these to get the combined results. This is essentially how blend the deposits in the first place. So diffuse direct plus the Diffuse indirect times the diffuse color will then be combined with all this other stuff and then we get our final image. So we just did a mixed node. This mixed node will combine both the diffuse, direct and diffuse interact with ads, right? Plus is adding them together. And then we just duplicate this. So Control C, Control V. And this one is going to be multiplying. So the diffuse direct and diffuse indirect will be combined by the diffuse color. And this is our color. Very, very handy. We need to do this. For all of these. You can just duplicate this here. Glossy direct. The glossary indirect will be added together and this will be multiplied by the glossy color. And then we get this effect. Now, we do this again. So just duplicate this direct, indirect multiplied by the color. And all these other ones like the A0 and a crypto markets are not necessary at this point. But we need to combine these as well. And S, we can see all of these then get added together. So we just duplicate this note, C control V, and then put it here. So these two multiplies are gonna be together and then they would once more. And then we're going to add this last one with this one, perfect effect is added together. Before we are going to continue with this lesson, I quickly want to explain two things to you guys. One is not so important, but the second one is a bit more important and I will let you know why. So the first one is, if we look at the combined render, you can see that the environment or the background is great. If you look at all of these added together, we get a black environment. This is because we actually did not include the environment here from all these passes. So if you ever have an environment which you also want to showcase, Then I would highly suggest you turn on the environment. In a lot of cases, I use my own studio, so I have a model as a studio, which then will still show up without taking on this environment. This is also the reason why I forgot this, because often I use or a studio or I want my background to be transparent so I can put my own environment in later. This is not a big deal. I will explain this in upcoming videos as well, but I still want you guys to know why this is different. The next thing, however, I actually forgot also in my upcoming videos, which is kind of stupid, but yeah, I'm sorry for that. The only thing that is, is, is we need to use one extra node after this whole group. This extra note is that the noise note. When we render inside Blender, you can see underneath this random option we have the noise. And the noise is very handy, especially if you have bigger scenes. Or your materials might be a little bit more complex with more reflections or even transparency, we might get some noise in there. This noise is what we do not want. And the denoise button is something that gets rid of a lot of noise, like really a lot. This is also why we use it. However, that the noise, I think happens after all of these pieces have been rendered. So if we have rendered all of these, and it happens after it is not included in this whole set, right? So we need to put just a denoise after this Add button right here. And we can also combine it with the view. However, that the noise clutters your computer down by quite a lot, especially if I wanted to do something before this. So maybe I have a UN saturation nodes. I want to have before the denoise button. You might get troubles with just your computer being really slow. If you hover over any node, click on em this way, you can mute it. So M for muting. Then if you essentially want to render, you just hover over the denoise button again, click on em. It might take a little bit for it to calculate, but then you can start rendering. So sorry, I did not include this. I do hope you now understand why do we need to add even one more nodes? Because it makes everything look even better and it just makes the noise less noisy. So that's it. So let's continue with the lesson. So why do we need all of these nodes? Well, there are very handy for post-production. If you want to change the color, for instance, I can just do a hue and saturation node is throw it somewhere in here with the diffuse and change this view, right? So it is very powerful in this way that we have all separate nodes for each and every single option. Now, it is a little bit messy though. We can clean this up with joining certain parts together. So in this case, we know that the diffuse has three of these values, glossy and transparency also n, These three diffuse or combined here, so 12 and then multiply the third one. So these two, if you select them both, you can just click on Control J to create a little kind of group around it. In this note section, you can change the label to diffuse. And now we have this separated. We can do the same for this part which is glosses or Control J, label, gloss. And here we have the glossy. And of course here we have the transparency. So join them together and change this to trans. So now it's already a bit more clean. You can essentially throw a lot of these nodes in here. So if I want another image texture in here, bam, I throw them in here. And these groups can get very big if you would like to. You can see that there were still, it will still look quite clean. But how do we start to render this? Because right now we still just have an image here. Well, what you do is you make sure your timeline is set at the frames that your animation also take. So our animation as a 100 frames. So I put the end at a 100 and make sure that your last node goes into the composite. Then let's go to the Output Settings. And here we just want to change the folder. Maybe you want to have it in a different folder. And the file format should now be a movie file. If we now click on Render and animation, we are starting to render our animation. This however, is not the same as rendering. You can see that it goes way, way quicker. It just shoots by these frames. And that is because it's not re-rendering. It is essentially just putting all of these images together to create a movie file. So this just doesn't take long at all. This is our movie file. Of course nothing is moving around because we just kept them stationary. That is essentially how this works. And we're going to use this technique over and over in our next renders. Okay, So if you're Ff questions, you can always ask, which can also jump back to any of these videos. So let's go on and create our first animation. 9. Animation: The Grand Reveal: In this video, we're going to create our first animation. Let's look right now what this animation is going to look like. So you could make this animation in two ways. You could animate a light or you can just take two images, a hotel totally black image, and then one image of the final result. Then we start with black and then slowly showcase the other image, as you can see right here. So this is very handy for anyone that doesn't really have time or a good proceed to render a lot. That is also why I included this, ran their hair. It first of all, looks very, very cool. The rest sort of a shortcut. We just need one or two images for the other animations, however, we have some camera movements. We might have a fluid simulation. And for those you cannot use these techniques. The first thing that we're going to do is we will delete this default cube and just import our final bottle, right? So appends go to your bottle file here and then look for a collection. Because in this case, we need this collection. And the collection is going to be the wine bottle. Very cool. So here we have all the materials. Everything is working except we still need to go to cycles and then cycles we use the GPU Of course. So in this video we have a nice front view. So click on one, select the camera view, aligned view, align active camera view, and then select this camera, go to x 00 and the y is how far we are away from it. This camera also has a certain focal length. 50 were for products. It's not even that bad. So let's just keep it at this right now. I want to look at my render preview and see what is happening here. I don't really like the backgrounds. I want some kind of studio and the lighting just sucks. So I personally, again, like to go to Shading and just change these to my needs, right? So we'll move this here. This is going to be my camera view, and it's gonna be the rendered view ports. Here we're going to grab another treaty, few parts here and here we can change or add certain things have to be ones. And these, I'm going to combine together and just make this our shader editor. Now, let's first of all create a little studio. So I'm going to grab a cube. We can scale this a bit up here. Then delete these two vertices. Select this edge, go to item. Therefore weight all the way to one. Click on n to just get rid of this little section here. And here we go and add some modifiers. So we want a bevel modifier. Let's grab some bevels and here some segments, right-click, Shade Smooth. And then we could add a subdivision surface, but I don't think it's necessary. Now, I want to move this or scale this up so you can scale it like this. Or we can of course, make sure our 2D curses here than skill around to the 3D cursor and then just scale it up. Already. It looks way better as we can see. The, we're going to create a material as well for this little cube in this case. So click on New. And then there's going to be way darker, right? So dark and I don t want that money reflection. So the roughness is gonna be quiet low, maybe from point a or high, this case 0.8 is going to be quite rough. And when I add all of these things, we already talked about multiple collections, right? So I would maybe like to create a studio collection to put all of this inside. So studio, yes, the light or background or R Studio in this case and our camera, right? So these are the most important things right now. And we want to start with a totally black scenes. So if I select this light and put it all the way to 0, you can see that it's still not all the way black. That is because our world also has a certain amount of strength. So let's put this to 0 as well. Now there are both at 0, which gives us a very dark scene. Perfect. I'm going to move my light behind my bottle and I want to do that like very perfectly. So if I click on Shift C, my 3D cursor snaps to the middle. I can select my light, click on Shift S and do the selection to cursor. So now our light snap to the cursor and we can move it around the y-axis. So if I put the slide higher, so make sure you go to object here and put the strength of bit higher. You can see what is happening already starting to look quite cool. But I think we need to put the radius a bit up of the slides so we get more of that rim around here. And let's see what the strength should be. This looks better, might put it higher. And then maybe we do need to put the roughness a bit lower. Let's look. But I want the base color to be darker, either needs to be very nice and some real decent contrast between here. So you're just searching for a cool little value between the roughness, the color, and of course, the light. The light, while the size matters as you guys already know where you place it. So if I put it closer or further away, that also changes a lot. And that is mainly it. To render this, we just have to go to the output properties and choose, of course, our file format. If you want to do a lot of post-production, which in this case, I don't think it's that necessary. You could choose, of course, the Open XR multiplayer. And of course, choose all of these options which we also did in the previous video, right? So it's the direct glossy and transmission. Those are important and you could choose environments and inclusion as well. But because we're actually just making two images. And then we're going to animate these images. That is why I want to skip this middle step, because otherwise it gets a bit tricky to follow. So I am just going to do the file format at tiff, okay, RGBA color depth 16 is probably fine. Now, we are going to run there are like this frame where the light is, where you want it to be at. So if you are happy with your final image, I'd say you can just click on F2 and then save this. Once it's done. Here, just go to Image, Save As, and then you can rename this to last image, seen one. Then what we're gonna do is we're going to put this light at 0 and then render again. So render image. And this is going to be our first image, right? Not our last model first. So it is just a black image, totally fine image save as, and here. We can just do first image seen one, save as image. Very, very easy. The only thing that we have to do now is open a new blender file. And we can even go to File New and choose the video editing tab. Now we have our sequencer here. And here we can put in all the images that we have so you can find your folder here, or you can just drag your images in. So we have our first image and our last image. Now, you can see them here. This is essentially the timeline, and it is showcased in seconds for you to submit up to how long you want us to take. So maybe we do like six seconds, which is going to be, I guess a 145 frames. And then this one can be the same. What you want to do here is we want to animate this last image, right? And we want to animate the opacity. So let's say at two seconds we want it to be 0. And then you click on this little dot, which is animate property. Then we can go to four seconds and we can put it all the way to one. And then again, an image property. So now if we play this at first, you will only see this first image, which is black. And then we'll slowly start to transition into R, last image. And at this, this nice image, of course, if you ever want to change anything here, you could do that with, of course, changing this animates property. But you can also go into, let's click here the graph editor. And in the graph editor you can move this around. If I move this around, you can see that it also will change here, right? So I can play around with these curves. I can even add some modifiers if I would want to. But in this case we're just going to keep it as what we have. So let's go back into our video sequencer. And here the only thing we have to do now is take care of our output. We want a frame rate of, let's do 30 frames per seconds. This frame range is also quite important. If we select one of these strips, we can see that this one is a 145 frames, right? So 145 frames should be the whole animation in this case. So we can put it at the end at 145. If you have a higher than I will just start to render like a transparent image after this, which is not really what we need. Then as output, it's automatically set as mpeg video, which is fine. Then make sure you have your folder ready here. Seen one, accept Render Animation. And now it will render this whole animation which takes almost at a 145 frames. And again, it doesn't have to re-render it all the way. Again, it's just compiling these images together and making a video file. Now, if we look in our folder, we can see our animation here. And if we play this, we get this result. Very, very cool. So this is all done with just two images. This is going to be our first animation. You are able to of course, change whatever you want. Maybe you want the resolution to be different. That's all up to you. I hope you guys learned from this. And in the next part, we're going to create another animation. I see you guys there. 10. Animation: Closeup Barrel Roll: In this video, we're going to create this animation. To start this animation, we can jump into Blender. I'm going to delete the light and the cube. So just delete them. Go to File, append and select the file where you have your wine bottle collection, right? You're finished wine bottle. And this one is mine. So here we have this whole collection imported at once. Now, what do we want to create here? We want to animate the camera and we want to animate the bottle. So often refers to animate. Then we start to play around with the lights and the renders, right? So how do we start here? First of all, we want to put our camera in position. And a karma is essentially going to be quite close to our model. So I'm gonna grab two of these 3D few ports here and on one of the screens I'm going to click zeros. So I'm actually in the camera view. Here. I want to show you that we are essentially going to put a camera quite close to our model. And then we're just going to move it up. So that is the camera animation. But it needs to be a little bit more interesting, right? So I'm going to rotate my camera actually, maybe around the set access here. You can even go into this view, make sure you turn on camera to view. And then we can move it just to wherever we are looking, right? So that is also very handy. Sometimes it's a little bit hard to move the camera because it's kinda rotates from a different position that you might expect. But you will get there, no worry. So something like this will be interesting. And then what we're gonna do is selected here and then we're going to move it up. Alright, so that is going to be our animation. So it's a bit up to you how close by you want to do B to this model. We can also make an backgrounds so we can actually go a bit further away if you would like to. But if you have very small intricate details, often close ups are very cool, right? But we're gonna do something like this for right now. So interesting position of the camera, I like it. And then we can go to animation. So an animation you can see we already have a few. If our camera position, we have a 3D view port plus the timeline. So this is perfect for animation. So what we're gonna do is, right now we're going to think about how long we want this animation to take. So I'm thinking 240 or 120 frames. I'm just going to do shorter right now. But if you want this animation to take a bit longer, of course you'd just take more frames, right? But we're gonna do a 120 in this case. Now, at frame one, we want this to be our beginning position. So i location. Then at frame a 120, we wanted to move up, so G. And I'm going to move up until here. So we have this end of the bottle inside this little capsule I location. So now we have animated the camera from 0 to a 120 and then we have this result. Perfect. The next step, however, is animating the bottle. So click on Shift C, and this makes sure that the 3D cursor is perfectly in the middle. Then Shift a to add an empty. Let's do the plane access. We want to select this whole wine bottle collection and as less the empty, right? So select a whole collection, then the empty, and go into the 3D view port here, control V and set parents to objects. So now all of these models are parented to this or empty in this case. So if I move the empty, you can see that I can rotate it, I can move it, I can animate it later on. And all of these models will follow. Perfect for animations like this. Now, click on AI and start your rotation keyframe at one. Then go to frame a 120. We're going to rotate this a little bit. Then click on AI and do rotation again. So now we can see if we just look at the bottle, that it rotates nice and slowly. But we should have more control about this rotation. Because let's say we have this rotation here. The first thing that we can see is that I need to put this to the rendered viewport shading. Is that our label, which we've worked hard on an often the company which are the client that gives you this project wants to showcase this label. We cannot even read it when we are passing through here. So we want to manipulate the rotation. It is quite easy to just go to the Graph Editor. So change editor type from dope sheet to graph editor. And what we can see here is a whole new kind of fuel, right? And what we can do here, if you hold the middle mouse button, which is the scroll wheel, if you click it, then you can move around. If you zoom in or zoom out, It's just crawling. But you can see that we have to scroll off quite far out to actually see all of this. And it's just not really handy to work with. So we can also scale this down. If you hold Control middle mouse button, you can kinda move it down and it was still. I work the same, but we can essentially see it a bit better, right? So control middle mouse button and then you can just move up or down to compress this together. Perfect. So these two little black handles from this blue line are the rotations. So it is the eula rotation, rotating this around the z-axis. And you can see that these keyframes that we have put actually have a nice BJ line. And these BJ curves make these animations nice and smooth, right? They start off a little bit slower, then it speeds up. So in this case of the empty, it speeds up with the rotation. But with the camera, it actually speeds up inside the location, right? It's slower hair, and then it moves a little bit quicker and slows down again. Because both of these have the shakers. And you can change this interpolation mode while selecting these handles. Then click on T and you can change it from wget to linear. Now it rotates at a linear speed, right? So all of that is possible. We can also speed up or slow down our rotation. So if our line, if we essentially move this one up, we can see that our rotation gets sped up quite a bit, right? And it's the same for if I've moved these two together. So if I move this one down, you can see that now it rotates a bit slower. So it's a bit up to you what you want to achieve here. The one thing that I do want, however, is that if my camera is somewhere around this label, which is around frame 50, then I want this label to be nice and readable. So I can move this up and down. But the ones that make sure around frame 50, this label of readable. So now we have this rotation. It rotates, we can still read it and it goes up. So of course our animation is quite quick. So you can see that it might not even be readable because our animation is only a 120 frames. If this bothers you, you could put it two more frames, so 240 and just move this then towards there. Right. Now you can see that it rotates even slower. Why do you need to do that for a camera and this empty? Now, this is everything that you need to know for this animation. Let's go to the lighting. Let's go to Shading. And of course here I'm going to edit this whole screen a little bit. So here we are. Ran that few ports with 0, right? This is our camera. Here. I like to add some extra lights or the 3D viewports. And these for right now, we can combine and I can change this to shading. Now. Often, I also like to grab an extra little timeline out of here, just so we can move our animation around timeline. And now you can move it around here, right? So quite simple, quite easy, and it doesn't take too much space away. So let's talk about the lighting. We first need to make sure we are using cycles and we are using the GPU, right? And here we can see that, well, our scene, it doesn't really have any light. We of course, also deleted the light in the beginning. But I also want to show you that the background is, of course, now still casting light, right? Because if I put it to 0, it becomes black. The background gives us some light, but this is a very flat lighting. We could add an extra environment texture. And in this environment texture, you can import an HDRI. And there are loads of different ages. Uris, you have studios, for instance, they are very nice, but you could also do, let's say this Kiara interior. The thing is this gifts you really, really realistic lighting. But a lot of times these reflections, as you can see, have some color data in them. That is not always a problem, but because I don't really want the focus to be on any of these reflections, like this intricate reflection, as you can see here. I really want them to be more on the model itself. So that is why I choose to also put a color ramp in-between the environment texture and the background. This makes the environment texture black and white. And we also, yeah, the lighting is a bit more soft, right. So we can even put it to ease to make it even more softer. And it's up to you what you want to achieve here. But you can also drag these in and out and even change these values. So if you look around here, you can see that this is right now what our HDRI looks like. So very, very cool. I'm going to stay, keep that linear for right now. So let's now add some lights. I put this back to object because we're going to use our notes with the lights that we're going to add, Shift a and just add a area lamp. And, um, yeah, we probably better move it down here. Move it around, and try to start or create some nice reflections, right? So the highlights are always important. Scale it up. And of course, the strength is very important as well. So make sure you use the notes and put the strength up. So this is kind of our main light. This is our key lights. And you want to make sure that the key lights makes the most sense. And gifts are some amazing reflections. So also you want to make sure that you're only looking in this camera for you. You can do this by just zoom in a bit more in and just imagining it. Or you can click on Control B and then just drag here. And now we can literally only see what's in this camera view. If you want to ever delete this, you do Control Alt B. So then it kinda expense again, you could even just use a singular little piece here if you really want to focus on this, this is very handy and it also cuts down your viewport render times a lot right there, real life rendering. So I'll advise you to do this. Now. As we can see here, animation is starting to look good. We have some light on our label. But the thing is, I do think our environment map, so the world here is overtaking a little bit. I'll put the strength to maybe point to or even lower, just so I can really play around with the lights that I want to add here. You can always go up and down in the timeline to really see what is happening. And yet this light here, actually, I actually really enjoy it. So I would love to make this our key lights. Then we can always check the slide, right? So we can check for overexposure. So go into your random properties all the way down column management and change this to false color. So here again, it works just the same as in our last video. Play around with these values and you will get a nice and decent results. So I might put a little bit higher, so I get towards the orange and that should be it. Now go back to filmic and we can start to duplicate this to make our fill lights, right? So here, the second light is going to be the fill light. And as many of you already know, the fill light is going to be way less of a strength. We want to fill up these shadows that we create with the key lights. But we don't want it to be too extreme because then we don't really know what to focus upon. So I'm going to make them round here. This should be fine. It's still readable, especially if we go a few frames forwards. But it's not too extreme. And let's go to frame one. What we can see here is not a lot, and this is where our animation starts. We can see some reflections, but it isn't really noticeable. What we're actually seeing, that is because we don't have any light in here. It's all just too dark. So I would like to grab another lights. I'm just going to duplicate our fill lights and put it here in the bottom. Here we can kind of shoes of what we want to achieve. I really want to see these little shapes out of here. And it's just not possible with what we have right now. Let me scale this a bit down. Move it up and it's starting to make a bit more sense. And also the position and the rotation of course always matter, right? So really play around with this until you are, you actually are showing the shapes that you want to show off. And that just looks pleasing to the eyes. Well, I can play around with this for hours, I shouldn't. So let's go to the next section. Let's make sure we can actually read this text. If your text is a bit too dark, you could even add an extra light, just a normal point lights, and then move it just in front of your label. And what you should do here, because I don't really enjoy like a reflection like this, right? This real brown reflection from this slide. So you could put a light quite close up to your label. And then if it's still, still shows, you can even put the radius lower. Alright, so the rate is even lower. Put it even closer here. So you avoid those reflections which we might not want. So in this case, I think this looks quite cool. The strength of the slide, of course, is not really there yet. So use nodes and then put the strength just so we can read this a bit better, right? Yeah. You can see that you can add so many lights and they do so much to your scene. And especially with an animation like this that we are moving our camera. The light needs to work in multiple occasions, not just one. And we can just turn on and turn off lights. Well, we could, but it makes it look very disruptive. So that is what we want to avoid. And the only thing that I think we should do now is maybe try to get a bit more of a separation from the background. So the background is still looks off and the separation can be done in multiple ways. We can create a rim light in the back, which is one perfect way to create more reflections on the outside, which then will separate this objective bit more. And we can also change the background. That is also done in multiple ways. We can create a studio in the back, or you can just go here. Your random properties go to film and then puts the background at transparent. And then later on we could always add our own color that we would like in the background here. Alright, so let's do that for right now. So I can also show you guys how to do that in post-production. But maybe a nice rim light in the back would be nice. So just duplicate this slide. We're going to make it a way bigger, right? And we can play around with the strength as well. Just so we have some more reflections from the back. Here. It's a bit hard to see what is happening. I might uncontrolled be just so I can see everything. Play around with the radius or maybe even change it to an area light so it's more flat. I think it's a bit too strong. So for sure make this way less strong here. Just a little bit of an extra flexion is totally fine. And that is how we can separate it even more from whatever background we are going to use later on. If you don't like it, don't use it. It's also a little bit to your own interpretation. Not everything that I'm doing is necessarily the only thing to do it or the right thing to do. Sometimes it's just like, oh, does that look cool? If so, please do it. If it doesn't look, go don't do it, right? And a lot of times you'll also see that some of your clients might not like certain things that you do. So then you have to change certain stuff, right? So that is kind of your job as an artist and someone has to deliver. You want to make an beautiful little ran their hair. But we also wanted to deliver whatever our client is asking from us. And we can always give them certain feedbacks because we know that certain staff will just not look good in 3D or whatever. If you're happy with this, I would highly advise you to first just save this, save S. And as you can see already made multiple videos are multiple C files from my bed. And then we can start to render this. So let's run this animation. First of all, we go to our few Layer Properties and then we choose whatever we want here. So we want direct Glossy transmission. Here. We could choose for environment, ambient occlusion and that I think should be at crypto mats object and materials could always be handy if you want to mask off certain pieces. Okay, so keep this in mind. Now, let's go to the output properties. Frame rates 24. I think the last video we did 30 frames per seconds, so we could do the same here. And because we are rendering 30 frames per seconds, we know that a 120 divided by four will be 30, right? So we know that the whole animation will take four seconds. Put a new folder here. I always recommend just grabbing new folders in here. And this is seen to render. Go in here and accept it. I highly recommend that we go again to the open EX air multi-layer, makes sure that RGB is active because we have an Alpha in the backgrounds. Now, we already know the D WA a lossy files are a bit smaller, so I would also recommend those. And here float fool should be fine. Float half should also be okay by the way, if you want to save some more space for half, should also be okay. You can always do a little pre-render. So if you're not sure about a certain part, so maybe I'm not sure about what the label will look like. Well, click on F2. And of course here we are starting to run their indicates of these letters. You can see that actually they look quite messy. So you could always jump back into the material and play a bit around with these values because these are making the letters, actually they are the gold ones here. And it has to do with this mask, right? So I personally would probably put a color ramp in here. Let me zoom in on these letters. Here we can put these a bit close together. You can see that it makes, well, if it's, if it's outside of here, It's kinda bleeds into the background. But if you put this closer, it gets a bit sharper. So then these letters also get sharper. As you can see. I hope that makes sense, but it has to do with this mask. And it also has a lot to do with the quality of your masks and the amount of pixels that we have. So I think the quality that we use are downloaded from Canva was a bit too low. And if you want higher, you often need to pay. So that is why we didn't do it in this case. But if you have this problem and you don't really know where it comes from, you need to download or create higher-quality images where the text is actually nice and sharp, right? If this would be four K textures, you would not have this problem. But this is just for a little tutorial, alright, so we don't really have to worry about it too much. And if you do vary a bit too much about it, you can go a bit further away with this camera. You can zoom just a little bit more out and it will be less noticeable. But it is good that we caught up on this. Because now we know how to make it a bit sharper with the materials that we have. Or if we ever have to create better looking labels that we need a higher-quality label. So this is good. Once you're happy with your decisions, we can start rendering, right? So just save it again before you start to render and then Render Animation. That's it. After you have random images, we can go to the compositing in a new blank file. Make sure you use notes. And we're going to delete the random layers and add an image nodes. We can combine this to the composite and open, of course, a new or newly rendered images. In my case, it's just one, but you should select your whole sequence, then open your image. Now, if I click on control shifts, instantly get this viewer attached to this image nodes. And as is always, the first dot will be viewed first. If I hold Control Shift and keep clicking, you can see that it goes to the dots below. But we can also change this backdrop, okay? And if you don't see the backdrop, make sure you click on this backdrop option. If you go to View, you can see that all of these options here are for the backdrop and there are also some short keys. So if I click on V, You can see that I zoom a bit out, which could be handy in a lot of cases. Now, I'm going to keep this viewer up here for right now. And I want to combine the diffused, glossy and a transparent to create this combined image as well. But then we have more control over it. Now, it is just as the last videos, you're using a mixed nodes. The diffuse, direct, Diffuse, indirect will be added together. So ads then we can duplicate this. And the diffuse direct, indirect edits will be multiplied. So multiply with the diffuse color. And if you now click on Control Shift and unselect this nodes, you can see that we get this as our color. Perfect. We could already joined us as a group. So Control J, select the group, go to notes, and then label this as our diffuse. Now, we can duplicate all of these, drag it down. And this duplication is going to be our gloss, right? Are glossy, so gloss. Here. It's exactly the same direct, indirect color. And that will result in this. We should of course combine these two, but I like to do at the end because we have to do this one more time. So Control C and Control V to duplicate changes to the transparent so trance. And then here again, exactly the same direct, indirect, and then multiply it with the color. Perfect. So we need to combine all of these as well. So we're going to just duplicate this, add nodes and this multiply from the diffuse is going to be added with the multiply of the glossy. And then we get this result. And it needs to be done one more time. But then with the transparency, it could be in either way. It doesn't really matter because it's just added together, right? It's just whatever looks good to you. Make sure this end results if you're eventually going to render this, is also combined with the composite because that is essentially what you're going to run there. Very cool. And what I personally would say you should do is just save this as a file, a separate blend file. So you can reuse this every time. Because otherwise you have to do this every single time. It's just annoying. So if I just grab another image here, which has a multi-layer XR and has the same yeah, passes rendered out, which most of the time you do essentially. But if it has that and you just opened another image here, you can see that it automatically will work, right? I opened the, our previous image, but everything is still connected as it normally would. And I can go back to my other one. I can do this in sequences or even totally different models as long as it's rendered these passes. Now, what do we need to change here? First of all, I want to change the background. I just do not really enjoyed this. And yeah, we can do this because we also ran it out our Alpha. So the Alpha looks like this. It's a black and white map, which is kind of a mask. So we could choose, hey, this part I wants to be shown and this part I wanted to have a totally different color. So it's quite easy. We can literally just create an RGB notation here. With this RGB nodes, you can just change the colors to whatever you would like. But now we need to mix it together with Oliver other results. So just add another makes note. And we're going to mix these two. So the RGB and this add nodes. And then we get dish or salts. So now it's kinda mixed and effect a set that all the way at one, which means only this image here is essentially working. If I put this to 0, we can see that only this node here is working anywhere between gets kinda mixed together. But if we use this Alpha map, so for just drag this over into the FAQ, and it will use the white for one of the node 3s and the black for the other one. In this case, we actually want to swap these. You can do it like that or you can use an invert node. But swapping it is quite simple. And here we can just change any color that we want, right? So in this case I think a wide, actually quite loose good. So maybe we should keep it at death. Now. It's totally up to you what you want here. But here you can see that it's quite easy to change. I personally do like my reflections, so I don't really need to go and change anything here. But you always have that possibility. However, I might want to have a little bit more of contrast so we could add a brightness and contrast nodes. Just pop it in after the mixed layer here. Make sure this is also viewed. And here we can play around with the contrast, right? So a little bit contrast goes a long way. Don't overdo it, but it already looks way better. We can go to the hue and saturation notes just so you guys can see what is possible, but hue, saturation and value here. And then you can even change the u. So if you're happy with your results, make sure you put the image back into the composite because that's essentially what we're going to render. And then go to the output properties. Make sure you have your nice output frame rates. Probably will put it at 30 frames per seconds. Then here file format is going to be a movie file, right? So I probably will use mpeg. And that's essentially it. Now, if you click on Render and run animation, then your render is finalized and you have a cool little video file which you can send to me and I can give some feedback to it as well. Awesome. So I hope you guys learned from this. And in the next part, we are of course kinda create another little scene where if the exact same bottle. So I see you guys there. 11. Fluid Simulation Workflow: In this video, I'll explain to you guys how we can work with the fluid simulations in Blender. In the upcoming video, we're actually going to use this knowledge and then create this very cool animation where we can see the wine bottle and then some wine just splashes against it and creates this beautiful piece of art. So let's select this cube and go to the physics properties. Here we can add a fluid. In fluid, we have three different types, domain, flow and effector. We're going to use the domain. In the domain, we essentially have our fluid simulation. So inside of this cube, all of the fluids are going to happen. You can change the scale, of course, of this cube, but often you will use a cube for this, not really a sphere. For instance, the domain type however, is set at gas, and we don't want that gas is for smoke and fire. We actually want to use liquids. So make sure you change this to liquid. Let's also add a new model. This is going to be a UV sphere and we can move a bit up here. And this sphere also will be a fluids. But here the type is going to be the flow because we want a certain flow of water. Now, the flow type is going to be liquids. Right now the flow behavior is set at geometry. And if we go into the cube, scrub it down, and click on mesh, then we can start playing our simulation, right? So if I play, you see that nothing happens. Sometimes that happens in Blender. And I'm not sure why this happens, and I hope this will be updated very soon. But for me it seems like if I just click this on or off or when it's on, off and on that debt, Our seems to work. I do want you guys to understand that this is not because this button especial, every single option here. If you just turn it up and down or down and up, just change it. That will kinda reset this fluids domain. And that is kinda what is happening. I often just click on assumable, but that is not necessary. You can click on anything which updates this fluid domain. Now, if we play this, you can see that a little sphere falls out here, a sphere of liquid. And that of course false. Then the floor of this domain, it is a sphere because we use a spherical objects. And in this spherical object, we chose flow behavior geometry. If you choose flow behavior inflow, this will essentially keep flowing water or liquids to the simulation, add fluid to the simulation. And you can kinda see this as a faucet. Water just keeps flowing in unless you animate it differently. We also have outflow. Outflow will delete fluid from the simulation, which can also be seen as a drain, right? If you turn the water on, then at the phosphate comes to water and the drain essentially makes the water disappear. So that is what those are. So let's choose inflow. Now, if I play this, you would think like, oh, it would change. No. Again, I get this problem with Blender. That's no big deal. Just select this again and then turn on or off. It's resumable. And now it seems to work. Weird, right? But it works. You don't really get any other problems with this. So only, this is the annoying part. Now, very cool. We have a constant flow of fluids. Now we want this also in our animation in the next video. But I also want to show you even another object that we can add. If I add, maybe we just do an add a UV sphere. Scale the mud down here and I'm going to move with here. What we can do is we can again click on fluids. But the type is going to be the effector. The effector type we will keep at collision. There is also an option to do guides, but Coalition is what we want. A normal correlation will not really work here, right? So that is why there is a special collection for the fluids. If I play this again, we get to the same problem. So let's go here and turn on is for summable. Now, if we play, you can see that it actually starts to interact with each other. Very, very cold. And that is essentially what we want later on, right? Then we get such a cool splash. We can also, if we select this sphere, even choose an initial velocity. This applies if velocity, so a force to our liquid. So you can kinda see it as a garden hose if I want to spray around the x-axis, Let's say for five meters per second, this initial velocity will make sure that it does. So now, if we play this again, nothing will happen. So let's go here. It's assumable and then play. You can see that now it starts to spray against here. Very, very cool. Alright, so we could use that to our advantage later on. There's also options to make this water look even better. Of course, we have the resolution deficiencies, right? So if I do this times two, we can see that now we get a better quality. Yeah, liquid. Very, very cool. We also can play around with the time-scale. Because if we render 30 frames per seconds, then off this water is already like here, within a second, so the animation just goes way too quick. I kinda wanted to have a slow motion feeling to it. So this time scale can be 0.3 or 0.2. If we now play, you can see that it takes way longer for this water to explode on impact here. Right? So playing around with these options will really make your animation look better. I hope you guys can understand what is happening here. And if you do, then I would highly recommend you go to the next video because then we can really make a cool animation. I see you guys there. 12. Animation: Wine Splash: In the last video, you have learned how to create a fluid simulation. So in this video, we're going to apply all of that. I first want you to rename this collection to studio. And we can delete the default cube for right now. Let's select Scene Collection. And I want you to go to File and append your finished wine bottle collection. And here we have the wine bottle collection. I don't really need the empty for right now, so I'm going to delete it. Now we already have two collections, which is very handy because you can just hi them whenever you want. Let's add another collection. This is going to be our fluids simulation. In this fluid simulation, we of course need a cube. This is going to be our domain. So go to the physics properties and click on fluids. This is going to be our domain. Click on one to go to your front view and scale this up. We want to have this bottom parts on the bottom of this bottle. That is because if this fluid false down, it's okay for me to just let it fall here. The next thing that we can do is we can put our camera in position. So our camera right now is here. But we want to see our bottle from the front, right. So the one on my numpad is essentially the front view because here is also our label. Select your camera, go to View, Align View, and then align active camera view. Now, this nephron works perfectly. So drag this out and put the x and the z axis at 0. The y-axis is essentially how close by your camera is to your bottle. We can yeah, just fix it like this. Now, the next thing that is important is our fluids, right? So what we want to do is we want to add a UV sphere, move it to the back of the bottle, then click on 0. So we are in a camera view and just scale this sphere down. So it is essentially not feasible anymore. Then it's still needs to be inside of this domain. This is also going to be our fluids, but this will be the flow, the flow type at liquids, and the flow behavior at inflow, because we want a constant flow. Now, we of course want this liquid to also interact with our bottle. But I want to duplicate this bottle. So just duplicate the glass bottle, move the duplicate in the fluid simulation collection, and just hide these other two for right now. This glass bottle can be edited a little bit because right now it has a lot of geometry. And we can even like look inside of here. And that is not necessary because the fluid is just going to touch this outside, right? So let's click on seven, go into top, so your edit modes and select this little first x here. Click on Control Plus to expand your selection. Here, we want to delete these vertices, then select this outer edge loop, extrude it, scaled a bit down extra again at center. Perfect. So we have way less geometry right now. And normally when you are working inside any simulation kind of environment, you want to make everything as easy as possible for Blender. I would highly suggest you save it right now before we are starting to play around with this simulation. So just File Save As I like to create a new scene. So it's gonna be seen number three. And then fluids sim. Now, of course this needs to have a fluids effector as a factor type collision. And we can start playing around. So go at frame 250 and play, and nothing will happen. Fair enough? Let's select our cube and make sure we using liquids. Then if you play again, nothing will happen because we need to make sure we are using our mesh. And I want it to be resumable. Now we can see that this keeps falling down as it is, a nice inflow. Perfect. However, I wanted to shoot at the bottle itself. So we need an initial flow, right? So just select the sphere and then select initial velocity. Where does our philosophy needs to go, however? Well, if you look here, we can see our y-axis is this way. And the negative, the minus, why is that way? So we are going to go around to the y-axis, but then minus, so minus five meters per second. Then we can play this and you can see, of course it doesn't work. So select your cube and then you can even just go resolution one up and one lower. That also works by the way, just changing any setting here, essentially resets this. Then we can play it. And you can see that now we get a more of a decent result. I don't think this is strong enough, so I will actually do minus ten or minus seven. It depends on your situation. Then again, just change this a second and then play again. Perfect. So here we are getting a cool result. Now. The time the however is also important. Right now, we are using a normal timescale. Fine, but this whole liquid happens within a second, especially if we're using 30 frames per second, right? So in a second, we already have this result. And in my opinion, that is way too quick. It doesn't really make sense and it will not look beautiful. So I like to put this timescale way lower to maybe point to. Now if you play this again, it will, of course take way longer, but it kinda makes it in slow motion, which is very cool. And this all happened now. Two seconds, right? So we have more time to play with, and it will look, I guess a bit more classic. Now, it of course looks a bit weird. And that is mostly because of the resolution. The higher report this resolution, the better. Essentially the fluid is going to look. Of course, if you put a resolution higher, it takes way longer for it to render. Also, higher resolutions often also creates more of these splashes, as you can see. So I think we're kinda getting somewhere. And you could still play around with the initial velocity. Maybe you want it to be a bit less strong so it can dust less of this what we have in here. The size of the sphere also matters, right? If it's smaller, it impacts different on the bottle itself. That could also matter. And of course, the resolution and timescale, those are the things that I play around with the most. In this case, I probably want to do this times two. So we have a 128 resolution depending on your PC, this could take quite a while. So make sure you again save your file. You can just save it to a part one or whatever. And I also want you to look at the bake because we need to bake this. And right now the type is set at replay. And I wanted to put it at all so we can bake. All. Our bake will be saved in this folder. You can change it if you want to. Right now, I'm not going to, but it could always be handy. Also, the nth frame is quite important. I right now don't really want it to just end on frame 250. Maybe I'll do it at frame 90, right? And if you turn on is resumable, then once you have read that 90 frames, you think like, Oh, I want ten more frames. You can put a 200 and then you can resume your bake. It doesn't need to rebase everything. That is why I would probably turn this is resumable on. Now, let's bake this. Now we have baked all of these 90 frames. If you want to bake further, you can, because we clicked on is assumable. If you change this to a hundreds, you can see, you can click on resume. But in our case, we actually, I think I only wanted to go into a frame 60. So the end of your timeline should be to frame 60. Now, we know that now we only have two seconds of an animation going on. If you want this liquid to be even slower, you can of course, go up here in your domain and change the timescale to even a lower amount. But in my case, I thought it will be cool if we just take one render here, so one animation here. And then we can move the camera around and just change the camera position to something like here. So that is how you can just create multiple scenes and make your whole animation longer with different camera angles. Plus, it just looks cool, different camera angles, right? We already made this amazing simulation. Why not show multiple views? Now? Select this one, right-click, Shade Smooth, and also change the name to wine. And we want to start to create some materials. But as you probably already know, we first need some decent lighting. So let's go to Shading. Change this top one to the rendered viewport shading. And here we can see that even if I put my studio and my wine bottle on, we cannot really see a lot. Also in the fluid simulation, the glass bottle should be hidden. So go to the object properties, visibility, and turn the renders off because we just want to run there. The one wine bottle right now, two of them. Now, it still looks fake. That is because we are inside EV, but we should go through cycles, right? And I'm going to use the GPU. So once we have this, we can change this around so I can move this one. I'll go to the camera view in the top view port here, the top right. And I'm going to click on Control be to just render only inside this camera view. Now, here in the bottom, I would like to go and create another treaty few ports, because here we can add certain stuff to our scene. Then let's connect these and change this to shader editor. I always like to grab another little section out here, which is just gonna be the timeline because we might still want to move around in this animation, right? So if you want a lot of wine, you go towards the 60. If you don't want to see any wine, we go to frame 0. So the lighting kinda sucks. Let's go to World and add an environment. Texture has joined us together and open a new a CRI. In this case, the lining is way better and we can actually play around fifth materials if you want to. However, I also want to create a little studio because I don't really want to see this HDRI as a background. So just shifts. See credit cube, scale this up and delete these two vertices here. Then select this edge loop. So just this edge here. Then go into Item and put the baffled weight underneath the edge data all the way to one. Now, we can add a modifier, which is going to be the bevel modifier. And here we can put the amount and segments as high as we want. Make sure you right-click Shade Smooth. And then we can go to the front view, which is one, and put this in position. So somewhere around here. Make sure however, that the studio is just as big as your camera view because we don't want these empty spots in here, so just make it a bit bigger if you don't have that yet. And of course put it again in place. Alright, so somewhere around here. Awesome. Now we want to change the material of the wind. So I would suggest that you grab a frame where we have a lot of wine here. Select the vine, go back to object, and then click on New and rename this material to wine. Then transmission goes all the way to one and roughness at 0. Now we can play around with the color. I want a nice and dark red wine. The IOR of water is 1.333. And probably wine is very close to this. So let's just put it at 1.333. Now, the color is quite dependent on what for why you want to use or showcase what else a bit up to you. And you can always change this later on. What does our light look like? First of all, we have our HDRI. And I first wanted to go to frame one just to see what is happening with just the bottle. And right now it looks okay, but it still looks a bit boring. So let's go to the world and put this strength way down. Because I would love some of these reflections, but too much is just not really what I like. Now, this slide can be changed, right? So we can move them around and change it to the area lights. Here we can create some decent looking reflections as long as we make it big enough here. And it's actually flipped around and put it back. With the slides. Again, you have to check that the background, so the studio also still looks good. And of course, reflections of the, of the bottle. So if you're happy, if you're seeing, we can of course, also play around with the strength. So go back to objects, use notes. And here we can play around with the strength to know those specific number. We again want to go into the render properties and go to color management. Here we can put it to false color and we have Few. Again, you want to go towards the orangey color, but you don't want to go towards the deep rats, rats. So for these should be careful, but I think it's still fine for right now. If you're happy with this, go to filmic and we can start to duplicate this key lights. So we still need to rename them. So this is the key light or the main light. This is the fill lights. Fill. And later on we will see if we add another light. But the fill light is going to be less strong, but maybe a bit bigger, right? Something like that. So just play a bit around here. We still want them to be able to see the label. But I think that it's totally doable right now. And let's actually look what it looks like when we have some white in here around frame 60, it looks like this and it is a bit dark. It looks cool, but a bit dark. So I might duplicate my key light here, change the slide to our point lights, and just play around with the strength emission here. And of course the radius. You can see that this slides really makes the wine pop because the light comes from the back and shows this cool color in the wine, right? So don't be afraid to play around with that. Awesome. Now, the only thing I think that is a bit overkill is this background color. From the studio. We can create a new material and just put the scholar bid down. It's okay if it's white, but I don't want it to be overdone, especially because now we have this backlog here. So a back or rim lights. And that also makes the background even more bright. So it's okay if you put the base color of the backlight a bit lower because it will still look decent. If you're happy with your results, we can start rendering. So first, make sure you save this again. So here, I think fluid animation should be a filename. Then we can go into the output properties. Frame rate should be at 30 and frame whatever N frame you want. In my case, 60. Of course, create a new folder here, animation front few accepts. And here we wants to put the open edX are multi-layer SR file formats. The codec is going to be the D wj. We have RGBA and the float for as these settings now go to the Few layer properties. And here I wanted to put a diffuse on Glossy transmission. That's also the ambient occlusion. And maybe object immaterial as crypto math. If we ever wants to change something inside of this render, then we can go to the output properties, recheck everything. If you're happy with it, you can save it again if you would like to, and click on Render Animation. Before we are going into the post-production, I want to show you scenes. So this whole blend file is essentially one blender scene, right? We can however, have multiple scenes per blend file. It is very handy, especially if you just want to change one or two things, but don't want to ruin your first scene. This scene is our front view, right? So we can rename it to the front view or from fuel liquid animation, something like that. Then we can duplicate it here. And we can duplicate it as a full copy because we still want to everything in here, but we want to move it in another position. This full copy, we could rename to camera position change or whatever you think is appropriate. Now, if I go into the camera view, moving around, of course we have to go here, click on View and then gamma to view. Now we can move it around and look for a very cool setup here. So this actually looks quite cool. Then we did not move or remove anything from our previous scene. So if I render in this scene, it is going to look totally different than from this scene, right? So we have two different scenes here and it's super powerful, especially if you want to have multiple camera views with maybe different lighting settings. Because in this case, lighting looks amazing. It we'd worked on this and it looks cool. But if we go to the camera position change and look at our rendered viewport shading. Then we can see that these camera settings or this lighting settings might not work as well as we thought, right? So I will leave it up to you how you want to change this. But again here you only have to run there. I would highly suggest you do a different output folder here, but that is essentially it. And that is how you can make your animation so much more interesting with multiple views. And as you can see here, we don't have to save a 100 files for this, right? Everything is still in one file and we can change different scenes if necessary. I do not think going over the post-production again will help you in any way, because it's literally just the same. So I'm going to end this video right now, and I'll see you guys in the next video where we're going to create another animation. 13. Animation: Double Up: Welcome to the last animation of this course. I will not go over the basics which we have been through many of times in these videos. So I'm not going to recreate it a studio. I will of course show how I do it, but I will not explain every single part. I will just speed it up. And then once we get to a new topic, I will actually explain what will happen. But in general, we're just going to import a wine bottle. Then I'm going to create a little studio, create some cool lighting, and then I will explain how to make this animation. So in this animation, we're going to make another bottle appear from the back. It is super simple, but lots of products have multiple versions of them. And lots of customers actually want to showcase that. This is a cool way to showcase it and you will actually see it a lot once you start looking at maybe be hands or even in just ads on YouTube or on the TV. Without further ado. I think we should just start, as you can see, our first import, my wine bottle collection. Then I will also rename a new collection two Studio. Now our Creator Studio. And I will also put a camera in position. Let's make sure that the studio also looks good. So a nice smooth transition will do. Let's make sure we are working inside cycles and also are in the shader tap. Now, we can change the UI to our needs. And I already explained in multiple videos what kind of UI I like to work with. Let's get our HDRI in here for better lighting. And let's also change the lights. So what are we going to do now? First of all, we need to wine bottles, right? So what we're gonna do is we're going to duplicate this. But we also want to animate the wine bottles. So we need to create an empty to just animate it with more ease. So click on Shift C here. Some of them it out. We can zoom in back and add an empty plain x's. Now we can just select all of these objects inside this wine bottle collection, then as less the empty p and then set parents to object. Now we can duplicate this whole collection. And this means that now we have two empty, but also to wine models. Awesome. This second one, we can just move a bit backwards around the y axis depending on where you have a camera setup. Of course. Now, we cannot see this wine bottle because it's behind the first one. We do however, see a little bit of a shadow. To be honest, this is fine. You can set up your lights a bit different to hide it, or you can even do it in post-production. But I think it's totally fine and we will not really see it. Now. The next step, however, if this wine bullet is going to be showcased, we can see that it looks exactly the same as our first wine bottle. Normally, that's not a big deal. But often when a client wants to showcase a second model, a second products, they want to showcase something else, right? They don't want to showcase the same model twice. So we should just quickly change our labor, maybe. Select our second wine bottle. Click on the label, and then I would highly suggest you just duplicate this materials. So just click on this little tool here. Now this material is duplicated and we can change whatever we want. We can change, we can put this silver, maybe. We can put this to another color. All of that is possible, but I think a very easy way to change this dramatically. It's just got an image texture, put the color into the base color, and then just grab your original label color, right? So my case, it looks like this. Very cool. I wanted the same color to also be in the color of this base material. And output the metallic all the way to 0 because it doesn't need to be metallic. We could offer make this text more reflective so the roughness can go a little bit lower, right? So this is a very easy and quick way to change this label. For instance, the way that you work with this is totally different bird label. But again, often the client will provide you with these labels. Now, for this capsule here, we do need to change something. So again, select the capsule of this second wine bottle again. I just hit the first one so I can even click on it by accident. And then duplicate it again. Capsule material 0.001. And here we want to copy these colors, so I like to do it inside the material preview. Then this black hair needs to be white. So I'm just going to, I drop it just for extra simplicity. And this little line on here, I'm going to make the same color as this blue. So here instead of the gold, it's gonna be the blue. And of course it's not gonna be metallic. And the roughness can also go a little bit lower. So here we have a totally different looking wine bottle. Now we can start animating. The animation itself is quite simple, but it does require a few steps. And I will explain why I do this steps because otherwise, why would I be a teacher? So the first thing that we need to know, we have a wine bottle, and we have a wine bottle zeros 01, which is the one with the white label. This wine bottle 001 is hidden in the beginning. Then later on in the animation, it there'll be refueled and comes here to the right. We need to talk a little bit about the composition. When you select a camera, go to Viewport Display, scroll down and click on composition guides. You can see that there are a few guards that can actually help us with our compositing. Now, the center is quite simple. If you have a model in the center of your camera, that essentially already looks good. The thing here though, in the beginning, our wine bottle zeros, 01 second wine bottle is behind here. So that means that we have all the folks in the middle. And well, the center competition essentially works. But as soon as we add this model, we of course have another point of interests. Also. We have a very big empty area and that is not really what we want, right? That looks ugly and it's unnecessary. So what do we want to do here? We want to switch essentially from center. Two thirds and thirds is quite simple. You can see all these dotted lines here. And at every intersection points, there could be a point of focus, right? So this is where our eyes like to look at. You can see it almost every movie that they put the actor or whatever they're filming at one of these intersection points. As you can see here. Now, we could move our camera to get both of these at one intersection points. And that will essentially make our composition look better. So those are the two things that we're going to do. We will review the wine bottle and we will move the camera. We can also do something extra with the camera, which is the depth of field. But I would like to explain it later on. I would suggest you keep the third zone as composition guides. Then we can start to animate our wine bottle, 001. To animate this, we just need to select the empty and choose a beginning frame from where we want our ball to move from. So maybe our bottle stays stationary for the first five frames. So at frame five, we could select the empty, click on AI and then insert keyframe at location. Then at frame 50, we could move our bottle around the x-axis. I insert location. So now this is our animation. The next thing we need to select the camera. And also, I think around frame five, we will put the first rotation, right? Because right now this is still, our focal point is still in the center. So we don't really need to move our camera around yet. But around frame 50 is the end frame of this animation of this bottle. And here we need to rotate around the z axis. You can see that with me. It doesn't work perfectly, right? So this one is nice in the center here. But this one needs to be moved a little bit. That's totally fine. Just make sure that this first bottle here, which will stay stationary and does not move, has this line there. These focal points. Then make sure you select the camera I rotation at frame 50. Now we can literally just change this wine bottle 001 location. We can move a little bit to the left, so it's nicely in the middle here. And then I location to just replace the keyframes from before. So now we get this animation. Awesome. This looks way better right? Then, this empty space that we had before. However, my studio is too small. You can see that because we're moving our camera. Well, we actually have an empty spot here. So I'm just going to scale my my studio up around the x-axis, and that is literally everything that we need to do. The lighting, however, also needs to change. But I want to talk about that later because I put a light here. We get some huge shadows in the back and it just doesn't really work out. So after this, we still needs to change some of the lighting. But I first want to show you something else. We've talked about. The depth of field in the camera options. At depth of field is actually quite interesting. We can focus on a certain model. And then as we can do here, I'm just gonna focus on here on the label. And then if I put the f-stop lower, you can see that everything which we're not focusing upon is being blurred out. It works like, just like a camera. Now, we want to change this because at the beginning, we want this first wine bottle to be very feasible. But at the second part of the animation, we want the focus to be on this model, right? So that is also a very cool way to animate this as well. But how do we animate this? We're going to create another empty. So Shift a and just create another empty. I will move this empty somewhere around here. So we are essentially in front of the label. Then select the camera and select this empty, this newly created empty, in this case it's empty 001, but you could rename it to depth of field, something like that, or focus object. Now we just have to animate this empty here. So we just need to click on AI location. I actually want to do with one frame before, so I can just select these keyframes here. Click on G to move from one frame before. And then around frame 60. I'm going to move it in front of this model. So just go to the top view. Move it around. Somewhere around here. I location. So now you can see that this is nice and sharp and this one is blurry. So what will happen in these ten frames is that the focus goes on the other model and we can prolong this. It doesn't have to be that quick. We can maybe do like ten frames longer if you would like to. But this is a very cool way to also animate this, right? So the only thing we might want to do is just change some of the lighting, moved a bit backwards and still check if everything is lit well, but this is essentially everything that you need to know to create this animation. Now I think you guys can just render this and maybe do some post-production if needed. And otherwise, if you're all the way done, please send me your renders. I would love to see what you guys created. Maybe I have some feedback, maybe I don't have any feedback. And as lest, I will gladly thank you for participating in this course. Thanks.