Houdini Beginner | Learn by Project | Modeling, Lighting, Shading a Coffee Cup

1. INTRODUCTION: Welcome to this Houdini course where you will learn the workflow from the very beginning with an empty scene to the final rendered image. This course is part of a series of small Houdini projects. You will learn how to set up your project. The importance of references, scale and proportion, modelling techniques, layout, camera setup, lighting, shading with Redshift and iterating on renders. Let's get started. 2. MODELING: CUP: First we start with a project file, new project, and I'll just put it for now. And the F projects and name it, name the folder. These come by default, and I've added one for references, accepted file, save $1 job. It takes me to the folder structure that has been created, an unsaved the Houdini file. Because the first was just a folder. Except this is what I have. I've got my coffee cup holder with subfolders within the file. Good. What's the next step is preferences. We need to break references. Every time you need to model something, you go and get the references for that. I will select a copy, paste these inside here because I want all my information to be inside the project folder. And let's view them, okay, Now you can view your references in a different image viewer. Or you could have them inside Houdini. And inside Houdini. It's either the main view, what you see in here or a separate 13 panel. So if it's a separate floating, floating panel, there are many ways of doing it, but this is one of them is viewers composite view. What I'll do, I'll just keep it inside here. I'll split this one in half. Left, right. Okay. Let me make some more room, more space. Good, minimizing these. And I'm going to switch to this when I switch on taking to the image context, or I need to do is add file and dollar job. I'm not going to take me to references. And by default, you will find it like this. Well, if it is, if it is numbered sequentially like this, because that's what I've done, 1234, then Houdini things. Well, maybe this is a sequence. Do you want me to read it as a sequence? This is relevant for simulations, animations rendered sequences. And that's not the case in here, it's just references, so no, thank you very much. I'll just select all of these and click Accept, not what happened, what happened? They folder has been created. I don t need to press Tab on the image. Network creates an folder and then go inside and do that. If you bring in it, it will know you want to have that it will create it for you. This is named after the first image. We don't want that we need for change to forensics. Good. Alright, dive inside. You got a layout that doesn't work for us because it looks like a staircase. Let's press L to select them and press L will give you an optimal layout for your nodes. One, I want to see all of them at the same time. That's what I want. Okay, let's do it. So let me make it four columns by four rows. And then make sure that's selected, and then make sure the display flag is on. Good. So what I'll do now is just minimize some of those things because I don't need them for now. I don't need them. These are my references. I have too much information displayed these labels on them. They are quite relevant for renders, but not for references. Let's disable the show labeled part and close it again. There you go. Okay. These are my references. This is what we are going to use as a case to demonstrate the workflow for modelling, because this is not about modelling a coffee cup. You are going to model a coffee cup that looks realistic. But this is more than that. This is about the workflow. For right. Now, you have noticed that I've chosen one color for the top, one specific color for the lid, and quite similar lighting conditions, mostly interior. I want to see this whole domain interior. I want to see how the light reacts with the surface reacts to the light, especially the Delete. Alright, now, now that we have this, we need to move to the next step, which is even more important. No, it's not modelling. It's this Kao. Them think, yeah, fine. We can just bring in a human reference scale and continue modeling. Know, there are two situations. Number one, you are making something that exists in real life. If it exists, it has been manufactured and this isn't something in nature, then you just grab dimensions from your references in nature. If it's manufacturers, you have datasheets. So we need to go and get our data sheets. Let's do that. So go to manufacturers of whatever you are modelling if it exists and get the dimensions. Simple. Base, height, I'm going to select the medium. These, these kind of medium stuff. Base top height based on height. Nice. Okay? These are dimensions. What's even more important? Dimensions is proportions, meaning the top one. How big is it on the bottom? 85/60, 85/50, 6 5085/59. So what I'll do is number one, because they are different. You notice this is 59, this manufacturer has 56, and then four. This one's about 60 to think which one should I go for? Simple calculation interval 56 is the men, 60. 60 is the max. Okay, good. I'm gonna go with higher because when I use a larger dataset, I have a more representative interval. This is just an example. I'm just showing you two as an example. And then you do the same thing for the proportions when you calculate 85/60 is going to give you a number, 1.41, 0.5 years, something like that. If I divided by 56 is going to give you another number. Now, you take the minimum, you take the maximum from those manufacturers, five, several manufacturers, and he creates an interval, and that's your proportion. Okay, let me see how to do that now. What if it's a fantasy thing? You always start with a reference and in your concept art, any professional concept artist knows reference scale needs to be there. So you're going to find something like a human scale or something that gives you an indication. But for things that exist in real life, accurate dimensions should be, it should be used as a starting point. You don't want to change it later. That's your choice, but starts with accurate dimensions. Good. Let me just use this one as well. We don't need it. Alright, so let's now move to the geometry part and start making some stuff. Geometry coffee cup. That's what's at the top. And then circle, circle C. If we now start, let me just bring in this, not this one. The parameters. Right? Radius. I'm just moving to the right that explain and give it some some divisions. Now, the radius is huge. If you don't get your scale right at the beginning, you end up with the coffee cup, the size of a house. We don't want that. So radius, this has to be changed. How do we do that? To make it blatantly obvious, this shall be a post-it note. Let's change the color. I can change the color. This was with the C, press C, and then you bring in the column, right? Dimensions and proportions. For this one, I will go with the base diameter. In Houdini, we work with radius, which is fine. You just reduce equals diameter divided by two. So base radius. The proportions, sorry, first the height, because that's not in relation to anything. Then the proportion, what I'll do, instead of saying base radius on top radius, I'll say top to bottom. The number here I have chosen is zero point. I'm just making sure a number is 0.0, 3535. The height is 0.13. The proportion 1.3 is 30%. The top radius is 30% bigger than the bottom. So whatever dimension you have on the bottom is going to be 30% more than that. This is how you make sure not only your dimensions work, but your proportions hold together. So we have this now we can start populating it in the circle. Let's bring it back like this, maybe this now, this is the max. We now can start populating this. This is base circle, base circle. This is the bottom one. I'm going to change it. Number one makes sure that x and z Always, always the same, meaning, copy parameter based relative reference, whatever happens in on the x axis. Good. I can type it. I can type it, you can type it. But when Houdini is, so we need to make sure that we're efficient. Efficient means. If I can ask this circle to read this radius from somewhere, It's a lot easier for me. But I can't ask the circle to read from this textbox while I can do is make it a parameter because this is the parameter. So chill, I create a node and then make it a set of parameters for it to read. This is scale. Then I will edit the parameters. If you are here for the first time, don't worry about that. We just need this number, this number, this number. What are they, integers or floats or zero point, something, one point. Anytime you have the points, that means it's a float. Float. Let's move on. Float, Float, bringing three fellows, move on. Given name, radius or base radius. I will not call it. The default can keep it zero, but it doesn't make sense. Let me put the right number here on. The next one. That's going to be my height. Heights. Heights starting point was 0.13 and it's going to stay like that. But a habit have a number other than zero. This was supposed to be proportional portion on the lumber was 1.3. Good. Right. We're done. Click Apply, not accept, apply, then accept. Then you will be able to see your parameters. What is this? Nothing. It's just not that it's doing nothing. It's just holding the data for you. You want to read it. Let's read it. Let's give it a lovely color fast to make it visible. I want these to be green. Or any color you choose. But I want them to, for ease of visibility, I want to have the same colors that I know this one is reading from this radius, copy base circle based relative reference. So whatever IT engine here, it changes in here. And now where does it go? It's so tiny y, because that's how small a coffee cup is in this world space. Good, right? Are we done here? We have an option down the road. You'll notice I'll be working with open circle. I have closed here. There's no option to work with open. Ok. Now, this is, this is something that we're working with very, very often. The common steps. Why do I not go with open arms? Because in one of the money, the closed one. So it's just a choice. I'm starting with a closed I'll make it open later. I'm just telling you that well, you could, you could start with an open and inclusive data. I'm starting with a closed and open a lighter. Let's get the top part. Transform. Create another circle. Just transformed this one. I'm going to call it top circle. Good. This is my top circle because it's going to be reading as well from this same. All gets my height copy parameter on the TLB, the Y translate in Y based relative reference. There you go, it's gone somewhere. There you go, up the scale as well. Let's not forget the proportion p parameter. I'm saying. Scale this one by 1.3. So based relative reference. But because you need to make sure that they are equal in x and z, it's not distorted. I just copy this 1 m³ and base relative reference. Now you could paste this one here, but it's a choice. I always want to make sure that this reads from this, not from somewhere else. Okay? This way my proportions are accurate. Good. We're done. We're done with these two. We are going to merge. Sorry. I think I can do is just show you something how to make the merge. Let's select both of them. Press Option or Alt, and then drag from anyone unusual, get your much. Good. This is much now, so we have both of them. Next is to create the shape that is in-between because I've got the polygons now in the wrong area. These are supposed the beginning to the empty. Then I'll close this one later. But let's get the bridging part here. How do I do that? Well, first, I need to get just the circles, Just edges. So let's fully pot. And this is one way that's not patch. I meant path, path. Okay, And then same story here. Drag, drag, option, drag. There you go. So we're back to that story of Open. Remember that? Open, OK. It's just because I'm going to need the closed one for something else. Okay. So keep it closed and then open the air. Good. Let's move on. Now we're going to scan this fellow to be able to get the shape of the cup. Nice, it's done. Fantastic. Oh, the normals are reversed. So I need to reverse. The normals are inverted. Okay, there you go. It's just a hollow shape. We will it's quite thin, so we need to give it some thickness to the extrude. Well, I'm going to need something before poly extrude American public street for now. But you will notice when you keep working overtime by experience, you will note that some nodes create overlapping points. Let me explain this. In this merge I, it tells you here 160 points clear. Now, when I did this skin, I ended up with 162. Whoa, don't Amendment. Where did this come from? Okay. Well, I do know it's overlapping. So I'll do because the circle may have been not properly close in terms of points, some were overlapping. And then when you scan, it does duplicates the points at the closing of the so-called 1.0 point, point down, that's two points. I'll do is fears. That's something you develop over time with experience that, well, you don't want to have duplicate points. They can have some nasty results later. Fuse. Make sure your views is not excessive by default for something that looks like this, It's okay. Then what am I getting? 160 points. That was my starting point, correct? Yes, that was my starting point. Good. Now, this is out of the way. Let's go back to our extrude. It's gonna be something quite tiny. We're just going to create a little depth in this. Cop, distance. On the go, we have created a tiny, tiny, tiny wall here, just a bit of thickness. Now, I don't have the insight by default. Let me do that output back, and there you go. You've got your inside part as well. So this has enough thickness. Why do I want that? Because I want the inside to be treated differently, shaded, differently than the outside. These cops come in two variations. You either have it brown inside and brown outside, or brown outside. And inside is white and the lip is white. Not delete the lip when it's open. Okay? This is gonna be white and outside is going to be brown. That's what I've chosen, and the liver is gonna be white as well. So what do I need to do? Simple, this is my starting point for everything. I will just split. Now I don't have enough to split, but let me show you first we split. I want to split the inside with this narrow edge here. I want to have them separate and then I want to have the exterior separately. How do I do that? I just need to select my group, but wait, I haven't created any groups. Of course we need to go back and create the groups. I'll do we do that. We'll extrude, has the option of exporting the groups it has worked on. So I just create these groups and give them some meaningful names. This is my outside and inside and stuff. I'll just call it white because well, I know I know it needs to be white. So both of them are white. Meaning the inside edge here is white. Good. Now I have my groups and I can set x, give me just the outside, please. Split gives you hear what you've selected and here all the rest. So let's get a no for having just to have a clear as this workshop. Just want to have everything clear. These nodes are not doing anything other than making sure, you know what's going on. This is for the inside. Okay. So you see the inside? This is my inside and this is my outside, and both of them are in here. Good. Now we can work on them separately because this needs to be treated differently than this and grouped differently. Right? Now. This is another way we go now to move to the lip. And the lip shall be taken from the transform from the top circle because the lip is up. Let's take it from there and say no. For lip. You don't need to add these nodes. I'm just added them for clarity. Okay, I'll keep repeating this. Just makes sure that you know, what what we're doing and why we're going with this part. Okay, I'm starting with this one. I'm going to make it a little bit bigger than one. What you could do because I need to do is in relation to the crop itself. The lip is slightly bigger than the crop. Water. Just template this one. Click here and the templates, the rest of the cop, right? Let's work on this one. I'm going to transform it, making it bigger. This is how big is this? Make it this big pot, making sure not a lot actually. Both. We go but making absolutely sure that copy parameter z and x are the same at all times. Here we go. I have now a starting point for the lip. These numbers are what works for me now you can change the numbers the way you like. Good. We don't need the polygons are completely perfect as well. Why is poly path? And then you go, you have a starting points to fully wireless. That gives you, by default huge radius, which I'm going to bring down to something meaningful. This is to a G. I will go down to the divisions and all you have for ago with 16. Good. And this transform here. And made sure that when I will just merge them. So that you can see when I bring in these two together, this one, they are perfectly aligned. Hey, nice, Good. Okay, So what's next? The lip is now kind of reddish. We can move to the bottom parts, which is quite an easy one. Now. We take the bottom from the base circle. So this is for button on the Pacific. This, I just get one polygon. I need a bit more than that. I can go with the poly Extrude or, you know, what? We need to show you some more nodes thick and that's taken is one that you can use. It's already has some defaults created. It's like a poly Extrude with preset defaults, easier to use. It, That's quite physics. It takes care of a lot of stuff that you don't need to take care of yourself. They can. And the radius, again, the depth is huge. Just tiny, tiny bit. That's it. This is the lower part. We bring them together as well, and that will give us, let's change this to this, these two here. Remember this one. We call this is our cope with everything including down but wait, hold on to them and they don't come in this shape, do they? Because generally this bottom path is elevated. So let's create exactly that little gap that you have generally transform the wrong. That's what I'm going to transform. I'm just moving it up by this much salt on it. Okay, now we have our starting point. This is the cup that is without delete. So generally this is as a base mesh. We haven't added any new these we haven't cleaned or stop, we haven't. And at any material stuff, this is the base mesh for a cup without delete. Now I'll go and I'm going to do is create the starting point. You know what? These are? These lines are going to start messing with each other. What I'll do is Shift S, that's going to help a bit. Make them look a bit more beautiful. Organize this better. Let's clear this mess here. Because I want, hopefully this is working. That's supposed to be number three. So this goes there. Yeah. Okay. Just making sure it looks okay. Right. The lid where do we get the lid from? Where it needs to start from the lip? Because that's where its position is and not four, but from the transform, this from the size of the team, the real size of the lid. And this is sort of the lip. This is my starting point for the lid on ticket from here and save up for it. You are going to notice later I'm just connect this one as well. Later, you're going to notice that once we keep working on this, there's gonna be a lot of stuff. And this nice concise graph is going to look really huge with some small steps, a lot is gonna be done to reach this shape. And instead of having it all here, I can create a folder. So what I'll do it like this subnet subnetwork, which is nothing but a folder saying, well, I can call it make it. So we'll dive inside, will make the live inside here. And when we go outside, the output is well, the lid. Okay, let's do that. Let me just go inside. And what I'll need to do, we've got a surface. I want to see the lid in relation to the to the cup. So what I'll do is bring it back. I didn't create it. Now, I'll do I'll just create top, bottom or create here a duplicate. So have seen abusing people. One is going to show me the lid in relation to the cup, which means everything. And one is only when I'm working on this way, whatever I do is in the right proportions, at least visually you see it, nothing is going wrong. So how do I do that? Very simple. I make sure that let me see. I'm going to call this one from there. That's got it. What I'll do, I can connect it later is have this one selected. This one, template, template, this one. And I bring this, I can freeze or pin the selection, meaning stay here. If I go inside the subfolder, don't follow me. Click frozen the views for us. Just look at this bond. Now. If five, this one is not frozen, this one is frozen. If I go inside this one, I can work on both. See it in relation to the cup, and then work on this one separately. 3. MODELING LID PART 1: First let's reverse the normals because this is pointing in the wrong direction. I'll go with a reverse. Okay? Then I will need to make this big enough and bring it down because the lead is supposed to cover all of this. Let's have a transform. Transform. We'll have two things. Number one is because we're going to start from the bottom and will go up. Okay. So we'll bring it down tiny bit like this, right? Just about enough here and make it big so it covers the lip here. That's gonna be 1.65 because I need this to be equal copy parameters. We'd said based relative reference. Good, There you go. Now, this is your starting point. We want to go from the bottom and go all the way up. And it's going to happen in a combination of going up, an inset up or down, and inset up or down the inset up or down and insert a few times. And that's how we'll get there. Okay, let me show you that we do for the extra two. So fully extrude. Let's call it up one. So we're giving up. And we'll do it with this much. Alright? Alright, I just have this one hard. I said, okay, then what I've done, what I've done is use the distance. In other instances, I'll be using another option, but for now we use the distance. Okay? Let me export the front group. Not just output the front, but create the group for that. And then use this one in my next poly extrude. This public street is going to be an inset instead of one. This inset. So I remove this and I'll make sure every time I'm using the extrude front group that came from the one before. Instead by how much? This much. Now, what do you see? Can you see it's a very, very, very tiny is this one here? See, it's this tiny insert here. That's what I mean by this. Okay, good. Let's go up again. So I'm going to say up, is I need to export. Yes, extra font is already activated because I've copied it from the other good, from the other node, right? This has to use extrude font and export it again and distance. Let me just check the distance again. That's going to be this much. So you get the idea. We're going to be moving like this, up or down and then in set up or down and then insert. So let's bring in another inset now, drag and drop, Alt, drag and drop. I've got this one selected. We're acting on this and we're re-expressing it again. Okay, good. The other inset showing B of this magnitude, that's going to cover this part here, this part, right? And then we're going to go down, is copied up and cool it down, down one. To be able to create this tiny gap, gap that you find in here. There's a tiny gap coming down. So that's what I'll do is by how much I could use it here. But for a change, I will show you that sometimes it's safer to go to transform X to refund global, global. And you use this instance for the y. You could do it either in distance or in here, but it's safer when you use in your moving in global scale, safer to do it here. This is now going down and then there is an insect again. Insert up or down inside of our data. Inside of our data. That's what we'll do. Copy, paste. There you go. This is my son, the inset. Actually, I should leave this one alone here and then show you here, because this is just to show relative to the cup. This is my inset. Go up, we go up. We're just keep in mind. We're using this as a group and we are exporting. Again. I didn't need to tell it to do it every time because I'm copying a node that already has this in there, I will copy paste this one is called cope up 3.6 kip. Use it to transform the global, transform global. Um, this is this much good. And then we have another inset by this much. And we should be, we should be fine with the next step which is down too. Should be done like the base shape is going to be there. For the most part. C global. There you go. Okay? This is now, this is now what we have. This is the base shape. We are good to go. This is the starting point for further work. Now this needs to be cut. Let me show you. We have this needs to be caught. So this one needs to be caught me to lower this part, we need to create a whole big hole here for drinking. And tiny, tiny hole generally. Sometimes you have here but I prefer to have it here as if by accident it almost never happens. But if by accident it spills on your finger, on your hand. But if you have it in the middle, the middle somewhere here, then it does not. It just spills here. You don't get it on your hand. So let's do that. But I will need to export one more group here. I'll come back to it. Okay? So what do I need? I need to split split water to be able to work on individual parts. I need to split them. So what do I want to work on? First? I want to work on making the drink in home. This bit here. Let's make that. To do that, I don't need the whole geometry to drag the whole geometry with me every time I need to do something. I just need this upper part here, sorry, this, this, this circle here. That's all I need. How do I get it? Simple? When I did my insect, remember, this was an inset. This is a down, down. This is an inset. Well, this inset has done the work already. It's already there. I need to output the side group. It's already there. I just need to make it into a group. Once I have it, then I come to my split here and say, you know, that group side, give it to me. That's what I get. I just want to work on this one. The split gives you on this side here the rest. So why don't we show what we've got. We've got no. Again, the nulls are only to clarify for you what's happening. I think for drinking homes and I'll drag except circle. You could call this drinking circle. Doesn't make any sense whatsoever, but you get the idea. This is this, and this is everything else, but this top circle, right? Okay, We'll work on this one separate. Make some space here. Alright. What are we gonna do? Simple, we're going to make a whole row is done with the Boolean. Boolean using a sphere, a distorted sphere. So let's make one sphere, a tiny sphere. That's going to be with these this size. 0.00, 30.03. Can you see this sphere? Now? You can see this view. Why? Because it's a tiny sphere and it is at the origin. Wait, what do I do with this sphere at the origin? If I want to make a Boolean up here, 20 to bring this one down, no. Or you need to bring the sphere of how do I do that? I'm not going to transform and transform it until it matches, eyeballing it and then maybe missing it. Don't waste your time at that. Just matched toys, which does a little bit more than matching the size, matches the position as well. This takes the required GMOs geometry to move, move this sphere. And we read here, much size. It has jumped. Good. What do I have? So if I say show me this one completed, I mean, you get it moved to the center. Why the center? Because if I look at this much size, actually in this case match position translate. The size, is this activated? I can activate it, but I don't need it. I just need this. It says center. What I could've done for the z axis, this is the z-axis. Well, I could have done is change it to a minimum and then starts moving it. Offset a little bit here. But you know what, It's a lot easier and simpler and clearer. Just have a transform after them and say, Can you please move a little bit? I'll do that here. Z-axis separate. So if I want to move something, I don't need to get inside the image size and then start messing with offsets and minimums and stuff. It's possible but simple Transform would do. I'm done, I'm done. So all I need to do now is pulling. Every time you put in two things that are not of the same nature, you need to change the type, treat as well. Sphere is a solid and this looks like a surface. So I'm going to plug one on his side and the other on another side. Here. Let me remove this template here. I need to make sure that my sphere is treated as a solid, but my b, my surface is treated as a surface. So I'm just select this surface. Here, it says a to b. And what happened? Well, this one got cut, but that's not what I want. I want subtract B from a legal operation. You could do whatever you want with a boolean. All these operations we work in with subtract. So I'll do it with the p minus a, not a minus b. There you go. You've got to drink it all. Nice, We're done. Let's move on to the next. Let's merge it back again. Merge with the all except we've done the work. Thank you. Let's move on now. Good. What's next? Next is making sure we cut this one in half and then we can work on each one of them separately. One needs to be lowered and the other one is to have a very tiny hole. Okay, let's cut them from this except all this one I will split. Now what I'll get is the other group which is front, right? To make money doing things right side on this is supposed to be all the rest. Okay. Then here, I'm supposed to get front only. Yes. There was a problem in the view port. It didn't show it at the first. Okay, So this is extruded front, which is just the top primitive. Let's cut it in half. Not really harmful. Well, we'll look at you can use operation strategy is a very big word. Operation, remove or cut. What I'll do is I've got my points, not foreign 36 already know that because I'm using AT divisions. And if I look at this, I've got a point numbers. Okay? I will cut it 4-36, and this gives me this, but this is the Remove. I need a real code. Just know what God, just keep everything as he hasn't cut it. Simple. Let's say. Good. Now I've got two primitives. I will select this one procedurally, this is not possible, so I'll just highlight it in red. I like to highlight sometimes stuff that is not possible in red. And what I'll do now is I'm trying to do. What I'm trying to do now is group IRange grew by range. Okay. I'm trying to do is select one of these two in a procedural way. Saying, well, I'm going to give me, give me a group of primitives. One of 21 of its group, one of them. It pick the wrong one. Okay, fine. I don't care. Give me an offset. Okay. Then it picks the right one. Good. Now another aspect, this right one, what I'll do is I'll say split and use the group one here. And on this one what I'll do, I'll just pull extruded. We know that the second primitive is here. So the first one is here, and the second is here. The one that needs to have a whole tiny hole is gonna be here. I'll come back to it. We'll extrude. This is my transform. Global. That's what this is what I need. This is all I need. Well, I can't see it here. And this is meant to be useful when I connect to the output. Only then, because that's sub network, regardless of where you are, you have your display flag. It will always read from your output. So if I now merge this here, it will show me this. But to make it, to make it useful, I need another merge that simply print it, brings everything, all the bits and pieces. Here we go, Bring the other bits, which is here as well. I think. Yeah, then we've got the full thing. I prefer to have this one visible with the full cup so that I know what I'm doing. Because it reads from the output. This merge is only for visibility, right? Again, I'll do the same thing. Which Shift S to make these curves look much better. Old and not you. I'm not sure. Sorry, Control Z. That's that didn't work. I'm just move this one alt and move this away. That's all. Just make it a little bit of space here. Okay, good. That was for accessibility purposes only. This one is done. Let's move to the other primitive, which is a tiny, tiny hole. This is the one that will get the tiny hole. Same story. You want to make a hole in a primitive that's gonna be sphere and Image Size and a Boolean with some transforms. So let's bring in a sphere. This one is going to be really tiny. That will be, instead of using this three times, I'll just come here and making this one smaller. It's really tiny, believe me, it's very small. You can't see it Here. It is there. Believe me. Let me bring it opening, see it. I'll do it much size, bringing it up so much this sphere to this tiny, this for Tony, how this primitive, primitive form. Primitive. I know whatever size it has jumped. Now it is there. You can see it as a Boolean. Same story. This is a and this one is B. It actually doesn't matter much. As long as you treat each one the way it's meant to be treated, you get the right operation in the Boolean a versus a, B versus BA. Put in here, the first one, the a is a solid sphere, the second is a surface. So when I come here, what do I get? Well, b minus a. There you go. This is your very, very, very tiny hole that we've created, the primitive. Now, quality to move it a little bit because it's not mentioned the Senate between the center. Most of them have it somewhere here. Okay. So let's move it. Let's move this. I'd like to change this one to be able to see it as well. I'll move this here. Instead. This vacancies here as well. All right, transform, transform it after the match size and before the Boolean. And I shall move it by a very, very tiny amount in the z direction. And then you go, this is what we have here, one for drinking and a tiny one for just make sure that the cup doesn't squeeze when you when you drink it. There's some evacuation thing here. It's called airflow. Okay, next bit is going to be to merge all of these together with the rest. With absolute rest. That's what we already have in here. Bites, we've done it. You used to be for visibility. Now, For real, this is the full thing. This is our starting point. You could consider this one as a starting point. Of course, we're going to add some finishing touches with the beveling and everything. But you have choices. If you want to stick to this shape which is rather flat, then this is what we have. If however, you want to have something that looks like this elevated or this elevated, then let's do it. Show me. Now. First off, let me look at the number of points, 1131. We have, we have done quite a few Booleans and quite a few operations. Poly extrusions and whatnot, fuse and this kind of stuff you just developed by experienced that quantity to seven operations, you end up with duplicate points. Now, be very careful with diffuse fuse is to make sure that any duplicate points get merged. However, the threshold snap distance can be dangerous. Have you noticed we've lost this tiny hole because it has considered that all of them are supposed to be merged. That's not what I meant. So I need to make it even smaller to make sure that this is maintained. And only those that are perfectly overlapping on each other on merged to have a tight geometry. Okay, good. What have you got? 889 points. What was this at the beginning? 1,131. Right. So we want to make sure our points are not duplicated. Good. 4. MODELING LID PART 2: Now we shall move to the part where we elevate this drinking side here, this part. Now there is the simple way of just selecting the points and moving them up with a soft transform, because that's what we're gonna be using, not a normal transform. But I would rather have you learn more techniques, especially that we aren't Houdini. And Houdini makes great use of attributes, and it's a great time, great opportunity to demonstrate the power of attributes. So what I'm going to do is have procedural selection of this area here. Let's do it with attributes. How do we do that? So number one, on, say, this part's not this one. This one. This big ball is going to be for selection. For the elevation elevates. The ring. Can cite. What do we do? Remember one. This is going to get, we're going to use an attribute. So we're going to tell Houdini, you know, what? Those points that have this attribute. But I'm going to create, move them up. And everything else you keep your senses. Okay, so how do we do that? Well, the simplest attribute to create is color are the most common, but you could use whatever attributes you want. Let's go with color. I'm gonna give this one black color. Black. Why is it black? Because it's zeros. And I'm gonna be using one of these numbers. One is going to be zero, and on the other side is gonna be one. So I'm telling Houdini less than, you don't care about the black and red and attributes stuff. Just look for the numbers. If you see a point that has a zero, keep it where it is. If that point has a one, move it up. What is one? And our HelloWorld one for this one is red. What I'll do is I'm going to use this very same sphere, the abused in here because it's reuse it transform. I'm going to take from this transform, this one. Okay? And I'll say no, Just to clarify, bring it down. It's time to make some space. Down here. This is for the eating and drinking. This sphere we're going to use for the veterans reconcilable in its current shape? It's only the size of the hole. I want a bigger size, be able to cover the other primitives. Simple. You go to transform and make it bigger. This is where we are going to learn some more techniques. So the scale is going to be spraying this one a little bit down. Notice the scale is going to be in the y. Let me start with this one fast because you can see it. Okay? So it's now bigger. Used to be one. To be able to cover more of these primitives. I'm going to turn it into two things will break now because we are working. How far are we from the origin of where we've created this sphere? We're this far, quite far. Okay? The height of the cup far. So if I now tell this to scale down to 0.5, is going to jump over what just happened. Well, it has scaled based on the centroid that was created back, was at the origin on the Y. And we don't want that. So how do I tell Houdini that I actually meant to scale it and keep it where it is like scale in relation to its position. Don't move it. Simple. Whereas the private, private is its own centroid, which is dollar c x for the x, dollar, for dollar, dollar for the set. Simple. Now, it's back to where it used to be. Let's show this. Good. Now we're covering how many primitives? Primitives, I guess this is good enough. Squeezed it because I don't want to select the other primitives. Alright? Why am I working on primitives? Becomes, I don't want, if I work on points, they are going to cover more harder to select the sphere. Okay, I need to do it manually and I don't want to know that. And I might end up spilling on the other sides here the primitive. So what I'll do is simply started primitives. It's lot easier and give them a color. Color, color. Remember, this one was black. I don't need to remember anything. Going to make it look black. And this one is red. And I need it to be at a primitive level. Same story here. Let me go back. Primitive so that when I say an attribute, transfer requires some energy transfer from the red to the black. You go, when you click, it turns, all read anything. This is not what we're supposed to happen, right? Because this is just a sphere that covers this. It's supposed to transfer the Read Only these primitives here, not to the rest. Yes, because our threshold attributes now, primitive, by default, it knows you talk about color, but it doesn't hurt to be explicit. For primitives because we're working with a primitive color. Then conditions, this is threshold is really a lot. So what I'll do is reduce it until I get only these primitives. And I've already done that. So I'll just get the threshold, which is 0.002. Now if you move it to bed, you cover more or less primitives, but this is all I needed. What have I just done now? Simple, I have given these primitives something unique that makes them blatantly obvious. To target. If I want to target them, I can see them. They look different than the, than the rest. If I can see them within, you can see them. Good. So if I consider an attribute, then Houdini can see them as well. What do we need? We need now to start, start the soft transform. Now, I need a step before this, but let's put this off transform, soft transform. I plug this one here. Nice, Keep it going, this one. Let's expand this for now. I need the y for x and I need this important soft radius. And the radius is going to be critical. However, soft transform, before we even start talking about anything acts on points. And I have primitives. What do I do? Symbol, attribute, promotes. I'm going to promote from primitive to points from those color. Then you notice now that these colors here become used to be hard. Look at this. This is the output. This is what point is this is with primitives software because this point is read, this point is black. So this one is saying, half, this primitive is mine, that one and say, okay, this half is mine. It's black and it's fading. Summer is the point. So it's not the primitive. Why am I doing all this? Because this one talks two points. And if it talks to points, we need to give it points. So now that we have, for instance, I can say is attribute promotes. And I need to turn these ones into a group. Now we need to group the ones that have one, which is red. Let's create a group. You could do it with the group bought. What I'll do is because we need to find excuses to teach you more stuff. What I'll do, attribute triangle, we're gonna get into a dangerous zone called the x-coordinate. You think it's gonna be really simple. Really simple. You know, this, it's this simple. Let me, let me type in plain English for you. I'm going to start with these signs, which tends Houdini don't care about this. I'm not talking to you. I'm talking to myself or to the audience. This plain English, this is a comment not code. Points are red. Put them in a group called give them more of a name. I'll just call it red points. Red points. Now let's get it a little bit closer to the formula. We still keep it as plain English. If color red is higher than zero, we know the red, black is zero. If the color of the red channel is Color of Law to ROI of the red channel is more than, it's higher than zero, which makes it closer to red. We're increasing the red. Then do the same thing for them in that group. That's what I mean. It's still have enough space here. Otherwise it's going to go this way and keep moving it and we move it to code. It's very simple, very, very simple. We are going to tell Houdini, if this then this done. Okay. The color, what's the color? How can I tell the red channel of the cornea? Simple vector at CD, the color x x, y, z, x is the red channel is the channel XYZ RGB is higher than zero. As the condition we're done with the condition. Then create a group, put them in a group. So create a group, group and call it red points. Red points. This action is true. Make this action through zero is false. One is true. Simple. That wasn't scared, was it? So this is a way of creating a group. Now if I see, I've got some leftovers that needs to be cleaned. Primitive groups from the extrude era. And I've got my newly created point group. Now we'll do some cleaning. Step. Don't worry about that. There's a step where we go through some brutal cleaning of everything to have a clean geometry, lightweight geometry. But for now we are going to work at this point group. Okay, good. Now that this one is done, we can use the soft transform because the soft transform talks to the point. And when you click, you don't see any primitive groups because it only talks to points, red points. Okay, Let's have a look. Nothing happened because we have not asked it to do anything yet. Let's move it a little bit up. Move what? Those red points. You click anything, Something happened, but don't think that's what I wanted. We noticed something happened. Again. Yeah. It's moving the whole cup, the whole lid. It's about the radius. So the radius is too high. That's half a meter. I don't want just a tiny little bit. See, when you reduce the radius of this fall off, then you get this done. Well, mostly with the overall shape before polyethylene. Should we make some room and clarify things a bit by removing the color. The color has been useful. Thank you very much, goodbye. So let's remove the color. Clean. Actually, what I could do, good clean everything. Yeah. So you have the possibility to clean using attribute, delete, group delete, or simply go with green. But this clean is a bit dangerous. Dangerous if you just keep it as is. This remove degenerate primitives. It does remove primitives that you need. So keep it in and just say remove all attributes, all groups. Which means I have now successfully assassinated. All the red points group, extrude front, extrude side group. And the color that was very useful in selecting. But for now, thank you very much. Goodbye. What I could've done is group delete, attribute delete. Because the clean can be quite brutal. If you don't know what you're doing. So Group Delete. I can say group on everything, star, delete everything and attributes. Just delete everything. Points. What I've got here are colored points, vertex nothing, no entries. So this is a bit equivalence of what I've done here. Could do it with the Clean, could do it with this. Alright, choose whichever one works for you. For now, I'm just going to go with a clean and making sure I deactivate this, remove degenerate primitives. Alright. This is our final base shape. Is this still a base shape? Yes, because we need the final touch of polyethylene. Now, have you noticed that there was that story of degenerate primitives. What I need to do after poly bevel and it's just gonna be even more messy. So I need to fuse again, but not now. First we played bevel. Okay. What? I want to put it beveling to be clean because I know endpoints. Okay. Let's views. Using is one of those things. Let's, let's use this by now. And again, we're gonna go with a very tiny number to make sure we don't lose this tiny hole here. We're good. We're good. We're good. I'm going to fuse. Ended up with 877. We have here 889. We did have problems with some points. Okay, Nice. Let's move now to making this stuff look much more like a coffee complete poly bevel. Want to bevel this one I'm going to do manually. Okay. Polypropylene, what I'll do is simply select, I'll break this one. I'll just close this one for now. I think. I'll focus on this poly Bevel. Select, select here edges. Let me close this one again. Edges, I select these ones. I'll do poly bevel and at multiple levels, these big, big ones are going to have a wider polypropylene. Tiny ones that you can see in here will get smaller beveling. That overall shape looks quite nice. So Shift, double-click, you get almost the whole circle in this case, because these are for some reason not included. But for now, it's okay. I'll make sure I select only those that are visible. So let me click back again. I don't want to select something by accident. Shift, double-click. You go. This is about this. I think this is what we need. Now. This is what I need to call it bevel. And I wanted to go a distance of this much, but I want to have quite a nice round six division this way. Okay, Good. This part is done. I'll do the same thing. I'll just paste this. I will change the points, but before actually teaching the points, every time I do poly bevel in, I feel the need to fuse this fellow. Fuse it with this much what I can do it after the first American to offer the second analysis. After the second. That's fine because it's doing the work anyway. Let's do it after finishing polypeptide. Let me select my points here. Edges, I mean, so deselect this and then I'll select this tiny, tiny, tiny ones. This one, Shift, click this 12 or three hidden here. Let me get this one. This one. This one. What have I got? I've got five circles. These are going to be treated differently. Click, Okay. It's too much here because I need to change the, I've just copied it. I need to change the distance to something much more subtle. Divisions. We don't need that many. We just need three divisions for these. Okay, Let's polygons. We're good, we're good. Now fusing is going to be less problematic for the next step because once we move on to the next step, we need to have everything right. All I need to cover is this edge here. I don't like it. I want it to be poly beveled. So what I'll do is simply selected. Placenta, and half your desired distance, number of divisions. Or it could go with six or less. It's an aesthetic choice, right? We're good to go. Okay? And when we are good to go, what do what do we need to do? Well, fuse every time you use dendrites, tools like polyvalent, stop and whatnot, make sure you fuse. And every time you use, make sure it matches the size of what you're working on. This is too much, much lower. This way, I get to keep this tiny hole as well on the geometry, so they're good. 39673967. It appears we didn't need it, but it doesn't hurt. Just a good habit. Now, let's clean again because do we have anything to clean? Be big money to clean and stuff here because it's gonna be cleaned anyway. Alright. Alright. Yeah, I think it's okay. We're good. We're good to go. So output, I don't need to highlight it. I'm going to have the display on because automatically it picks up the output. If you have this note in there, if you deleted, then it's going to rely on your display flag. Let's go back. Now. We can have a look at total view. Select this here, and select this. 11 of them has an issue at mismatch of attributes. One has got a UV and gentlemen, it's got normal. Okay. Okay. We'll take care of that. Don't worry about them. Don't you worry about them. Okay, good. Now that we're done with this, we need to move to making sure each one of them has only two. Really have a bit more space here is that you have the possibility to see everything. I want to create groups, but before doing that, I want to give them proper UVs. So this needs to have a UV. You type in WV, and you end up with a massive toolbox of UV tools. Fantastic. The thing is, it comes with experience that some shapes are just lot easier if handled with a specific node. This case, all I need is, well, project, UV project. I want to project using orthographic box, cylindrical. This shape is cylindrical. So I click project. Now you need to make sure you have it initialized to best plane. I think it has picked up this because I've done it before, but it may look a little bit distorted the beginning, just initialize it. It will do it to best plane, right? Same story for this one. It's the same thing. It's a cylinder. I know it has some edges here, but it's a cylinder. So what I'll do is UV project, copy-paste this one on, initialize it. Okay. Cylindrical. We're done with the UVs for this fellow's, we move to the next one, which is the lip. Where is the lip? This is the lip. This one. Okay, Now let's use something else for the lip UV rap. Because it is not a straightforward one. I will simply say, well, I'll just keep it as it actually, as a matter of fact, let's split this 11 of them is going to be my UVs. You the viewport. That's what it shows me. This was my UV for this. This is the UV for this one. This is UV for this UV unwrap. And I'll go for this bottom 11 of the easiest ones to UV unwrap. I just say option Copy paste. And this one also gets a UV unwrap. And that's what we get now, we're not using similarly the space here. So what I will do as possibly a UV layout. And I'll say make sure please that I am using use scale islands to match their surface areas. And I do that, then it takes care of the proportions. Not one is bigger than the other one compared to what it's supposed to be. What I'll do as well as due dates for the next one, which is the lid. And the lid is not the most straightforward one. So I'm gonna go with another unwrapped. But because it's going to be a black color, you see it here, just the black color. I'll be using some textures for imperfections. But what I can do for that, I can use try planet projection. So what I'll do simply use UV unwrapped UV layout just we make sure we're using optimal distribution. And the most of what we have of the space, we have islands, skin on, swash their services, and the default works just fine for us. Okay, good. What have we got? We have got everything with UVs. Now there's something that has a mismatch with the normal because we did not create the normal at the very end, we'll fix the normals. Okay? So step number one, after getting all the base shape, right, is the UVs. Now I want you to have your stuff a little bit organized on use this, bring it down, make it a little bit. Let's make some space. Press C black, collect UV's. That's for all of them. Make sure everything belongs more or less in the same place. Okay, good. What's in here? I've got this look at this mess, look at this mess, look at this mess coverage num non-compact. What is this? Well, this came from the layout notes. Some of them have layout, UV layout, some of them don't. And the UV layout creates this stuff, coverage and stuff should you want to work with that at this stage is just making it this top heavier, the geometry here. So we're going to clean. Clean, right? I'm going to make it this car. And what do we want to use in the clean, simple? I want you to remove everything. Remove all attributes, all groups except the UVs. Because if I remove everything here, it will give me b. Oops, where's the UV? I've just worked on my UVs. They're gone because it has killed the UVs. So how do I tell Leni, dude, don't touch the UVs. It's star for everything with this. So in here, which is except, except UVs. When I do that, then I get my UVs back. Vertex attributes, UVs. This is all I need. Arrays, everything. Just keep this, Okay, and copy paste the same story for all of them. May be thinking, why don't you just do it at the end? Because I want to group each one of them separately. Okay, I need to create a group. So this needs to be why? Close this and then put it here. Then it's not supposed to be like this. Should read from here. This should be here. Another 131. This is becoming quite annoying. Let's call this whole thing Alt, drag, connect. I'll drag, connect on drag and connect. You go delete. Now I can get my message. That's it. Simple. Do we have a clash? Do we have a warning? There is no war in with the normal. Okay. But we don't have normal. Okay. Because we have removed it with the clean. Okay. So now we need to have proper novels. So normal. Because for this one, I don t need to have them all separately and I need to create some groups here. So what is this? This is a, let's call it, this is a cop outside Corp underscore outside. Lets us look at this cup outside. Outside of the cup, we don't need the UVs anymore. Let's look at this. This is cop-out side. This is the group number, the group we say group one. I can read it directly from the name by saying dollar. Read the name of the node. And that is going to be a group. Wants the group here. Primitive group coupled side. Clear. That's all I need. Position. Uv's. Later on, I'm going to add the normals to everything and the primitive group. That's all. I can use the primitive group for material assignments or for any other purposes when I export. Geometry. Let me drag and drop this here on. This shall be the inside. The inside, I mean, including the top edge beneath the lip. Same story here. Same thing here. Why go to all of this? What easier? Another group? And this should be, what is this group? Space? Clean? What is this? Not? The lip will happen to the liver. Display issue. Clean. We've got removed, degenerate. Did I not tell you Did I not tell you? It is one of the most dangerous knows. Some of the some of the okay. Yeah. I have to disable, remove degenerate prints. I forget this. Sometimes. It has removed those primitives because I could actually do is use this. Fuse it after the poly wire. Excuse it. I still have. Let's check in here for those degenerate, degenerate story is going to be still there. Zero. Right? If I activated degenerate stove, there you go. Diffuse has fixed it. Okay. Okay. We don't have an issue with that, so but I keep it out for now. Good. So this is my lift. Then. There's my, what was now. This is the bottom of the cup. The famous lit one with the most work. See how it looks like this. With this sub network folder, you don't need to have all of this stuff. Just for visibility purposes. A lot better. If you actually want. This is an HDD on itself just to have an input with a circle maker HD. But for now it's just a simple subfolder. We're done. So I need to do is select all of these connected here. I'm going to merge. Let's visualize this whole thing. The right UV scale for everything. Nice. We're going to add our normal. We don't have it here, just have TUV and the primitive groups. They useful primitive groups for shading for material assignments. Now, I have B and a new V. Now we have everything we need and only what we need when it comes to exporting a geometry. Don't do it in a messy way because the size is going to be huge. The more attributes you have, the more groups, the more mass you have in here, The heavier your file. Now imagine doing that on a simulation would suddenly frames. That's just going to be unnecessary. Ram usage for nothing. Okay? So this is lightweight, only what you need. And we have reached the point where we reach now. The famous know is named out. Cope with late. Obviously you have the option to say there's another COP without the lid. Consists split. Give me the lid here. I'm saying give me everything. But delete everything except delete this as yeah, I could do that or I could just do it like this and also have the lead separate. Should I just want to delete separately for whatever reason. But if you want, now, when you reach this stage, you're done. We'll just now exploring options. You've got without the without the lead. This is just the lead ball. Chances are you want to have it in the right place. So transform. If you want to have a little table, something like that. Transform on this one, how do I move it to the origin? Because this is like flying. I come to the Translate and I say, remember that story of dollars cx, that's been relation to the centroid. I'm going to say is minus dollar Cx, which is ticket back to the origin, minus dollar c x. Same story. Minus e, y minus. Dollar. Now what happened now? It, it is really at the very origin or the origin. That's not, if you want to put it on a table that's not less than zero. So the half is on top and the other half is at the bottom. If you want to have it all as sitting on a surface, then you have another transform, sorry, just match. But you can have another transformative it manually, but it would make sense. Or you could use a b box, which is another way of doing that. Plenty of ways, plenty of ways. A line. I need to show you as many as I can. There you go. When you click on that. This is like an quick way of making sure whatever you have goes back to service level. There's nothing beneath the surface. Canvases your lid out. Okay. This is your cup. Without lid. Your lead on this as a cup with a lid. Nice. Good. Are we done? Can we now go ahead and start the next phase, which is the shading. You don't want to do that. You do not want to do that because this is just a coffee. Coffee could have been a lot more complicated thing with a lot of nodes and computations. You actually never want to proceed from here. Working on this. This is not for work. This says out for a reason. This famous OUT know, for a reason, get it out. Because it didn't you bake all the work. That has been Houdini term cooked is there. Then you can import the geometry without computations. You only use the computation of reading the geometry. We don't recalculate this whole mess. So when you have the out, you need to export. And that comes with a rope geometry output. And you connect it. Now, where's this going? Is this going to be used inside with any yes. Then by default, geometry output, an exporting node says BJ audit, BC, which is side-effects way of telling you this is the preferred, this is the lightest, the fastest, the most efficient way of working within Houdini. So anything you bring in in Houdini, It's a lot better, much faster to change it into BGO SC. Should you want to work with it somewhere else. Fine. You can do that alt droppers without copying it. And then I can call this BGO, and I can call this OBJ. Should you want an OBJ? That's fine. You can do that. Then I can now change just, just the extension. How does Houdini know it's OBJ just by changing the extension. Well, obviously we need to change this and give it a meaningful name. I want this to be dollar job and sort of cool or hip. Yes, I wanted to go to the geometry node, which remember, File New Project, Geometry folder J0 does this one. There are some folders that comes by default for a reason when you export defaults here to G0, then this dollar OS is actually saying the hip name is the file name with any file name Doorways is the name of the node. I don't want all of this. Remember the frame number and then the extension. We don't need all of this stuff. It's just a coffee cup. So it's not frame. So just one frame. Coffee with it. That's it. I'll just copy the same thing. Actually, the whole thing on bring it here, change all this. This is it. This is all you need to do. Should you want to have other formats you can export in other formats for, but for our purposes now, we're going to go with this one. Same story is going to happen for base. You can just use another geometry output and you export these last bit. Make sure you click, well, if it's just a static geometry matrix in Dallas, they are in the current frame is just frame one, it's just the geometry. We don't care about the animation path. Click save to disc, and then the OBJ file click save to disc as well. Although we will not be using it with using the video, because we will stay within Houdini. 5. BACKGROUND LAYOUT LIGHTING: Let's create a background. Gray inside just the box. I want only the back side and the bottom side. But first let's get the right shape because we want to have enough coverage so it covers the whole frame. And let's move this up by copy parameter based relative preference and divided by two because half of it was beneath zero and the other half was absorbed, just moving it by half. Okay. So this is what I have. I don't need a box, I just need the backside and the bottom side. I can select manually these and delete them. But what about learning some more techniques and exercising and getting used to proceduralism? I'm going to group, I'm going to create a group of the ones I want to keep. I want to delete the rest. Okay, let's do that. This group is called, it's going to be called, Keep this going. We'll start with the base or with the primitive. Right? Good. What is gonna be? It's a primitive and we don't use the base group, we use the normals. So keep binormal. I want this one here. Enable. I want it to be in the minus y. So minus y. Here zero, just whichever primitive pointer is pointing down, selected please, and put it in the group. When I do that, I get everything selected because the spread angle is humongous. Zero. It's very good. I just want exactly pointing in the minus one That's one selected. Let me copy paste this drug on track and call it the primitive. I'm here. What I will do, I'll keep the same name, but I don't want to replace it because I've already done some work here. I want to add to it. So that is a union with existing. We come down here and we say the z axis pointing to the minus is at zero. I'm pointing in the minus one. What do we have? We have this one set exit as well because it has union with this one. We have a group now called Keep. This is our group, two primitives. Now we delete the rest. We can say delete. Again, there are different ways of doing it. You could do delete, can do blast, you can do multiple ways. Delete and you can say keep or delete nodes selected and you're done. Or you can say delete selected everything except keep. Delete everything except keep. But it's about the same thing. It's just showing you multiple ways of doing it. Okay. This is now done. I need to do is make it look like a background because now it's just two primitives. First, let's reverse the normals because it's pointing in the wrong direction. And let's give it some curvy shape here. And we can do that with pay sub-divide. It's not going to be, It's not going to look great at the beginning because it's not really had in mind, is the shape is good starting point. But it's even more elevated here than the copulas is no good. I need to make sure that the sub-divide only act on the area that is not protected by an edge. So I need to create an edge here. And I can either do it manually or simply use a divide node. Not by default, because by default it looks like a mess. Default is convex polygons. These equal, this one. Come here down to the breaker polygons. And then I want to make this one smaller and move it a bit back in the z-axis. Remember that R such that x is -0.7, e.g. this way, I have it pushed all the way back there. It's only acts. This part is protected with edges, enough edges so that it doesn't get moved towards the GOP. Good. Alright, we're done with this part. Noted to sub-divide is not enough. I need some more depth. And this is now enough. Good. The background is done. But we're not done because every time we make a geometry, we need to clean the mess. Everything that has been used and he's no longer useful, needs to be removed. That's a primitive group. Let's remove that. Delete. Hunt. I could say keep off, simply say everything. Nothing is needed for now. Alright? But on need UVs. So I can do is either give the UVs here, will survive the whole process, or a DVs here, it's your choice. For change, I'm going to add the UV, so the beginning UV unwrap and I will have it here. What it gives is interrupted in six planes because this is now a box and it has ES6 planes. So when you come all the way down here, it keeps the UVs position. Uv. This is what we need for now. Are we done? Yes, we are done. We can have our null and our art truly, truly means out. It's not just a way of naming the null. It's telling Get out of Houdini and then come back again. I know it's just a simple background, but you want to get in the habit of exporting and re-import in your stuff TO out on that, just keep it as AC because i going to be using it inside Houdini and that's more efficient. It's okay. You can keep hip if you want. I just prefer to just drop. Because when you do the pre flights and stuff for the scene, looks at which one is not job and I want everything to be job. Good. J of older, fine. This is going to be my background. Alright. Press. Making sure it's just one frame. Save to disc. Make sure that I work on important geometry. Remember, we have exported this, we've exported now this file and disable these ones. But to make my statements so loud and so clear, I'm going to create a completely new hit File, new video with any file. You don't need to do that. But just so that we keep in memory, remember firmly, you never worked with an autograph. So let me create a new hit File, New File, File, Save, and I'm going to call it shading. You don't have to do that. But as I said, make clear that we do not work on the node network. We work on impulsive geometry. Okay? Make some space. I'm going to need this one for now. Here's what I'm going to do. I'm going to have my references here, my render view here, and denote network here, and the scene view somewhere here. But before moving to the shading itself, we need some layout. So importantly as the geometry and create cameras and lights. So first off, geometry, or you could say geometry and we could start with a file, which is the same and go inside file. I will call this coffee cup on. I bring in my coffee cup. Right. Jail. Couldn't cope with it. There we go. And then same for the background. Here it is. Good. Right? Now, Let's first quickly starts a cover. New camera. Look this one here. Position this in such a way that you see the main features that you want to see in the object. I want to turn this around. So instead of changing the color and the background and just simply transform, rotate my coffee cup. Rotated on the y-axis by -90. This way, I can see all of this, these shapes here. And the lighting is going to come from this way. And we can see how the light interacts with every pulse and the shadows and stuff. Whatnot, surface imperfections. Good. Okay. So this is for the geometry or the camera. Your camera has settings. You want to make sure that it sees what it sees and then it does it properly. In the view. You have your focal length. We are copying the product photography rules and guidelines. We don't go any lower than 54 focal length. You go lower. You have distortions between the proportions. So this is going to be way bigger. Viewed, seen because the Falkland creates distortion compared to the bottom here. 50 and above. It doesn't distort the proportions to a point where it becomes really inaccurate. In our case, we'll be using 55 resolution. Start with something small if you want a fast response, I'll just keep us by default here. Later on. If you want to render high resolution, we can change that. The most important part and almost always forgotten for a camera is to make sure that your object is in focus. Ok, Alt, and drag this. Let's look at the camera. This is our camera. Let me press Enter, which brings this gizmo here. You can also press here. Now, if I click on this square, right? I mean, right-click and choose focus handle. I click on that. What do I see? I see the focus handle. If I ask you, where is the focus now? And you answer, I don t know, that's the wrong answer. So here's what you need to do all the way back and discover how wrong this is. This is where your focus is, which means that your copies out-of-focus. Often people create cameras and von, change the resolution. And sometimes if they really feel like tweaking the focal length and then it will get completed a focus. Your stuff needs to be in-focus. So let's move. This book is all the way here. Closer. There you go. Now, this is the focus, the sharpest part of the focus. This is the range. This range Is your creative decision. You want to have it bigger. You want to have the background blurry. That's your choice. But if you mess up this square, you don't know what you're doing in terms of camera focus. Okay, so let's make sure we have it in the right place. Good. Have we gotten this one out of the way? Yes. Let's move on. Let me change this gizmo back to orientation handle. This way. If I go back to my camera and look it, then I can see I can even move the camera this way using these handles here. Lovely. Okay, camera done. Yes. Alright, let's now move to the lights. I'm going to use Redshift lights. So I have a tab here for redshifts. If you don't, you just come shelves. Obviously cabbages. Then you activate it here because I want to control click on just this would only see everything. Control click on the lights down. This creates an item. I was just going to call it, don't actually, let's call it a studio. Because this is going to be an HDRI that I will bring from HDRI haven, I'm going to use you could just go to Eastern. I haven't I haven't. Dot com is theorize and indoor. And then you search for studio and you get plenty of them, go for one that has less colors, so you don't get contamination on your course. So what I'll do is under light, there is texture and you want to always avoid using just a corner like this because this is not the reality. Reality is a rich light information, not just flat white. So I click on this color job. Thanks. For textures photo studio. I use mine as color space, ACC G because that's what I've done. It worked on it to make it SSG and luminous only for you. You bring it in as HDR with extension HDR czar. And you go for utility, linear sRGB. This is what an HDR and EXL are if they have not already been converted to a CCG. Now, once you tell redshifts that it is going to take care of the ECG condition by itself. There's intensity, exposure zero. For now. We're good to go just say Save, I'm just creating these are default values mostly. And then later we'll come back and tweak them. Next is going to be my light. It's going to be an area lights I Control. Click on the earlier slide that creates a lights and puts the viewports. Look into the light and look in it because it knows it's convenient for you to move this around. I can move it this way. It gets a bit closer, something like this, and start tweaking, obviously, where we don't have an event, even launched the Redshift render, but we know we need the layout. So I'm working on the layout bit now and slightly on the setup of the lighting will work on the weekend. The lighting once we bring in the render view. But for now, I know I want a light that is not this bright. Bring it to something that just makes the viewport something you can work with. And then I want to change I mean, move remove the lock. Move around. Actually, I don't I don't like see in the background of this dome. So let's come back to a studio to dawn. On. There is a background somewhere in their environment. Round. And also, if I just headlights on me, then this is a lot easier because the light information, I want to see it in the render view. It's almost useless in the viewport for now. For now. This is going to be a soft box. Again. Always use textures no matter what light you bring in. You don't want to have fake flat color. For look dev, you can use flat colors, but preferably use textures with luminance only does what in a studio is meant by neutral color, not flat. By neutral, they don't mean flat. They mean neutral illuminance only. Okay. So this no-good used extra. That creates this tab here for you. When you click on use extra. And I click file, sorry, failure. And bringing this softbox, where did I get this softbox from? Simple. You just go get it from internet. It's HDR labs.com. And you search just such HDR labs, softbox, and you get this right. You get, I think, HD or an ear XOR versions. Okay. What I have is an ACG version. I don't need luminance only because there are no cognizance of box. So I bring it in and I say, I say ACG, you say what rights? You say utility because if you're using your exert that hasn't been converted, ECG it, you say utility again, linear sRGB, because an HDR, you XOR is linear. Good. Now that we're done with this part, we're going to slightly tweak to scale. Because if I look at this, it's huge is going to cause all sorts of issues. I wanted to be artistically matching the scale of the cup. Not really much it as in same size, same shape. So I'll go back to the, where's my size? The shape, and size. Now change this to something that works on the cup only. Why? Because it's going to give us a very beautiful gradient. On the sides. When you look from the camera, you can have lovely gradient of different shades of blue here and here, with the shadow coming this way. If it's big, area light, then the shadows are soft. This smaller the area lights. The harder and the more straight the shadows repeat. Now, this is just a setup. We will see once we have everything laid out, do I have everything I need for the layout? Just a very quick check is I think I'm good to go. Let's organize this a bit and have it have a thinner like this. Some housekeeping here. Lights, but equally redshift lights. Camera geometry. We're good. There isn't a lot, but we could have this whole muscle under a tab and then click geometry, but we don't have much going on. Save. Then. Now that we're ready with all of this, I'll say camera. Camera. We have the right focal length, the right focus. And we know we have chosen the resolution. It's not gonna be slow because it's too big for trial and error and error for R&D delights. Both are using textures. They are using textures with the right color space. Split this one in half. Left-right. I will have my oh, no, that's not what I meant. Spain split it top and bottom. I'll minimize this one. This one I turn into a redshift render view. Because this I want to be my composite view, my references because yeah, look deaf and shading. Lighting is something you do with every possible unimaginable useful reference in front of you. So what we're gonna do is simply do the same thing. Because this is a new file. I'll just bring in the references again. Very quick. Shouldn't take as much time to name them. Select L for layouts. A four-by-four. Make some space because we don't need all of this stuff here. For now. Activate the display flag for all of them. Remove the labels again. And there we go. Every reference, we have gathered the one from the top as well. Good. Okay. It's going to be mostly something that looks like this. This is the closest match. This, this is the closest slide, and I want to have these two, something like this. Okay, good. Now we shall start the shading, which happens normally. Normally you would have your shaders in the math context. But what I wouldn't say normally it's a choice. You can either have them in the math context, which is material creating materials here. Or if you want, your material, should you want to move the background, copy it to another file, and copy it with the material that's much easier to have your material inside here. Okay? So what I will do is I'll just give it a material. I'm starting with the background. Bring back the scene view. This one. Probably simply just have the camera pointing like this. Yeah. Good. Alright, I've got material and here I just material network. It's a bit like working in the math context, but we would bring in all of that inside here. So when you copy this main folder, it goes with it. This is going to be just keep it mathematic fine. And that is material builder, shift material builder. Not Blender. Blender. As material builder writes background, we starting with the easy ones that you get a little bit used to it. This is just a material that has two things, color and roughness. So I'm starting with, I'd like something that looks more like this or this. If you combine this and this is gonna give you a color. So what I'm trying to do is find the most aesthetically counterbalancing or complimentary, the most aesthetically complimentary color to the cup. The cup is going in the orange-ish. So I need to go on the blues on the opposite side of the color wheel, on the blue here. Okay. So sorry that fits somewhere here. This is a cop, so I need to go somewhere here. So I already have the chorus of wasting your time with the, the numbers. Here we go. This is your red. Good. Now this is the blue that I have found much as best as a complimentary color to this one. Okay, so let's now fire the first render. I close this, bringing the camera. We haven't assigned the material yet. We can do that. Material. And the background background assigned. That's for the background. What I will do is just assign a place holder material for the copy. Now, we need to do some more stuff here much later. Not now. I need to show you what the problem is and how to what the solution is. First-off is material and botnet network. So that when you copy it, again, it goes with its material. And Redshift material. Builder. This is the least placeholder or temporary. It's nothing. It's looking just to make sure it has something. It's just the default one. We don't want to care. We don't want to do anything yet. Just see what we have on Render. And I don't need now this render view, sorry, the scene view. For this to show up. Just close this beauty. Come on. Render. Okay, here we go. It has begun. Good. So we have information. We have lights that we have not tweaked yet. Folks on the line, what we've just done, the layout. Okay, here's what I need to do before we work on the shading. First, delighting. This to-do light has this intensity. If I go up, then I can click on this and keep it rendering. It's too much. If I go down, it's lower. I'll go with one as intensity. Now. Normally lighting to have it accurate and to make sense professionally. Debates with exposure. So what you could do is exposure one, but it's going to be here too bright. I can go harvest. But I prefer to keep it at zero in this case. In other renderers, I can go with one or two and reduce the intensity. But in this, 11 is already bright, 1.0 is already bright. So it is much more professional to work with exposure than to work with density because exposure exists in real life, intensity is just the multiplier. Exposure is something you find that a camera, you know what that is. If you increase by one exposure or two, then you know what you're doing. Okay, let's stop this. I need to do. I don't like too much information. So Snapshots, view, render information, don't want this one. And even the snapshots, I had been making some snapshots. I don't need the date. I don't need resolution at this stage. I don't need all of the time. No. I draw to have some clean frame one frame time perhaps. Yeah. To keep an idea of when it was done. That's it. Nothing else. Oh, sorry. Camera. We have only one camera, but it would help a lot when you have cameras. Cameras, camera and time. Good to know if we want to go back. I haven't made any snapshot yet, but if we do it now, Okay, Let's do that. Right. So lighting studio, we're done. As a starting point. I'm okay with this. Let's now move to the softbox. Now let's bring this up a bit higher. Shall we click on the continuous monitoring? Let me get it a bit brighter. This is the value I want to go with y because I get this here. I, I'd like to do at the same time is just bringing this move the light closer. I can look through the lights. It doesn't crash. Let me save again. Save. Look through the lights, look through softbox. Then I can get a bit closer while looking at this. Okay, here's the thing. It's redshift thinks gives priority to what you are looking through in your viewports as immediately changed to this. I need to bring it back again, which is fine. Okay. Just quickly. I should have looked at first softbox lock and bring it a bit closer. Look. This is much better because I want to have a subtle lighting, but a lot closer. Okay, Let's see what we've got here. I prefer this, I prefer this a lot. So here you have those grades gradient from this Bryce to darker. And then you have a rather straight shadow. If you make it wider. If you make this area wider, you'll have the shadow more towards the outside. Okay, good. Let's bring this one back. I think this works for me for now. I can run that again. Okay. This is what we get as a lighting starting point. We can change the lighting again, tweak it. So you've got lighting first, then shade him. Then if you need to tweak the lighting. Alright, I'm done with this one. I'll just say, I will keep it as a snapshot and delete this snapshot because I don't need this and this one is just done it even to rename it. Good. 6. SHADING: CUP: Let's create some materials for the coffee cup. This is going to be outside. This is white. This is LID. Assign these materials. 1231 is going to be outside, goes with outside. Lead, goes with lead. And the rest, which is the bottom inside on the lip, are going to be white. Dive inside. I would like to have a cardboard material here with some logo. Okay. Where do we get from? Simple. You can either go to my gas cans, get cardboard, textures of calm, and get cardboard. Polygon, like a cardboard. Or simply search for cardboard texture and character PVR maps. Or you get boxes delivered, right? They look like this. You can take that picture yourself and make the PBR materials. Okay, that's one. And then I want to have a logo here or some funny message, which you can do is get a vector that has a bright background and a dog foreground or the opposite. Why? Because the logo is going to be used as a mask. This is the one that I will be using. I have deliberately increased the canvas to allow for more space to avoid repetition. Okay. So do you need to have grayscale? Now? You don't need to have grayscale. What you need is a bright and dark values, even if the background is dark than the foregrounds to be bright. So this is for the purposes of the masking for the logo. First, let's work on the cardboard and then we bring in the logo. Okay, to avoid any confusion, you are beginning. You want to work a bit by bit. Otherwise, but can be both at the same time. But let's start with a texture for the cardboard I'm going to be using. I'm going to be using let me just show you this one over here. This one, okay? Okay. All right. So let me call this card board corner. And let's bring in the cardboard color. Set, the color space correctly. What is it as an input? It came in as an EAX arm that has not been changed into aces. Find redshift will do that for us, but we need to tell redshift what what was it what did you bring in? I brought in an XOR. Xor is a utility. Linear, sRGB, linear as your keyword, linear utility, linear sRGB. Good. Let's duplicate this a few times. On Done, name this one, roughness. Bringing the roughness and change this to what? Well, it isn't the XOR, but roughness is treated as data, which means it needs to be seen as rho. Rho is 0 at the bottom here. You'll see it now. Row, same story for the normal. Bringing their normal lab first, then set it also as row. Now, we connect this to the base color. If you want to see the whole material Expanded, we can do that. Right? Base color, Roughness goes through roughness, reflection, roughness. That's for reflections. And the normal where it needs to have something to be connected. It needs to have a normal map node, but a normal map node is also inside the bump. Now, redshift has one node that treats both normal and bump, and it's confusingly called bump map. It does both. The the bump as height field or the normal wheat belt spaces. I'll set this as tangent space. Connected input. Then I have the choice to connect this either to the bump input, okay? Now you know that this is the output. And because it says Bump Map, you connect it to the bump input. It is normal, but it's treated as normal. And when Richard knows that. So this is the input. If you want it to be here and you're using another material that has another normal or bump. Or if you're using the same thing, then you say, You know what? I'm going to connect it at the very end here. The final stage. That's what I'm going to do. Why? Simple, because when I will bring in the logo is going to be using the same textures, but I'll make it darker. So let me first rename this to called Save and see what we have. Let's turn to this. Alright, we're rendering too much stuff. First off, we can't keep doing this. So I'm going to select this region, get this thing here, and stick only to the cup. I could have optimized it more if you want to remove the lid. Work only on this one. Remove the background. That's your choice. I keep it as is for now and only re-render this part over here. Now, what I choose is first to rotate. This. This is an aesthetic choice. I want to rotate my texture by 90 degrees. I find some features interests in there and because I'm rotating this one, everything else needs to be rotated. So copy parameter and based relative reference in the roughness. Same for the map, for the normal map based relative reference. So all of them are rotated. You don't want to have the color. One way and roughness, normal map another way. The wrong roughness and normal and height. Now that I'm done with this, random again, right? So we've got some nice features. There is some noise dots here. Okay, Now this doesn't look anything like my references. It's the starting points, but the color is off. Simple. We can tweak the color. Now. Let's work on the color first. Then we work on the roughness color. What I need to do is make it closer. I can do that closer to the reddish. Let me show you. This is more red. This has more red. And even this has more red in it. It's closer to this more red in it. So I need to add the red. By adding we need to work with color. I can use the color correct, but there's something specific for this channel. Red channel, blue channel, green channel range. This is color change range, which I can use because it splits in each one of them and say, Can you want to act on this red channel here? You can do that. Well, I'm going to do one point to increase the new range. This way. When I render, I get more red. Well, that's all I get. It does not look like the reference, but I'm I'm on my way. Let's name this a clear way so that we know what each one is doing. Then let's now start tweaking color, correct? I'm going to use it to be too much reference. Now this has quite a few, this is a toolbox with quite a few things in here. Number one is going to be my saturation. This is pale, almost sorry, I'm looking at the wrong map. This was supposed to be reference, reference. This is a bit pay on it, something more saturated. So I will increase slightly the saturation. Perhaps. This could be something okay. Okay, we're getting there, we're definitely getting there. This is much this one is much closer to this. I want something in between this and this one that can look a little bit like this. But you already know we have reached one of the references, but we still need to tweak the contrast, tell you why, because these dots over here that you see, I want to see them clearer. Meaning bringing the detail because this is a real texture. So let's bring in that detail by increasing a bit of contrast. The bright spots want them brighter. Dogs books want them darker. Okay, Let's re-render of this day. I can click on this progressive rendering IPR thing and then let it do the render every time I change. But because I want to do it for you as a beginner step-by-step. So change one parameter at a time, then look at the difference. Now, obviously, we can every time take a snapshot, something like this, and that's what I want you to do. And the name, the snapshot with contrast 0.6 or something like that. Every change you make, you can do that. I'm used to this now, so I don't need to take snapshots. I will do that when I get to the final, final tweaking bit. But for now, I know I need more contrast, some more gamma, sorry to correct for the contrast. Okay, we're getting there. From now on. It's just a matter of aesthetic choices. What would you like it to look like? Okay, you could bring it back against a note. I don't want the contrast. I don't want to go, um, I just keep it the way it was on port five. It was okay. So it's an aesthetic choice, matching the reference. Now that we know that we're done with this, let's say the color. Okay? One more thing though. If you look, we have changed, increased the red, then started tweaking. Now what do you think is going to happen? Let me take a snapshot, remove this remove these two snapshots actually, because I don't need to, I don't need this one. And what do you think's going to happen if we swap the order, change the order first, which we then we add red. What do you think's going to happen? Well, let's ask redshift Toby. That looks different. Let's take a snapshot. This was the first. This was the second only look at the difference, same nodes in different order. Now this is something you want to be aware of. The sequence of events matters. You're adding more red to changed colors or two unchanged colors. It's a matter now of aesthetic choice. Which one would you like to go with? I'll keep it like this for now, but you can do whatever works for you. But let's now work on, well, not too fast. We don't go to the logo yet. We need to work on the other maps. Now, when you work on the roughness map, you want to see it as a color. So what I will do is connect this as a base color. Let's re-render. This is my roughness map. This is what it looks like. Let me look at the roughness map in the project folder. Where are the maps? I have texts for texture. I've got cardboard, and this is my reference map here. It's got some tiny dots. I want to bring in. I want to bring in because in here it doesn't look just looks wise. I don't have enough. I don't have enough water. Enough contrast. Let's add some contrast. Shall we? Do we do that? What color? Correct. And we add the contrast. This is supposed to feed both the roughness because that's the real and actually only change. I want the color to see what I'm doing. So for the contrast, I believe I go quite brutal on this one with about because this isn't color. Just because this is not color. This is just data row mask. For roughness. I'm going to go close to one. I never want to touch one because things start breaking. But 0.15 already in danger zone, which is fine. Let's see what it looks like. Did we bring in the bright spots compared to the dark? Yes. Okay. Now, you can go with this or we can go with a different contrast level. I'll keep it like this for now. What I'll do probably is just make it darker, slightly darker, which means less rough. The overall roughness is less rough by five per cent. Okay, let me run that again. This is about enough. And again, it's an aesthetic choice. The tools we use are technical, but the look we're going for is aesthetic. Artistic. Are we done? Yes, let me use y. Got this, and then connect and say, let's render. Now with the roughness tweaked. This is what a cup looks like. Good. I'm going to take a snapshot of this. Let me delete this one. Delete this one. And keep just lost. This is a lot closer to my references, right? This is a lot closer. And from that from now on, it's just a matter of how much time do you want to spend to make it perfectly match one of them? Because now it's already within the range of the order of the references. Good. Are we done with the cardboard? Well, as I said, you can keep tweaking, but for now we can call it a day for the cardboard. However, we need to bring in another material now, a copy, paste this one. And keep the same connections. Because I'm using this for the logo. Let's rename the logo on the ILP using this texture for the logo. And I think, sorry, what do you mean? I thought you're going to use this one for the logo. Yes, it will be a mosque. Which means I'm going to use this texture with everything that you have seen in is I'm just going to make it darker for the mosque area. Let's do that. So this is going to be a layer on top of the cardboard. So the logo is a layer that comes on top. What if it's a layer, then I need a serial layer. And I put the logo on top of the cardboard using a mask. Mask is a texture that I will bring for this one. Okay. Let me bring it. Texture is this one. And because this is a PNG, what do I tell redshifts? What's the input? What am I bring it in and bring it in? Utility is RGB texture. That's your key word for XR. Linear, HDR, linear. When it's PNG, JPEG, sRGB. And let's rename this to own logo mask score. This material needs to be darker than this one. So how do we do that? Simple. We can either, we can either start from here and make it darker. But what I prefer is to make it pop up, feel different. I prefer to say, well, these are for the background. Thank you. I'm going to start from that tail unsaturated texture and make that one darker color correct? This is how I want to change the color. So same texture, a different treatment. Now call this bar. Can. Darken, means we're going to reduce the Gamma symbol magnificently. Let's do is half first to see what this thing looks like. So I forgotten to connect the material layer. Let's render. And we see something, there is something happening here. Now, it's just a matter of aesthetics. Let's bring in this thing to the side and look at how we want to tweak it. So it's in the mosque and it's about rotating it and scaling it. This is where it's useful for me to lunch to IPR that does it continuously, constantly offset here and bring it all the way down and starts moving. Okay. You don't need to go down. Okay. Good, good. I'm just rotating using the offset. Okay. We could go with this size. We could create like this because see why this is a good size. I'm going to use a size I have already set, and this is just an aesthetic choice. Whereas my size, here we go. I'm going with scale. First off, copy parameter. We don't need anything to be distorted. So same scale, 0.662. Now this is just my choice. It has jumped before because the offset reacts to the scale. So I don't worry about that. I'm changing set as well. You go 0.2 to three. Something like this. Aesthetic choice. I want to make it huge, humongous be covering. If you look at the cop, you see all of it. And just a tiny bit here of edge without the logo. Okay, So we are now done with the mosque in bits. Do we need any, any, any thing in terms of roughness, we can do that, but I'm not gonna do that because we were using exactly the same texture. What we've done is simply made it darker using this starting point. And we're just used an unchanged color image, not grayscale or black and white. Good. So this is now for this, let me just take a snapshot. This is for our cardboard and logo. Now we're gonna move to the next one. 7. SHADING: LID: Material. Let's go through the LED and now start working on this. Now, I want to make sure that my render region is only on the lid. Let me bring in my references. I want it to be black. So let's turn this into a block. I will copy this color coded parameter, this channel, into the reference. Let's move on into the other channels. Start. I can change this here. Now. I don't want to have black, this black because this is going to be zero. I want to have zero point something to stay away from the CG black. Same applies to the white. We want to stay away from one. So I'll just bring it to something higher. And let's render this. This is a perfect surface, perfect CG surface. We need to introduce all sorts of subtle changes here and there to make it look more realistic, Let's start by introducing some subsurface scattering because this is plastic and it's not going to be huge. This is 0.02 in the corner. Okay, it's not gonna be huge because it's a thin surface. So let's copy this. Reference, reference. Reference, reference. I'm going to go with a color just slightly brighter than the diffuse color. And the weights. Let's have this as something that doesn't, that takes into account that this is a ten surface. So not too much and not too deep. Okay, let's render this. Alright. You know what I should've done for you, for you. Let me bring it back again to zero. That may render it. Save a snapshot, let me say visual snapshot first. And I will call it color. All the steps, just the color only. Then my subsurface scattering, how much and how deep that was. Perhaps. Prove it just to make it. As for now, a tiny bit more visible for you, I will get this brighter is just to show you the effect, okay? Right. I will save this one as subsurface scattering. Subsurface scattering is by Clare. I saved this. Right? You will notice, you will hardly notice a difference. We're introducing theory because this is a thin surface. We're introducing a very, very subtle change, right? So that's what we want every time, subtle changes. Now this is the subsurface. I will do. I will add tiny layer of coating. This is not the coating that you would find on the car material, but it's so tiny that you will hardly notice the difference. And this is the set of gradual, subtle changes that we want to start introducing. Not too much and, uh, better off without wanted 100 per cent glossy. Ok. And for the IOR, I want to go to one point to the IOR. For the for the plastic. Initially, we kept it as is. We do keep it as low as 1.5. Because for plastic, it's actually for most materials, it's anywhere between 1.4 and 1.6. And plastic is no exception in this case. Alright. Let's now obviously even from time to time, bring it back my region and re-render. This is then a layer of code. Tiny, tiny, tiny layer of code. Alright, let me save a snapshot and say, perhaps you would like to see the Difference. Let's do this. Is gonna be a, there you go. Hardly any noticeable difference. But we're introducing those things that altogether they will get us to where we need to be. Alright? So how far are we from this? Quite far, because this looks realistic, has been touched. And you can find that this is not a perfect surface in terms of look, in terms of light reflection. There's some roughness in there. Now this looks perfectly uniform. Let's break this. How do we break it? By introducing variations in the roughness? How do we introduce variations in the roughness? Now what is this? That's going to depend on the type of object that you have. This is touched by hand. Hand means we need to figure out where to find our fingerprints. So you go to either make us cans and get some fingerprints, imperfections, or you can find them in polygon as well, because there is a free one here, but this is a bit too much. So what I will suggest is, please always go subtle. So this is the keyword for everything in terms of look Deaf. Always go subtle. If I have the choice between this and this, which one would you go for? This one? If I have the choice between this one? Say this one, which one would you go for? I'll go with this one. So always go with the most subtle. Then you can add, you can try this one and see how it looks. It really looks like you don't want to drink from that cup. This is more like a manageable, okay? So let's bring in some texture. In here. I will make some space. Again. Let's bring it a texture. I will just simply copy paste the pipe for my fingerprints. Imperfections. A, because this is an XR. What I will do, I'll just say this is linear, but wait, this is roughness. Roughness is treated as data. Data is rho exactly. I'm going to select as my role. Here we go. This is cool, this finger prints. So first off, what I will do is connect this one to the base color just to show you. But let's, let's bring in the render region. Safe than sorry. The scale is going to matter. So always when you're bringing something, check your scale. Does this look like a reasonable scale? We can't see much. If we can't see much of what we can do is just for us to be able to see what we're doing. Color, correct? And that's bringing the Gamma down to 0.5. There you go. This might be reasonable scale. I can see your fingerprint. It's probably too small. Probability is small, but this is using the UVs. I haven't used it yet. Let me use the try planner now I just wanted to bring into color correction to see what we have in there. So try planner. And what have you gotten to try planner? We have x, y, and z. So it's important to make sure that the, all the surfaces facing the x, we'll get the same continuous texture. And then if you want to have a different one for y, fine, you can uncheck this one. And you have a different one. And the z, z, you can have different ones. So if you have three different textures, one for fingerprints, one for Adam, Noah, like liquid style stuff. You can connect this one to a y and then the rest of the x and z. But I'm going to use the same for all of them. So same image for all. Connect this like this. Okay? Alright, let me send it here, tripod on the planet. Now, let's render, Let's find them. First off, the trip planner is going to be off in terms of scale. Look at this. This looks like other amendments. Wears a finger. Show me a finger. You can't see it. Well, this kid is off. Scale is off. So if you can't see a finger for fingerprints, the scale is off. Let me first change the size because when we introduced the dry planner, the scales a little different. For the fingerprints, which I will do for this scale. A couple of bolometer. This one's reference and I will make it full twins. This is a finger. This is a bit too big. A could go with this molar. Okay. Let me go back to my four. We've got four. Alright. So I have this finger here. I want to keep this scale. Let me then, okay, I know what? If you look at this random, there's light here. Now, this is an aesthetic choice. I want to bring that, that thing, that fingerprint here. I want to move it a little bit so that I can see it clearer here. Shall we do that? Let's just move it a tiny bit. It's gonna be here. And it's just an offset of some much. I want to move this one a bit to the left. That's what we wanted. Because I want to see some of this probably even further. Some of this on this rice reflection. All of it, just half, something like that. Good. Now that we're done with this in terms of scale and making sure that it is C. This is continuous. You can see this goes, continues here, but you don't find it on the top side here, on the top side, which makes absolutely perfect sense. Your finger is not going to and wrap the whole lid from all its sides. It just touches the sites or touches the top. Good. Now the trap on here works brilliantly. Let's now look at the blend modes because we don't want to have harsh transition. Yes. Your finger is gonna be here, but it's going to touch this edge a little bit, so I want to continue here. How do I do that when I increase the blend amount to something that is very high and the blend curve and bring it down just to tighten up that overlap. Okay. I'll bring it down to one. Save. Lets you run there. Okay. Do you see it now? Do you see it has continued tiny bit here. It's very subtle. Ways subtle. So you can see it's a bit pixelated. But why did we get a bit closer? Sure, we save. Let's go. So the camera just keep this one where it is, perhaps rename it as full cup. We need to get closer. Now. I'm going to have another camera and say Create new camera. Look. Let's get closer. Because when we work on subtle stop, we want to be able to see it. Okay, good. Now, this is fine for me. Let me go back to my Render View. And I shall we name this woman lid. Save. This is not picked up. What I possibly can do is those three open again, hopefully you it's been picked up. Yes. Has been picked up. Now, let's render with the lid on no render region, please. Stop it. Good. Okay. Much better. Now, Can you see here? It's coming. It's coming, it's coming. Here we go. Here we go. Okay, can you see this bit? Can you see this bit here is the continuation of this one. That's what we have introduced. Weird. Let me go back to my Material. Try planner and that the blend amount, blend amount makes it go further. Blend curve tightens up around the edges. That basically is what it does. That's what I'm doing here. Okay? Very subtle changes. This makes absolutely perfect sense for finger would touch this part and this part, not the top, not here, but it will spill on the edges here. That's, this part is spilling on DHS. Enough subtlety here. We're good with that. This is good for me. I might move this one ever so slightly. It's an aesthetic choice now. Maybe I'll sleep. Good. Now that I'm done with this, this is not specific color. This is supposed to be roughness. So let's move this roughness down then. Now, this color correction was supposed to be for visibility purposes. I may choose to ignore it or use it. If this gamma down, and let's call it Gamma down. Write down this. If I keep it as is and put it, reflection, roughness, what's going to happen is, I guess whatever team as values original in the texture. But by making it darker and make it more glossy, look at the references here. What do you see? Is this rough or is it more glossy? It's more glossy. Okay, so I will need this one, but you know what? Let's ignore it for now. Let's ignore it for now. Let me show you the difference. I think this has been activated by accident citizens that we don't want that. Right. Let me save, let's save this one. Snapshot render. Now, I'm rendering using the color, right? This is not what I want is quickly troubleshoot this. Doing something wrong here. Obviously, refraction, roughness of connected it to the wrong one. You may have noticed that it's reflection, roughness. Reflection roughness. Now it will make sense. Let's think of what's happening. Okay, we get it. Very subtle. Bought. This is, these are the original values, white and black on grayscale values that came with the file. This does look anywhere near my look at this. Look at this look at this one here. Okay, this, does this look like this? No. Okay. So the original values that came from the file, don't trust these because they don't do what you want. So it's just there as a starting point. This is my way of saying, okay, I want them to be darker. Remember this one? This is how I want it to be as a starting point. We can tweak it further, but let's look at this. Let me save the wrong one. I'm just calling this one default values. Default. We know this is just the default values. And now let me change it to darker. Darker means more glossy. The closer to white, the closer to black. Be glossier. Okay, this makes a lot more sense. And that's exactly what I wanted here. So this slide, I want to see the roughness in here. We're not, we're not done yet. There's a lot of other steps, subtle ones that we need to take. Good. So this is a good starting point for now. Let me, and another subtle layer of bump using these very fingerprints. Now, what am I going to do? Means height. Height is elevation, so I'm going to slightly elevate these rough areas from the surface. You may be thinking or you also have your mind. It is not normally elevated. I'm just telling, you know, what we're gonna do is that subtle, infinitely small, Greece. Whatever you have, what do you leave on the cup when you touch it? If it's crazy. Infinitely tiny elevation. That's what I want. That's the level of subtle changes I want to introduce bit by bit. So let's bring in a bump on, I'm going to connect from the final one. From here, use it as an input. So this, all of this is now used as an input. This is my my finger print. And perfection. I'm using it as a bump as well. I'm going to connect this to I could either connected again to the bump input here or send it straight to the bump map here. Now, obviously, please do not press Render because number one, we need to make sure it's a bump because I'm using as a bump. Notice the normal height scale, one is outrageous because we're talking about fingerprints. So height scale on it to bring it to something infinitely small. So the number of zeros should be intimidating a lot. I'll go with five to five halves. Okay. There's a story behind the five and the 25. Let me first render this because this is default. Let me save this one. This is gamma down, Gamma. Let's run that S1. This is what bump. This is where the bump this is too much. This is too much bump. I know it looks very small, but still it is too much because these are fingerprint. It's even more subtle. But why did I bring in five? Because I'm going to need it later. Let's save this. Just finish the random. Okay? But it could, could have done is removed the background, removed the copying, and focus only on this one. But let's keep it as is for now. Let's save this and call it bumped five. It is not five, it's four zeros and then five. But just so you know, now this is actually the value I want to go with, which is a half, the five is 2.5. Let me explain what I'm trying to do. This is so small. Alright. Let me render again. Let me explain. This is what I want. Yeah. Can you see it? This is what I want. It's this insanely small bump. It's very tiny. You can hardly tell. It is a bump. I'm just helping the roughness. Adding some more bump to the roughness. Good. Very, very subtle changes. This is what I want. This is the value I want to go with. Now we haven't finished when finished? A long way before Venice. We haven't finished. We're still working on the subtle changes. Its 2.5, let's call it 2.5. It is not to confine, but it's four zeros and then you add the 25. Okay, good. Now, I'm going to remind you later of this number five because I'm going to add another bump. And when you, when you blend the bumps, it divided, it divides by half. So this is what I want to have, 2.5. Remember that one. Sorry, let's noted. It's 2.5. Keep it there for now. Keep it there. What else do I want to do? Now? Look at the reference. Is the reference. This is plastic. Alright, let me see if I can see it's from probably this one. This is not gonna be very obvious because from the top, I need something from the top angle. I think this is the best, probably even this one. You can notice that this is not very, very limited. Quickly try to make it bigger as such, okay. Yeah, lot better, a lot better. Can you see this slight Dante? Dante has a bump that the surface is not uniform. This is plastic, this is not metal. And even if it's metal, it may have gone through some dance over time. But this is this, see this bit here. This one here. This slight elevation. This is not even. I wants to introduce some unevenness. Well, let's do that. Right? So this is a fingerprint story. Let me save finger prints. And now we want to introduce some texture. We could use a texture, but you know what? Lets me use a noise instead. Maxon Noise. And same story because I want it to be a bump. This is not about roughness. This is about the unevenness of the surface. So Bump Map. But let's look at noise itself. Connected to the color. It's not connected to anything else, just the color. Perhaps, perhaps I would leave everything as if everything, it's gonna be a bit slower, but let's leave everything. Now I've over it. Yeah, it's over I this one. You will not be able to see much because I need to bring the Gamma down again. Noise can change the seed later, but for now, let's look at this. Let's render. It's too slow for our purpose. Let me disable the roughness and the bump. Disable the roughness on disable the bump. Just so it goes a bit faster. Well, I'm trying to do is get the Noise feature to be visible. Or you can see, let me stop here. You can see, I can't see much. Sees a bit DOCSIS be bright, can't see much. Let me bring in reduce the gamma. See what I'm doing. So Gamma, Let's bring it down to 0.1. I'm exaggerating, but you see what we're doing, okay? This is too much system, much 0.5. Perhaps. You can see the difference between this and this. What I can also do is introduce some contrast. Now, I don't want it to be huge. This is covering half the cup and then the dark part is covering the other half. This isn't what I want. I want to match. My reference. Reference says there's something in the middle here which is this small. Not going to reproduce exactly this, but I'm going to reproduce the same scale. It has to match the same scale. If there's a dent or there's an elevation, it is this small, Let's do it. Let's bring the noise down in terms of the overall scale. Whereas my scale as an input, right? Yeah, we'll keep it as object. Let's bring it down to something like this. Let's re-render again. That's what I want. This is okay. Yeah. Okay. This is much more like you can you can tweak it further. But this is what I want. See this says one small bit. Let's bring the reference back. Always the reference. This is about this. Now, the top part is going to be here. So you've got the center is going to be elevation or down. And this is the center and this is the center to center. So when you look at these, it's going to be an even. Let's bring in this one as my bump. But wait, wait to be careful. The Gamma and the contrast I haven't used. The gamma was only for me to see what I'm doing. If I introduce the bump, these values is going to be crazy. So this is just to see what I'm doing. I'm not going to use the Gamma. I'm just going to take it straight to the bump map. And the bump map, again, I'm going to go with theory, so HTML value, okay? Perhaps even less. Let's keep it like this for now. But this was another one, is a bump. Bump is connected here. The bump map. I know we need to use both and we'll do it. But first, let's look at this one separately. I can't see much because I have kept the color. Let me remove the color. Now let's see it the way it is meant to be. With this as the roughness. Reflection this time flexion reference. This is a bone. Okay. Only if I leave this as is. There you go. Can you see it? This could be a bit too big. But don't you worry about that. We can reduce this value or reduce this scale. Just so you can make it abundantly clear, I'm going to leave it as this, but you know, you can bring down the values, okay? So if I now I'm not using this bump, I'm just using this one to see the bump separate. Now let's merge both of them, which is the bump blender. I can bring in a vase and this input and then use this one as my final bump map. Because it is, I'm blending both. I'm going to do half-half blend. Wait, 50 per cent. Now this is going to take away from my 0.00, 025 because this is gonna be divided by two. Now I want to bring back my five. So the final result is going to be 25. This is why I wanted to show you this five here. So this is gonna be divided by two here, which is gonna give me 25. Okay? This one I'm going to keep as is because it will be divided by two. It will be a half this. I wanted to show you the full scale of this. Let's save and run that again. It's a lot more subtle now because I've divided this height scale of 25. It, It's now like 121 to five. It's a bit like if you had used this one alone and one-to-five. Alright, it's this exaggerated. It's very subtle, subtle, subtle, this subtle everything gets you to where you need to be. Let me first make this isn't really final. You could tweak it a bit further. But let's say combined, combined layers of subtle stuff. Let me compare. We compare two. I have something down. You have caught this one. I actually haven't made it. It's a lot better to look to see some contexts. Let's do that. Let's do that. Let's change this. I want to compare to the full cup. Okay. See it from far. Okay. Let's compare. Good. I'm going to save it and just call it Final Four. Now. Finally lit final cup. I want this to be my a, I want the one with the color alone because I'm comparing two before I've started adding my subtle changes. So here's, here's what you get. I get C. So now this is the perfect CG look. On. All of a sudden, we bring in subtle changes. See the difference. That's what I'm talking about. Just very, very subtle differences combined. Okay, Now this is about the lid. We're going to move to the next step. 8. 6 SHADING: REST POSITION: Something that's quite important to know is that when you introduce some textures or noise, texture or noise, and you start moving this around. If you're not careful, you're going to move the noise, not with the object, but if you move it to lose is gonna be different. If I move the cup here, it will be different for the fingerprint and for the noise. Okay, so let me explain, let me experiment. Just connect. Actually adjust this to the color. Render this. Let me remove our enough be a save. Let's run this. Okay, I'm introduce this and make it actually wider. Because I'm going to move the cup here as well. So do is transform, coffee cup transform, merge. I want to have two cups. Let's transform this one, the scene view. Transform this one. Here. I'm trying to demonstrate the problem of space and noise. Now let's render again just the region. What have you noticed? The cup has, is the coop is swimming in the noise. So the moment you move it, it actually has moved to another parts of the texture. We do not want that. If you have an animated objects, that is going to be very embarrassing, you don't want to do that. So how do we make sure this problem does not occur is very simple. There is something called a rest position. How do we do it? We add a rest node. Rest position. This is then going to be my original position. Thus the rest position here. Then if I make any changes, I plugged them here, then I can move this one back here. Show view inspector geometry. Points you find now that our points have not just p as position, but the rest position freeze as is. And take this freeze in position as the basis for the movement, for the noise. Okay? This here. Here's my texture. And I am using this try planner. So it's this dry planet that's doing the work of matching the texture to the object. This try planner is now production spacetime objects. Now, I need to tell it to pick the reference. If I say Reference, then it picks up the rest position. Okay. Let me save. Render again. Now that is referenced. It will work. Well for this one because for the other one, actually, what just happened? I have deprived the first one from the rest position. So we don't need to do is make sure both of them get rest position. Just how it used to be. Merge these two. I'll get both of them with position frozen. So you need your rest position. Now, we don't need to have two here, 1.2 because normally the object is just once. But I'm doing this, duplicating it here for the purposes of demonstrating this, you can see this feature here. You can see it's a bit brighter because it's closer to the light. But it's exactly the same feature. Now, this happens only once, so we wouldn't need to make one too. We just need to have one. Therefore, I'll just now remove this one. And keep this one as is my knowledge. Connect this here. There you go. If you want to first connect your material, then gets this one here. It's going to pick up the position, say No out or render. Because we're using a file. But still the rest position of any changes will happen. This one will happen here. Okay? So this is for changes. Good. Now that we have this one out of the way, we save. A little problematic. Okay, Good. Now that we have this out of the way, let's move to the next step. Let me render again for the noise. Let me go back for the noise. Here. This was for the texture for the dry planet literature, for the noise. It does pick it up automatically with object. Okay? So if you have a this one, if I use this one as noise, then let me say this. Then move it to the side and render again. Because I have a rest position and noise here. Already picks it up. Then my features are the same. No, it looks a little brighter because it's closer to the light. You know what? Let's Move this fellow here. Save it. I want it to be blatantly obvious for you. Split further, so it's going to be a bit darker. There you go. It's exactly the same shape wherever you move it because you have a rest position. The noise picks up the rest position. Are we good? Yeah. Okay. Now, let's remove this from the color and bring it back toward, it was just the usual. Just set this one back to zero. And render. Remove. Mind keeping this as a reference actually. So remove the region is magnesium. I don't need to re-render again because this has always been this has already been rendered here. Okay, good. Let's now move to the whites material. Well, how can we see the why is because it's inside simple. We're just going to remove the lid this late. Sorry, this cop comes with bottom copying side coupled side lit, lit and lip with if I remove this, what's going to happen? Five, we'll get rid of my Delete or blast. Blast is faster. I'll just do delete for now. Delete lid. That's it. Remove the lid. I'm now left with this. The material that I have already has bottom, inside and lip assigned to white. So I just go to the white. Okay, It sounds like this with 0.50, 0.50, 0.5. Now, this isn't the color we want because this is gray. Let's render the only actually just the part that just the top part. That's all I need. Let's render. Okay, It's unfortunately picking up the background from the snapshot 15, but that's fine. We don't care for now. This is 0.5 gray. I want to turn this into white, but wait, wait, wait, wait. What did we say? We never get anywhere close to zero and anywhere close one. We don't use these figures. So let's bring it down. Copy parameter based relative reference, base, relative preference. Good. I want it to be 0.8. Not bad as white. That's more realistic because one is CG white. Okay, let's render this one. These things are annoying me. I mean, we render everything. Okay. It's probably a bit too bright, but that's because the light is very close to the cup. Don't want it to be that reflective, so probably increase the roughness. Height, 0.50, 0.35. This thing normally has a very tiny film, very tiny sheet that makes sure that stuff doesn't spill. And that thing is a bit reflective, but not to reflect. I don't want it to be too reflective. Probably 0.25. Roughness. Now, I bring in the region symbol. Now, do I want to introduce any sorts of imperfections in the form of dirt, in the form of leakage, in the form of fingerprints. You don't want that because you wouldn't drink from that Capuchin this case. Yes, I would like it to be as clean as possible. So let's keep it like this. 9. RENDER AND VARIATIONS: This is our final render. And let's look at it closer. Okay. This is how it looks like with those infections from fall. And if we want to get closer than this is what it looks like. An evenness and the surface include in here as well a little dent. And you have your fingerprint, Roughness, Bump as well. Very, very tiny. What you want to do is iterate, experiment, do the first, the second time, third time and fall time. Not only for this, but also not only for this kind of fingerprint and noises, but also also e.g. the mask, the logo that you're using. I have here 15 variations. You can see that, well, the more you iterate, the more choices you have, and actually the closer you get to what you want to achieve.