Transcripts
1. INTRODUCTION: Hi. In this course will take you step-by-step on how to fill it, create a box or any
geometry of any type in a realistic way without intersecting geometries
and embarrassing renders, you will learn the techniques to our direct the
distribution of objects, as well as lighting and
shading and Redshift.
2. ASSET PREP AND SET UP: Brigham geometry
with a final node inside you put the path. I've already done that. I have here a crate
and two watermelons. Now these are from mega scans. You've got the crate
and two watermelons. Good. Now, let's dive
inside and look at this. I have just the file
imported, no changes. I've decided this
is going to be for the render and LG2
for simulation. Of course, we want
simulation to work on more efficient geometry. Let's polygons to worry
about foster simulation. But you may be thinking,
hold on a moment. That LOD two, is
it not too high? Why didn't you go for MOD eight, e.g. now let me show you. Let me show you, Let's
unpack this first. We want to see the
geometry closer. Okay? I want to see the polygons. Let's get the UVs
out of the way. Attributes, delete. This is just for us to
see what we're doing. Okay? This is just to explain. Alright, so this is
for the LOD zero. Let me drag and
drop this for this, and you notice that it is, well, the shape hasn't changed. We have less polygons. Good. This works. You said the eight is checked. Now, Let's go for eight n. Alright, this is
end of the eight. Let's have means. Okay, this is LOD
eight and let's template this.
This is templated. Templated here is the
render, the simulation. Do they look similar
in terms of shape? No. Well, this is a disaster. When you work in simulation
because you are going to allow intersection here. You're going to allow any
geometry to come in here. This is the Render geometry. It will show us
intersecting geometry in the render and
there is no hope. This is why we go
with this one here, which then is a similar shape. It works for us. It's more efficient, but it
matches the shape perfectly. So in this case, you clearly see that
Let's geometry, or more efficient is
not necessarily right. So let's remove the eight. I will stick with
maximum LOD of two. Alright, so this
is for the LEDs. Let's move this and let's go
back now to the geometry. Now what do we look at this? The create space g humongous, this is 50 m. The automaton is about 14
or 15 m. This is too much. Let's make sure they are exactly as they are meant
to be in real life. So real-life means we
need to go and check that exact scale references. Now, this is comparative scale. This is comparative scale, or what I prefer is
something like this, which gives you the
exact measures. Now, you're not going to
have all of them the same. But it helps a lot to have an idea of which
one you are going for, which shape you're going
for, and which size. Now for these research shows us, I'll just looked here
and I found categories. There are measures
and they are here. So I've got here in this
column here, the length. Alright? So I'm good with 24. I know that this is 21.8. I'm going with 24 because
there are multiple ones. It's within the range. It's within the range.
So now that we know, for our watermelon dot, we'll go with 24 in diameter.
Let's make that happen. Sphere, I'm going to make
a sphere as a guide. Geometry. Guides scale, 0.24, diameter, 0.12 radius. That why am I writing
all this in detail? Because here we work
with the radius. So copy, paste relative reference based
relative reference. I want this to be 0.12 because its radius default and
T4 in the diameter. Good, This is my guide. If this is my guide, then
I can say match size. Just match this one. When you click on it, nothing
really happens other than moving it to the
center of the sphere. But I want to have scale to fit. And once we do that, it
disappears because it is now here exactly
matching the sphere, exactly 24 cm in diameter. Good. This is done for this one. What I need to do next as well, unpack and give
it some material. May be thinking, Wait,
hold on a moment. You're working on these zeros. What about NAT2 were
coming to this? Recommend this material. Material next. We just put
in a temporary placeholder. I'm going to create a group
because this is going to be the first four terminal and it's going to be second one. So this is water
melon underscore one. And that's it. This is no. This will be my melon
underscore, one. Underscore render. This is the one that should
be used for rendering. Alright. See you for the color,
and there you go. Let me organize
this a little bit. And then drag. Good, this works. Now, I've already done all
of this work for LEDs. Are we going to do the same
thing here one-by-one? Now, we're going to select all of these right-click actions. Copy, reference, creates,
reference, copy. And then just drag it. And there you go. You have exactly everything. I don't want to change something here and forget
changing it back here. It's automatically
changes here as well. The same group is created
here, watermelon one. Alright. This is then my
Sim version. Okay. Let me save. And I'll copy all of this. Go do the same
thing for this one. You can decide to have a slightly different dimension
for the second bottom. And we could say
23, could say 21, or 20, or 20.5. That's your choice. So I'll leave that up to you. I'll use the same
one, the same scale. And I use this, I'm fine, I'm fine, I'm not fine. The material here is going
to be still pointing. Oh, we have not assigned it. That's important. Let's go back and assign
the material here. That's a lovely opportunity to show that when I've
assigned it here, this one got
automatically assigned. Alright, let's go
back to this sign here under watermelon to dumped. If you had copied it
while it was assigned, it would be pointing
to this one. And you don't want
that. So you have to check inside this. You have to check again. You have to check again
here for watermelon to about you're not
pointing to one here. If you copy paste it, it
will be pointing to one. So make sure it's two.
Alright, same story here. And I create reference
copy from here. Don't copy it from number one, because if you change something inside to it will pick up. It will not be picked up here. But if you change it
in one, it would pick it up into, and you
don't want that. Always copy from
your same geometry. Good. And everything is here. Okay, other than the group name, this is a group
automatically, of course. Alright. And drag and drop this. This is my to seem good. We're now done
with this to save. And let's go to the great and the greatest,
the same story. So we need to have a box
because that matches the shape. That matches the shape is not
going to use this sphere. And the box is given to be how big we need to
check in real life, how big are these things? Simple? So you've got 45.5 cm, you've got 50 cm,
you've got again, 46 cm, 50 cm, 50 cm, 60 to 77 times. Okay. I'm going to go,
this is about 45 cm. Okay. So you get the idea. There is anywhere
45-607060, 70 or more. The bigger ones. I'm
going to go with 54. Okay? Because the one that I
have physically measured, not just from images but
physically measured is 54. I'll make this one in
the z-axis, 54.54. I'm not working on the
crate, working on the box. So when I click
this, you won't see much because I'm not
template in this one as a display plank
is not on this. The size for the z is 0.54. I don't care about the x and I don't care about the y
because I'm going to ask the match size to use the Z. And then make sure here it only jumped because it's translated to the
center of the box. But I need Scale to Fit. Space g. It's already okay
because it's best-fit. But if you really
insist, you can say no, I want to tell you what
to do. I want it to be z. Okay? Why was this state anyway? Alright, so this is
what we have now. The scale is, okay, let's move it to the because
here it wasn't the ground. So this movie back
on the ground, it's gonna be a line
that's excess in line. There you go. And now we're going to unpack this and give its material. And not that. It's builder. Just a temporary one again. For now. Signage. Obviously. I'm on a crate. Make
sure I close this. Okay, Claire, I'm good. All right. Just for visibility. Alright, so this is material
and then now I have no, This is the Create Render. Good. Now from here to the LOD two. But because this is the one that needs
to be rendered and I want at all times to make sure that this is the one that needs
to be rendered. I will add an output node. Why? Because I might wind working and there's gonna be
quite some work done here. I might forget, flag, the display flag
somewhere on the L12. We don't want that to
happen in the render. So if that's the case, fine. This one will be, we'll override,
output will override. So this will always be the
one that will be rendered. Let's now talk about
the energy to here. Obviously we're going to do
the same thing. So it's copy. I don't need I don't need
the material for this, for the simulation.
I just need this. So oxygen's reference copy. Let's move back to the
perspective camera. And what we will do is to create a shape above the crave
that is based on the grade. You're going to use that shape
with the physics painter. Let's first bring an abandoned because I want
it to be based on this. Delete the top primitive. Do that using the normal. So here, not this
one but the normal. I said the one that's
pointing up zero tolerance. And this is it. This
one has been removed. I will remove this one as well. But first I finished
my work with the bottom part and
then I'll remove it. Alright, let's move
this whole thing up. A template. The Great. I want it to be on top of the
grades. How do I do that? Transform? And we use the
bounding box crate. And I want to underscore WiMAX, give me the maximum
in the y-axis. The bounding box of this. Great. Alright. This is the one I'm
using, upgrades, random jumps on top of it. Good. So this is a
good starting point first because I need
to remove this. Let me group is that we've
targeted. So same group. The same thing as for
the delete button. Now just for the grouping. This one, I go to my
normal one under the opposite to what
it's pointing down. 00 tolerance. And there you go. You have the bottom
primitive selected groups. I can call it here, e.g. bottom. Make the group name
from the node name. Okay? This is now done. I want them to make this a bit smaller because
anything that falls, if you notice that this is the bounding box based
on the exterior shape, I don't want anything
to fall and hit the interior shape almost
fall directly inside. So let me just scale this one, this primitive down,
bring it up, transform. And because we have
called it the bottom, we're going to
select the bottom. I will scale on the x and z. So that's going to be 0.85
ish and undo it's uniform. So let's copy paste
relative reference. Now you go, you have done this, but just to be safe, anytime you work with a
transform away from the origin, for now it's okay. But if it's not
using uniform scale and any other operations
from the transform, you might end up moving the
objects from where it is. So you may want to the pilot set correctly to the object
itself with z x, z, y, z, z. Right? This way, we make sure that whatever transform
operations happen, they happen based
on the centroid of this and not
based on the origin. Okay? Now that this one is done, I'll just move it a little
bit up, move everything up. So I'll just give this
one a little color. Just green or something that
this is the one that we will be using for moving
it up or down. If you really want
to go a little bit, I wouldn't call
it sophisticated, but if you want to
automate this one, but you could do is
create a transform. I'm just removed
the cutoff for now. What you could say is, I want the gap to be exactly
the size of the watermelon. Because if you
say, Well, if, if, if something falls and the greatest field and another
water movement unfolds, it will be leaning on an imaginary geometry that
does not exist in the render. We don't want that to
happen. So I wanted to have this gap at least equal to the full
diameter of the water middle. We can do that. We can say, let's go back to the bottom of the biggest one. This e.g. rages copy parameter. And I'll come back
to the Create here. What I will say is move it up by base relative reference
this much but this, but remember, the sphere
works with the radius. I need the diameter, so that is two times that. And now I'm absolutely
sure if I have chosen, let's assume that this
watermelon is the biggest one. You go with, the biggest
one that you've chosen. If this is 0.12 and you have
decided that this is going, and you have decided
that this is going to be 0.11 or zero point, then just 20 cm in diameter, you go with the biggest one. This is one way of doing it. You say, okay, I know. I'm absolutely sure
that I'm leaving at least the full height, the full diameter
of the watermelon. If something leans on this edge, it will not be lean
in on this edge. And then probably
create your own offset here with just a
manual transform, leaving it here
as a placeholder. And this is the one
I would create. A color to. This one,
you can say, well, on top of that, I may want
to add or reduce, say e.g. if you want to start
by filling this for the first two or three watermelons
and then moving it up, you can do it article,
bring it a little bit down to your work, and
then we'll get back up. Okay, It's just choices. Alright, now I want to make this wider because
I want to paint. I want to have enough room for the watermelons to move
without hitting each other. And the dynamics
need to just flow naturally without
unnecessary collision. So I'll just make
this top edge bigger. Targeted first group goes
to the edges and go down. Let's remove this one and
go down to include my edge. Here. There's one
called unshared edges. And now you know why I have not removed this bottom primitive. Not yet, I will remove it. But after working with this, if I had removed it, I would have both
of them selected. And this is an easier way
of just saying I'll just talk at this one first and then I'll remove the
important primitive. Now, this has come
to be called top edge. This is just a node. And now I'm going to call the group based on the name
of the node, top edge. Alright, now I want to
transform this top edge. I want it to be a parameter
based relative reference to be twice, e.g. twice as big. Again, just to be safe, we don't need it now. But maybe you want to get
in the habit of making sure your centroid is always
set to dollar z, x, z, y, z is z, which is the centroid. So making sure that your pie, but not central to your private, is set to the centroid of the
object you're working with. Otherwise, operations could
be based on the origin. Then I have this. What I will do is remove
this bottom primitive. Now that we're done
with the top edge, let me blast bottom. And we're done here
with this bonds. We just need to reverse the normals so that when we paint with paints
on this side, okay? Alright. Now we're done. I'll just make a
merge on bringing both on this. There we go. We have this I can do,
I don't need the UVs. While condition is
delete, attribute delete. You don't need to do that but bring in as little inflammation to the simulation as possible. Vertex screaming of
the UVs, correct. Then I have this, like this. Even though I think
the shop material, we don't need that. Right now, what I will do is have our rate. What do I have? I have here? The real
rate for rendering. This is my simulation creates with the
geometry that we will be using for
the physics painter. Let's go back up
and we will start working on the physics painter. Let's have something
like physics painter.
3. SIMULATION: Inside and we bring
in an object merge. Because now we want to bring in this scene creates
this information. We want to bring this inside
the physics painter work. Alright, let's point to copy. Then I will paste the path here, say into this object. Alright, another I have this, I can bring in physics
painter lapses explained up. Alright, good. Now I have the grid, so I have everything put
in dynamics. Now. We're ready to go. Let's look at the settings
of the physics painter. What do I want to use? What do I want to paint? I want to paint these
watermelons, these two. Okay, So let's start with that. Let me go back to
my physics painter. And before looking at
any of these numbers, let's first, under
dynamics, add. Either you can use the Quick Add or pressing the plus here. Now I have two meshes, simulation mesh and
use render mesh, simulation mesh and render mesh. Remember what we've done
for the watermelons. There is a random nation
under this simulation mesh. This is the Render. This simulation.
Good. So let me come back to the physics painter and bring in each one of them. Here. This is the first,
so I'll click on this and I can say
OBJ, bottom one. This is same except use
yes, the random match. And we did the same thing
for the second one. Same except and yes, use the render mesh. And this is now the render mesh. For the second. Good, we're good to go for this. We can choose the probability,
this is the weight, like if you keep it 11, they will get similar
probability of being painted. So we will have almost
equal, not exactly equal, but they have
similar probability if you want this one to be more. So it's going to be like two. Or you want to make it 1.5. You can just make one, have more probability of
showing up than the other. This is relative. Okay? So let's now go back to just
keeping them as is one-one. Let's move up here.
Okay. Let me first. Without doing anything,
let me just press Enter. And I will get this brush, which I can now use to paint if you notice
something is happening. But I suggest you do not start painting now because
I just wanted to show you what's happening. Clear current paint. This is too much
clearly what happened. What happened? It's been painted outside
and if I do anything now, it's going to fall
on the ground. I want my stuff to be here. So we need to set up this will properly the current paint. Another one. This stroke
padding is important. I paint like this. Well, number one, we're
painting on the wrong side. So here's what I suggest. You look at the offset. Offset of zero tends to
be the wrong default. Don't start with that. Probably better
start with the 0.10. 0.1 is making sure that you are away from the surface and
it's looking at the centroid. So now I'm good to go. Well, this is a better
starting point. That's what I mean. But I do not want
actually to use 0.1. I want better than this. Another thing that this
looks too crowded here, if I now precipitates, they're going to start colliding with each other and
fighting to get through. We don't want that stroke
pattern is where you, even after painting, you get to create some room to breathe. So you have less analogy. Okay, Now this looks a
bit more manageable. Alright, so this is for the stroke pattern,
the surface offset. What actually I want, because I'm on so much offset, I want to move them here. I want them in the air. I'm actually painting
on this geometry. But I have an offset
from the surface of geometry so high that
it now is flying, floating above the place where
I want it to go through. Okay? So what I can also do is instead of just
painting randomly, just painting and hoping
for something to show up. Let me clear. Without
knowing what the number is, what I can do is simply say no, paint bucket node
is going to be, I want you to paint. With one-click, give me three. Let's say three. And click. There you go. You've got three because
you have the right offset. Sorry, I'm just clicked. Let me clear. Three. And then you go You have three because you
have the right upset. They are now in the air and
you have exactly three. It's one-click. You could say another
critic is three. Is three, but this
is going bit by bit. Okay? So let's clear on this. We click once and it gets three. I can create even
more offset or less. Then I can press the simulator. Okay, let me clear this. I'm going to paint it now here. And I wanted to just to have
to probably, you know what? Let's go back because I
wanted to do it bit by bit. So great. Remember this green? Why did I color it in green? I just want to remember
exactly tribute to find it easier. So let me bring this
one a little down. Because I want to
do it in stages. First, fill in the bottom,
then add some more. Let's go back. Paint.
Now. However, was the number again, two, threes. Okay, That's all I need. Now. I can bring back the
timeline and press Enter. And there you go. It starts
simulating. There they are. Now. This is still running and they will start moving until
they find their place. And then that's it.
Good. Now, you can choose a place and then
say a dry current pain. Now as soon as you do
that, let me go out. There's nothing here.
That's just what we see. The great Guatemala. Guatemala and two, and this is a node that we have
created ourselves. And we've got the object and
the physics painter here. As long as soon as we press on dry current
paint, I'll do that. This has now become
geometry that's frozen. And there's this physics paints data that was created
as holding this data. If I dive in there, geo here, and I'll find
that this is the data. Now, there's another cheat, which if you want
to find this data, actually you can dive inside of this physics painter here. And there's a node
here and stays out. Both physics objects. You can point to this one
to grab it if you want. Alright, We'll do that later. Once we're done
with the painting, we'll leave this one alone. We don't touch it.
It's just like a container for our geometry. And let's go back. Let's assume actually when I
bring in more water melons, this one is sitting
in the wrong place. You know what? I
don't like this. So what about we try it again? Clear old paint that
removes everything. Hi, Well, I can do is
come back again and say, give me actually
maybe three now. I want them to all three
fits in here if possible. And I'll press wants because
I am using bucket item, you can decide not to debate, but I prefer now. I will just run it again. This case. As you see, let me get a bit closer. It is stuck in the
middle because this fellow here will
stuck in the middle. All right, so let's
stop. I don't like this. Let's go back. Current paints and
click again and press. There you go. This is more or
less what I want. Something like this because these watermelons are quite big, donor could be exactly
fill in all the space. Let's say we're good with this. Alright, so let's choose a
place where it's stable. We go with dry. This is frozen. If I now click
another time and say, Well this time, I want
to add one-by-one. So just one click here. Onclick. Let's oh, you know what? Let's clear this one. Clear
current paint and go back. And now move it up. This great green one. Let's reset this one to
zero because I want it to have exactly what
I had decided here, which is the diameter
of the watermelon. So I don't want anything lean in on an imaginary geometry. Let's go back. And now
we're going to paint one. I'm doing it bit by bit, but you can go with five at once and then
see what happens. There you go. I'm happy with this. Let's let it stabilize. Perhaps. Perhaps is enough. Let it run for a little
while, but that's it. Good. We're good. So
dry current paid, it gets added to the
frozen geometry. And now I can again go
with probably another one, but then starting from, starting from here, I click. There you go. We
have managed now to have another one. Here. Let me see if I can
add another one. On dry paint. It's gonna be a
little bit difficult to add another one here, but we can always try. Probably here. Maybe. I don't want to be
clear. Current paint. Probably here. Now, I'm going to play
with it a little bit. I'm going to move it
using the offset. Something like this. If it hits, if it hits
this one, go outside. So let me see. All right, let's move on. Fantastic, almost fantastic. It's good. It's good. Alright, that's
exactly what I wanted. Could see this
offset is not just to avoid trouble with premises, but also some type
of positioning. Positioning your
dry can't paint. Now we're good. I'm happy with this.
Can I add one more? Let me see. Can I add one more? One more? Well, probably it's gonna be very difficult to have one here. This is enough. This is enough. Okay, Good. Now, I have, now
finished this part. I have my data. So what I will do is say, thank you to the
physics painter. Well, before we say thank
you, we get inside here. See, this part is somewhere
in the last third, at the beginning of the last
third of the neural network. And you just copy this one, copy and go back. These two are like
Just workspace, work in folders,
whatever I like it. This isn't the real
thing. This is just like the processing part. Okay? Let me bring in a Jew node. But I will cool. Watermelons. Render. This is the input. Okay, So this is just input. Input. This is not going
to be rendered. I have, yes, cool, this one render
because it needed here inside to be
set as the rendered, as the renderable mesh. Because then it ends up in here. And then I can
bring in this one. Let me turn off this, turn
off this object large. Remember that? I have copied this
one. There you go. Alright, so all I need
now is the crate. This is what I need is what
needs to be rendered on. This is render. What you could also do
in the physics Painter. Let me go back and turn off
the visibility of this. Okay? I'm back here. In the settings. There is also here, the minimum and maximum rotation and the minimum scale
and maximum scale. Now, if you have
accurate measures and you want to stick to these, fine, but you could still have very, very minute differences. What you could say is
something like 0.992, 10.01. And you have slight subtle
differences between the scale. Also in terms of
starting rotation, I have not bothered with
this one because they will watermelons fall and they keep rotating and
moving and moving, you will end up with
a random rotation, random orientation
of the watermelons. But if you really insist
on having something that you define yourself as random, you could
say, you know what? I'll copy parameter and
this relative reference, baseline reference, and
then copy this one. And paste relative reference, base relative reference
and have this one go from -180 degrees to 180 degrees
random starting point. Because initially
when we painted, remember when we painted here, let me just have three of them. We're not going to add
them now, but it's just for demonstration purposes. When we paint it like
this, initially, they were pointing all
in the same direction, but when they start drooling, they ended up being random. So that's why it's fine. If you really insist on
starting from random, then you do this
and you ended up with random orientation
and even the scale. And in, after painting, when you click paint, you can still adjust
the difference. Well, obviously this
doesn't make any sense, but I'm just showing how far
you can go at that. Okay. So keep it subtle, please. Very, very subtle. If you are given a
difference like 98, perhaps 1999, perhaps 98. Maximum difference is just
have something subtle. So these are the two options
that we have not used. You can use. Let's now go back here and obviously clear the paint because it's not gonna be
used clear current paints. And let's bring back this. I prefer to work with geometry
that is being imported. So we don't want to
work directly with the output coming
out of this node. We want to export it. So let's have a rope,
the geometry output. And let's save it.
And their job. As a B2C, which is an
efficient format for Houdini. Melons. I click, save to disc, then bring it back, file, Copy, then Paste. Then I have this. I don't need to worry
about this now anymore. I can now work
directly with this, but we're going to
encounter some problems. Let me show you. Let me unpack this first. Because it's a packed geometry. If you look here,
six factorials. So we need to unpack it around. The first one is, when we look at this, there's too much information. This stuff was inherited from
the physics painter work. We don't need all of this,
so we need to remove all of the unnecessary information that we should not take
with us or the render. Alright, that's number one. Number two and the most important
and the biggest problem is actually how much control that we have the
way we've done it. If we don't pay attention, we may end up with the
wrong distribution. Remember when we talked here, back when we talked about
the physics painter. And we said that here you can say equal
weight one, weight one. And I'm saying Please give me, give, just give them
the same chances. Let me show you. Did it listen to what
I wanted to say, that it give them equal chances. Let me first, bringing
out splits, perhaps. I will take watermelon one. That's going to be one. And then the rest of this day
he's going to be the rest, which is watermelon two. Now, if you look at
this, what's happening? Okay? These two are the
same, are down here. We're not going to see
much of them all week. Okay? And here,
everything that is at the top is the same. So what I'm going to see, actually the camera
will see mostly, hardly, actually, unless
you do like this, then you see some of the difference from
the Ottoman onto. But if you look from most
angles, you end up with one. It is as if you had worked
in the physics painter. As if you had worked with
only one of them not to. So here's what I recommend, because this result clearly
does not work for us. Let me also show you a render. We have not yet
created the materials, but I want to show
you from the end, if you go ahead and create the materials and
do everything you want, what is will look like? Here's what it will look like. See the top four,
they're all the same. I want this to be just
randomly mixed with it. I want one here and then
one difference here, and this one is a bit
different but then rotated. So this is not going to work for me. What do I need to do? I thought that I said clearly, and I was very
clear when I said, when I said to the
physics painter, please give them equal chance. It didn't really work. What I recommend you
do is very simple. Let's assume. That we're still working with
to painting is what you do. You turn one off. And now we're working
with only one of them. Then you make your paint. Then you go ahead. Say the pocket is going
to be, let's clear, clear current and
you end up with say, one or two. That's
it, That's one. If you want to art directed, you get to decide
the distribution. What's inside is not
going to be very visible. So you may not care about
the three that are inside, but the three that are the top. You may decide, let
me click this one. Okay, Done. Once you've finished simulating
it has taken its place. Let me clear as if it
has taken its place. When you go back and you say, okay, now it's your turn. I know this is a
little bit manual, but you are now really choosing exactly which ones are going where I will not waste
your time doing it again. So I'll just clear this one. I've already done it around. Do is simply come
back here to this. Instead of bringing
in this one that has the problem of 44
being the same, I'll just bring another version which has a much
better distribution. So let me split. This needs to have one. Let's just call it one and row two, which
is watermelon 1.2. So this is one, this is two. So from whichever
angle you look, you will always have both
of them represented there. This is a lot better. Obviously with rotation. So this is going to be rotated, although they are the
same, there'll be rotated. This works much better for me. Alright, good. So this is the version
on the work and width. And let's now lean this because it has
too much information. I'll bring in a clean out. On four. I'll just keep Position. Normal shop material part UV and these two groups and
the rest I just removed. So uncheck, remove
this one and check. Remove, degenerates
primitives, and go back down, remove attributes,
removed groups. If you say remove everything
that is going to move, everything would start
what we want to keep. So except for the groups, maybe perhaps 40 million underscore one. Underscore two. I kept these two groups. Let me to keep the normal. Except normal except u, v, except shop, underscore
material path. You go, this is all we need. Alright, now let's
have a cool this out. Milan's render. This is the geometry
that will be rendered. However, we need to
add the material now. So let me just bring
the corner. Alright. Material. We're going to assign
based on the groups. So we have group
one or group one. We have here group. Let me just go back
here and choose one here, and choose two. Alright? Let me move this first. Group one, group two, okay? And you will have
the materials here. Now remember, when we were here, we only had created
this as a thump. Well, it's empty, doesn't
have anything anyway. So what I can do is simply ignore it for now and
create a new one. Under water, moves
around the circle, creates a material
material network. And have less builder. This is going to be,
I drag and drop. This should be number two. Let me assign them. Group one shall get
home and number two. Number two.
4. SHADING: I had an output node. Just to make sure that wherever
my display flag is, this will be rendered. Alright, What have we got? We have now Waterman and the grades, we
need to have a ground. And that's going to be
grid, which which will be 2.5 by 2.5 unobserved
coefficient divisions 100, copy parameter,
relative reference. And this is a subdivision
and geometry level. And I will add on top of redshifts OBJ distillation
and displacement, I will activate
unable to selection. This is going to be
the subdivision at render time with enabling
displacement as well, because we will be
using a texture. That texture has
displacement map. Alright, I'll call this ground. Inside. We will make sure we
have some UVs. Uv project. I will make this
orthographic initialize, have material for assignments and then creating the
material NMR magnet. That's our S builder. Let me call this ground. We go back and sign this. And then we have no issue. I want to cool ground. It doesn't hurt to have an output that just
makes sure that this final stage
is now rendered. Okay, So this is what I
have any types of lights. So let's bring in
some night shift. Lie down. Here is a light. Let's go to the lights and
under texture around bringing is a light from HDRI
Haven, outdoor overcast. Choose the one that
works for you. And I'll just copy
paste the part for mine here, minus this one. Okay, I've converted
it already to ACG. So I just need to tell
redshifts you don't need to convert it because
it's already is ECG. Alright. So this is my lights
though. I have a camera. No, I don't have a
camera. Let's look. It's free-flowing. I thought I had looked at. Okay. Nice. So I'll choose a
position like this. Something like this. I'm going to just simply move the ground a little transform. And I will on the objects transform here like this, just making sure I cover. Then perhaps make
it a bit bigger. Three by three. Good to go, correct? Yes, we're all good to go. And initialize that, say, good. Now have this. I've got one material,
material and sign here. This is just a place holder and there are no
protections there. Good. So this is what I need. This is all I need,
right? Let me just save. But for now as a placeholder, that's what I need to do, is I'm bringing the materials, the textures for the
materials that's going to be with a texture. And all they need to do is bring here the path to the file name and this
side the color space. Now if it's an E XR, it is going to be a utility, linear sRGB, this one. Alright? So here's what we have
is what will agree? I will bring the mean because
it's repetitive work. I'll copy paste them. Let me
let me just do it right now. I thought I'll stop recording. I'll just I'll just copy them as they are
and we'll show you exactly what has
been based, right? Exactly using this texture. That's the one disorder. I have the path and I've decided that for this one
because it's an XR, it's going to color. It's supposed to go to color. It's unbeatable. This this is utility linear sRGB,
ambient occlusion. Will be multiplied. So let's do it now. Color composite. That's not what I meant here. Multiply because this needs to be multiplied with the color. It's also needs to be
treated as color as utility linear sRGB because
it is a XR plug-in soon. Okay? Roughness is given
to be treated as rho. Remember, roughness,
normal bound. We don't have a
bunch of this one. But if we had one, it would be treated as
rho, all of them as row. Now the normal
needs to have map, which actually is a normal map. If you choose. Here, normal, then it behaves like a normal. Behaves like a normal, okay?
Alright. Displacement is going to need a displacement. Plug it in here. And this goes to either the bump input here
or if you're using just one, it's going to be a bump
map here is basement. Same story goes to the
displacement here. Now we're onto is just
for visibility purposes. Shifts tests. Dr. this. No, I haven't connected yet the reflection roughness because the
reflection roughness. Good. So this is
the main setup now. We'll do exactly the same
thing for the others, right? So let's go back to the Guatemalan to copy
paste this setup, including the composite bump map onto displacement, right? And I just simply connect
this to the color, this one to the reflection,
roughness, the bump, the bump, which actually
is a normal displacement. Done. Let's go up to the crate. We shall do the same thing. This was called dumped stuff. Great. Same story. We go. This is what I have now, but I also have a
bump for the crate. So how do we deal with the
bump that we do the same thing as we've done for the
normal. It's a bump map. But this time we'll leave
it at default height field, then it's treated as a bump map. Because we have both of them. We're going to blend them. Bump blender, and connect
this as base input. Another one is the layer. Here. You want to go
with a weight of one. Then we connect it to the final. Here. Bump. Displacement
goes to the displacement. And obviously the rest. As usual. Albedo. In this case, I do not have an
ambient occlusion. So I do not multiply, just albedo and roughness,
reflection, roughness. Good. Now this setup is
not ready for this one. Let me just quickly save
the ground. The ground. You can go ahead and use
any texture you want. Brick floor, e.g.
from poly heaven are using this one from
a gas cans, right? So I'm pregnant the
maps and here they are. There's something I want
to tell you about this because b, let me
do the following. I'll disable this one for now. I've handed a know which rules. The scale of sit and rotate. Remember these textures,
they don't have this. You can also scale them
and offset them, right? So texture, Let's just
get a default one. This is the default and
you can change the scale. What I have done is the following. Let me
create a new one. So this is, no, I don't know. Alright, it's empty,
has not been. And then you go here to promise
the interface you grab. I'm trying to replicate
exactly this one to change the scale of the texture
that is on the ground. By default, it's too big
and it will be too big. I want to be able to change it, not just for the albedo, every other map
here, all of them. If I want to do that,
I drove a copy and paste the parameters
directly from here, change it in one place, and then it gets replicated
in all these maps. Let me show you
exactly how it was done. It was done like this. With floats to, then flows to, and then just normal float. Right? On this I called scale on the scale because
it's scaled with default 11. So I'll just keep it exactly
as it was and the detection. And then this was the offset. The offset on default is
zero and this is rotate. Rotate. Good on the
default is zero. Apply except so we have exactly the same
thing that I have here. Well, obviously, because I
still want to type in just once copy parameter and
it needs to be equal. Baseballs reference
whatever I change in the x or change in here as well. So this is how I've created
it and all I've done is simply copy parameter here and paste relative
preference for scale. Same for scale.
Full-scale, say for scale, same for scale for the
displacements in these maps. Now off-set, same story, come back and copy parameter and then you base
relative reference. And then base relative reference
basically as reference. And that's how it is done. Because now let me
just remove this one. It's exactly this one. Let me rename it to controls. Perhaps give it a color. And then say, well, now if I want to change anything of sanitary,
know what I'm gonna do. I'm going to set it back
to when we see what we get just with
the default, right? So now we're back to
everything being defaulted. Would they rather efficient
way of changing the size? Because for the watermelons, we don't need to scale. It is a 3D object. That's the accurate
one-to-one scale with a 3D object to
create the same thing. But my grid is 3 m. It was 2.5 and I added two to three and then put the texture itself. We don't know. Sometimes it's one by one, sometimes a two-by-two,
sometimes it's four by two, sometimes it's eight by four. We want to be able to change the scale here and move it to the offset to find any interesting features and rotate for artistic purposes. Alright, let's now have a look. Let me just say again. Let's have a look
at what we have. We have now a ground
with material assigned. We have so my lungs with materials and create
with material assigned. Is that the case? Yes. Great. And this is what we have. We've got everything now. I have not changed anything. I did. I have okay.
I should not have. Right. Let me just put
this one back to one. Alright, this is, let
me revert to defaults. Revert to the false
because I want to show you some very important
things going on. Let me say it again, and let's open our RenderView. I'll just make a
little bit more space. Open render here, which
are from the view. Right? Let's see what we have. Okay, do I have
enough light here? I'll think I need some
exposure or let's go. There you go. We have a
problem with the ground. Why is it not signed? Quickly check this is
assigned to ground. The ground is this
and I have eight. Scott, quickly troubleshoot
why it's not showing up. Obviously. We are not
connected anything. I just copy pasted. Alright, great. We need to stop this. Roughness, reflection,
roughness. Check. Do we have an
albedo actually for us, I do have a collusion. Collusion. Unless
there's a problem. There is no bandages normal
versus bomb and displacement. Alright, let's do it again.
Okay, humongous, huge. Now, let's change here too. What was it again? It was three. So let's keep it as is
and then change to three. Good, This is a lot
better, and this is now, it's just, this offset is
just an artistic choice. Alright? I'm just
rotating it to give it. Some are just a choice. Alright, so now that the scale is kind of okay, I can make, I can make it like four depending on how
big your times are, but I don't think this
is the right accurate. Scared for tiles. It's
more like a three or 3.5. Alright, good. I will then simply now go ahead and show you the problem
with the ground. Initially. I think I had solved this one already
by default. By default. This is, let me stop this. By default, this is
what you will get. By default, the displacement
is scaled 1.0 to 10 to one. But we are working
with megapascals. If I leave it as is, you might end up with
something horrendous. Let me show you. I'm just taking a snapshot of the ones that
are changing us. Let's click on this under okay, You see, it's outrageous. This is outrageous. You can't, you can't work
with this both for the scale. So 0.01, always make
sure your displacement is small because the default
is not working for us here. Plus, you might notice that the ground level
is not accurate. So you want to adjust
for displacement. For omega scans, the ground level is zero,
so it is naught 0.5. If you say minimum
zero, maximum one, you are telling me that
the ground level is 0.5. Any displacement that's
going down is going below 0.5 and the displacement that's coming up is going above 0.5. But that's not true for
my gas cans where it might be for other assets,
for other textures. For omega scans, it
is zero is the level. So I need to adjust
this to -0.50, 0.5, which then makes anything that's
negative is negative. Now it works. See, we have gained a little bit more
geometry here because it was beneath the ground. Alright, so this is now
for the overall setup. Then we look at the
look that fast, which is working with the roughness here
is just the default, like do not like this. Let me stop this render. Come back to the I do not like just the default
roughness and Z is what I will do
is I'll add a 0, okay, well, what we can do, let's just let me,
let me launch a random because
I'll do something. I want you to see it
before and after. So let me remove this and just launched surrender
before the adjustment. Save a snapshot and
call it before. Right. And then bring in
a scalar ramp roughness. And I'll use this to
just roughness level. This. What I have
here is a ramp. And what I'll do is
activate this and then start playing with the sliders. Now what you can see here, look at this because this is
just one watermelon juice. The first one. If I bring it all the way here, this, this is the
one on effecting. This is the effect I'm getting. Okay? Now, this is
not what I want, but I'd like to do is
something more like this. Perhaps bring this one down. Something like this. Because I want to have
some reflection going on. Good. So this is what I want. This is something I want
to do is I'll copy this and paste it in here as well. For the second Boltzmann
connected here, these are standing in the way. This move them. Alright, now let's make another render.
Look at the difference. Okay? Go, I will take another
snapshot and call it. Let's say if this is
before and this is after. Alright, so this is, this is before,
and this is after. So we're adding that
reflection for more realism. Alright, let's go
back to the top. This be an a. Let's go back to the crate. What we need to do for
the crate as well, Let's just save is make sure that why the solution
displacements are on, because I am using under
the material for the crate, I am using displacement. This is needs to be again -0.5 to 0.5 displacement. I can have 0.1. And probably the same
thing for the watermelons, but we won't notice much. We will not notice much
for the watermelons. Perhaps is 0.1, making
sure one is 0.50, 0.5. Sinful, sick and
Walter minimum, right? Let's give it another vendor. This is too much. Let's stop this crate. Bring it back into 0.01 strip. This is a lot better. We have displacements,
but it's enough tiny. Alright? Maybe even smaller. Maps to make sure that the
watermelons are also aligned. Displacements are
0.0, 1 s, 10.01. Okay, Now we're done. Let me close this one. Save. Okay, and perhaps
tiny bit brighter. Take a snapshot of this.
Film VFX
