Ghost Animation

1. Introduction Ghost Animation: Welcome. In this course, you will learn how to make a ghost animation. If you're new to Houdini, I will take you step-by-step. And if you already know Houdini, then you know how powerful and easy Houdini is. You will learn cloth simulation using vellum drape, how to use textures in your shaders in Redshift. Same approach applies to other renderers. How to work in Acis, in texture based materials. Seem layout. Using LinkedIn to tell your story, volumetric lighting in redshifts, and how to render. 2. CLOTH SIMULATION: We will start with references. And you always want to start with references, even if it's just concept art. And obviously the references will be for inspiration only. We will not reproduce them as is. By the way, to organize your references, you can make use of this wonderful free software called pure ref. Okay, I'll go back to my selection. I have selected two from my references, only two that will drive the look of the scene. The first is Blade Runner, and the second is invisible map. From Blade Runner. I like the atmosphere. It's dark, the volumetric lighting, proximity to danger. And I like the idea that the only escape visible is behind dendrites. So we need to get past your first from the Invisible Man. I like the idea of the narrow corridor, but I want it to be closed now escapes. I'd rather have nighttime. I want to have a claustrophobic feeling and bring the ghost closer and have no contact with the ground. The clotting to be floating in the air and to bring the lights. I need a window. So July glucose and little window, but that window could be perceived as and an escape. That should not be the case. So how do we convey the message that the window is not an escape by adding metallic bars. And I do not want those metallic bars to be even visible themselves. I want to convey that, the delight. So a bit like this. But then even without seeing the whole window, just see the form of those metallic bars reflected in the volumetric lighting. So the window will serve three purposes. Number one. Number two is convey the message that I am not an escape with the metallic bars. And number three is called this wonderful volumetric lighting with lunch and ofs, we need a character for our cloth simulation for that outcome to Mixamo and I come to the character stamp here, you can find plenty of characters that you can use. But for the cloth simulation and it's something that is lightweight. So an efficient geometry as simply one because the character is not going to be visible. So I'll just go straight to the page number 3 where I'll find my Export. Export is right here. When I click on it, it'll find it here in a T-pose. This is not what we want. What I want is a post from an animation, so I'll go to an animation from the admissions tab and select something here. I'll go to search for float obviously can check. You can choose which other animation works for you. You can grab a frame from the animation and then similarly diclofenac and search for floods. And I do not go to treading water. And this is the one that I have chosen now this is not the women animation. We're not interested in that I emission itself. What I'm interested in is the boss. If you do like this, I want the clock to be carried not just by the shoulders, the arms and hands to give it a little bit. Okay. Good. So this is the one I've chosen. I made up my mind yet as to which a frame, to be honest, I think I'll go with frame number 1 and frustrating, but I'll just download the whole animation and decide later. Okay, click on Download. And in here you need to make sure that we get with the skin because that's the character that we need. Okay, click on download and save. It's in the mixable folder under the Projects folder in Houdini, we first create a new project file. New project. What is this? This is not your Houdini font, so if you're new to redeem it, this is just the project structure, the folder structure, and your hard disk. It offers by default some folders. We need to add to it, our references. And its parents have all the references, not just the ones that you have selected and also mix them up. Okay? Should you need more, you can add more, okay? And if you want to disable some of these, you can go ahead and do it, but I'll just leave it as is. And I will choose the path for my projects and our cool the project ghost. Okay, good. Now if I click on Accept, what is going to happen? Nothing in terms of file is just a folder structure. Click accept. You still see that it's untitled dot hip. Now this is the file that I can say. Once I click on Save and I will, I'm sure i'm, I'm clicking on dollar job. This takes me to the folder structure. I have here, my next HMO and href. So this is exactly the folder structure for the project. I can save. Here, say goes, and this now is the Houdini file, okay? Except let's bring in the effects animation file, imports, FBX. Okay. Click on equity job Mixamo. This is where I have saved. The maximum animation. And except I can leave the defaults as they are imports. Now first we don't see much because the scale is of 100 times bigger. If you press Space, gene, P will see the character with the skeleton and the animation. Here's animation. Okay, Good. So because it's meant for scale of this, 100 times bigger than Houdini will need to rescale this. Let me just move this one a little bit like this. And we will take care of the scale later. First, let's dive, dive inside this effects node. Most of the stuff we don't need because this is skeleton, okay? What we do need is this part over here, the joints and the surface. So if I remove, I'm left with the skirt and that's what I did not need. Okay, which means that these are the two modes we want. Fluorides and by joints. Because this is such a simple geometry and that's exactly what we want, something that's sufficient for simulation. These are just spheres, the joints, just spheres. And these are the main parts of the body. Okay. Good. Now, I'm going to get inside just for visibility purposes. I'm going to drop a note and call it out surface and come back to join Sandy, the same thing. More. Outer joins. And I'll get bounds on the FBX completely even turn off the visibility and say, thank you, I'm going to create a new geo node. But you're not on call. It goes on and get inside. And here is where I'm going to bring those two components of the character. And the way it's been, object knowledge and oppressed p to get the parameters I need to, this is giving me just one. So I'll just click on plus to have to. Now go to my vector points out joints except I'll go to my metal surface on service and accept. Okay. Good. This is the character. And if we scroll through the timeline, we're going to notice that our nation is there, Okay, Good. By default, the timeline and Houdini starts from one to 240. The animation stops somewhere here. We are not interested in animation. We're interested in A-frame. To simplify things. I'm stake into frame number one. Okay, good. What do I need from this? Well, before we start talking about what we need, this was 100 times bigger. So let's deal with that first transform and 0.01 plus space G. And I'm now with the right scale. And I want a cloth simulation that is going to interact with the upper part. So for efficiency, I don't need this bottom part, so I'm going to delete it. Alright, come here and click on Select. But if I start selecting, I don't want to select individual primitives like this and then starts looking for, yeah, be careful with this because I want to select 3D connected geometry. So I'll come here and click on this one that says select groups or connected geometry. Click on it and select 3D connected geometry. Here. If I select anything that's selected, any phase that's selected, all the other connected geometry with it. And that's more easier. Alright? And then press, Delete. This is the only part I want to keep this sphere because if I don't, this edge can cause issues, we're not going to see the real part of the cloth. Okay. But I would draw the habit dealt with already know. Okay. This is all I need in terms of geometry. It is frozen. No, it is not frozen. We're going to take her later. Okay. So first is what frame have we decided? We are going with frame number one, okay. If I'm number one, then I'm going to freeze it. Time shifts. Time shifts. I can do a lot of things including clumping to both clumping the star trained and untrained. Now because this is an expression, I'm going to delete it first to be able to write the leak channels. Now I can write, but I'll say it starts at one and it ends at one. Okay, good. Now if I scroll through the timeline, nothing happens because we are always in frame number one, that one is done. Now we have finished with our collision geometry. This is condition two. Metric. Get done. Next is going to be unclothed. So how do we bring in the graphic news, a grid if you want, but there's a much more appropriate input. That's the planner patch. Because it comes in triangles. I mean, zoom back. And triangles are much better for CT simulation. Okay? So this is some kind of patch you can choose. If it is a circle or rectangle. I'm going to go circle. And later we're going to choose the resolutions. If I go 0.05, you will notice that we have much more polygons. Now, we start with 0.1 for the purposes of explaining things. And then when we simulate the real thing, will go in much higher resolution, which means much lower edge length. Right? From here. I will go to the cloth part of that before going any further. And I'm going to position it and give it to you. This. Okay. Let me, let me position first. It needs to be in the right exit plane. Okay? An opposition that's on top because it needs to be draped on the character and the drape. This. Now if I position it like this, just pushing it up, Just making sure yeah, it's it's about it's about Very good. Now we're no good. It was a simulation. Just like we want to be very efficient with the geometry we bring it in. We want to be efficient with the distance. There is no point Simulating. Let me look at the front view. This whole space, like it simulates and then it's going to be simulating an empty less, It's frames and RAM being used and everything. And we haven't even started. Now, we want to be very, very, very efficient and that means getting dangerously close. So the geometry collision, so close that let me just make it also sold the rights to be closer to the center. Okay. How close? Well, when it starts talking about 0.10, some fiber, that should be okay. Yeah. Do you think zero-point 000 001 is okay? Yeah, I think it's okay. This is a lot better, is it not? We don't waste any simulation resources. Good. Alright, upscale. Now, it's a matter of look, obviously. I will keep it in the wrong position now because you see it's not centered, tiny to explain something, there's an important parameter need to explain. And for that, I need it in the wrong place or Gibson wrong place. But one thing I want really is the size. So the wanted square or do you want it? The length and the width are different. It's up to you on going with square. We're going to be 1.5 sides. Okay? Good. An occupant like this for now. And we're going to move ahead, go ahead with the other steps and simulate it and comeback to position it right. Because I needed, as I said, to explain an important parameter. First before going any further to the cloth simulation will develop nodes. I need to give this planet patch UVs. So either UV texture like this and I'll be able to see my UVs. Why? Because somewhere down the road, if we add UV's later, we might have issues, would rather sort them out now so that what's going to happen later takes account, takes into account. But as you please, you notice they are not really oriented, right? So I need to do is just come to the y and scale minus1. This way we get it oriented rights. Okay, Good. I'll template and collision geometry for now and bring in now the parts where we tell this grid. Please start behaving like a cloth because you are no longer geometry. We don't want it to be just the geometry. Wants you to be a clock. Good. How do we do that? It comes with a vellum constraint. This is unaccompanied. Velum constraint is not only for cloth, it is for a lot of stuff, a lot of great stuff. But to be able to tell this grid, we want you specifically for the cloth we need to come. And it's co-investment visibility to the constraint type. Same cloth. Once we do that, now before I do it, notice how long or short the parameters are. Stretched, attributes, geometry, okay. Click on growth, you get much more. So every type is got its own set of parameters. And for Cloud, we have mostly two constraints, stretch and bend because some more parameters. But we want to worry mostly about special event. Let me show you. I will just copy, paste something to explain, be pasted here. And this is only to explain to you what's happening here. Now that shouldn't be the geometry, should the constraints. Now I have two constraints. What did we say was a stretch and bend. Now, all constraints, if I click on this, we see all of them white lines. What our constraints, what the points are holding each other's hands. We say now we are close, we need to hold each other's hands. Obviously. When you come here, you will find right. When you come here, you will find stiffness. So this is going to define how hard they are holding each other's hands, how tight. Okay. Now, I had I have here a split using group, but I didn't tell the velum constraint to create a group. And that group is only for demonstration, but you could also use it for further work. Under stretch. You can say output group. That's why we called stretch or whatever you wanna call it upper group and band. When I do that electron here, even notice that I have now my bend and stretch primitive groups. I only need them to demonstrate to you what the band looks like. It's quite a complex structure. I don't want this stretch. Geometry constraints looks like this is constraint, straight stretch constraints. And this is the band constraint. When you add them together, we get, well, both of them. That will help give us that simulation cloth look. Okay. But that was just for explanation purposes. I'm going to delete it and come back to our villain constraint. Good. There are parameters to work with, mostly stiffness. Okay? We're going to notice that if we keep it stiff, this is the opposite of this. It's like how stretchy they wanted to be. This is resistant that stretch in S, which means I'm going to make it stiff to resist being very strategic. And I'm going to make it stiff to make it resists being banned and to make those forms. But we want to have those folks. So this is why we're going to reduce this stiffness later. I keep it to one to 10 because if I click on beds, not respond to happen. I'm going to need to bring in another film load that will drape. And indeed, the node is called vellum. Drink. Okay? All the velum notes. While you're still working with three inputs and outputs, whatever these are, the first one, as MS connects the first. To do it easier. Instead of connection one by one, you just get closer and you see those lines. I said Click, going to take care of itself. It's equitable of time, but it has connected. Okay, Nice. So what are these? This is the geometry. So what, what, what should become a cloth? You have a grid, you want me to change into cloth, okay, put it here. And then it says of constraints. Do you have any constraints? Put them here. Well, I counseled on you. I rely on you to make constraints. Okay? I'm gonna do that. So if you have any constraints, you can bring them in otherwise or make mode. So this is because you can layer constraints, another constraint and then you connect this one to the other one. Otherwise, we'll take our back. This is the collision geometry. Well, haven't we just made collision geometry? Yes, we have. Let's make this one. But it's meant this and actually too, because that'll be working a lot with this. I'm not changeable layout a little bit crispy on splits and this one left and right. And go here, select parameters plus this one. This way we always have the parameters open, always the viewport anomalies network. That's much easier. Okay, Now this was the collision geometry that we already have collision geometry. Well that's to good. Nice. Now that we have film driven connection, which is a simulation that I will be able to press play and then I'll see something happening. Now. I'm, I'm going to press play, but there's a lot more to handle in here are displayed to you. So you see the simulation happening and I wanted it to go wrong and it is going to go wrong. Hopefully. Yes, it's coming along. Okay. Number one, the triangles or topic number 2. It is fall in. Well, I haven't left it. Good, good. As it's moving too fast. That's an opportunity to talk about the real-time toggle. So if I click on this one here, this is your real time taco for what is real-time, you define it yourself here and the timeline, 24 frames per second. Now, by default, as I said, the Houdini trauma comes between 1240 frames and this is not going to cut it for us. We know that I know, I know from experience with this, we just press Control and then click on this one to remove the simulation. I know I'm going to need a lot more for the cloth at the full resolution. To settle down. I'm going to need 500 friends. But because I want to have a slow-mo effect on it, I'm going to need double that. So I'll go to 100 on passengers. Okay, so now let's keep everything as is and click on simulate. And it's going to form. Number one. Look at this, I mean Control B. And once you see this in four, right? Let's look at this. Does this look like, cough. It is fairly low geometry. Low-res geometry. The triangles are so big. It has only 123 folds and one ashamed fold here. It is it is not going to work for us because of the resolution and because of a few other parameters. And plus this thing is going to fall. Well, I've positioned wrong, but even if you do positioning right, you might at some point in time have it slide. Let's deal with that slide infest. Absolute most important thing to handle in this very specific case, control B again. And I'll go back to my film, Drake volume drip is a simulation note that go to solver and forces and friction, the static threshold. Let me change this one to something that is drastic is just for demonstration purposes. Don't do it please. Because if you do, you might end up with artifacts. And we are going to end up with some artifacts. I'm going to keep some of them, might give some artifacts, a little bit of them to show some of these for you. But let's increase it and how to ten. Okay? And I click simulate again. Now though, although as you can see, that the real part is much bigger and should actually with the force of gravity in form and did not because now it sticks to the surface of the collision geometry. Good. Now this is just static Jetson Nano of board with then 0.5 was the default will. And we will move it to one on a little bit more. But I think I might even keep it as European fashion for this purposes. Should your clock slide, you know how to fix it and where to fix this, That's number one. Number two is going to be simulation cached memory. Look at your RAM. This is five gigabytes by default, I'm going to go with 35. I don't need to go that high, but I can also go higher, but that depends on your RAM. But I will give you a method of work that even if you have low run, you can still work. Okay, so by caching it, we compute something and you cache it, you read it from this codon, be different from ramp. You enter the room for further processing. We will do that. I think it's much better for you. Otherwise, if we go just the RAM root and you may not have in front of them. Okay, and our planner patch here, it should be positioned, right? And we need to talk about the resolution because enough about the friction will need to bring it a little bit more resolution that is enough for blocking. We're gonna do a blocking of the simulation. Then the simulation number 1. Let's put this one right. So I'm going to go to my butt too few and position this one somewhere in the center. Something like this. Alright. That's to make sure it's positioned rights. Okay, that's good. And then let's talk about the resolution. 0.05 is what we're going to use. So now we have much more, more polygons. We're going to use this for demonstrating again and had been a blocking of the look, the relook economic acid with the real with much higher resolution. So let me do it again. Let me play again and select the velum train. On an necropolis. What is this? It's behave in much more. It's much closer, but not really enough. Okay. Much closer to do this is to you feel it's hard, although it is a very thin sheet. You will notice that there aren't that many folds. And we want to have folds. This is 1, 2, 3, 4, 5, 6 ish, this is 90. This is not enough, but it is getting there. Now the resolution is going to solve this, but also the velum constraints. We've talked about. The stiffness for the band, for the folds. It's the students for the band. So you can treat it here or you can use the multiple together. I'll just go half on this graph on this, and then this one. I don't want it to be bad stuff. So I wanted to stretch. Okay. No. Well, let's run this as yes, Because stretching as a completely different story and I want you to see what not to do. Let's run this with abandoned first to have some more folds, okay? Okay, okay, we get immortal see, getting much more. All right. This is more forms. It's folded more. Now, what this is telling me, just a blocking is that once it goes full resolution, it will have enough false. Good. So the blocking for the false for the band is done. Let's now talk about the stiffness or the stretch, sorry, the stretch. If I reduce this to 0.1, is going to happen. Something terrible. Zero-point on is not bad. Sorry, I didn't actually have exaggerated. Now, 0.010101. And then let's commit. It is going to stretch a lot more. Let's go to loft board. Now what else we can 0. Let's make it 0. This is stretching. Okay. Now, do you wanted to stretch or do you want it to be stiffer? So what I'll do is the default was one, I'll just stick to 0.9. Why? Because I wanted to have a little bit of stretch in S, but not a lot. Okay, good. This is now the full blocking of our gloves. Of course, there are a lot more permissions, but these are the ones that matters most for us. Okay, Now this is now the blocking. What I'll do, I'll just move now to the full resolution, which is going to be 0 from 01. And I click on this kinetic lit, while. This is a much denser geometry, Good. Now that we're ready, are we going to stimulate? You could do that, but I prefer to save it as in cash it. You could do that with a vellum by 0. I'm going to catch this as forgot to bring it closer or SMS collect them on by one Vimeo. And this is what I'm, what I will do is I am going to cash 500 frames. We check is this yeah, it has channels and delete channels. I'll say 500 frames. I want to give it enough time to settle. And I'll just put it in a folder called trade. And once an African saved to disk, and once it's done, I click Load from disk. Okay, it has finished simulating. I have learned from this and this is the simulation. Now, you notice the block M was given us very few faults. Now you have them smaller and more of them. Okay. Good. All right. And you have 500 trains and these are the frames I am interested in, where it reaches the bottom. And from here. From here, I want to start is envies friends here. Without the movement, the animation of the character. I get this lovely movement here. That is a bit too fast, so we're going to take care of that later. But for now, let's look at the clot itself. Okay. This is simulated at the resolution that I want, however, to get out of vellum. And this, this is fantastic for velum, the triangles. But once it comes to look there, you don't want to have these pointy edges. So there's some post-processing to be done. On top folder velum post. And we get the Olympus. What do I use this one for? Well, this is, this is going to help us blur the position. Okay, So blur 0.5 for example, you notice has blurred. So let me disable, label, label, label. Much smoother. Okay? Alright, and I can subdivide this and change it into quotes, but at the same time, have more resolution. Cut Mark Clark, and you have now more polygons. That will help also. The smoothness of the clock for the deaf. Okay, Good. Let me check the way have unfortunately I do not have the artifacts. I'm begging to get them. Maybe I will see them better with light. Was hoping to get some of these here. Okay, to show you that actually, when you look at the constraints, let me go back. The, sorry, develop drape. We said that for the forces stiff friction, static threshold, if you go off board, you might start seeing some artifacts. So if you have artifacts, you know, who's the suspect? Okay. Let me go back. And now, for the post-process, is this enough? I'm often by blurring, I've done my subdivision, the Y1 to thicken the cloth what initially got all of the cloud has thickness. You can it depends on your thing. Okay. For our scene, it's going to be dark. We're going to be, we will not be, will not be able to see much and I want to simulate that, Sorry, want to render it fast. So what I'll do is I'll not have thickness, but should you want to have thickness? And this is, most of the time we will be doing that is click on Extrude by thickness. This is going to give the cloud thickness is extraordinary, but it's too much. Okay. This is not a blank space to be. For us just the sheets or 0.02 could work for us. Okay. Or you decide thickness based on real life thickness of the cloth. In our case, it's dark, no one's going to see anything. So we're going to keep it lightweight. Okay, good. So this is for the post-process. Now, I can catch this or I can move on with the retirement and time-shifting. What do I mean by that? Well, these are 500 friends. If I go here, there's nothing. And I was interested not in this first part where it's still falling, just the last part. And we said it was a little bit too fast for my taste. So how about number one? We retirements slow-mo okay. Retype I wanted to go much slower. And you'll notice we no longer have those three points. Geometry constraints, collision with vellum process. You're getting out some developed world. Now you're back in normal geometry. So I've got my free time. And I wanted to just be twice slower. So speed 0.5 and the input frame range was 500. So I'll go input from one to 500, and the output family H is one-to-one. Now, if I look at this, I will still see There is stopping here because I have just extended it a doubled the animation because of slowed the speed. Good, this is retiring, so it's going to play much slower. Now I need to choose where do I want to start? I want to start where it reaches the bottom where these points register protein. So it's going to be somewhere, somewhere around 240. Okay? So we go to a 140. Good, and I want my animation to be around 10 seconds. So another 24 times 10, it's going to be 480. What do I do to simplify? Thanks. Crop the whole thing with peak time shifts. Time shift we used earlier here to freeze. Now we're going to crop. Okay, so I'm going to say same story clumped to both party starts. And let's check, do we have, we have an expression, delete channels or to start with John and 40 onto an ad for a 180. And to make my life easy heard the timeline should also follow this on over two hundred and forty and four hundred and eighty. Now, I have only the section that I'm interested in. Okay. Now we can catch this to disk. Let's do that. File cache. And because it's quite some process and post-process is not a similar issues, it's processing. But the question computation and your RAM could get a little bit. You could have issues with gram. So if you want, you can cache it now because this is the final output from here, we move into other stuff to look there. So you would rather not recompute stuff when you are rendering. You want it to be cached. Could cash and what the frame range is. Let me just do we have we have expressions or delete channels and the frame range is between two hundred and forty and four hundred and eighty. I want it to be saved to this come to this folder. So just festival was draped. This is going to be draped underscore post, right? And I can click on Save desk and then later rabbits with a load from disk or write it as finished caching. Now with load from this, I will play this at real-time. But what does real-time toggle mean? Real-time means at maximum two extant going to go faster. What I will have is if the reading speed of reading from disk is slower than that's the maximum as your speed of reading from the desk. And yes, as part of the post-processing stop, I think we have now our lovely artifacts that I wanted to show you here. Because once it got subdivided, we have those artifacts. Okay. What is oh, by the way, I'm keeping these here for one simple reason is that the light is coming from the right and all of this stuff is going to be dark anyway. But I wanted to show you the what's driving this. Okay, good. So this is our final product. Again, if it's Sunday seen in only one to have thickness, you can always do that in post-process with them. Now we're going to move to the layout. 3. LAYOUT: Let's move to the layout's not that we have our final cost here. Let's create some floor, walls and ceiling, and window and door. Now, what is it going to be? Something as simple as a grid? So this is a grid cell floor. Keep very simple geometry inside. I'm going to make it 20 in length. And I want to have a narrow corridor. So I'll go with five. And you think, well, five meters is not narrowness quite wide. It is very wide. I'm just going to use a half of it's I'll explain later. Okay. And I do not want to see any of those phases here since we just talked about, you know, ten by ten. Good. All right, this is simple geometry. How many polygons? Well, one primitive. Wonderful. Good. Then I need to give it some UVs. Uv, and not when it comes to the UVs. You can use whichever method works for you. You could do the UV portion that you could do the side effects labs, quick UV stuff. You could draw plenty of urinals. So just drop something that works for you. Have some EVs because the greatest not committed to this. And I have a no and call it out. Floor. Good. Now what are we going to do with the ceiling? It's going to be achieved. So J0 itself creating a grid. I'm going to say geo, seen in an all I'm gonna do is bringing the floor and flip it around. Objects, luggage, bring up the floor. All of this is just the FBX, silicon floor, floor, up floor. We have the floor with UVs, with everything. All I need to do is flip it and say, three meters high. Transform on turning this fellow a 180 degrees on the z-axis. Uncertainty of not rotate. So 0, 3 meters, three meters is what I believe is a reasonable height for a floor. Good. You could make it more claustrophobic by translate into two meters and a little bit to country or something. But I'm leaving 23 to let some light bounce and stuff or not. Okay? This is going to be a problem for me. This width of 50, five meters is needed for the floor, but definitely not feel comfortable seeing why he's a ghost. I want the lights to be pointing like this, not like this. 90 degrees perpendicular, know, like this. And an obviously I wanted to becoming from the top and you see the ghost. Now, that's my point. This thing needs to be thinner, not enter, sorry, smaller. So I'm going to resize this in the back actually to almost it was five meters. Then the corridor is 2.5. Add a little bit of the width of the walls. So let's make it 0.6. So a half plus a little bit. Then I have my cylinder, right? What is this? Another one polygon. Okay. Just keep in three lines. Geometry is it doesn't. Yes, it is strong Sumo. And out. Should we need it for referencing? Good. Do we have yes, we have them from the floor. I'm going to create a wall. And JO we go with box just to show how simple it is. It's just a box, nothing else, right? This is going to be called Brides wall. Right? And get inside. We can push this manually or we can make it a 100 percent procedural. When do you work a 100 percent procedure? When you have something that is repetitive, are we going to repeat this scene now? So we're going to work mostly. I said mostly manually, but not 100% manually, because yeah, we need to use some Houdini procedural goodness as well. Number 1, how high is it? It's three meters high. If I decide later on during enlightened or disinterest, think the silliness too high. When I bring it down, I want everything has to follow that It's not about how many sins you make. That's about your own decisions. So about this distance, I'll go to the floor, not the foresight to the ceiling. And the ceiling is dreaming, says, hi, copy this parameter. And I've come to my box here and I'll say your size and the why you read it from where that guy is. Silliness face relative references. That's it, past the size. Okay, now, and there's obviously the usual. I'm moving it on, placing it on the floor. So that's the copy parameter. I'm going to put it in the center. Thanks Roxanne for France. And because it must buy the whole, why? I need to divide it by two. That's it. And it's always going to stay on the ground. Good. Is it in the right place? Now what does maybe it's a little bit like this and have how thick is the world going to be? I need to cheat in this one. I know that we need to look at the real reference from walls. And not every, not all the walls have the same thickness and some old buildings really thick, horizontal does not. In this case, I'm going to have to go with almost half a meter. Why? Because of actions of having the window bars, metallic bonds in the window, visible in the lights, but not visible in the camera. So I need to push them a little bit further and we will not be able to see how thick the wall is anyway, 0.4 and that's what I need. Okay. Are we okay here? Yes, we are. Okay, good. So how are we going to take care of the length? Same story because it's 20 meters and I decided that somewhere, somewhere here. Length, copy parameter. Let me go to my right wall. And how long are you? You are? Demeter's. You are as long as the grid, we don't care. Based routing reference, phaco, this is your wall. Now if you notice, I'm not placing it on the edge here. Why? Well, because it's first for narrow, but why do I need this edge? If I ever happened to move the door? There is going to be a door. Remember that reference where there's a light coming behind the VM, the ghost. That light is coming from a door. That door could be visible. Some of it could be that visible if I ever see inside, I don't want to have mTLS. I need to be able to see a bit of the ground. That's why it is five meters. Okay, so now I have my books on these UVs that there's lot more to be done. But let's first give it, you is paying UV layout. You've noticed I'm not changing the parameters of UV. Unwrapping the UV layout. I'm just going to simple way, right? Let's move this down here. And we need a window. If we just use words like these, it's going to be dark. Very dark. So I need to introduce what is a window? It's another box. Okay? Another box that we just Boolean, simple books, volume and offering and one here, one here, and you've been in the two, you will have a gap. If you get to live your box, you will see the cup like this. If we go. All right, Let's move it up closer and you have it from the green. I've used another keyboard. Right? Good. Okay. So this is our window. The window nice to have reasonable size now just to be square as a box. So I'll go with somewhere like 1.5. I'm sorry. This must be working on different access. 1.5. Now, this is too narrow to wide. One is ugly and height height is 1.5 ish? Yeah, Something like this. 1.3 maybe. Okay. This is something it gets from your wealth. Real-life references. If you're replicating, sampling from a castle, then we're not going to be a little different. So this is where we get our information from. Nice, good size x was useless. Actually not because I might go skip it to actually even nice. Okay. Now that we have this, do we have a window? No, this is completely not acceptable. What you see here is as sharp as a knife. Now for realism, you own waste, want to bevel your edges. In real life. Look around you. Nothing sharp. Just the knife and other related things. Okay? So we want to develop this stuff. I could select these edges procedurally, okay? But because you only have one window now we can go ahead and just come here and click on the edge. Turn off the visibility thing here. And click on one of those edges. Shift and double-click. And you will select the whole loop shift and double-click, select the homo and shift, and click on the utmost. Now, this is not the proper Houdini way of doing things because I will draw the do if I'm taking care of a much bigger seen as have a bounding box that would cover with upper padding and lower padding on all axis so that I can group these points. And when I group the points, I promote that grouped edges. And then during the Poly bevel, I exclude this fellow and I end up with procedural injustice. What do we need to do that now? Now, I just covered this. I press tab and say poly bevel. And here I get my distance of 0 points from 0 to maybe, maybe that's enough, maybe 0.3, depending on how big your building is. Obviously this is going to be terrible. It looks awful. This primitive head is polygon Harris thinking, always invited to the party and I don't know what you do, which would essentially look it's looking at the wrong way because one simple reason, not wrong way. It looks wrong. This is not babbling this when one face sign off. You need quite a few divisions. Five. So now we have some bivalent that looks decent. Evelyn, right? Good. Are we done? Yes, we're done. How many polygons we go? Let me just check, connect this one here. Quite a few. Quite a few. But enough or not. Our rights. And onDraw the first row, I should quit this and other nerves as well. Good. This is my range for what I could do is object merge this one into the left warm can create a lift wall. But because I prefer it's going to be a door, not have been there. I tried to tweak it quite fast, so all I do is just copy paste. It actually is obviously wrong with no mysteries with jail. Left. I'll just take a briefing. I could've copy paste the dates, but all right. And then here onto something that is lazy. I don't want to adopt, we don't even want to bother moving it. I'm too lazy to move the wall. So I'm just going to mirror it. Okay. But my order something it does keep originals. We need to tell it. Please don't keep original. Y. Well, it works great for you. And you would keep this one and you would add this mirror inside the right wall, knocking and left wall. If you have exact play to win those opposite of each other and you would just simply duplicate like this, you might buy. In our case, I'm going to have to remove the original and tell this box, now you are not a window, you are a door. And it gets out of here. Let me see what we are going to have to hide or the objects and gets inside the platform. Yes. I have my books here. That's because I've just mirrored it. I don't mind. We'll just move it like this because I wanted the door to be behind the biggest because I want the lights to It's time to train. Okay. I want the light to come from here, pointing towards the coast to coast needs to move a bit behind. And I want the door, the light to come from here, like this. So not 90 percent and 90 degrees perpendicular. But like this. So I need to move it a little further. So let's move this box a little further. Something like this. It should work. Okay. Are we done almost just turning this thing into a door under it properly because the edges could have been this, the height years would be more like three. Something like this works. We need of course, to make sure that the highest matches real-life height of the door mice. And maybe a bit 1.31.25.2 on the wetter. Okay, look at your references. They will tell you exactly what the measures are. Good. Are we done? Yes, we are. No, no, we're not done. The Berlin could have been messed up because this may not work for us. So what I will do is make sure I have my Berlin don't properly. Let's go back to the volume in here. I'm going to select, and sorry, not this one. So I have my edges. Control this. If I double-click now, it will get 10 minutes, double-click color shifts. You will get the whole stuff. And I don't want these to be beveled inwards depending on where you're standing and worse, artwork. I don't want it to be beveled towards the outside. Although to be performed word insight. But I'm not gonna do that because I could have done if I had a box that behave like the whole corridor, not separate box and ceiling is a great insurance could start doing is simply not double-click the Shift and just select these individually. Again, I could have very easily used the procedural way of selecting the points and promoting the edges group. And then it will grab only this one. And now I can just have another polyp form. Let me make this one too. And you notice, Have you noticed a change? Let me go back to 0. Look at the viewport. And it just to point to the normals are going to be messed up. Long as got messed up into fixed up. With five divisions, it's less visible, but we don't want to have any issues during the render. We add normalise, believable, can mess up your normals and make sure your displacement is now properly on how publisher here. With the normals. That looks much better if you move weighting method by face area. Okay? But this area, every phase takes care of itself. So now it's clean. The display here. And we have our window door and we're missing just wanted or fellow, which is the background wall. So that's going to be a box. That's the background model. And we're going to place it just goes on objects, places. I could have placed it procedurally. Front. No. Right side. Yeah. Sorry. I could have placed it procedurally by telling it to read from the maximum of the said. Sorry. I'm the head of the ulna and I wanna change this one right on the floor. So what I'll do now is go to the floor and the floor to ceiling. Ceiling. The height is three meters of the parameter, The box, the background wall. The height is going to be exactly the same. Pace. Translate reference. This by dividing by two. Good. Now we have it covered. Let's go back to the perspective view. And we now have me to have some width for this stuff and just give it hold shifts and make it thicker. Nice. As this worked for me. Yes, it does work. Good to have NEA and he comes in. Well, you know, just give me a nice Okay. We're good. We are good. We need to have some UVs. And unknown. Shouldn't we ever needed background? And my output? I know I need to add enough materials well, just to be on the safe side. Okay. Oops, that's the wrong thing or not in packing and erase this and put. The environment is now finished acceptable the window. Now how are we going to tinker with the bars for the metallic bonds for the window? How are we going to take care of that? Now this part here, let me fast enough for the layouts, clips inside the womb. And then we have the ghost behind like this of it. You look from the window, the light is going to be somewhere here. Somewhere like this. So near discussed to be somewhere here. So the sunlight is going to be looking. I want you to be further behind good window. And the window boss. Let me create a grid because that's how I'm going to tell it. Really fast and easy. Wins. And let's hide everything else. Right? Good. What do I want? Well, on the right size, so the size we can read it directly from the window, ended up procedurally and OK to place it procedurally on the wind up. But I know that to be able to get that there is light shafts and sculpting the volumetric lighting. I need to position the window bars, metallic bars if an outside of the corridor. So I need to keep it not linked. So there's no procedural goodness, Happy. Now, the size is going to be 1.5 by 1.5. Now, this is just guesswork because it's own creative work. There's no reference or anything. It's light driven, right? So I need to control that might spark, right? I'm going to turn this into what peers to be in the lights as metallic bars and polypeptides are plenty of ways. Fats do not like two or three ways are having but fully parties, one of them only does it grabs the lines. The lines of a primitive stages at turns them into permitting tsunami can fully expand them. What dx is going to expand to the point expand, which is another form of extraordinary things. Nothing happens. And you think what, what's happening here? What, what's, what's wrong? The output offset curves this to turn into off the surfaces. And when you do that, you get, well, some ten that appears to be willing to work, but interesting to change the offset. So how much we need the 0.02 or something smaller, depending on how thick your metallic bonds are. Then you get something that works for you cut. All right, let's now move this fellow outside. And in this case I'm just going to move it from the object context. Turn it around, not give it any thickness, doesn't need any UVs. For one simple reason. This and just Control be to look at everything. And let's move this. I, I know maybe it was too big for the window. That's not win. This is just a light blocker. At the very end. I know it will be somewhere here. Somewhere here, because the light is here. I just don't connect this. So just the effect. Okay? So let's start with something like this and we now have our layout done shopping at the camera. We will add a camera. So Welcome, new color. Lockett's flick on the lock. And then you can move and position your camera and obviously changed the resolution and everything. But for now let's position. It's something like if I go any further and be able to see outside, I don't want that. We have agreed. We just wanted to have the effects of the metallic bonds. And we will then come back and change the focal than to something that looks like this. You choose what works for you. Girl with 90. 4. LIGHTING & LOOKDEV: First, let's create some lights and just unlock the camera and move. Come here. The first slides is going to be coming from the window. This is our main light, something like this. Once position I come to redshifts or actually any lights. So for instance, I'm going to use re-sequence Control. Click. It gives me exactly where I am looking at art and then it locks the light. Should I want to change it? And yes, I do want to change it a little bit. It's going to be like this. Now you can lock it. Let's look at the lights. This is an area lights by default come to the parameters here on the left and then change it. And I am going to change it because this is a bit too soft. It is going to be two software to software. It is because AC to get that those volumetric lighting, light shafts, I'm going to need something stronger, stronger, not in terms of intensity because it does come with a strong intensity here. That's not a thing. I don't want to play with intensity on a play with exposure. I want the form to change. So from Area Lights, I'm going to move it to a spotlight. And this is going to make a difference. Now, obviously, the intensity is too large in here and draw the work with the exposure. Okay. Let's now from the camera here, okay, I'm starting to get something that will work for us. But let's now move a camera and the camera bit closer, something like this. Okay, I don't wanna see the edge of the cone, which by the way, we can change, can come here to lights. And because this is the spotlights, we will be able under spot to change the cone angle. I think I have done 75 in the corner angle because that gave me more a wider angle. Twilio covenant. Let me just check. What we'll say is that I had used for the company or the original thing on the cone angle was indeed 75. Okay, Good. I just wanted to be consistent with the earlier and this is going to be called, right? Right. Like you just move everything here and organize them as well. Good fats my right. Let me unlock the camera and move and bring another lights looking like this because I want the light to you. I'm not perpendicular to the walls, but be like this. And click on arms, control and slides. And position is somewhat like this. Where do you think the light bulb would be? Somewhere like this. Okay. Let's keep it like that. Alright, this is going to be the door light. Good, and let's unlock this. This is not enough. I could have changed this one into a point light, but I want to show you something. So let's keep it as an area, as an area you will find. But let's first sort out this mess. I want to work with intensity, sorry, but exposure, not the intensity. Sustainable one. Maybe behind the brigade a bit closer and bigger, obviously, because the door is about to perish simpler. I'll make this tube because the smart positioning, maybe wider. X another two. Okay, good. Now I need to look at what I'm doing. So for that purpose, I want to go to the output, the output text, and add an RS render node, RS. Remember, that's going to give me an IPR. Okay? So if I know come here, it tells me rather come on, Okay. Then I will split this view. I'm talking about them. And one of them is going to be the render view and the other is going to be my viewport. So Brent of you and viewport, camera on and Redshift. We're good. So let me just see what I already have my position. This. What am I doing now? I'm doing the blocking of the lights. The final tweaking is going to happen later. First we blocked the light, then we bring in the materials. Then which week the lights. And obviously with the volume metrics as well. Let's click on Render and see what we get. Okay. This looks a bit too bright already. We have not assigned any materials, but I just wanted to see what the thing looks like. The overall feeling, the intensity is too much. But in terms of blocking, I'm kind of wish to start with this too. This is too much. Of course all the values are going to change. Everything has got to change. All I'm doing is blocking. Okay? I'm good with this as a starting point for block and I'm going to need another lights, which is going to cheat. So the scene is going to be dark. But I want you to have the option to change the darkness, make it brighter or darker. To do so, I'm going to bring in lights inside the corridor with the grid, the coordinates to be dark, claustrophobic. So what I will do is that light is not going to have any impact on any volume metrics. It's just going to be there cheating with the walls and the floor and the floor. I will show you it actually. Let me let me create a first stop the render now, and then I'll create the lights. So I just control-click on the lights, then turn it off. So I want to have lights inside. Let me control B this and turn around. See very stable, unstable wireframe. Wireframe. Much better. All right, so I'm going to position it here. I don't want to light and the clock. I want to live the whole corridor. Turn it down to the point where we're unable to tweak the brightness control V again. And let's close this one for now. The size is given to be 20 meters. What's this? Master my axis. The y axis, 20 meters, about two millimeters. So covering the whole corridor. Okay? Then other ones have any mess in terms of rotation 0, 0, and 1. And the middle habits a little bit narrow. So sizing the excess circled 5, That's about enough. But how high is it? I know the wall is three meters high, so I wanted to be fairly close. Shall we go at 0.9897? Yes. Do them. All right. So it's just to have the option and before I do anything, I have to change from the top to change the intensity back to one and then work with the exposure. Let me go back and see what this stuff looks like. You can take snapshots if you want. But we're not there yet. I just showed you. Good. This is too bright obviously. And I need to change murders confirm from the walls to under, have that reflection on the wall here. The first towns there. This is good to start with us. A minus two. Fantastic. It's a place holder light, something. Later, I can brighten or darken the scene. We're good. Okay. There's another thing which is, I may want to add already some creative lights. I'm just part of the block and I may add, this is now all creative stuff that you don't even need to worry about, that It's whatever you feel like you want to do. I want to have a light inside the cloth and the lies behind the head. That's just my choice. So let's click on control our slides. And that's gonna give me an area, change it to a point lights. And I would still move something like this. Slot, easier to move in wireframe and get inside growth. Here we go. I am now inside club and I want to turn this fellow into red color. Obviously aid intensity is a bit too much was my intensity. One. Let's make the exposure 0. There was fine. Okay. I then create another lights which is going to be disabled. This one, unlucky mean. And then click on slides. It's gonna give me another one, changed in spotlights. And because it's still locked on, press on ALT and move behind the head. Okay. Something like this. So this is not just number one was inside. Inside and distance behind head is just blocking in the creative blood scattered. Intensity for this one is too much again, maybe I'll go with minus one here. Shall we look at what this stuff looks like? Okay. I'll just block in the stuff over more. Good. All right. I don't see my 21 that's behind it because it's two on amendments and smooth this one. It didn't change the spotlights at the points, sorry, point-to-point, point. It's a point like point lights also read. And minus 1. So much minus 3 is about enough. Tiny 2020 debit. Again, we're just blocking takes. Good. Do I have all the lights I need? Yes. Finds them one of the rights, one on the left for the door. No. One at the top for cheating. And to create it once. Well, that's just the block in London, anything yet, in terms of volumetric lighting or materials, good. So the next step is going to be on materials and grab your materials from fixture have done from textures.com, from mega scans. There are plenty of resources. We're going to go to infectious. But if you come here and those structures, you will find a few precious that you can use for the floor, for the wall, and for the fabric. So the public can be using this one. You can use any one of these. Most of these are just leather. One is the pattern until arginine. So we can use one of these two. I'm going to take this 1 second, click on that and then come to download. There are options, HK sometimes 16, Kate. Obvious resist the temptation to go with 16. Hey, because unless you are filming a NSURL, have a scene of a an and or a bug on backlog that maybe that level of detail is going to be an overkill. Okay, so I'm gonna go with for k. You could go with UK for the first renders, for blocky, look dev, and for the final render with HK, Sorry with four. Okay, good. And please do go with EX Rs when you get the choice because I think now it has become maybe the default download is the XOR. But if you get it from somewhere else, to keep your consistent format ESR, and it's the industry standard anyway, it holds more value, it's heavier, but it's going to help you as well when it comes to creating the materials. Okay, so let's now W the input in your texture folder, and let's now move to creating those materials. Where do you create materials? Now, if we go to the mat on fixture, but I prefer number of one individual asset actually has to do with insight in here of this one doesn't have a northern output. As the national me out. Ghost, not organic search. Just keep that in mind. Quite good. If it's just one asset that can be copied over. Rather have a material network, material network. Network, network right here, you click on that and you create and they coincide at your work. If you want to copy, when you copy this with the material network in it. Okay? Now, because this is just a onetime use, what is go outside air because the more, the deeper you go into each one of them, the more clicks to get there. Okay. What I'll do is just keep it outside here and say my network. I don't want to go to the mat contexts, but this is about the same thing twice. So now we're going to create some RS material builder. Okay? When you do that, you are going to find here some sort of an output and the material itself. Let's talk about this. This is just as standard as any other principle based style material. They're all the same. The layout a little bit different. They may have some different order, different naming sometimes, but it's about the same concept as the principal shader. Okay, good. Now, this possible chamber now will need to be texture based. So we're just bringing textures. So if I go into infectious and feed them into this about where you can, you can expand this and see where we're going to feed them. And occupants are like this to keep it nice and tidy up, wanting to do is create texture maps. Third section, maps are going to be used for this course. But what I want to do is give you the template that you can use with any material that is texture paste. Shall we do that? Let's start with infection. Okay, So this is regardless of the texture maps that you have in this cloth textured, I go from fixture haven't regardless, if they have three textures. I'm going to give you the usual fix, the usual suspects, but you need to worry about. So there is colored base color, space color. There is ambient occlusion. I am just Alt and drag. Ambient occlusion. There is your roughness. These are three. Number three. There's a bump and there's the normal, and then there is a displacement. Good. These are the six, the usual suspects. Okay? Now, these to deal with color. This as an important concept to keep in mind later for the color space. So I will come, to, come here and I'll just call it color. We think I think it's obvious. Is it not obvious? It's already called base color. Bear with me. As I explained once we get there. This is not color. So it's something else. It's data. For now. I'm not gonna say data already going to use row, data, row, signal, row, information. Row is the key word for later. Okay, good. So this is what we have. We're going to start connecting these. The base color. I'll just go to, oh, by the way, the most important parameters to worry about here are obviously the filename, whereas infection, but the color space changes are somewhere down the line. Your render is going to look messed up and it's the color space. It's now clarify this. You want you always want. Work in a says you may be thinking, I'm just working on my own. I don't need a stylus. It's better to get used to ASS. It provides you with a wider range of colors and it just looks a lot more realistic. Okay, good. So that's for the column space and there's the scale of cells and protect. All right, what do we need? We need our detection artery, so go grab it from jobs. Factual. Should images. I'll go with color number 1 except OK. Now you'll notice when I did, when I added a color space has been assigned. That's because I have aces. Uninstall install the Windows environment level, not at the Houdini environmental level. So although I referenced insignia as well, I have it at the Windows level, which basically means whichever application R1, it will pick up pieces. Okay? So you look here on you decide, okay, what what do I need to do now? Is this correct? Well, this is why I said color is color and row is row and ESR. When I said, better keep Tectonics, ours mosaics, ours not have a maximum of JPEGs and PNGs and Exxon Mobil. Because when it come, when it comes to the color space, redshifts does the conversion for you, but you need to tell redshift, what would you bring in to the party? Is it any XR, then it needs to be dealt with differently. If it's a JPEG, it's completely different. Okay? All right, so ESR, linear JPEG, texture, sRGB direction. Okay? You come here and all you need to do is go to utility, linear, sRGB, XR. If you already know this stuff, does bear with me as I explained to those who do not. Okay. Utility linear sRGB does for you your czars. If it was a JPEG and you will go to utility is RGB, okay? Or there are some schools of thought that say output SRGB, which would be somewhere down here, I guess, was my output. You're going to notice that this is one of the most annoying things, is calling up and down. And there's a trick to avoid changing output sRGB. You could do this one for JPEG, either this one or linear utility, linear sRGB, sorry, utility is such protection. Jpeg, this one. But we'll go with, it's hard. It is linear. Now if you change, if you click again and go for the second one in texture haven't, for example, this color space is going to be reset the game. And I'm going to have to go and scroll again. And what is that? That's a waste of time. So what you may consider doing is gets out of here and come here and say, you know what? I'm going to edit this parameter pink. We don't want to have any headaches. I'm going to bring in a string, my string for them. They're either hide these ones or keep them. And then we call this color color color. And you say except. And this is then color string. And I think what is this? This is the bound, this home phone. You can then copy. When you want to use a texture, you can use it here. Why are we doing this? Because we want to avoid selecting from that annoyingly long list utility linear sRGB for the hospice, six of them every time we change the texture because we want to have a different texture. So it will exactly the same thing. Color, PEO, Roughness, Bump, normal and displacement, you change it here. Redshift does know that it has changed. It just computes this. So this color space doesn't change. That's the trick to avoid wasting time. But for now, I know I'm going with that one. I will not need to do that. I'll just come here and delete that parameter that I've just added. Good. Let's come back here and show me starts connection this. I connect the base to the diffuse color. Good, Let's go get an occlusion. We will worry about the scale of self. As we finish out this music lesion. Is there one? There is one we accept. And we say, let's connect it to the, to the ambience of collusion. Whereas the average collision there is now going to collusions, what do I do? Okay? There are two things here. Initially. And in general, your amplification needs to be multiplied by the base color. That's one. Number 2. In redshifts. There is an advice in reference that, well, do you want to use a texture itself or do you want redshift to compute the ambient occlusion for you? Okay? In this case, I have chosen to use a texture. So what I'll do is just composites are esco color composites. Click there. Connectors bringing the blend color as it's done. No, hasn't done anything whatsoever because it's still composite mode base color. So what I'll do is change to multiply. Now we have this, which is still set to the wrong color space multiplied with the color. So what was it again? Linear, utility. Linear because it's sRGB, ESR. Okay, So this is done for now. And then we do our rashness, gone, the roughness. There's our roughness. Accept. What does it have to be? Is this color that's color linear or associate bit extra for Japan, linear for an exam, such metrics for 4000. This is just data, so it needs to be row. Let's look at a roughness and just scroll all the way down or wherever you find this under your conflict, is conflict and rope Done. Same story here. Bump, is there a bump? There is no bump. Let's say normal is a normal, reasonable. The GL and dx GAL4 VFX, dx programs, generally speaking. And displacement, we have a displacement node. There is no displacement, okay? I'll keep it there anyway. Because this is meant to be a template, works with everything, all textures that you have, because you might have displacement, okay, and we're going to connect up it improperly. Alright? Roughness or the softness go, well, roughness goes to your reflection, roughness. If I click here, reflection, roughness, this one. Okay, that's your roughness connected directly to the bump under normal are two fellows that are faking it. Okay? This guy is doing it for real. These are faking it. This brings the detail and two different methods. This method is different than this method. And if you have both of them, you might think I'm going to bring both. And to be honest, the bump is always has always smaller level of detail. Doesn't have a look at it. Higher level of details, one, smaller displacements, not displacement, smaller details. Okay? So sometimes you want to blend, to mix these two. So how do I do that? Let me first, you know, because we're not using the parameters and we're not using panels. We're going to go to Control V. I look at this and for much better. Okay? The bump as a texture needs to be rho. We know that it's Row, Row, Row, Row. If you have a bump, bump, bump map, you connect it to the fixture. And you keep it by default, height field because it's just a one. For the normal. We already have a normal set of probabilities for all. And we're going to go, you have normal, I'm doing something wrong, but bear with me as I explained, are as dogma, click on that and really think, yeah, good, as connects 0, y 0. What's happening with this normal map thinking is superseded. It is already marked by the time you're watching this has already gone from the selection. Maybe they just completed therefore legacy projects. So we don't use this from normal map. The bump map is used for the normal map if it is told to behave like a normal map. If you bring in a second one and you say input Mach top, tangent space normal, then this is your normal map is behavioral economics collected input could arise. Where do they go? Let's look at displacement first. Displacement. Displacement. And you connect your texture, texture map. Now we're good. Okay? The color ones goes straight into the color. The data once the bunk normal displacement, not roughness of must also go straight there. You could mix roughness type, multiple breakfast or texture maps and, but that's a creative decision. You could blend. These need a little bit more certain in these nodes here, one for the bump, want for the normal, one for the displacements. So where did they go? Depends on how many materials are you using. Is it just one? Then you could plug them here. Displacement goes to displacement and bump, coastal, bump. A normal goes to normal. There's no there's no normal o or we left again with numbers always crazy issues. No. The normal gets blended with the bump. So we need to have a bump blender. And you have honestly a one, and that's your base layer. Okay, good. And we move it connected to the bump map. Now we have it all connected. You can adjust the scale of the bump here, the scale of the normal hair, and the mix between the two with the blend weights. Because by default, inverse of m, 0.5 if we start getting into open five after layer 0. And then there is this useful and dangerous at the same time, additive. Note, if you put it at one. And then our digital mode is going to bring everything has and it might look ugly. So if you think you're been displaced, no displacement. If you think your bumper normal stuff are behaving weird and you think of this is to march, check this lovely additive mode. It is the usual suspect in this case because do you have, if you don't have the technology, you could bring the whole power of the novel, we thus addition, right? So, or you could just bring a little bit of it, half of it. This is all created land, and it just creates it. It also depends on the texture map itself, how much detail is in there. When it was created? It was that too much contrast or very little contrast. So that that plays a role as well. Okay, so that's about your overall tablet. You know what we are going to do before we finish this template, I'm going to go back and give us a little render, Okay? And I'll show you that we need something else to avoid wasting time. Control B. And I will assign, name this one properly. Coastal or redshift curves or whatever. And it comes to graphs and render and assign it. As my math. What matters here? Cost, okay, good. It is assigned. Nice. Let me go all the way back. Now. Notice that the camera view and I want to disable everything else. I'm working exclusively on the cloth. So I'll just select everything and don't see anyone of these, just a girls. And for the lights, I'm going to keep all the lights. I'm going to keep all of them for now and then see how it goes. It's assigned. Let's click on Render. Okay, Good. I don't necessarily want maybe a little down. Okay, Much better. The scale is completely off. And this is one of the mistakes that we don't get. Realism has like the scale is off. Whether it's the texture or environment. The tree is bigger than the house. The chair is off the scale is the one thing they need to nail. So what I'll do is number one, get rid of those lights, creative ones because I just want to see what. Looks like and yeah, the scale is off because this is how it was scammed the Soviet God. Now we need to start tiny nets. So I need to go back to my material network. And in the material network, I will adjust the scale. Sometimes want to adjust the offset and you may even want to rotate it because there is a pattern that appears to be too repetitive and it wants to rotate stuff. Weights. Are we going to do that for each one of these, every time we bring in a new texture. And if I change my mind is going to be a different scale, different offset, different everything. No, we're not going to do that. We can't do that to ourselves. So you either come here and creates a node and call it texture scale controls on textual picture controls. And you create your stuff. Here. We come into the interface and Agile stuff here. So I'm going to be a string. Remember this? And you add your vector to vector 2 and float. Or to make your life easier, you may want to work. Once you've settled, everyone wants to work at this level. Then you say, well, if I know this thing is based on an issue only have, by the way, if you only have one texture. And maybe, sorry, one material, material that's driven by the texture, because here we have only one. You may be adding more stuff and thanks. Shaders can get quite complicated. So it's up to you where you want to place those controllers. Okay? I place it here for now. We'll say permitted interface, where we'll start. Yeah, I'm going to bring in a float vector to, vector to it because I've got x and y. And I'm going to use the float for the rotation. Let's call it quickly fixed poses. First one is Kim scale. Fixtures scale. I really don't mind if I mistyped. Well, I do my fake. None. The next one of the scale defaults. No mess up. It's defaults one-by-one. Unless you always use, like usually use makers count actions that they tend to be two-by-two. So you start by default with the two-by-two and then change it if it happens to be eight by four or four-by-two. Jan I'll go with them. Infection of cells. That is not my place. Okay. Messing up to our fixture. Upset. Right? No. No set as default. And then there is your profit yeah. Fixture date. Sure. You do it once and you have less headache later. Copy parameter. You select all of these at once. Come to your scale on based relative reference. Again, offset, copy per meter. Same story, select all of them. Of the face phantom reference, back again. 48 copy parameter. And it's based on offense. Because I'm still sticking. Everything went okay. Good. We're good to go. Now we're going to change it to moles, the scale that I had used in my original scene, just a little bit, not scale walls. Four by four. So let's go with, for my fortune we do now for my four, if it's square, always square, it even be lazy and copied this parameter here. But sometimes you have them as h by 44 by two or whatever. Could click on that amplicon vendor. Well, this looks little bit more realistic, does it not? Nice. So this is about the infection. Alright, now that we're done with the look they have for the cloth, I'm gonna go back and work on the rest of the lighting of the scene and bringing some volumetric lighting. And then later we'll bring in the other materials. Okay, So let me reactivate. We display all of the stuff. Camera. And let's give it a random smooth this one up. Let's look at this. Okay, now, if I render this with all the Lloyd's metronomes lights again, this one's good. Okay. So this is a sunlight. But I needed to have volumetric. Volumetric. So you will find under Redshift Rob in the OS context. And about as under Redshift advanced. And then volume scattering. Then your two most, sorry, or three most important parameters obviously can tweak the other ones, but you have scattering, attenuation and face. Okay. So scattering, it's how strong effect is, how strong is the volumetric lighting. Attenuation is more like, controls the strength of the foam and the amount by which the light gets attenuated as it travels through that atmospheric on that volumetric lighting. The phase is how much of the light gets, gets bounced in the atmosphere. So much of tweaking these parameters until you get something that works for you. I'm going to go with 0.3 for the scattering. Well, enable, obviously enable for Scotland and scattering ZOPA three attenuation, whatever works for you of bond 45 and then this one minus six. Now, you don't have to put this a bunch of experiments with other values to get different effects. All right, and I'll go back to my bright lights and give it a color and blue color. And from here, it's formed matter of tweaking. Let's keep it more, something like this and then make the arrest little bit darker. The door has too much. Okay. There's something we already know is that this light here does not look realistic. If it's a light bulb in a room and it's coming out, it does not have these very soft edges. So how do we deal with that? Either? Use the point lights for because I wanted to show you this part. We're going to go to the Shape and it's under the spread. That's under the spread here. This is this spread. If you make it bigger, you get very soft channels. And if it gets smaller, we get a very hard shadows. Let me quickly check the exact one. I did not make it 0. It was quite close to 0. So for my rights, more on the door, door, 0.035, something close to 0. If you make it 0 is going to be nice. Sharp, very sharp. Okay? So if I do this now, you'll notice by changing them that the edges have become sharper. Not very sharp, but just about enough to say that this is a room like this is not an area, lights will just make it. Okay. Good. All right. So from here onwards, it's just a matter of tweaking, but obviously we need to bring in the other materials. And it's exactly the same process as for the cloth material to weaken the lights, applying the materials to the wall, the seed in the ground in exactly the same way as we've done it to the Cloud. Here. The final results, but this is the original scene. This is not a single work in offices. My original sin. And as you can see from the volume scattering is exactly the same parameters, or 0.25 minus 0.6. Now you can go ahead and render wireframe and then asked to document that the full frame. And you can start with constraint, and then we can go ahead and render your ten seconds for whatever frame and you have the outputs. You choose the right camera. And for the output you choose where it needs to go. Please go ahead with the XOR. If you want to use a use Easy can go ahead and create them here, or you can create your own UV list, which you then reference here. It's handy if you want to copy paste it to other projects. If you have a set list of the UVs. But Redshift here at the advanced volumetric Scotland, we keep it as this sampling that's going to define the quality of your render. More quality, more waiting, simple. Okay? So I have left everything to us as a default. So here you can increase your samples or you can decrease your noise. So the lower the value, the less than noise, but the more samples the model waiting, but the higher college. Okay, good. Global illumination is an important one. But for our scene, Let's be honest, the, the, the defaults work very well. The defaults start with the secondary engine as irradiance point clamp. This one is the cheapest for computing, so it's the fastest once you get your results out. If you are still in the phase where your experimental and say, okay, is it what I want? You can go ahead. Irradiance. If it's a dark scene like the one we have in now, you can keep irradiance if you say no, I'd like to have something much more realistic with brute force. Fine. You can move the secondary as well to brute force. You might be interested in increasing this, but not as interested as waiting too long, I guess. So. Be careful with those three steps because they, they will take longer to render and Brute Force as notoriously expensive, right? Good. So that's about it. You can go ahead and render your scene. 5. FINAL SCENE RENDER: All right, this is now the render will open this infusion and you have exported it as a CG. So if you look at your render and a new infusion and After Effects, and it looks dark, not like what you have seen in your render view in Houdini. Then it's because of the color space. And you think, Well, what should we do about that? Simple, You come here and you just change the view poll just to, from ACG to output. What output do you have? Generally it's flexible. Output, sorry. Is finite out. Put Rec 709 for your monitor. If it's Rec 709, if it's an ordinary monitor, go with 70 nine. If you have a proper color correction monitored and you go with output sRGB, your monitor is going to define what the output is. An exponent or sRGB. Okay? When you click on that, then this is what you view. But wait, this is just a viewer. I want the output like the final thing to be in the color fringy thing to look at my doc. All all it has done in the view of this monitor here is just change the view has changed the file. To do that, you need to go with this one here from space and color corresponds to add. And I'm going to change exactly what I've done. But now I'm villainous, less than work at the file level place. Not just to monitor level. So output, whereas my outputs somewhere. Okay. So now it's a matter of where is it going? Is it going to be viewed in Rec 709? Most likely. I'm going to go, it is four GB anyway, but effect should go to x of 9 because it's the final destination in terms of the audience. What is the audience for the watch on monitors if our exponent, and you better do that. Okay, I'll keep track record of non-African, okay. And then a control space saver on Render. And you're under the full frames. And this is the final result.