Transcripts
2. A-Software requirements: Hello everybody and welcome to this new episode of This aluminum course. In where we are going to look at the requirements, we need to have a very good experience in Lumia. So first of all, we are going to go to the aluminum page, Lumia and.com. And here we're gonna go to product and requirements. Once we are here in requirements, we will read that this program, this software, is very different than the others. That means that it relies on having a very fast graphic card. So that is the very special point that we have to take into account. Blue, that we have minimal requirements, recommended requirements, and high-end requirements. If we go to minimum requirements, we have to look at this information graphic. Here we have different examples of graphic cards that we can use. And we have this data, 7 thousand. We don't know exactly what is the meaning of this data, but we will look at it little bit later. We have here graphic cards memory. And it is said that we need for the minimum requirements for gigabytes or more, okay? And then we have the CPU, this is the procession. So here we have to look at this information, inter-Korean I7 and this model. Okay, here we have as well to look at the system memory or RAM. Here we will need 16 gigabytes or more. And this is the minimum requirements. If we have here less than 16 gigabytes, I can assure you that your computer will not be able to run Lumia. So that is the main information that we have to look at when we take a new computer. The recommended requirements. So let's check this same information, the graphic card. Here, the graphic card, we have 14 thousand or higher. And we have these different examples of graphic cards. The memory, specifically of the graphic card here is eight gigabytes, not for. And if we go to the CPU, we have this inter-Korean I7 with this model. And in the RAM of the system memory, we have, in this case, 32 gigabytes or more. We finally go to high-end requirements and we go to graphic card. In this case we have 20000 pass mark or higher. We have these examples of graphic cards. We have graphic card memory about 11 gigabytes or more. And in the CPU, we have in this case, this inter-Korean with this RAM that say 64 gigabytes. Okay? What is the mean of this data we have seen till now, in this case, 20000 pass mark. If we go below, we will see that here we can find what graphic card we have in our computer to check if our requirements match with the requirements that are needed. And we have in this second, this pass mark website. Let's click with the right button and let's open a new window. Once we are here in this website, we can check that we have different graphic cards with different punctuations, let's say different numbers. In this case, the highest is 26 thousand, even more. And this is the model of the graphic card. So those numbers we were taking before have a relationship with this data. In the minimal requirements, we needed 7 thousand pass mark. That means that we have to check here in this list, 7 thousand. We would go below till 7 thousand or even more. And once we are here, then we will find different graphic cards, different models of graphic cards that can be used in our computer to have these minimum requirements. In case, for example, that we are looking for recommended requirements for the rapid card, then we can check it, go to recommend the requirements. Go to graphic card and check how many passed max we need, in this case, 14 thousand. Then we go to this website again. We go to 14 thousand or even more. And we check which model it is the one that we need easy, isn't it? Well, a part of this system requirements, I recommend strongly that you have a very good look in this website of Newtonian because you will find very interesting information about the program in terms of support, in terms of trials that you can download easily, in terms of a very good blog where you can take all the upgradient, you can take many good ideas just looking at this block for example, et cetera, et cetera. Well, once we have finished to check the aluminum page, Let's just start opening the program. Well, this is the welcome page in where we are going to focus on this benchmark who window. Look that here we have this warming critical warning. The computer is so slow. It weekly hear, hearing this benchmark results. So we can see our Rapid Card, which is very slow. And we have here the processor and gigabytes of this procession. In this case, it is 16 gigabytes. So talking in general, the requirements of my computer, Let's say that it is not good. But you will see that with these requirements, with this kind of computer, which is the minimum, we can do many, many things in Lumia. In fact, we will do all the course with this computer in order that you can see that it is possible and you can work perfectly, almost perfectly. Of course, if you have a better machine, Lumia and will run much faster. But with this minimum, Q can be so productive, so it is not needed to spend a lot of money if you have this kind of computer, Let's go back. And now we will click on Create, new project. Here we have different templates for the starting point. So we're going to click on create a plane environment. And once we are already here, we will say goodbye and we will continue in the next episode.
3. A-Interface and navigation: Hello everybody and welcome to this new episode in where we are going to see the interface of the software and how to navigate properly. Well, first of all, we have to take into account that Lumia is organized in two sites. Let's say that we have the left side and the right side. In the left side we have this main menu in which we can find four categories. We have content library with all of these options below, we have materials. And then when I click on it, it appears and other menu. Then we have landscape. And then we have whether if we go back to content library and we go to the upper part of the screen. We find that we have here different layers. We can create more layers and we will be able to organize our geometry inside of them. On the other hand, at the right side, we have this main menu in where we can see that the bill bottom is already pressed. It means that we are in the viewport in where we are going to work most of the time. Well, we have as well the photo menu, the movie menu, the panorama, and the files, meaning we have as well the setup menu and the help menu. Here we have a very useful advices for having a wetter navigation in the program. We will go through it a little bit later. Part of this, if we look here carefully, we will find different shortcuts that can be very, very useful as well. In the upper part of this part of the screen, we have the set eye level. The camera will be set at 1.6 meters. And we have this rectangle with this number in where we will find information about how it's been used. The graphic card. Remember that my graphic card had gas two gigabytes of speed. Here it is said the percentage in use at this moment, at the same time, we can find here the number of frames per second, which is being used by the graphic card. Now we can see that this number is very low. It is in red in fact, and it is warning us that the graphics are very slow. We will see a little bit later when we import a model how to improve these frames per second? Well, once we have seen how it's organized the interface of the program, let's start importing our first model into Lumia. So here in content library, we will go to this green button import. Let's click it. And here we will choose this SketchUp file which is attached with the course Greek column. We will click on it. And then here it will appear in this window, the import model window. Here we will have to put a name for our model and we will have to choose in which folder we want to place that model. So let's place it in the main library, and let's go to the next option here, import edges or lines, we can put it on or off. My advice is that you always put this option of because we don't want to import all the lines. So we say, okay, and here, look that I am just moving around the mouths. So I have to click in 1. I suggest you to click near the x's and then I have the option of continue clicking and place more models in my view port. I don't want to do that, so I will click on the escape button. As you can see now, I have imported my first model. It is the Greek column, and here in the imported models library, it appears one element. The name is Greek column. I can put it on my favorites or I can delete it by clicking twice. Well, let us start the navigation. Look that we have here, this target and a part of that target, I have the clicky mouth. They work separately at the same time, I have my axis. So here we can see that we have the blue X and the red X. It is important to take into account that in Lumia, the green ax is vertical and the blue axis is horizontal. This is something strange and in my opinion, it should change because normally in all the programs in the wall, the blue acts, the set x is always in the vertical position, and the green one is always in the horizontal position with the red one. Remember this information because in the future it will be important. So if we want to start to navigate, then we have to use the right button of the mouse. Look that with that right bottom, I'm going to move the target. Now. I am just moving the target. And the target is pointing the camera down in this case, up in this case, right and left. When I press the right button, you can see that at the right side, I have different shortcuts for my keyboard. So the main shortcuts are the followings, q, w, e, ASD, they are in the keyboard in the left part. Look that q and E goes up and down. W and S works for going forward and backwards. And a and D work for going to the left or going to the right. At the same time, we can use the arrows of the keyboard. If I want to move the camera up or down, then I will have to use yes or yes Q and letters. So besides this, we have to use a lot, the right button of the mouse. Look if we put the target pointing to the column in this case, and I keep pressing that right button and then I press to the letter D for moving to the right. Look that if I move that target, always pointing to that column, I'm going to move around the column. That is very, very interesting with the scroll of the mouse, I can zoom in or zoom out. And finally, we have another very important bottom. It is the letter O. Remember this letter because it's so important for the navigation Eleusinian with the etre au. If I put the target point in the column and I press the letter O, and then I press the right button and then I move, look that I'm just moving the mouse to the right side, okay? And I am moving around the column and the target is not moving because it's like fixed in that position. So this kind of movement makes my life so easy and Lumia, I can go up and then I will move around in this direction. Or I can move with the mouse to the bottom and I will move around in this direction. So I invite you to practice all these techniques for a good navigation, a lumen, and I will see you in the next episode.
4. A-Settings: Hello everybody and welcome to this new episode of This luteum course in where we are going to see the panel of settings. So we left the last episode here with a column and with this important Models Library opened. So first of all, we are going to close it. So we will click here in all, for example, we will see it later, all these menu. And then we're going to go to the Settings panel here. Okay? This is related with this number we saw in the last episode in where we can see the frames per second. The graphic card is moving right now. And we can see as well the percentage of the use of the graphic card. So let's go to the Settings panel. Let's click on it. And here we have three categories, image, input and system. Here in image. So we have the editor quality. So here we have four stars. Okay? So the thing is that we can put these in lower quality, so the Rapid Card to work faster. So here for example, we will put medium quality and in the editor resolution, it's more or less the same. It is placed in 100%, so the resolution will be just perfect. And for example, we could put it at 66 percent. With only those two changes, we would get a very good improvement when we will go back to the bill viewport, as you can see now here, the frames per second are around 20 when it was around eight gas before the changes. So I recommend you to that these settings according to your graphic card. If you have a very good graphic card, maybe you can put the editor quality at the maximum and the editor resolution at 100%. If that is not the case, then we will have to adjust the settings. To be more precise. You would like to know that the editor quality, what is doing is to change not the Yom, a tree that we have imported into the model, but the native graphics of aluminum, for example, the sky. We will see it clearly with the sun. We can see here that the effects of the Sun now are very low. If I put it in a very good quality, for example, four-stars. And I go back again. Then we can see the effect of the some much more clear and much more better. On the other hand, the quality of the resolution. The second option settings the editor of the resolution. This option, what it's doing is to improve the resolution of the textures, the materials that we have imported into low medium, for example, this column, this material, okay, Now we are seeing this material in a very, very good quality. But if I put the resolution of the graphics in a lower percentage, for example, let's say 50 percent, there will be a huge change. Then you can see now that it is blurry. Now it is blurry. You can't see that definition. I put it even in a less resolution. The graphic card will work better, faster, but the resolution of the graphics will be worse. So I recommend you to put it at 66 percent. Okay, now let's go to more options. For example, use proxies here we can put on or off. Of course, this option will help us again to move better than geometry. Here, high-quality trees is more of the same. In case it is on, it will. So all the trees in the editor at maximum quality, this out update preview is not very interesting. So let's go to Input. Here. In input, we can enable the tablet, we can invert the mouse if we want to navigate with the right button of the mouse in different directions, we can do it here. And we can put on for using the analytics to help Lumia to get some data. In system. We can hear, arrange this kinda stuff. For example, the mute sound effects use imperial units. It means to use incest instead of meters. Right? Error log, that is not important. And this is important, recovery, it must be on because it will help us to create a recovery file periodically. Full screen is not important. So the most important options are here in image where I recommend you strongly to adjust this quality, the editor quality and the editor resolution to your graphic card. As mine, is not very good as we saw at the beginning of the course. I will put it here in medium quality and here in 66 percent. Once we have arranged all the settings, we will be able to work better in Lumia and I will say goodbye, and I hope to see you in the next episode.
5. A-Save and import: Hello everybody and welcome to this new episode of This Lumiere course in where we will see the file panel and we will see a bit deeper how to import a model to Lumia. So once we are here in the file panel, we can create a new project by clicking here. We can load an example project. If we go here, we will see that Lumia offers us different projects which have been modeled in different softwares. And once they have been imported, Eleusinian, they have been worked a lot aluminum. And then we will be able to check the power of this program. We can go as well to bed smart, where we will take the specification of our computer like we saw before. And we have these options. We have the option of loading a project. If I click here, Lumia will so as the most recent projects. So we can open them easily. At the same time we have this another option in where we will be able to Mertz project. We need of course, to have a project already saved in our computer. Here we have the option of saving our project the current changes. And here we will be able to save that project with another name. So like everything in Lumia, this file panel is very intuitive and very easy to learn. Look that if I click here in Bill, I will go to the bill viewport. And I will always be able to go again to the file panel and create a new file load, save whatever. So I will click again in Bill, and I will go now to import a model looked at here. In this left side of the screen, we have these four categories, content library, materials, landscape, and whether we saw it before. Here in content library. If I click on it, it will appear all of these options below. If I click here in materials, the menu will change and landscape and whether as well. So we will go to content library and look carefully because here we can see that we have clicked already. These imported models is in another kind of blue. It means that it is pressed. At the same time. We will have to be careful if there are any options here, any bottoms already pressed because that can change what is happening on the screen. Anyway, if we want to import something, we have two options. We have the green button import new model. It means that we will import something from the outside of the lumen. I mean a model made in SketchUp, for example, or in 3D marks or any another modelling software. Instead of this option, I have this one important model. If I click twice, it will appear this important models library we have already seen here. As you can see now, there is just one model, this Greek column. It is already here because we imported this geometry before in case we want to use these Greek column in another project now is much more easier because it is here already in this library. So I have just to click on it and move the mouse into the viewport and click into place. I want to drop the model. Once I have done that, I will press Escape because I don't want to place more models in my Canvas. So once we have placed one model from our important models library from Lumia and we will do the same with another model, but this time from the outside, from the exterior of Lumia. So I will click here in important new model, the green button. And this time I want you to import this file made in SketchUp called Barcelona Pavilion. You will find it attached with the course. So I will click on it and I will say Open. Then it appears this important modal window in where we will put a name, Barcelona Pavilion. We will decide in which folder we want to place this model. We can put it here in the main folder or we can create a new one. And we will say, if we wanted to import the edges and lines, I recommend you to don't import edges and lines. So I will click here in okay. And once the computer has loaded the model, I will have the chance to place my geometry where I want. So I will click on here, for example, one click and then Escape because I don't want to repeat this axiom. I will throw them out. And now you can see all the Barcelona Pavilion placed here in my viewport. Take notice that here in the important models library, I have another model now. It is called Barcelona Pavilion, like we named it. And it is placed in the first position here in the library because it is the last one I have imported to Lumia. If I want to make this window disappeared, then I will have to click here, for example, in 0. So once we have our Barcelona Pavilion already placed, we will save this file. So we will go to the file panel, we click on it and we will go to Save As here, I will assign my route and I will put a name for this luteum file. This is aluminum file, so I will call the aluminum file Barcelona Pavilion. I can place it on the desktop or wherever I want. And I will say safe. Once it's already saved, if I want to load it, it will appear here. You can check here the name of the file and the date of the latest safe. So I will click again on the bill option. And at this point I will say goodbye. I encourage you to repeat this axion sometimes till you get familiar with them. And I will see you in the next episode.
6. B-Transform objects: Hello everybody and welcome to this new episode of This luteum course in where we will start to work with different libraries as the nature library as well. We will start working with the transformation panel. We will rotate, we will move the elements, we would scale elements and so on. So first of all, here in the file panel, we will have to go to load. Here. We'll click here in Barcelona Pavilion file in the latest version. Well, now we can see the project as we left in the last episode. So here we have the Barcelona Pavilion and we have as well the Greek column. First thing I'm going to do is to relate these Greek column because it is not necessary at all. So I will go to the grid column. And then here, once we are in the Content Library menu, here I will use this transformation panel. I will click delayed, and then I will click this bowl or erase it. Good. Now I will zoom out. And let's start analyzing how it works this content library. In the last episode, we saw how import and import models these two options worked. Now we will jump to this next option, nature. If I click here and I click twice, then the nature library will be open and we will see a lot of different species here does for us to use. So first of all, look that we have here, this category favorites. And then we have a lot of different options like as broadleaf conifers, palm leaf less trees, grass, plants, flower characters, clusters leaf for its wood, rocks and widths. If I click, for example, in palm, you will see that we have different pages available. If I click in number three, I will have more and more species. If I click in number 5, I have even more. So the number of possibilities are so huge. It's important here to remark that Lumia has done a great, great job in terms of vegetation. Vegetation was always a very hard thing to render because it is needed a lot of geometry for doing the plants in the past. That meant that we had to spend a lot of time for having a good render when we were using plants, trees, or vegetation, everything has changed with lithium. Now we have loads of possibilities available just with one click here in a native library. And at the same time, the renderings are super high-speed besides, the quality is so high. So everything is so positive here. I encourage you to have a look around this huge library and be familiar with all these pieces that you can use for your projects. I would like to add that if you, for example, like this tree, there is a star in the left corner that if you click it, then this species will go to this category to category of favorites. And then you will be able to use it much more easier. If we didn't want this palm tree to be a favorite anymore, then we have to unclick here at the star. And then in February it's, there will be known. So let's go again to the palm category. Let us choose, for example, this SPC, Alexandra Pam Laertes. I click on it and then I move the mouse here. And I will have just to click the left button of the mouse at the plane, I want to drop my element. Let's say here for example, if I move again the mouse, the program will give me the possibility of place another copy of this element, but I will say no, so I will click on the escape button. Take into account that this is possible because this bottom placed, it is already pressed. Once I have finished with my nature library, I will click this bottom all so the library will disappear. Let's move on now to this transformation panel. The first bottom we have already seen is this place bottom. It is related with the different library categories. So if we are here to clicks, then I will choose one element and I will place it into my model. Okay? If I jump to the next option, this Select button, and you can see that two balls appear at the screen. Each ball is related with the model in contact. So this bowl is for doing operations with Dave, Barcelona Pavilion. And this ball is for doing operations with the palm tree. At this very moment, we can see the two balls because we have selected this option, all categories. So we can see bows from the important modal category, ambles from the nature category. Imagine that I click nature category. Then I will be able to ask to see the balls from the nature library. Take notice that when we click the Select button, it appears more options here below to help us make different movements with our objects. We will see them a little bit later. It is important as well to be aware of the fact that when we select one element, in this case the spanning tree, it appears this menu here, this new offer us different options. Let's analyze them. First of all, we find this lock for making the object and selectable. If I click here, the boy will become red. And then it will be impossible to do any operation with it. If I want to make the object selected, well again, I will click on it again. At the right side, we will find this option for making groups. We will need more than one object for doing this. So this option will be used in the future. Just below we find this level, layer 1, we can unfold it and we will find the different layers already in use. So we will be able to move any object to any liar easily. For example, if I click here this object, the pound tree will go to the Layer 4 instead of layer one. If I go again to layer one, I will move the object to this first layer. And here at the right side, we find this option in where we will be able to select all the things, all the elements, all the geometry in this layer one. If I click on it, then everything in the view port will be selected. Because at this very moment, all the geometry is just placed in one layer. In layer one. In case we wanted to deselect everything, we will have to go here and press this button. Let's select all. I will click again to the palm tree. And let's continue analyzing these options. We have here four bars. With these bars, the first one, I will modify the transparency of the element. The other three bars are for modifying just the color. Finally, we can find this little arrow. We can unfold it, and we will find different options. These options are called advanced options. They are very interesting in many cases, when the project is much more complex, we will study them in next episodes. So I will click again a little arrow. Now we will jump to the next option, the rotate option. We will click on it. And as the pantry is already selected, we will see here these three bars for modifying the orientation in the different planes. Here, for example, we are rotating the tree just in the horizontal plane. And here we will rotate the element in the different planes. Take into account that this first bar is related with these red acts represented always with the letter X. This second bar is related with the green Ax, represented always with the letter y. And this last bar here, aluminum, is related with the blue acts, represented with the letter set. Normally the blue acts, the set X is the vertical one, but here it is the green one. So here is different and you have to take this into account. The next option we can find is the scale bottom. If I click on it and you bar will appear and I will be able to change the scale of the element. Yes, moving this bar, looked at the numbers can change dramatically and then it can be difficult to control the size of my element. To solve this problem, we can use the Shift button while we move the bar. Besides scaling the element, this way, we can just press the ball of the element and move the mouse up or down till we find the scale appropriate for us. Next button will find is that delay to one. If I click on it, then I will have just two confirmed the operation clicking the bolt and the element will be erased. Eventually we find here the Undo button. If I click on it, I will undo the last operation, in this case, the delay of the element. Once we have already seen the main operations, these transformations panel offers us. We will go again to this Select button. When I click on it, we have different options below. First of them, move free. So when I click on the trees bottom and I keep pressed the left button of the mouse, I will be able to move this element throughly. That means that when I put. The element above any geometry of the viewport, Lumia will recognize that the geometry, in order to place my element right in that plane. For example, I will change my point of view to make this more understandable. Here we can see different planes in this geometry. So I will move this element freely. And when I will put it above this plane, the program will recognize this horizontal plane, and I will be able to drop the element just above it. In case I want to move it here to this plane, it will be the same. So I can move elements two different horizontal planes in a very, very easy way. Let's put it again in its first position. And let's see, I'm to the next option. Here we find the option called move up. If I click on it and I graph this ball, it is clear that now the movement of the element is going to be restricted just to the vertical axe looked at. When I move the element up, I can see a number which is saying to us, the high we are getting with our tree. In case we want to be more precise, we have this option type in. I will click on it, and then this window will appear with a different axis. And I will have to put the number here in the y ax. Here the y ax, it is the set acts normally. So here I will put, for example, ten meters, 10 meters, and the element has these specific high right now, in case I wanted to place again this element just above any plane, I will click on Move free again. I will take this ball and I will put it again easily on the floor. Next option is called move horizontal. I am sure that you can imagine what is going to do when I click on this ball. Right now, the movement is going to be restricted to this horizontal plane, in this case, the ground of aluminum, because it is the one in which the element that was placed at the beginning of the movement. Finally, we have this type it bottom. We have already seen it. So we have already had a general view about this transformation panel. As you can imagine, we will use it constantly. So don't disparate. If at the beginning you don't feel so skillful, I promise you will gradually get it step-by-step. So we will finish this class here, and in the next episode, we will start working with these libraries. The fine detail nature, people and animals, effects, sound, utilities, lights, transport outdoors. And all of them are libraries of Lumia where we will find native geometry very easy to use and super interesting for creating great atmospheres in our projects.
8. B-Advanced options: Hello everybody and welcome to this new episode of This luteum course in where we are going to see the advanced options for placing elements in a different way. Look that here, if I go to place and before I have choosed one library, for example, nature, here, below this bottom, it appears different options that we haven't seen already. So apart of the single placement that we know how to use, we have the mass placement, we have the cluster placement, and we have the paint placement. So if I go to the single placement and I go, for example, to flowers, and I choose this first one and I want to create a line along this facade. I should repeat the placement of this flower many, many times. And it could be kind of boring, and I should spend a lot of time on it. So this is not a very good way for doing this operation. So let's do it using this new tool call mass placement. I could go to place again, and I could choose mass placement. Then I could choose this for example, African daisy, orange, SPC. And when I go to the viewport, I should choose my first. And then a second one where I want that band to finish. Look, I want that band to finish here. So I could click here. And then it appears this menu for the mass placement, I have number of items. Now I have just look 123458 amps I have right now, I could increase the number of items. And then all these ban would fulfill with this SPC, with this flower. So look that doing this operation in this way is much more easier and for sure, much more faster. I have the direction as well. I would orbit here for making you watch what is happening in a better position. So with the direction, what I'm doing is to rotate its element with a number of degrees. Okay? You can see all the elements rotating in the same way. If I want to randomize the direction of the rotation, then I can use this bar and any element would rotate in a different direction. I recommend you to use these randomized direction because the general impression using this could be much more natural. Then I can use as well, they randomized space in a long line. So here, I could separate the distance between the elements in a randomized way. More natural again. And with this bar, I would randomize offset from line. So you can see that the elements would separate from the middle acts. And again, the result would be much more natural. So here it could be fine. And now Let's go to this part of the minimum. Here. I have just one species, this flower. If I wanted to add another species, I could go to my library. For example, I could choose this yellow one. I could click on it. And I could go to here to add blue that when I go with the mouse along this button, it appears already here in this window, and I should click the US once. Then this species has been put into the band, and now I have two species along the edits. If I wanted to add another species, I would repeat the same operation. So let's go, for example now to grass. And I could choose this one, this blue fescue. I click on it and I go here, I click on the left button of the mouse. It's been added. So right now I have three species. So if we are happy with this composition, we have just to click here, confirming the operation and returning to the bill mode. You can see right now that here we have all these species in this band. Maybe we should have added more elements because there are too much distance between the flowers take into account. And that was that we have confirmed the operation. We can't return to that menu and edit it again. So we should repeat the operation from the beginning. I mean here if I click select, all the elements are now just like individual elements. We can't go again to that band and edit it. In any case, I think that it is very clear how it works. It is super useful. So let's go now to the next option. I will go to Place and then to cluster placement. When I click on it, I will have to choose another SPC. In this case, I will go to pound and I will choose, for example, this, Let's say this palm tree, okay, this typical one, I will click here once and then you will see that there are not one, but a lot of them. There is a cluster of ponds. So this tool will be very useful when we want to create a composition, placing group of elements in a very rapid way, take into account that although the name of the tool is clustered placement, this is not a cluster, this is not a group of elements. So if I click on Select, we will see that here the elements work again individually. So here we have this element and we can erase it just one by one. There is no group in any case. By the way, if we want to select more than one element, we can do it this way. We can press Select and then press Control button and create this kind of box where we will select many elements at the same time. Here is okay. Then I release the bottom and I click here and I confirm the operation. There is one, the aspen tree left, so I will click here again. They are already erase it. Next option would be paint placement. So I could click on it. I could go again to my pantry and right now, look that it appears a circle on my ground. And I have this menu. In this menu we have A-bar called density and we have two buttons. One is for painting and the other one is for erasing elements. So we have already chosen this palm tree. So with these bras, when I click, look that just with one click, I have placed a lot of elements. There are lots because the density is so high is the maximum. If I want to put, with each click less elements, then I could reduce the density. And once I click here on the ground, there will be less elements than before. And this way, I can create a great forest around my building in a very, very fast way. On the other hand, if I want to erase some of these elements, I could choose this array selected object, and now I good start erasing some of these elements. For example, I would point my target here because I can see that some of these pantries are placed in a very wrong position. So here I could choose these ones and they are right now, much more better. Then I would put here some more. And it could be fine. Take into account that with this tool for erasing elements, I am able to raised just objects which have been placed with this same tool. For example, these flowers can be erased because they hadn't been painted with this tool. So now I have to confirm the operation. And again, once I have finished, all the elements work individually, I could press Select, and here I will find a lot of little balls. The good thing here is that this tool has memory, so I can't go again to this paint placement. I could choose Erase for example, and I can still erase more elements. So I kind of still edit my composition. I will say confirm and I will return to the bill mode. So we have already finished to see every tool about how to place elements. We finish this episode now and I will see you in the next class.
9. B-Materials: Hello everybody and welcome to this new episode of This domain course in where we are going to talk about the material. This is a very important issue. So this episode would last a little bit longer anyway. First of all, we are going to make the most of our new knowledge and we are going to place all the nature in another layer. So I will select any of these trees. I will go here to Advanced Options, and I will say select all objects in the same category. Then I will go here to Layer, and I will say that I want to put all of these elements in layer 2. Here we are. Now, I have to go here to liars and say that I want to hide this layer 2. Well, now I have our pavilion gas super clean to work with our material, so we will find materials here. This is the second option in this menu. We had content library and then we have material. I will click on it. And once I have click on it, then I navigate around my model. Look that when I go with the mouse along different materials and I'm talking about my imported model, not talking about native Lumia and geometry. Then we will find two colors. We can find yellow one and we can find the green one. The yellow one means that some operations have been done in Lumia Material Editor. On the other hand, the ring one means that have been done no operations in Lumia and jet with this material. So let's start working and let's start with the green one material, for example, this stone. So I will click on it and then it will appear this material library menu, we will find here different tabs. And this one is the one which is pressed already knew. Here we will find this important Materia already pressed as well. So when we are using an important material, and this case will happen a lot, a lot of times because although materials aluminum are very good, there will be many cases in which we will find even better materials outside Lumia, I mean, for example, on the internet or in our own libraries or many places. So if we are using an important materials and we want to edit it, then we will have to go here to this bottom standard. Let's click on it and you will find here the typical window for editing a material in Lumia. You will see that this minimum is very similar in many cases. So here we find a thumbnail about our material. Right now there is nothing because it works only with native Lumia materials. Then here there are three guys. This first one is about the diffuse color map, which means just the texture of the material that we normally see at the screen. But technically it's name is diffused map, or even in some pages it is called Albedo map. Here we find the normal map it is named as well as bump map. This map is used for creating the impression that the material has some kind of relief, but it is just an impression. It is made by blacks and whites colors. And then we find here the displacement map, it is called as well the height map. This map is used for modifying the geometry and give to some parts of that geometry different height actually in Lumia map is not really modifying the geometry, but it will give us that impression and it will increase the quality of the render if we use it properly, then we find here different buttons for copying a material based in the material, save material to custom materials, load the material and safe material. We will learn to use this options little bit later when we are finished to create our own material. So let's go to these sliders. First one, it is called colorization. Look how it works. If I move the slider a little bit to the right side, then this color, the white one, will be applied to my material. Look milestone, little bit closure. And look that if I increase the slide bar, then that white color, it is placed in like a whale on the top of the material, and then it will be more and more white. If I want to change this color, I will click here. I can change from RGB to RHEL, and here I will choose, for example, this red color. I will decrease the slide bar. And let's go to gloss. Here. We are talking about the brightness of the material. If we want to become that material like coated or uncoated, if we go more than 1, then the material will become coated. You will see, and if I go under 1, then the material we can say that it is uncoated, there will not be bright at all. So let's go again to 1. You have to take into account that when we are editing a material and I mean, and a standard material here in this option, standard, all the values here of the slide bars are going to start at 1. This is like neutral, no charge values. So we have to adjust these values, these characteristics of the materials to our stone, to our metal, to our good, whatever. So here this stone is clear that it has not that brightness. So we should go with a value under 1 here at flows, let say 0.4 for example, an x-bar is called reflectivity. Here we are talking about how much the material reflects the light. So again, if we are talking about a glass or a mirror or a metal, then this value will be super high and we should go to almost the maximum. But if we are talking about a stone, then the value of reflectivity would be around 1 or even less. Of course, all the materials, all of them reflects light more or less, but all of them reflects light, then we find what is called here relief. This slider is completely unrelated with the bump map or the normal map. I mean this term here. So if we read now, look at here carefully, we will see that we have already a normal map installed and we can take here that route. If we wanted to remove that normal map, we should click twice at this button. I will do it and then we don't have normal map anymore. Look that we want to create a normal map from nothing. We can do it easily just clicking on here, create normal map from colormap. This means that Lumia is going to create for us a normal map using the diffuse color map as reference. So we should click here, create a mind map, then the normal maps being created. And if we go then to the relief, a slider, we will say that here we have this option flip normal map direction in order to flip that relief. For example, if I go closer, you can see here that if I flip the normal map direction and I can increase this slider to have a better view. So here for example, let's say that we want these streets to work as carved on the stone. So I will click here the normal map for flipping it in that direction. Then I have to adjust the relief, the maximum, not always for sure, the best option. So let's leave it at 1. And of course, all of these values will have to be checked afterwards when we start rendering images. At that moment, we will collect a lot of information for adjust these values in a better way. This is our first approximation. Anyway, I was saying that we have an option for creating a normal map from Lumia. Here, we can remove it again and we can create it again, super easy. But if we have our own normal map, because to be honest, there on my map, creating aluminum is not very, very good. We can click on here, choose normal map and then look for our File and choose our normal map. Of course, you have all of these files attached with the course. You can see now that the level of detail with this normal map is much more better. Now I will add just a little bit the slide bar, because I think that with this normal map, it is to match 1, it is needed to be lower, let's say 0.6 for example, or even less, 0.4. And before jumping to the next option map scale, this is a good moment for chosen our displacement map to. So I will click on here and I will choose my displacement map. Here it is. I will say open and look that when I installed this displacement map, then it appears an inner slider called displacement. We can't create a displacement map in Lumia. We have to take it from outside always. I'm talking right now about imported materials, not about native materials, but if we are talking about important materials, here, we can increase the value of the displacement. As you can see, the geometry is been modifying, or at least it seems that it's been modifying. In this case, we are talking about a flat stone. So it is not interesting for us to increase the height of this stone. So if I were you, I would put this value just at 0 or 0.1 anyway, like it happened before with the transformation panel, we can adjust these values more precisely if we keep pressed sift while we move the slider bar. And now yes, Let's jump to this map scale bar. Here we will be able to modify the scale of our texture. But to be honest, it in this case at 0, is perfectly correct. Let's click Now more and I'm fall these options. And here we will find more tabs, position, orientation, transparency, settings, weathering, and fourier edge. First of all, here in position we will be able to move our textures in the different axis. The problem right now is that this texture is not a native texture. It is an important texture. So this option is not working. It occurs the same with the orientation. If we go to transparency, we will find two option works in us and transparency. This first value is say in us, how much light is able to absorb the material. And this one is saying to us the level of transparency. So mostly the second one can be very useful here in Settings, we will find this slider MEC, which can be very, very useful if we want that material to emit light to become a point of light, if I increase this value, you can see it clearly with the saturation level, we will change the saturation of the color of this material. This specular value, according to my experience, is not very useful. And this Flickr reduction we will use just in case we have to show your face occupying the same space. So through this bar, we will reduce the Flickr. Finally, we have these three buttons, colormap, alpha mask reflectivity, color map, alpha clips object, and colormap alpha mask MEC witness. I could say that this options are advanced options for editing materials we will be able to create or to install more maps done the defuse, the bomb and the displacement map. I think that this is not the time for these advanced options. So first of all, we have to control and master all the rest. But if you are really interested in it, I invite you to investigate in different tutorials. Let's jump now to this, whether in option looked at here through this slider, we will be able to adjust the weathering and create the impression that times goes by through the material. I suggest strongly that you use this bar gas with little values. For example, from 0.1 to 0 for maximum, looked at here, 0.4 is too much. So I would put here, yes, 0.1. Of course, if we are editing right now a stone, then here we will have to choose a stone, not would, not letter. Eventually here you will be able to control the softness of the edges. For example, how it's changing the edge. When I increase this value, it becomes more softer or it becomes more SAR. So in this case, I will put it at 0. Finally, we have this last option for that. We will be able to control the spread. We will be able as well to control the size of the leaves, bigger or smaller, the leaf type spread pattern offset, and finally the ground level. In this case we don't want to use the for the edge. So I will put the spread at 0. And when finally I have finished to edit my material, I have to go here and save the changes. Look that now the material is in yellow, in green anymore, which meant that we have already modified the material in the Lunarians editor. Once we have created our own materials with our own presets, maybe we want to save it or copy or whatever. So we should go here again, and now is the time for taking these options. I'm copyright now this stone with all these presets, and then I will click here save changes. And for this example, I will go here to the swimming pool and I will click on this material and I will say paste. And then all the characteristics, all the presets have been pasted here on the swimming pool. Actually, I am lying because not all of them have been pasted. In fact, we have an error. The reason is that here, our diffused map hasn't been pasted. So we are going to say that we don't want to save the changes. And we are going to start again. Let's click here. And if we take our diffuse color map, we have here a warming. It is said safe material, unsafe material set will not include textures that were assigned to models outside Lumia. This means that our model is coming with this texture, with this stone from a SketchUp. And then we will not be able to use these operations unless of course, that here we choose our color map from outside, then I will click on it. And here I will choose my diffuse map. Once it is already started, I would not have any problem to copy the material. Say Okay, go again to my swimming pool and say here paste material. Then as you can see, here, we have this stone. Actually we don't want this stone for the swimming pool, so I will not save the changes in case that we want to, not to copy the material, but to save this material for a future use. I will click here and then I will write down a name. For example, a stone, a stone Barcelona Pavilion. I'll click Okay, and now I will be able to find this material, hearing custom materials. So I will say, okay, save changes. And if I want to use it, for example, again with the swimming pool, I will click on the swimming pool. I will go to my custom materials and I will say here that I want to use this stone. Again. This is just an example and I don't want this stone for the swimming pool, of course. So I will say that I don't want to save changes going again to these options here, we will be able as well to save this material in our computer, we will be able to create a file outside Lumia. For example, let's call it the stone, Let's say save it. And then we can load it here whenever we want from our own file. Once we have seen how to use an important material, Let's explore a little bit the library of luminance material. So here for example, if we would like to change this water. I would click on here and, and we could check that here we are using this material called water. If I go here, I go back, We will see that this material, it is placed inside the staff knew where we can find other simple materials like it is build war, like it is color, like it is glass, and so on. If I wanted to choose another kind of water, I should go to various. And here we will find materials related with the nature to the grass, 3D, grass, rocks, soil, water, woodland, lives. And four, if we go to the next tab, indoor here we will find fabric, glass, leather, metal, plastics, stone, tiles, would, and curtained. For example, if we go inside stone, here we find three pages and some materials with the letter d. This d means that this material uses displacement mapping. If we click twice here, the material has been applied, we can check that here we have the diffused map, the normal map, and the displacement map, and all the sliders and options that we have already learned. If we go back and we done to outdoors, here we will find breaks, concrete, glass, metal, plaster, roofing, stone would again, but different ones, asphalt and no more. Next step we find East custom materials. We have checked this one already. Here we can find the stone bus and Opabinia and we have just created and the last step is new, and we have already talked about it. So this is the general view about the material library. Right now we need our water, so we should go to various and here to water. Once here we will find 20 types of water and sewer pool water, blue lake, blue ocean, Clear Lake, and so on. Imagine that we agree to choose Blue Lake. If I click twice, we will find here different options for changing this water. When we are happy with the result, we should click on here, save changes. We will find this water applied to any material with the same name in SketchUp looked at here. We have this material applied on the two swimming pools. So it is very, very important that before coming to Lumia and you worked your model in SketchUp and you apply it. There are different materials or even colors just for distinguishes all of them very easy here in Lumia. In any case, you have to know that our SketchUp file is linked with our aluminum file. So if we need to change something in our SketchUp file, we can do it. And then when we save it and we reload here in Lumia in our file, those changes will appear. We will learn how to do that in any specific exercise for applying materials in all the pavilion. So we will finish this class here. I hope you like it and you practice everything. And I will see you in the next episode.
10. B-Landscape: Hello everybody and welcome to this new episode of This Lumiere course in where we are going to work with the landscaping. First of all, we will have to recover our file. So we'll go here to load. And we will say that we want to recover these Barcelona Pavilion course. You always have to save the file when we finish the class or when you finished your work. So once we are here with our file open, we can see that we are working in this flat landscape. Imagine that we want to work with those templates in where there is a beautiful forest around how can we insert our project in that template at this point, where we should go then to fire again, Create New and choose our template. In this case, I will choose Create forest environment. I will say, okay, and this forest template is already loaded. Let's have a look about this template. We have a lot of trees and then the graphic card, moving the graphics much more slower. One of these trees are placed in a layer called trees. We can always hide this layer in order to navigate better in our template, look as well that we have a lot of birds flying around. If we wanted to choose those words, we should go to people and animals, choose one of them. Then say that we want to select all objects in the same category and move them to another layer, for example, Layer 3, then just go to dietary and hide this layer again. Finally, this template is using an especial sky which has more quality. So we could go here to weather and turn off this real sky. This will help us as well to move our graphics better. So let's go back to landscape. Let's turn on trees, and now we have to put our model inside. So I will go here, two important models. And I will use my Barcelona Pavilion. I will place it here, and I will just rotate my pavilion here. It could be fine. And now I need to erase some trees. So I would go to nature and intellect. Look that. I don't need to select the control ball here. If I click and I say that I want to erase this one, I can confirm here and the trace is already raised. So I could do the same with this. I click twice and I confirmed operation with this one, I click twice. I have to confirm here with this one. And in this case, I will just move this tree. So I will select, and I will move here this tree. The interesting point here is that we have used a model from our gloomier library. I mean, we went here to import it models and we took this Barcelona Pavilion model. And the interesting thing, like I was saying is that here we will find that the changes we did last time with the materials are already uploaded. Look that if I go here to materials and I check the material of the swimming pool, it has the blue lake, the one we had chosen in our previous class as well, that the stone, it is in yellow color. It means that Lumia has been working with this material. And if I click on it, we can check here that changes we did together. So the conclusion is that when we work in a model from our Lunarians library, all the changes we do on it there will be uploaded immediately in this library. Anyway, we could have done this operation in another way. For example, go into file and using, if we have this luteum Pro, the merged project options, once we have placed our pavilion on its place, we will go to file and we will create another file, Save As, and we would call it Barcelona capability on landscape. We go back here to Bill, and after these primary operation, we would start finally to work with our landscape. This third option here in the main menu, I will click on it and we will find different options. When I click on any option, more tools related will appear. So we have height, we have water, we have ocean, we have landscape grass, we have OpenStreetMap. And finally we have pain. If I click Hi, I will be able to create, maintains and holds mainly deal with that here I have rise, I have lower, I have flattened, and I have gitter and smooth. A part of this, I have two brushes. I have the brush size and I have the brass depth speed. Finally, I will be able to flatten the landscape again and reset all the changes. I will be able to save my own landscape map, and I will be able to load it in case I have something saved before. So let's do this grass size, much more bigger and this brass speed more powerful to enable you to watch much more better. What is going to happen? Look how it's working, this tool creating this new relief and this new mountains. In case I want to make those mountains lower, I can do it with this. Another option. And with this tool, I could even create holes. For example, if I press here at the bottom, for example, I will create a hole, which it can be used like a lake afterwards. With this third option, like its name says, everything will be flattened, even holes. With this fourth option, I will create eaters along the mountains. And with this smooth guy, I'll do just the opposite. So as you can see, all of them are very intuitive. Like I told you, if I don't like the changes, I can reset everything, just clicking here. So you are super free for testing the stalls and trying to create your own landscape around the pavilion. I will do it again rapidly. So I will go here to raise and I will create someone tens. So here it is. Let's leave it like that. We have created someone tens here and here a whole prepared to be a lake. We will jump now to the next option called water, in where you will find this option place object, the date, object, move object. And here, different kinds of waters loop that we have here, six waters. So I will place my objects clicking here. And with one click, you will find that here there is kind of surface plane, just a plain in where you will find that here we have different balls where we can control the length and the same of the surface of this plane. Once the lake is big enough, we have to put it at the correct height. So I will click here. I will keep pressing, and I'll place this surface a little bit higher, for example here. So right now, it could be fine. So we are achieving this kind of landscape with the lake and with Amontons. And finally, we can use this water, ocean water, tropical water, pond water, montane water, dirty water, and even ice water. In this case, I will choose to use montane. Here it is. Next option we find is called Ocean. So I click on here and I have to turn on the ocean. You can look here that we have this ozone and then we will be able to transform this ocean with these different slide bar. Here we have the wave intensity, we have as well. To read it, we have the height of the solution. Where is that plane place? So here, for example, if we want to control better this height, we can use the Shift button, the brightness, or we can play with the colors. We have color one, color two, and the color press it. So if we want to turn off the ocean, we'll click here again and we will jump to the next option called Landscape grasp. We can turn on or turn off the grass now is on, but I can't turn off clicking here. So we have the grass size, the grass height, and the grass wildness. And then here different elements that we can add to our grass. I will put the camera a little bit closer in order to make you what's better, how is work in this graph? For example here, first of all, look that when the grass is on, we can see it here clearly. But if it were off, we would see as this texture, without any doubt, much poorer in terms of graphics and quality. So with the grass size, we will control, of course, the size of this grass. Here. We will control just the height, not the size. Here we can control the wideness. This means that the grass will grow in a very randomized way depending on the area like it happens in the nature. Here we can see it at this part of the screen. The grass is very high, but here there is almost no grass. Finally, here we have these windows. If I click on Edit Type, this window will appear where I can add different elements to my grass. For example, this kind of flowers, stones, just leaves, whatever I will put in this case, for example, let's say lives. If I move this spread bar, I will have less if I go to the right or more. If I go to the left with the second bar, I cannot judge the size of those lifts. And here I can say that I want that size in a randomized way. I could add more elements. Let's say in this case, for example, some, some stones. If I wanted to eliminate some of these elements, I could go again to edit type and I would click on here empty, and that's all. Next option is called OpenStreetMap. To be able to use this option, you will need to have the aluminum Pro, that version. It is malfunctioning right now. So we will have to jump to the next and final option. It is called pain. When I click on pain, we have again different options and a slider bars. Let's start from the right side of this menu. We will go to the left for a better understanding. Here, we can choose the landscape and I mean the general landscape. If I click on here, you will see that right now this landscape is already chosen. So this landscape give us this fourth, let's call them brasses. We can say that they are kind of harmonic brasses for this landscape. Of course we can change any of them, just clicking on here like before and chosen another kind of texture we can find here. If I go back to the landscape window, I will click on here, for example, I will move up a little bit for a better view and you can see how the landscape has changed and the brasses to, I would do it again. So the good thing about this tool is that it allows me to change the landscape in a very easy way. Yes, with one-click. Besides this, I have this option for hiding the rocks at the mountains. And this one in case I just wanted to change thing which is based the mountains in this case, it is based on this farmland is ROCC. But I could, for example, choose this one, this American rock. And you will see here the results. Once the sidewalk is 27, I could add just the tile size to do it. Smaller or bigger. Let's go again to our primary rock. Will click on here. So let's go with this for brasses. First of all, I would like to remark that if I go to this corner, we will read assigned landscape grass to this slot. We can choose just one of these four slots for having grass, not more than one. So if I wanted to assign the landscape Ras to this slot, I could click on here. And you can see now this little icon in the middle of the window saying us that the grass will appear in the areas where this brass is being used, not here. For example, I will click on here for selecting this grass. I will adjust the brush size and the brass speed, and I will go here near the lake to use it. You can see the result and you will see that here, there is grass. You can see it perfectly. If I assign the grass to this slot, then you will see no grass anymore at the screen. So be careful with that point. Anyway, I think that this brass is not working here. So I will choose another one. For example, this kind of little rocks. Once it's selected, I can add yes here, the tile size like I did before with the rocks and here it could be fine. If I want to use another brush, I could do it perfectly. I will do the brass size is smaller. I would try to control a little bit better the surface because the rocky brass I think, is too big. So I invite you to paint with these brasses, your landscape and play with it here it could be better. The rocks just near the lake. And this is a matter of time for giving more and more and more details and make our scene quite amazing. Let's use, for example, these rocky brass around the lake. I will increase the power of my bras. I will increase the brush size a little bit, and I will do it so fast. Here, around. Here we're maybe it is rubs are two, let say too strong or too heavy. And we wanted to change it for gravel for example. Here it could be a little bit better in my opinion. So let's leave it like that. We have already seen all the tools that we can use with our landscape. I invite you to spend some time enjoying this class and practicing all of these tools in your own file. It takes some time to be able to do wonderful things, but I really think that it is worthwhile. And very soon you will see your advances in your own project. So I say goodbye now, and I hope to see you in the next class.
11. B-Weather: Hello everybody and welcome to this new episode of This nucleon course in where we are going to see this last option of the main menu. It is called whether once we click on it, we can find these all different tools. If we start from the left to the right, we will find here this window where we can select Clouds. So I will click on it. And here I have several skies. If I wanted clouded, I could choose this one. And then as you can see, the sky is much more cloudy. I will come back to my first sky here, mainly because I want to see the sun below this window. We notice that here we have this level. We can read real sky. Now it is turned off, but I can turn it on, just clicking here. And then the sky has changed completely. You have to know that we are using here what is called HDRI map. This is a high-resolution map used mainly for doing the skies and it covers 360 degrees. That means all the sky as fair as you can see. The good thing about these guys, that our project is using its illumination. So the sky is illuminating everything here and creating the shadows. We can even move the sky using these two here. Through this cycle, we will be able to move around all the sky and put the sun wherever we want. And the shadows will change according to the position of the sun. The weakness here lays on the fact that with these maps, with these real skies, we can't change the height of the sun. We can move the sun around the sky as fear, but they will not change. In any case, height is fixed, like it is said in this level. But this is not a big issue because here we have more real skies. So we can choose the one that fits with our requirements in terms of the height of that sun. For example, if we want our project in the morning, we should go here to Morning, Morning three, and then this guy will be much lower. If we want, for example, to create a sunset atmosphere, then I'll click here. I'll choose, for example, this one. And we will enjoy this kind of light. And of course, we will be able to change the rotation. Anyway, a part of this, we have these three sliders here. We can control the sky brightness and we can even adjust the wind direction and the wind speed. Of course, these options will be interesting just in case that we are doing an animation. Finally, you have to take into account as well that this real skies consumes a lot of resources of our rapid cut because of its high resolution. So we can turn it off and just use it for the final render. In case we are not using the real skies, we will be able to adjust the sun hate. In other words, the hour of the day. We will do that through this semicircle. And it works like that. If I put the Sun here at the beginning of the semicircle, it means that the sun is at its highest level. It is on the top of the day. It could be more or less 12 o'clock. It is placed right now at the top of the sky as fear. And if I move it to the right side, then the sun will gradually move down till we get to this frontier, which actually could be a either the sunrise or sunset. I have to release the button for having a better look about what is going on. And here we are. In case I move farther to this frontier, then night would come. And the more to the right I go that are occurred and itis. So let's move the sun here and let's leave it in that position. Now without the real skies we have as well, these sliders, the sun brightness, the wind speed, the wind direction. And now we have this another bar called cloudiness. Here we cannot just easily how cloudy sky is moving this bar to the right if we want more clouds or moving it to the left if we want a clear sky. And that is all that we can do here in the weather category. In any case, I would like that you are aware of the fact that all these changes that we have done here in this menu, in the weatherman, you are not final, are not definitive. Actually, we will work much more better here inside the photo menu and inside the movie menu. Here we will arrange the weather independently for each photo, for each project. And we'll be able to create even more effects like rain, snow, et cetera. So once this is clear, I will say goodbye and I hope to see you in the next class.
12. B-Materials exercise: Hello everybody and welcome to this new episode of This aluminum courts in where we will do an exercise for practicing the use of the materials. So I want you to open our file and once we are here, first thing we are going to do is to hide the layer of trees to help our graphic card to work better. Here we are. So now we'll just focus on the materials. So the goal of this exercise is to arrange all the main materials in order to be ready for the next class, where we will go here, this right side of the screen, and we will start using the photo mode. For doing this task, I recommend you to open a folder attached with the course where you will find different photos about the Barcelona Pavilion. We will use them as a reference. Here we are. We can see here different views about this Barcelona Pavilion. And we will use them as references to adjust in the most accurate way our materials. So here again, let's remember the adjustment we did for this stone. I will click on here and we can see that we choose a color map which is attached with the course as well as the normal and the displacement map. And we set this light bars this way, we added a little gathering, and that's all we have to take into account that here we have added a normal and displacement map, but maybe in the final result, they are not needed because we are talking about a stone in this case, but marble in these other cases we can see here. So the relief, I suspect that will be very, very low. But we have to check this when we go to the photo panel and we start rendering. Finally, so I will say here, okay, and let's start with, for example, first marble we have just in front of us. I would click on it. And normal map, it is called Marble three. And here we have the diffuse or colormap, the normal and the displacement. We will use the color map right now. And in this case, we will remove the normal map and we will not use the displacement map. I'm doing this because when we go to the renders, I want to be able to contrast the result between this marble without normal and displacement map and this stone in where we put a normal and displacement map in a very low amount, but we did it. So finally, I will add the S here, the weathering, and I'll say, Okay, Let's jump now to another material. For example, this metal, this aluminium. I'll click on it and I will go to indoor and metal. And here I will choose this first one, this aluminum, I click twice as this material has not relief at all, I would not add a either normal map or displacement map. I'll go to here aluminum and I would have just the weather in as well in 0.3, I'll say. Okay, and we will check the results when we go to the render panel. Let's go now for example, to this roof. If we take the photos of the pavilion, we can see here that there are like two materials. We have one here thicker, a white color, and then we have here kind of stone. We don't have here this difference between these two materials. So we should go to a sketch up and draw it again and reload our model. Once I have opened my sketch that file, I will do it super fast. So I will select this roof and I will do a copy just above it. Then I will go on this group. And I will say that I wanted this roof much lower, not that high. So I will say here 0.15 in this direction. And now I will add here 0.05. When I'm drawing this, I will speed up the video. Once this is done, I will add a material here in SketchUp, let's say for example, a color, gray color. I would go here, I will select all the geometry and I will say that I want this color for this guy. I will do the same here, and that's all. So I'll go here to file and I will say safe. Once I am in Lumen again, if I click on any material, I will find here this menu. I can say that I want to re-import the model. I click on it, but look at this message, an error occurred while importing the model. I really wanted to happen this in order to show you this error, this happened because in a SketchUp I'm using the version 2021. And then if I just say I wanted to save a change, I can reload those changes here. So I have to go again to sketch up here, go to File, Save As and say that I want to save this file in 2020, not in 2020 one here, I'll say safe, okay, overwrite it. And then I go again to Lumia and I click on re-import model again. And you can see now that the error has been solved. So let's assign some materials to this new roof, for example, to this first part, I will click on here and I will go to New. And here we can find this option color, and I'll choose just a color, white with a little bit of gray here, for example, could be fine. I will say, Okay, I'll choose a material now for the upper part of the roof or click on it. And then I'll go to outdoor stone here. I will choose, for example, this one. We can see here, letter D. This means that this material has a displacement map and click twice. And here we can see that we are using now material from Lumia. We are not using our own texture like before. So here we have already a normal map included, and in this case, displacement map as well. If I want to control the strength of these maps, I have to go to relief for the normal map and displacement for the displacement map. I leave it like it is right now. I will just adjust again the weathering. And I will say, Okay, let's go now with this class. I will click on it. I'll go to the material library indoor. And we can see that here. It is chosen already. This interior glass 000 two, which has a little color, a little green color. Maybe we don't want that color, so I recommend you to use this one, the first one, this interior glass 000 001 is the most neutral one, and I use it quite a lot in my project. I click twice. You can see that we have many different options. I invite you to try them, I will say, Okay, now let's jump to the interior of the pavilion. And here we have to adjust these two different marbles. Let's have a look first to our photos here. For example, this photo, we can take that marble. And here again, we can take those two different marbles we are going to work right now. So in this case, we have to say that me as when the royal chose a very specific marble, it will be impossible to find those marbles at the illuminance library. So in this case, with these materials, we really should use our own textures, coming back to Lumia. And then I'll click here for example, first, I will say standard. I'll start settings this map. First of all, I will add the diffuse color map, which is placed in marble one folder. We can clearly see that here. Right now, the normal map is affecting too much to the texture. So let's put it in a very, very, very low amount, let's say 0.1. And we are not going to use the displacement map because as I said before, we are talking about a marble which is a very smooth stone, The Gathering always a little bit, and that's all. And the same operation with this other Margo clicking here, I'll go to a standard. I will choose the diffuse map. And in this case, I will remove the normal map in order to contrast the results. Afterward, I have to click here twice some weathering. And that's, so right now we have some work ahead. We could still adjust the materials for these chairs or for this table, for that statue. So I invite you to do it carefully. So I am saying goodbye now, don't forget to save your file when you finish working. And I hope to see you in the next class.
13. C-Photo mode: Hello everybody and welcome to this new episode of This course in where finally, we will go to this part of the screen, to this menu. And we will work here at the photon menu. So I will click on here. And we will go to this new menu. Here we can find a big window which is connected with our bill mode. So at the same time, we can find here below different little windows which will be used for taking different photos. So for example, if we want to grab what is going on right now, this big window, we have just to go here and say a store camera. In case I want to grab another photo, I can go here to the big window, move myself here like if I were into the build mode, choose a point of view. For example, let's go here and then just adjust these controls. Here we can find the focal length. This means how much white is our visual field. So if I go to the left, might be swell field will be wider. And if I go to the right will be more narrow, I recommend you to use always values between 20 millimeters and 25. Exceptionally, I could say that you can use 15, like the minimum, starchy, like the maximum. So let's fix it on 20 and let's jump to the next tools. Here we can move up and move down the camera easily. And with this button, we can set the eye level at 1.60 meters. Finally, if I click this button, I will be sure that the camera is completely horizontal. Furthermore, look here, this level, which says click inside the preview window to update. This means that if I click on this window here, we will be able to watch a preview of the render once we're happy with our point of view and we have arranged these controls. We can go here again and say that we want to store camera. Now we have two photos taken and we could do the same operation many times. In case I want to render one of these photos, I should go here to render, click on it, and it will appear this menu, we have two options here, current shot or photo set. Here we will render just the photo we had selected before, in this case this one. And if I go here, we will be able to choose among the different photons we had taken. So let's go to current shot. Let's go here to additional output. Thanks to these additional output, I will be able to create different maps, a part of my render, for example, at depth map, a normal map as specular reflection map, lighting map, and a sky Alpha map, and a material ID map. You have to understand that all of these maps will be work all together with my render in a different software, for example, Photoshop, in order to be able to get a better and more photo-realistic final results. Finally, here at the bottom of them in here, we can find four options according to the quality of the render. We have email, desktop, print, and poster. We are talking all the time here about pixels measures. So the first 1100280 per 720 means as small-sized picture, which we can use, for example, for sending it through animal. The next 1, one hundred ten hundred, nine hundred twenty per one hundred ten hundred and eighty. It is well-known as HD resolution, and it could be more or less the same as adding A4 paper. The last two have a very big resolutions and they will be useful just if we want to print something in a big format, not in case that we are using digital devices. So let's go back to the main menu. Once we are here again, let's check these two buttons. We have here a custom style, and we have here another button called ADH effect. So if we go to the first one, we find here different templates with different names. For example, realistic interior, don't daytime, Night, overcast, color escapes and water color. Each template is going to try to reproduce its name. And this fact will be done through the use of different effects. For example, if I use these realistic template, I will click on it. And here we can check how these realistic template is based on the use of all of these effects. These ones we can see here and even more if we go to the page number 2. So going back to the templates, I have to say that all of them are so powerful for achieving a very good results in a very short time. Furthermore, it's good to know that all the most important effects are included in almost all the templates. What is mainly different between one and another is the value of these effects. So for this class, we are going to use these realistic template, which is a very good one. And we will analyze all the effects included a part of all of these ones. I'll talk about some others which are not included. So let's start with this real skies. But first of all, if you pay attention to the main window, you will miss the projected shadows. This happens because here at settings we are working with just the low quality at the editor quality. So I have to put it at least at medium quality in order to see the project ID shadows. I will do it and I'll come to photo. And here we are able now to watch those kinds of shadows, which are so much important. So going back to the real skies, I will, I'm fall, it's Options. And here we'll find the semi things I explained in the weather episode. So clicking here, we can choose between different real skies in where we have to pay attention at the height of the sun. Here with this bar, we will control the rotation of that sky alone 360 degrees. And here we will be able to adjust the brightness of that sky and the overall brightness, which means the Bride of the terrain as well. Here we will be able to flip the sky in case we want another point of view. In my opinion, these real skies are very useful in case that we are working outdoors, in case that we have in our photo a big piece of sky. On the other hand, if we are working indoors, then it will be much more useful to work with the typical PSTN. Next effect is called serpent. Here we have just one bar of intensity. And if I move it to the right side, I will increase the relief of the textures. You can appreciate it right now at the screen. So my recommendation is to work with values between 0.70.8. Next effect is called exposure. Exposure works like a typical camera. It means that if I open the exposure, I will have more light in my photo. And if I close the exposure, I will have more darkness. So here I will leave it at 0.5 and I go back. Next one is called color correction. Here I want you to pay attention into two values. Temperature, saturation here with the temperature, if I go to the right side, I will make my photo warmer, as you can see at the screen. And if I go to the left side, the photo will become colder. So here, for example, I will place my temperature at 0.3. On the other hand, we have the saturation. You have to take into account that the aluminum tends to saturate a lot the colors. So I suggest you to work here with values between 0.70.9. I will put here 0.8. Next effect is called reflection. This is one of the most important effects here. Once we unfold the panel, we have here this bottom where we can edit our own reflection planes. We have just to click on here and then just choose planes in our model where we want the light to reflect a lot. For example, this water. I will click on it, then I can choose another one. And here I will choose all the planes of this pillar. Here we are. When I am happy with the result, I will click on here. And then here we have three options from low to high in order to have a worse or a better preview of these reflections. So for example, if we go too high and we click on here, then we can check that the reflections on the water and on the pillar have increased. So going back, we find now this effect, a polite impolite is a very important one as well. This effect works with the light of the sun. I mean, it will make Lumia to work harder in terms of the lightings and all the ribbons of this light. So the ribbons of the light will be much more complex and our shadows will become a little bit softer. Here, I recommend you to use it in a very high level. I mean, you can go, for example, here to 60 percent or something like that. Or even you can go to the maximum. This is up to you. Finally here we have this button to turn on the preview. Let's click it. We'll click on the screen to update the preview so you can see the result of this effect. Next effect is called skylight. This is very important as well and it will give you a lot of quality to our render. This effect is working with the light of this guy. So thanks to this effect, all the light which is illuminating our model will be colored with that blue sky. So here we should turn on this skylight in planner reflections, it means direct light on here. Projected reflections. It mean in direct light, we can increase the brightness here. It means to increase the amount of light of the sky. And we can increase as well, the saturation of that main color of the sky, that blue in this example, if I click on here and I update this preview, as you can see, these values are too high. So here, saturation, I will go again to 1 or 1.2, let's say 1.2 and Brightness 1.3 is okay. Finally here we can say to Lumia, and if we want a normal high or ultra quality of the render. So here I recommend you to leave it here in normal. When eventually you are prepared to do your final render, coming back here and say ultra. Finally, if we go to the second page, we'll find this last effect called saddle. First of all, you can see that I have changed the position of the sun in order to create new silos and make more clear my explanations here we can find many options, and most of them are talking about the softness of the cellos. So first of all, here, at the bottom of them in you, we find these soft shadows and fine details shadows on these two options. Very important and must be on all the ways they are related with these subtle type. Here we have three options, normal, sharp, and ultrasonic. We have to use here the normal type saddle. Look that if we use this ARP or ultrasonic, what we are doing is just to make the edges of our shadows just more sharper. Look, for example, I will click on here and you will see on the scene how here we have this. So TIF, right now, this is like a very geometrical shadow and it doesn't work at all. So here we have to go to normal and then let's jump to this other options. These subtle correction works only just for correct this. So tiff effect. In any case, I recommend you to put it at 0 because the way this guy correct this, so teat effect is just erasing the saddle. So in many cases we don't have an improvement in our image using it. This next one is called Omni saddle. This is a very important one here because it doesn't work at the edges of the shadow as many of these tools, but it works at the contact of different surface, different planes. So it will become the shadow softer at that contact. So I recommend you to use this in a very high level. For example, here, 1.9 or two, or even to the maximum, you have to test it on your own project because it is true as well. That may be if you go to the maximum, you can lose detail on your geometry. So let's put it here and I click on the window to update the preview. Well, next option is called interior. Exterior. This tool, I recommend you to leave it here at 0 through the next option called brightness, we will give bright to our subtotals. You can see here clearly, or we will become them even darker. Let's leave it like it was. The next option called coloring will do more or less the same. We will color our shadows in a more dark way. If we go to the right side or more clear if we go to the left, finally, the Sun Saturn reigns, will work just with the saddles created by the sun, making them wider and softer. If I go to the right side or a little bit more narrow and more sharper if I go to the left. So my recommendation is to just leave it like it is, Don't touch it too much. Finally, take into account that we have this button here just in case that we want to undo changes and restore our press it. So I will click here and double. And here we are. We go inside the effect again and we can see here our effect without any changes. So summing up, I could say that you have to pay attention to turn on these two options. Other ways, use normal type of saddles, eliminate cellular corrections, increase Omnicell shadows as your project demands and control a little bit the chlorine or the brightness in case you need it. These are all the effects included in the realistic template. And now we will explore some others, which I consider very important. So we will click on here at effect. And in this category, sun, we will find this first one son here with this sun effect, we will control our sun in our traditional way without the real sky. You have to take into consideration that if we are using this son, we can't use at the same time, the real sky. So here we can control the tongue, hey, that's our heading and the sun brightness, like we usually do with our weather many. And you will find another very interesting effect if you go to objects and here in layer visibility. Once I click on here, I will activate my effect and you will be able to check here all the layers that we are using in our project, the one which is in black, it means that it is hidden in our build mode. So here we can hide this layer, yes, for this render, here we are, we can see the result. Let's go back and let's say that we want to disable the sun effect. We want to use the real sky and it's the domination. Here we are. The third effect I would like to mention, it is inside camera. This effect is called two-point perspective. With this effect, we are going to correct all the lines which tends to go to that third perspective point above the image. So we will make all the lines completely vertical and straight. We can control the amount of this effect. Because maybe we don't want all the lines completely vertical in our project. So I recommend you to use it here, like in 0.9 or 0.8. This will give us a more realistic impression here in this image, all the lines were already very vertical. So we can't realize very well how this effect works. But I can assure you that this is a very important effect. So let's go with our final effect. I'll go here. I will take another photo first, I will say it's my point of view. Then I will click here, it's still camera and I will go to Add effect camera, orthographic view. This is a new effect from Lumia 11 version. I click on it and here I have to turn on the effect. So with this effect, we are going to avoid the distortion of the perspective. It is going to be as super useful effect in case that we want to do plants floor elevation or something like that. You can see here at the bottom and here's light bar where we can control the zoom, the heading. It means that we can control the rotation around our building. And here with these pits bar, we can control the rotation as well, but in a different acts. So here for example, if we place this bar at 90 degrees and this heading at 90 degrees as well, we can adjust the camera a little bit better. You seen Normal Control keys from lumens navigation. And once we are happy with the result, we can take the photo again and grab this point of view with this next option called near clip, we will be able to make some sections to our model. So if I move to the right, it will appear the section plane. And then I have to be careful and use the sift key in order to control wetter. This tool. You can see here how I'm cutting the model for this example. I will not use it. And let's jump to this next option far clip with this tool, I will section as well my model from the farthest point to the closest. For a better understanding, I will change my point of view. I will move the pitch bar to 0 degrees. I will adjust my camera and I will sexy on my view port from the farthest point to the closest. So at 1, you can see how I am sectioning them on time and if I continue, the building will be sectioned as well. The last option is called fill color. I have to turn it on. And here I can select the color for the background, this case red, white, green. I will turn it off and I will recover my first of view because I want to achieve up land floor. Once I have finished with my orthographic view, I good. Another template for this example. I will use this datetime template in case I wanted to add all the vegetation, I should go here again, go to objects layer visibility and unhide the tree layer. I could have just the camera look that here in my main viewport. I have this controls from the orthographic view. So I can still adjust my camera view, for example, two here and install the camera right now. So we have three photos. This first one without any effect, this second one, and this third one. In case, for example, we wanted to copy any effects to another photo. We should go, for example here two photon number 2 and fall these menu click on Edit, Copy effects, go to photo number one and fall in the same menu, Edit and Paste effect. And then we have just copied the effects from photo number 2, two photon number one. Here, for example, we could enable this layer visibility and we can do the same in photo number 2. Here we are. And then eventually we will be ready for the renders. So I would go to Render photo set in this case. And I could say email because in this case I don't need a better result. So here we should choose our folder and put a name. In this case, I'm going to call it Barcelona Pavilion. I will click on Save, and now we will have to wait more or less depending on our computer speed. Once our renders are done, we can open them and check the results. Here we have the one from the outside, here, the one near the swimming pool. And here we have the one in where we have used our orthographic view, the floor plan. So this class has come to an end. I invite you to practice all the things you have learned, and I will see you in the next class.
14. C-Photo mode exercise: Hello everybody and welcome to this new episode of This luteum course in where we are going to do an exercise for testing our materials. If you remember, in another episode, we talked about the different values we used for our different materials. For example, this marvel or this floor ground or this another marvelous. So currently we have the knowledge now for going here to this render panel and try to do different tests in order to get the most accurate result. To do this task, we will support ourselves with different photos from the Barcelona Pavilion with attached with the course. Let's look carefully all these photos and let's pay attention on the reflections, on the relief of the materials, the stones, the saturation of the colors, the water, the brightness of the metals. So once we have clear in our minds what we want to achieve, and of course we can always come back here to these photos. Let's go back to Lumia. We could do a first render Yes, to have a reference so we can go to photo. First of all, we would have just our point of view here. We will say that we want 20 millimeters. I will move myself using the Space key for a slower movement, I would add just the setae level at 1.6 meters. And I will click on here for fixing their horizontal eye level. And I'll choose our template. We already know the realistic template, so I will use it again and rapidly I will modify all the effects for a better result. So here in a real sky, Let's place the sun, for example. This could be fined hearing sharpen, I will go to 0.6 or 0.7. You can see at the screen in our image that the serpent is modifying the relief of the textures a lot. And maybe here we are not interested in this kind of effect. In any case, like we are doing our first render, I will fix it at 0.7 according to the exposure, I think that I have enough light in my image. So I will disable this effect here in color correction, I will say that the saturation I wanted a little bit lower, let's say 0.8 and the temperature, I want it colder or warmer, Let's say warmer is okay, 0.6 maybe or 0.5, something like that. Reflections. Let's edit our reflections planes. So one reflection for the water, another reflection for this metal, another reflection for different planes of the metal. Here we can find another one, another reflection for this class. And let's put another reflection for this marble, another reflection for this other Marvel and for the marvel of the background, we could use another plane here for this marble. This could be fine. Pay attention that I am not used in a reflection plane for the floor at least now. So let's click on here. Let's go to epa light. Here I will increase this amount of pearlite. I'll go to 75 percent skylight. I will turn it on here. Skylight in Pena reflection and skylight in projected reflections. Suppose here I will say that soft shadows, I'm fine. Details shadows are on, so they are okay. Saddle type, normal is okay. Subtle correction. I will say 0 on the saddle, I will increase it here a lot till 2.4 and I will leave the rest like it is. I will add more effects. For example, if I go to camera 2 perspective, here we are, I will decrease a little bit the amount of this fact I would not use in this case the layer visibility because trees are already zone. So this is all I will go to Render current sought email. To get my first shot, I will choose my folder. I will put a name number 1, and I will say safe. Here we are. The render is complete. Once we have our render complete, I recommend you to have a paper and a pen and take some notes about what are the things that we have to improve. First thing we were worried about was the relief of the main materials, the stone of the floor and the different marbles here we can see clearly that we have too much relief in these stone. On the other hand, the marbles are not bad, but I think that they could be much more soft and even with more reflection, Let's have a look to your renal as well. Here we can take notes about the smoothness of the floor and the marble. We can take us well, the reflections hearing this marble and here with this image, I have the same feeling that we need less relief and more reflection and a smoothness on these materials. So first note here in our rendering would be relief and reflections in our main materials. Second node could be to adjust the point of view to make this statue more visible. Third node could be to adjust materials for this table. These chairs, and for this moment, I think it could be 0. So let's go back to Lumia. Once we are Illumina again, I will go to the Build mode. Here. I'll go to materials. I click on here, and I will say that I don't want the normal map and I don't want the displacement map, I'll say, Okay, and I go to this marble here we have a normal map, but very little. So I think that here I will remove this normal map as well. And I will increase a little bit the reflectivity 1.3, I will take the weathering is okay, and then I will save changes. Let's go to the other Marvel here. I will remove again the normal map and I will increase reflectivity 1.5 in order to contrast this marble with the other one, I'll say, Okay, and now I will adjust the materials of these elements. The table and the chairs. The table has this glass the same as all the building, so it could be fined. And here we can see that we have another material which hasn't been edited here in Lumia. So I will click on it and I will go to indoor metal. Here we can choose another metal, for example, this Chrome. I'll click twice, I will save changes. I'll use this same material for the chairs, indoor metal page number to Chrome. Okay, and here as well, now we should arrange this material of this chair, which is a kind of plastic in reality. So here for example, if we go to indoor, we should choose between fabric and plastics. I'll go to plastics. And here for example, I will try this second option. I would say, Okay, I'll go to the photon mode again. Here, I will have just my point of view a little bit to have a better view of the statue. Like I said, I will store the camera again. I will disable the supreme effect. And once here, I will take another render, the second one, email number 2, safe. Here we are. Let's compare these two renders. This is the first one. Here we have the second one. It is clear our improvement mainly with the marbles because the floor, I think there is still too much relief. We can see it here clearly. So once we have solved this problem, I think that our render could be fine. So once we are here, we will go to our floor. And here we can see that Lumia has created a normal map for us. And look at that for some reason we can't erase this normal map. So in this case, I suggest you to go here to relief and put this slider at 0. We will save the changes. We can increase a little bit the reflectivity 1.1. Okay, let's go again to photo. Let's restore the camera. We can have a preview of our render here. Here we can go to reflections, edge reflection plane at another plane, for example, here at this table, say, okay, finally, be careful because our focal length is again at 15 millimeters, so we have to put it again at 20. I will scroll the camera again, and I will do the final render. This time. I will do it in HD resolution number 3. And okay, once our render is done and we take it, we can see that we have solved the problem with the relief of the floor and all the materials are working correctly. I think that this render has been successful and we could stop here. But if we want to go to the detail and we want to make a final one even better. In my opinion, we should work a little bit harder into the materials of these chairs. And maybe with that statute, it doesn't seem stone. It seems more like plastic from here. And at the same time, to be honest, I think that these chairs are placed in the middle of the image, so they are attracting too much attention. As you know, these chairs come from a SketchUp. So if we want to erase them, we should do it from the original file. We know how to do it. So let's do this little changes in order to get this final, final render. Once I'm here in my SketchUp file, I'll go to this main space where we can find archers. I will select both of them, and I will say that I want to hide them. Then I'll go to File save As a SketchUp version 2020, say override. Then I'll go to Lumia and again, and once here I'll go to materials. I will select any material and I will say that I want to import model. We can see now how the chairs have disappeared. So let's go with the material of this. Another chair I click on here and I will decrease the reflectivity. And I'll say, Okay, then I'll go to the statue. I will select it. We can see that it is an important material. If I go to a standard, I can see that this material, it doesn't have a color map. I will go to outer and in this case I will choose a concrete. Maybe this first one can work, or maybe this one. This is up to you. I will apply some weathering. Okay. And this is all the changes that we had talked before. So time to go to photo again, restore the camera once here, I'm thinking that maybe our image is a little bit too much warm. I'll go to color correction. And this zero-point 85, maybe I will put it here at 0.3 or 0.2, let's say 0.3 and then render HD resolution number four. And then we have to wait a little bit. So here we have our final render and we'll open the folder. I will open the image. And now we can appreciate that the space is, in my opinion, much more beautiful without those chairs in these empty weigh, the statue seems more on a statue actually. And this another chair. I think that with less reflectivity, it works better this material. Before saying goodbye, Let's have a look about our workflow, our process. Here we can see our first render. This was the second one, little bit better, but with problems here we have this third one. This is already okay, but we can make it a little bit better. I'm finally this fourth one where everything is resolved and work correctly. So once we are happy with the result, I will say goodbye and I hope to see you in the next episode.
15. C-Lights: Hello everybody and welcome to this new episode of This Lumiere course in where we are going to see the light. We have to remember that lights are here in our content library, but we didn't see it before because we said that it was not the correct moment. Now we have all the skills to come back here, and this is the correct moment, so it lights. If I go here and I click on it twice, we have the lights library open. And we have here our favorites as always. And then we have a spotlight. We have omni light, and we have area light. We have three categories. The first one is spotlights. We can see here a lot of different lumps. And the characteristic of this slide, the main characteristic is that it is a focal light. So it is like if we are pointing to somewhere with our light. On the other hand, the second one, the Omni light is completely different. Look that here we have first light-filled and then omni light with different colors. We have omni light blue, green, red, and light. This kind of light, like I was saying, is completely different than the previous one, because here our light is multi-directional. I mean, the light goes everywhere. There is no one direction, it covers all the space. Furthermore, we have to distinguish here these two groups. The first one light field and the second one with the scholars omni lights. The first one is going to work, going through the walls, so to be honest, is not very useful. The second one is the good one. It goes everywhere, but it will stop when it finds some material, for example, a wall or whatever. The third category is called. I realize here we can find two shapes. One is rectangular and the other one is called Line light because the rectangle is much more thinner. So let's see some examples of the use of those lights. We will start using a spotlight. Here is up to you. I will choose, for example, this lamp number 20. And I will place my lamp in the middle of the room. Once here, I will select it and it appears knew of this lamp, lamp 20. Here we can see the current layer where it is placed. This lump, layer number three, the color and we can change it, the brightness of this lump. This means that we can increase and decrease the intensity of that brightness. For example, I will select my lamp, I will move it up, then it appears the power of this lump. And to make it more clear, I will go to weather. And here I will say that I want to be at night. Here, for example, I will go back to the Content Library. I will select again my lamp. And here we can make a demonstration about the brightness, how it changes the intensity. Okay? We can change as well, the angle of the cone so we can make it wider or more narrow, and then the saddles will be more defined, more you metric, we can as well. So the light source, if we click on here, and then you can see that if I deselect and I go to the source, you will see that here it appears some kind of lump. This is the source of this lamp. So I will turn off and then I will go back to my position for a better view. Here we have the night activation. It could be off, on or random. We can control it. We want this light to be activated at night. If we click on this night activation, we are saying that we want Lumia to activate this light when we are doing a night render. If we say random, then if it is off or it is on, it will be arbitrary. So I will take on off and let's go to the next option, shadows. Here, we can control it. We want the saddles in a medium quality, high quality, or dynamic, maybe IM, unhide talk about the resolution of that shadows and dynamic is related with dynamic element, for example, a person. So let's go to people and animals. Here for this example, I will choose this guy. You can see that he has a movement, but we are not able to see his subtle. So we should go to lights, choose this lamp and say that we want dynamic silos. Then you can see that we are able now to see his solos. And even in movement, this kind of salaries will be so good in case that we are doing an animation. Let's go to medium. And the last option is called ESS profile. And we have here the option to load a file from outside and work with this kind of commercial lights. Another option of this lamp is target light. If I click here, I will be able to target where I am pointing with my light. So for example, if I want to point to this wall, it would be so easy. Or if I want to point to this chair or this table, I have just to move the mouse and say, Okay, as you can see, this guide is generating silos through these objects to organize the different shadows, I will change the name of this layer three, and I will call it a spot light, and now I will hide it. Let's go to the next slide, omni light. Here we have to the landfill and the omni lights, we are going to use always the omni lights. So I will take the white one. I will place it here, I will move it up, for example, here. And once the light is selected, it appears another manure to control it. Here we have the liar as always, and some properties, the color we can change it and the brightness we have the night activation as well and the follow through this slider, we will be able to control the brightness in a more accurate way. For example, if I increase the brightness a lot here through the fall off, I will be able to measure this brightness. As you can see with this global illumination, we are not generating shadows through the elements. There are not a table shadow or a chair sadder or whatever. We are just illuminating the space. I will go now two layers. Layer number four, I will change the name to Omni light. I will place my lighter and I will hide this layer. In case this is the active layer, I can hide it. So I will make this layer one, the active one, and then I will hide it. The third type of light is called. I realize. So if I choose it, I will place it here. We can see this rectangle. It's menu will appear. I will move it up a little bit, for example, there. And we can see Atom menu that we can target the light as well as it happens with the spotlights. We can change the layer, we can change the color and the brightness. We can saw the light source as well. Let's click on and you can see here the light shores, we have the option of night activation and we can change the width and the length here. For example, I will increase the width. Here, I will increase the length. As you can see, this kind of light is not illuminating in all the directions. In this case is the AST illuminating in the direction of the floor. We could change that direction here with this stereo light. Finally, we have this fall off as well. Pay attention that this kind of light is not generating shadows neither. So let's put this lump in another layer. I'll call this layer area light. And finally, I will hide it. The last type of light that we can use here in Lumia is not here in the lights library, but it is a material. So I will ask you to go to Import, go to the folder called luminary and take the luminary number 1. Here we will say, okay. And then we will place this luminary made in SketchUp here in our sin. I will place it here. I will say that I want to move it up. I will place it, for example, here. And then I have to go to materials, go with the camera, a little bit closure. And then I will check that here there is a material called black jeans texture from a sketch up. Here we have another one, metal corrugated signing. So for example here I will say that I want a metal from indoor and let's say that I will choose aluminum, okay? And this one, I will go to new standard because I don't mind actually what material I am choosing. You will understand now because I will go to, so more options here to Settings and to this bar, MUC bar. So here I will increase this MEC if bar to at least 50 points. And you can appreciate now how this material has become emissive. So actually it doesn't matter if it is a metal or it is a stone. Because at the end it will become emesis. I will say, okay, the thing about this emissive materials is that they are not illuminating the space. They are illuminating gas themselves. So you have to be aware of this fact. Now then I will place this lamp in another layer. I will go to layers. I will create another one. I will change the name. Mac. Layer will be the name. I will select my object, and here I will place it at this layer. Now, I will hide this layer as well. And to end this class, we will go to the photon mode. Here, we will restore our camera. Then we will go to Add effect camera objects and larger visibility. Here, as you already know, we can hide or unhide all the layers from our bill mode. So if we go to a spotlight, we can see the light here and then turn omni light on. We can do the same with our area light and with our MSF light. So now I will say goodbye. I hope you have enjoyed this class and I will see you in the next episode.
16. C-Light exercise: Hello everybody and welcome to this new episode of This luteum course in where we are going to do an exercise for practicing the use of the lights, or better said, the artificial lights. So first of all, I will go to the photo panel and we will have just a new point of view for this render. So I will go to this window number five, and I will say, for example, that I want my focal events at 20 millimeters. I will move backwards a little bit here I recommend you to use always the spacebar in order to move the cameras slowly. So here we are. I will set the eye level at 1.60 meters. I will fix the horizontal eye level and and I will store camera here. My second step will be to go to the templates and twos, another one, in this case, I want to do an interior. So it would be fine to use these interior template. I would say click and here we are all defects loaded. As you can see, real skies 2 perspective folks and sharpen exposure, color correction, all of them. You already know it. Once we have loaded our template, Let's do our first render. This will be used as reference because we have big work ahead of us. So I will say email, I will go to this artificial light render folder and I will say, number one, safe. Here we are. I will open the folder and we will have a look about this first render here. I want you to pay attention that when we are doing an interior render, it doesn't mean that we have to do it at night, completely dark. In my opinion, it is much more attractive when we use some natural light from outside, like we have here. And we mix that light with artificial light to make our interior render. So let's go back to Lumia. And once here, let's go to the Build mode. And here I invite you to go to Import and go to the folder called luminary. Um, for this exercise, I will use luminary number six, I will say Open and Okay, so here we are our luminary. Let's have a look closure. We can see that it is a kind of a spotlight, very, very simple one. Let's move it up a little bit. Um, first of all, we are going to change its materials. So I will go to Materials. Here. I will use a metal, aluminum, okay, I will do it fast. And here we will use an emissive material. So I'll go to standard and here to Settings MVC. Let's go to 50 more or less. And we will say, okay, so here we have our light. Now let's move this model to the upper plane, to this roof plan. So I will go here, Contents Library, I will select it. I will say that I want to move it up and I will hurt myself. You seen the sift key in order to move it as lower the camera, I will use always the spacebar. Once the model is disappearing, It means that we are very close. So I'll go a little bit closer because here I want to be very precise. Here we are. I will move again the model up holding Shift key. And here when the emissive plane is disappearing is when I have to say stop. Here we are. Next step will be to distribute many of these lamps in this plane of the roof, but in a very, let's say, mathematic way. So for this task, I will help myself with this tool. I'll go to utilities, and here I will use this grid. I will place it here in the same plane of the roof where it is my lamp. And then once I select it, we can see that the grid scale is 1. It means that between all the lines are one meter distance. And we know as well that all of these lines are orthogonal, one with another. So this could be very helpful in order to place my lamps correctly. I'll select here they important model again. And I will grab this guy in order to start placing many of them in a correct position. Here, it can be fine as well to use these horizontal move because they hide is already correct. So here more or less in the cross of the lines, if I want to make a copy, keep haul out while I'm moving this lamp, for example, here, as you can see, two meters of distance and I can go there in order to check that it is more or less correct. We don't have to be like super super accurate, but more or less they have to be at the same distance. So checking the lines of the grid and this glass wall, maybe it would be fine if I move this lamp here, you can see that there is one meter from this lump to this line of the grid. So we have one meter from this lamp to this glass wall. And now I'm going to copy this guy two meters away to this next point. Here we are. We could do the same. We could repeat this action one more time. So I will select the lamp and I will make a copy two meters far away. Following the line. So here we are. We have these three guys, well place and another for which I'm going to erase at this moment. So once we are here, let's use our first artificial, right? We should go here to lights, click twice, go to a spotlights. And for example, we will use this second one, lump number 2. I'll go to this first lamp and I will place it just in the middle. Then I'll go to the next one. I will place here another spotlight. And arriving to this third lamp, I will place the third spotlight. I will press Escape. I will move the camera backwards from here. We can already appreciate how these spotlights are lighting up the wall in case we want to regulate the intensity of the slides, then we should go again, two lights, select the three of them, pressing Control, making this box going to select. And here we have this menu in where we can adjust the brightness, doing it more or less high. I have to say that aluminum tends to arrange all the lights in a very, very high way, like a start point. So I recommend you to always reduce the intensity of the brightness quite a lot. I would say in any case, before doing this, I'll go to photo. I will restore the camera. I will click inside the preview window to update. And you can check by yourself right now that the intensity of that brightness is without any doubt, too high. So we should go again to the build mode, select the three of them. If we start at 300 points, Let's say that we want to go to maybe more or less 10. Let's go again to the render mode. Let's update the preview again. And now you can see that the intensity of the brightness is more or less correct. Now my next task would be to multiply the number of lamps. So I will go to Build. So here we have to be aware of the fact that we have two elements at its point. Here, we have the model imported from SketchUp, and then we have the spotlight. If we want to select all of them rapidly, we could go to here to select all categories. Then make a box, selecting this six elements, and make a group with this current selection. Once the group is done, I can move it easily. And if I want to make a copy, I just have to hold Alt key while I'm moving the little ball. I will place it here two meters away from the region. I will repeat this axiom one more time, two here, I will move my camera to the left side because I want to repeat this copy again. Once I'm here, I will select again this group and I will make another copy till here, I will move the camera again to the left side and I will make my last copy here. Once I'm done, I will go to the photon mode again. I will restore the camera and I will take my second render. The name will be number two, safe. Here we have the result. This was our first render without any artificial light. And here we have the same space illuminated by our spotlights. In my opinion, we have too much light, it is too much clear. All is like playing. We don't have contrast between elements and there is no Sandoz anywhere. So at the end, the image is not very attractive, but we are getting better step-by-step. This is just our second render. Once we are back in Lumia, I will show you another effect which can be very useful if we want to regulate those spotlights, but we don't want to go to the Build mode, select all of them, and decrease the slide bar. So if I go here to add effect animation, animate light colors. Here, I should go to select lights. Once we are here, we should be able to select our spotlights, but we can't. This is because our spotlights are inside a group. So we have to go to the Build mode again. And here explode our groups. So I will say here that I want to ungroup this one. This is the grid and group here. Here, I will move myself to this side and I will ungroup these last two groups. Once we have explored all the groups, I'll go again to the photo mode. And once again at this menu, you can see that we can choose among all the spotlights. So I will mark all of them in a very rapid way. And once I have selected all of them, I'll say, okay, and from here, I will be able to, through this slide, vars reduce the intensity of the brightness looked at the light is divided between the three colors, red, green, and blue. So if I reduce the three is light bars exactly the same. I will respect the color and I will reduce the intensity, or I will increase it in case this is what I want. So let's put it at 0.2. All of them. Let's restore the camera and let's do our third render, number 3, safe, here we are. I will open the folder number 3. Here we have our third render we came from here. You can see that in this second one we have a lot of light, like I told you. And right now in the third one, I think that we are getting better and better at this third render. I think that the problem is the emissive lights, they are too right? So we have to adjust them. Once Illumina again, first thing I'm gonna do to arrange the emissive lights. In order to do that, we can use another effect. If I go to add effect camera lens flare from this menu, we can arrange all the emissive lights that we are using in our model. As you can see here, we have a lot of slide bars. But the most important one is this one, the master brightness. If I increase this light bar, all the emissive lights will increase. And if I decrease it, all the emissive lights will decrease. So like I want all my emissive lights lighter. I will decrease this slide bar. Let's go to 0. I will update the preview and let's take another render, the fourth one, number four, Here we are, here we have our result, and this is the Render number 3. As you can see, the bright of our emissive lights were so much higher here in number three, down here in number 4. Once here. Next improvement I would like to achieve is to make the outside a little bit darker. I would like to emphasize a little bit more these spotlights and these artificial light. So let's go to log in again. So once here, first of all, I'll go to real skies and I will decrease the brightness of the sky to 0.6. The overall brightness as well will go to 0.6. I will not touch two-point perspective folks are on sharpen. I go to the page number two. I would leave exposure like that color correction. It's okay with that temperature and that saturation and impolite. I would leave it like that skylight. I will turn on the skylight in general, reflections and a skylight in projected reflections. Cellos, I will go to 0 in cellular corrections, and that's all. Finally, I'd go to animate light colors in order to increase the amount of light or rightness from our spotlights. Let's go to 0.6 with the three bars. Okay, let's do another render. This will be the fifth. Here we have our result. If we compare it with number 4, we can see a huge difference glute here in number form. The artificial lights are not illuminating at all. All comes from the natural light from the sun. And here instead, we have the exterior much more darker and the interior mainly illuminated with our spotlights. In order to make our final render, I'll go to the swimming pool and I will put here some details. For example, I think that it could be beautiful if we eliminate the statue a little bit from the bottom of the statute. So here I'll go to the Build mode and I will choose another spotlight. Let's say this one, for example, 24. I will place it here. I will select it and I will say target light. I will point to the statue, I'll say, Okay, and I will decrease the brightness a lot to eight points. I will reviews as well the cone angle, something like that. Finally here we will use another element. We would find it at utilities and it is this reflection control bowl. We can use just one in our model. So I will place it here in the middle of our scene and I will move it up a little bit. These reflection control ball will help all the materials under its influence to be more reflective once I'm happy with the result and you go to the photomask with again, I will use my last effect. This effect is so powerful, it will make our shadows on our lives much more softer, a much more realistic. But it consumes a lot of our computer speed. So I recommend you to use just at the end when you have arranged everything. So let's go to artifact. And here in advanced, we will find it like Global Illumination. Here at the manure, we have two routes depending on our work. If we are going to work with interiors and with spotlights, for example, we have to use this menu, select lights. If we are going to walk outside with the light of the sun, then we have to use this slider, this case, I will click here. And we have to select all the lights that we want to be involved in that global illumination. Once we have selected, all, we have to go to this slider at the bottom of the screen. And the adjust the amount of light that we want. We can type it here. I will say 150. I will say okay, I will restore the camera. And now we are ready for our final, final render. I will be here. And this time we will do it in HD resolution desktop number 6, safe. So here we have our final render. I think that we have achieved what we wanted. We have light at interior, which comes from our spotlights, and we have darkness outside. We have that contrast. At the same time, we have this detail with the statue illuminated from the bottom. And as you can see here, thanks to the global illumination, we have this feeling of softness with the lights and the shadows. To finish this class, let's have a look about all of our process. This was our first render here, the second one with spotlights. Here we have the third, fourth, 1, the fifth, and finally the sixth one, which is the successful one. Well, I hope that you have enjoyed the class and you have learned a lot. I'd invite you to repeat this exercise and try everything you want. And I'll see you in the next episode.
17. C-Video mode: Hello everybody and welcome to this new episode of This lithium course in where we are going to go to this movie or film mode. So I will click here and we will find these new menu with different options. As you can see here, we have different literal Windows. And if I click any of these windows, I have these three options. First one is record in case that we want to record a movie. Next one is image from file, in case that we want to insert an image like a static frame to our movie. And the last option is a movie from file. This means that we can insert a movie MP4 file in order to compose our future movie. We will start by record something. So I click here and then this big window connected with the build mode will appear with these sliders that we already know. So once here, we have to choose our point of view. Let's do like a panoramic view from here for example, it could be a very good start point. I will adjust my focal length to 20 millimeters. And what I am okay with this point of view, I will have to click here at camera keyframe. Then I will move the camera to the next keyframe. So let's go to the left side. Once I have decided my second of view, I will click again on Add camera keyframe. And then we will have two keyframes. With these two keyframes, Let's say that we have composed a clip. We could do it longer, just clicking here or shorter. If we want to watch it, We have just to click Play, and here we are. So the way lumen makes our movies is very simple. We have to decide some keyframes and the camera will travel from one to another, recording that traveling technologies that here we can through these options, make a smooth the ECM, or make a smooth that out. Once we are happy with the result, we will click here and our first clip has been recorded. Once here we have three options available. We have the option to edit the clip. If I click here, I will go inside again. And here we can do whatever we want. I will say, okay, we can as well rendered this clip, just this clip in case that we have many of them and we can erase it clicking twice on here. Furthermore, if we want to have a preview of this clip without going inside, we can do it by clicking here play, and we have that preview at the main window. And once we're happy with our first clip, Let's do another one. So I will click on this window and these three options will appear again. I will say that I want to record another clip, and this time my point of view will be as a human being. So for example, I will start the clip from here. I will say that I want my eye level at 1.6 meters. I will fix the horizontal eye level and the focal length is okay. I will add a camera keyframe and I will move myself to the swimming pool. Once here, I will set the eye level again and I will add another camera. I will move to the right side. For example, here, another key frame. I will set the eye level again. I will add another camera keyframe. I will go towards this corridor, said the eye level, another keyframe. And I will finish my clip here at the swimming pool, set eye level. Another keyframe, looking at the swimming pool with the statue at the left side, you can see that the total length is 22 seconds. Let's say that we want to make it 25. And let's have a preview of this clip. Here we are. Then we turn right Towards the corridor in case we don't like, for example, that movement of the camera when we went through the pillar, we can go to that key frame and just delete it. Then we should go to the previous one here near the swimming pool. I will move myself again to my Desire point here, for example, I will set the eye level again and I will insert a new camera keyframe between the swimming pool and the corridor. Here we are. Let's have a look again about the full clip. Here we turn right. Now it seems that we will not go through the pillar much more better. We take the corridor. Once here, we finish looking at the right side. I think it's okay. Finally, we can use these options for making the beginning and the end more smooth. I will save your changes. And once we are back in our main panel, we can see that we have two clips now. And in case that I want to watch the full movie, I should go to here, entire movie. Click on it. And then this bar is representing the length of each clip separated by this line by 12. Have a preview of this full movie. I will click on play and we can see our movie. Here. It starts the second clip. And that's so I will pause the movie. I think that in the second clip when we are going through the corridor, the camera is too near to the wall. So I will fix that. I'm going here, I will click on Edit clip. Here I will go to the keyframe of the corridor. I will move the camera a little bit to the right side, and I will update the camera keyframe. I will save changes. At this point, our full movie is complete, but I would like to insert a cover. To do this, I will just drag my clips to the right side. Then I will click on the first box. And here I will say that I want an image from file. I will select, for example, this image. And here I have to arrange the duration in seconds. Five seconds is okay. So I will save the changes. And now we can see our image like another clip of our full movie. Let's have a look about the final result. So I will click entire movie and I would say clay, it's working correctly, so I will pause the movie. So once we have all the structure of the movie correctly, then it's time for adding some effects. As you already know, defects are here and we can choose between different templates or we can add effects individually. Here with the videos, it is exactly the same as we worked with photos. Yes, in this case with the image. We can add a template, but we can add some effects, not all of them, of course, but if we go to Artistic, then we will find several options which are available for us in case that we want to add effects to our eclipse, then I recommend you to use a template for this example. Let's use this over gas template. Once we have loaded the overcast template, let's add the AST defects as we already know. So I will start with a real sky. I will increase a little bit the brightness, and I will move the heading in order to get the sun in a better position. Here, it could be fine. I will disable the fog, I will not touch the sharpen and exposure color correction. I will increase a little bit the temperature, and I will decrease a little bit the saturation 0.8 reflection. I will add some reflection planes, for example, the swimming pool and the glasses. So here, another plane here, another plane here. And the last one for this class, I will say OK, and I will jump to the next effect here. He pearlite. I will increase the pearlite to 50 percent, at least a skylight. I will turn on a skylight internal reflection, and the skylight in projected reflections and shadows. I will leave it like that. Once we have arranged our overcast template, maybe we want to use it again into the second clip. Then we should go here to menu Edit, Copy effects, and then go to the second clip menu again. Edit, Paste effects. Here we are. So now we are ready for rendering. Our movie. Go here to render. And once here we have different options. We have the option for rendering the entire movie. We have the option for rendering the current frame. This current frame, the one which was selected before we came here and here. This third option, image sequence is for rendering the full movie, but getting its image separated. And then we can adjust the output quality. Three stars is okay. If you go to the fourth star, then the time of rendering will increase a lot, but the quality, not that much. So I recommend you to use the three stars option in terms of frames per second. You can use 25 or 30 as usual. And if you want to go to a super quiet the HAI video, then I recommend you to use 60 frames per second. And finally, just in case that you are doing a movie like matrix and you want an a scene like in a very high quality slow motion, then you have to use these 200 frames per second in terms of resolution, we have this option, small HD, full HD, HD, and ultra HD. Here, like with the photo mania, we are talking to us about pixels. So this first option, a small 640 per 360, is just for doing like a draft. This HD resolution is already okay. But this full HD is the one that we will use quite a lot because it is the most universal video format in the wall in case that we want a super high quality, we have these two options. Mention that if you want to use these ultra HD, well-known as for k, you need a graphic card of six gigabytes. Remember that my graphic cards has four gigabytes, so it's not available for me. So I will choose full HD. I will select my folder and I will put a name number 1, and I will say Save. Here we have our render complete. You must know that it took more than five hours to render it back. I told you here, it depends a lot of the speed of your computer and this could be the final result. So this being our first movie in lumen. In the next episode, we will go deeper into the film options. I say goodbye now, and I hope to see you in the next class.
18. C-Video exercise: Hello everybody and welcome to this new episode of Islamism course in where we are going to do an exercise for practicing even more the movie mode. In the last episode, we did our first movie. That movie started with a cover which was animate. And then we have two clips. The first one was a panoramic view and the second one was a kind of traveling around the building. We will continue on working with these clips. So we will start with the first one, with clip number one. I will select it and I will go to Add effect here, I'll go to animation, and here we will learn a new effect called Advanced Move. I will click it and its menu is already noted. Here I will select Edit and then I will go to a kind of build mode where I am asked to select an object, the object which I want to have an advanced movement right now, I will say, okay, and then I will go back to the build mode. Here, I will go to the Content Library, and once here I will go to Utilities. Once we are inside utilities, we will select clip claim, then will appear this kind of grid which will cut everything in contact with it. I will live in the section plane over the building, and I will go back to my movie mode. Then edit again. And now I could select my section plane. I will do it. This is the little ball of the section plane. And then you have to pay attention to the slider that we have at the bottom of the screen. Here we have different tools. This bar is the most important one because it is a time bar. Now it is representing eight seconds length, but we can change that length, increasing the time here or decreasing the time here. So once we have selected our section plane, look that our position right now it is at the beginning of the time we are at 0 seconds. So once I have selected my object, in this case my section plane, at the very moment that I move it just a little bit. You can see that at the time bar, there is now a keyframe. That keyframe is relating our time bar with the position of our object. So we are selling to Lumiere right now that at 0 seconds, we want our section plane at this high. Let's say, for example here, then we can click play. The time goes by more or less the middle of the time bar. Then I will change again the position of my object. I will press change height, and then I will move my section plane even lower. This time, I want my object to section building. Let's say, for example, till here. Then I will click Play again. And just in the end of my time bar, I will change my position again. I will say that I want my section plane even lower till this point, for example, where I can't see any wall just like the volume or the platform. So let's have a look. Well, I think that everything works well, except that my section plane is sectioning as well. All the trees. That is very strange. So for this video, maybe I have to hide the layer trees. I will say, okay, then I will add my layer visibility effect, which we can find here at objects. And here I will have to use as well this little box here called create keyframe, which works exactly the same as we did just before, but this time related with the time bar of our clip, this one, I will say that I want to create a keyframe here at 0 seconds. And then I will say that I want to hide layer trees. Here we are. Let's have a look. And it's not working. Surely is not working because our Section Plane object was placed by mistake in the trees layer. Let's check it. Once we are in our wheel mode, I'll go to Select. Here we have the little ball of the section plane, and here we can check that it is placed in our trees layer. I will place it to the layer number 1, and then I will go back to movie mode once here, let's check it again. And now we can see how our section plane is working perfectly. Of course, you have to take into account that this effect at once, movement can be used with other elements. For example, people, for example, cars, bicycles, not just with the clip plane. Now let's jump to clip number two in order to use another effect. This effect is called mass movement. So I will select the other flip. Our defect animation must move. Once defect is loaded, I have just one option, edit and new window similar to the build mode appears. But with different options at the bottom of the screen. First of all, I will be asked to place this node at some point, let's say here, then I will have to do the same with the second, for example, here. Once this is done, I have created my first path. This path will work like a conveyor belt. So we will be able to transport people, bikes, cars, through it with the options below, we can change the width of this path. Do we need wider? We can change as well the speed of this conveyor belt now it is at 3.6 kilometers per hour, which is very good in case that we are using a person. But if we wanted to use, for example, a car or a bike, we should change the speed here at the left side, we have more options. The one which is in the middle move, but note is already selected and it allows us to edit our path. We can change the position of this node. And if we click on the other node, we can change its position as well. In case we want to create another path, we have to go here at path, click on it, and then we can create another one, for example here. And one is created. We can of course delete it as well. Anyway, let's work with our first path. So I will click on here, move back nodes. I will select my first path. And in case that I want to do that path more complex, Let's see how to do it. Once my last node is selected, then I have to hold control key and then move the mouse and select the next point of my conveyor belt in case I want to continue my path till here, then I have to press Control key again and click on here. Pay attention that if I select the nodes which are at the curves here at the bottom, a new option appears where I can control the smoothness of that curve. This is very important in order to make the movements of the people more realistic, not two orthogonal. Once I'm happy with the result, I will save the changes. And other very interesting option is this one here. Thanks to it, we will be able to change the direction of the movement. Currently, all the elements above our belt will be moving from this point to the last point to here. I can change that direction, clicking on here. And now my objects will move in the opposite direction. And if I continue clicking on here, you can see that now I have two directions. If I click once more time, then those two directions have changed. So let's leave it like that. I will confirm changes and then there is one more step that I have to do in order to use this effect, I should go to the bill mode. And once here I have to imagine the belt I have just created and place some objects above this belt. For example, in this case, I will use people. Then I'll go here to people and animals. I'll select, for example, this guy and I place it here. I'll move my camera. I will choose now a girl, for example, this girl, I'll place her here. And finally, I will choose a woman. For example, this one. Once my objects are placed, I have to check how they are going to move. So I have to go to the movie mode again and click on play to what's my clip? We can see that guy moving forward, then the tile coming to us, the woman come in that direction and everything is working correctly. I will pause the clip. So of course we could add more paths and more people, more elements and doing more and more complex Destin. But we will leave it here in order to show you more effects, I would create another clip. So I will click on here in the window number 4. And I will say that I want to record in order to do this new clip, I will post this on my camera here, the focal length would be 20 millimeters. The height of the camera will be around one meter. I will click the horizontal eye level button and I will add my first camera keyframe. Then I will move slowly to the right side. I will add here another keyframe, and I will continue moving to the right side. I will rotate a little bit the camera, when I'm moving a little bit, another keyframe, and I will try to finish watching the enter of the building here, another key frame. And the last one could be more or less around here. So let's have a general look about our new clip. It is 17 seconds length. We have seen that at the end of the clip, the camera moves faster. The reason is because the distance we have covered in the last clip is more than usual. And then the camera has to do it in the same time I go to this clip, I'll move the camera to the right side. And then I will update the camera keyframe. Once we have the structure of our new clip done, we should copy defects from tip number two. So I will go to clip number 2, menu Edit, Copy fact, clip number four, menu Edit, Paste effect. Now through this clip, we will start working with the keyframes in a more complex way. In this case, we will use the effect of the sun. We will make the sun rises, gets to its top, slowly comes down to the sunset till the night comes. And all of this along the duration of our clip in that 17 seconds. So first of all, I will add the sun effect. And in case that we are using the sun, then I will disable the real skies. Furthermore, I recommend you a strongly that if we are going to use the sun as our main natural light resource, go to the Build mode. Whether I'm here, disabled the real skies. This is because according to my experience and you can find problems with the natural illumination between the Sun and the real skies. But if we disable the real skies here, everything will work smoothly. So I'll go back to the movie mode and I will start working with my son effect. I'll click on sun. And here we have this slider for the sun, hate the sun heading the same brightness and the sand is size. As you can see, we have four little boxes at the right side of each bar for creating a keyframe. You will see in many of your effects that you have this possibility. And we'll try it through this exercise to learn how to use them. First of all, we have to have very clear how each of these sliders works. Mainly the son's height and the sun heading. I'll do a parenthesis right now to understand better how these both slider work, I'll go to the photo menu. Once here, I will move my camera up till I have super good look about in the horizontal and I'll be working just with the sun. I would look for the sun. Here it is. I will place it in the middle of my camera and we will start with the sun height. Here it is said that we are at 19.6 degrees. This is very important degrees. So if I move the slider to the right side, you can see that the sun is moving up. I can say that I am right now at 90 degrees. This is the maximum 90. Now I will look for the sign again. And here it is. Just placed at the top of the sphere. If we were talking about hours, let's say that it is around 12 o'clock. So this 90 degrees means the angle between this position of the sun and the terrain. If I move the slider again to the left side till 0 degrees, here it is. And we look for the sun again. You can see that the sun now is placed at the horizontal. It means that the Sun ADR is racing up or we are at the sunset. Now if I move the slider even more to the left side, you can see that the knight is coming because the sun, we have to imagine that this is still moving on the other side of the globe. If I put the slider more to the left till its maximum means 90 degrees, we have the darkness point of the night because the sun would be placed at its maximum but in the other side of the globe. So let's place our sun in a morning position, for example, 20 degrees more or less. Here we are. And let's jump to the sun heading. Slider is placed now around 0 degrees. If I move to the right side, we can see that the sun is moving to the right, but it is keeping its height. That is very important. When I move this bar, the sun is always keeping its height. If I move to the right side, I can go till 180 degrees, which means that the sun is just behind us because it has made not an entire circle around the horizontal, but half of it. Let's look for it with our camera. I will move to the right side. And here it is. When I have done just half of a cycle, once we are here, if I move the sun heading the left side and I go till 0, the sun would be placed again behind our backs. But if I continue moving the slider to the left side till the maximum minus 180, we can see that the sun is coming from the other side because this time has made an entire cycle around the horizontal. Once we are back in our movie mode and we have clear how the sun effect work. Let's start playing with the keyframes. So I will open my son effect, and I will say that I want to create a keyframe here at 0 seconds. So I click on here, create a keyframe on the sun height bar. Once the keyframe is created, I will place my slider. It might desire position. Let's say that we want to start our clip. When the sun is rising up, then I have to go to 0 degrees or something similar. For example, 6.5 degrees. Let's repeat this operation with the sun heading. I will create a keyframe and I will put my son heading near 0 degrees, for example, here. Then I will click on Play and I will let the time goes by more or less till the middle of our time bar. Once here, I will pass it and I will create another key frame for the sun head, for the sun heading. Now I wanted the sun much more higher, So I will have to move this slider to the right side till its maximum. We can say that right now it is around 12 o'clock. And in this equation, we don't need to move the sun heading because our sun, it is placed at the top of the sphere. I'll click Play again, three more or less, the end of the timeline. Here we have to mean that the sun is moving down till the sunset. So we should create a new keyframe here and here. And we should go with the sun, hide till 0 degrees more or less. But this time the position of our Sun has to be on the other side of the horizontal. Here we are. Then we will click play again till the end. And here we will create more keyframe. Now we're imagining that the sun is still moving down and the night has come. So the son's height should be minus 10 or 15, something like that. And we could leave the sun heading like it is. Let's have a look about the result. We start in the morning when the sun is rising up. The sun is moving up till 12 o'clock. Then it starts coming down till the sunset here. And then the night has fallen. And we start again. Of course, this is not something mathematic, but actually very artistic. So here we can play with the lights and the shadows as you want. For example, if we consider that our saddles are moving too fast, we could go to this keyframe and now pay attention because if I move the mouse here too, It's keyframe button. We will see at the time bar align, which is telling us how rapidly those changes are happening. So for example, if I move this unhide here instead of 90 degrees to, let's say 40 for example, or 35, something like that. We can see now that our line is less estate and maybe then the final result is more attractive. So this mechanism that we have used with the keyframes with the sun, it is exactly the same with the rest of defects. For example, let's use it with another effect. In this case, an effect that we already know. We will find it in object layer visibility. Here we find as well the option for creating a keyframe. Previously, I placed in our model some artificial lights divided in different layers. So once we are here and we are right now at 0 seconds position, I will say that I want to create a new keyframe. I will not touch anything about this menu. Then I'll go to the second 15 were more or less. I know that we have our sunset. Here we are. And I will create another key frame. This time, I will say that I want layer number six, which is called a nice IP layer, and layer number four, which is called omni lights to be sown, We are already close to the end. But before rendering, I would like to add some sound to the clip. So I'll go to the Build mode. Once here, I will go to the Content Library and here to sound, here I go to the category called nature. Once inside nature, I will select the sound call forests. I will place it in the middle of the pavilions, and I will select it in order to adjust its options. I will increase the maximum distance a little bit. I will reduce the volume till 0.6, and that's all. We are going to add our last effect. I will go then to add effect here. Camera, handheld camera sounds to this effect. We will be able to make the movement of our camera more natural. Here we have different options, but the most important one is the first one, sake strength. You can see what happens if I increase a lot. This second strength, the movement of the camera will be like if we are in a boat. So I will place it at just 0.3 where I think it works perfectly. You can see now it is little, but it gives us this feeling of a human being moving the camera. So we are so near to the end. Never forget to add the effect of two-point perspective. Here, a defect camera, two-point perspective. Let's reduce a little bit the amount till 0.9 or 0.8. And before rendering, we can add a reflection control ball, utilities reflection control ball, place it in a very strategic position. And now we are ready for our render. I'll go here render clip because I don't want to render the entire movie here I will select the entire clip output quantity, three stars frames per second. This time, I will say 30 frames per second. You have to know that 24 or 25 is very used at the cinema industry. I'm 30 more for TV show. I recommend you to try both of them, and it is up to you what to choose. This time, I will select starting in order to have both examples, full HD, the name will be number to save. It took more than five hours to render it. But here we are. Everything is working nice. I hope you have enjoyed this exercise and I will see you in the next episode.
19. C-Animated phasing exercise: Hello everybody and welcome to this new episode of This luteum course. This time we will see an effect of Lumia and 11, which is called an animated facing. So we will create a new project, and this time we will select this template. Once here we can erase everything on the screen because we don't need it. And in order to use our new effect, we will need to work a little bit in our software model program. In this case, a sketch here, ness gets up. We will have to create a strategically different groups with the elements we will use later in Lumia. Once the group is created, we should go to File Export mode in 3D. And here select data file or the a, E, you should name it. And before clicking on Export and go to Options. And here you should mark the option Export only selection set, Accept and export. You should have to do this operation many times in order to create the items which will be used later in Lumia on with the animation for this class, I have done this task for you. So you will find inside your material attached folder, another folder called phase effect. Inside this folder, you will find on the data files that we will use for doing this animation. As you will see here, the order and the names of the files are very important to achieve a better workflow in Lumia. So once Illumina again, I want you to go to Import search for the face effect folder. And once you are inside, you will find seven different folders. They have numbers from one to seven, so the order is clear. So we will open number one platform. And once here we will select the data file and we will say that we want to open it here. We should be careful to place all or Corolla files in the same folder. I'll click on, Okay, and I'll place my first item near the origin, and I will repeat the operation with the object number 2. This time is called exterior walls. Again, I will place it near the origin. You will have to repeat this operation with all the data files inside its folder. Once we have imported all the Galata files, then we'll have to make sure that all the files are placed at the same point. For doing this, we have different options. We could drag a box holding Control key and put inside the objects of our model, in this case 21. Then go to the Advanced Options and go to this one, align positions. The other option would be to drag again a box and take all the elements, then go to select typing. And once here, type 0 inside the three different axes here, for example, 0, y ax 0, and set x 0. Now, all the objects are perfectly aligned and at the same time we know that their position is the origin. We are ready now for a start using our effect. So we will go to the movie menu, we will create a new clip. Here I will move the camera using my navigation control keys. I love jazz the cameras lighter as always, and I will add a camera keyframe. For this first example, I will do it just with one key frame. I will make it longer, 20 seconds and I'll save the changes. Now we'll go here, our defect and animation, and here we will find our new effect and he mated facing. We'll click on Edit and two different menus will appear, one at the top left and another one at the bottom. Actually, both of them are related with each other. I mean, if we focus here at this first timeline bar, its name is facing animation one. This is the automatic name, but we can change it if we want to do it. We have the asked to select it and go here to the other menu and change the name here, let's call it platform, which is our first call ADA file. Then we have this blue button objects, Ciro. And if we click on it, we will be able to select the items for this first animation phase. Here, if I move the mouse around my objects, we will distinguish two colors, the yellow one, the green one. In case that I click on it, it works exactly the same as with the materials. Green means that it is already selected and yellow means that it is like building out, out of our face. So we will click on this platform. We can see at the bottom that there is just one object selected and we will say Save Changes. As you can see, our platform has disappeared. This is because now it's part of an animation, this timeline bar tell us when the animation starts, how long it is with this dark blue and when it is finished, we will be able to make changes through the top menu. We will be able to select how we want. That item to appear to drop in our model. For example, with pop, in effect, sky drop, ground rise or implode. We will see all of them. Here. We can change as well when the animation starts. And when I move this slider to the right side, you can see that the timeline bar is moving as well. They are connected. I can change as well the duration of the animation. And you will see at the time bar how the dark blue color change as well. And finally, we can have just the ISI in and stagger. We will see both of them a little bit later. So just for having a first example, let's say that this platform, we'll start at 0 seconds. Shopping is okay, and the duration will be three seconds. That's really complain. And here we have our result. But before I start preparing all the different phases with all the different elements, it would be nice if we go to the Build mode and we create different layers in order to have a better workflow. So I will click on Save Changes and I will come back to my bill mode. Here, I'll name layer number 1 US platform layer number 2 as exterior walls. Number 3 as pillars for us marbles, five as glass, six as furniture, and finally seven as roofs. Now, of course, I have to assign each element with its layer once this is already done and we have all the elements perfectly in order, let's go back to our animated facing panel. Once we are back, you will say that we can hide our lineage from here too. So now it will be much more easier to organize our different facing animations. I will hide roofs, furniture, glass, marbles, Pindar's, and I live just platform and exterior walls. In fact, platform, maybe it would be nice if it is not an animation, but an static element always there from the first moment. So if I want to do this, I should click on platform and delayed facing animation, two clicks. And that object is not a face in animation anymore, then I will have to name again my first animation, which will be exterior walls. I will select my objects and this time I will use the ground rise effect. I will set the start time at three seconds and the duration at three seconds as well. Let's have a look. Maybe the animation starts to late, so I will have just the start time at 1.5 more or less, the duration is fine, but this time I will set the ECN at its max. Let's have a preview again. Definitely better. Let's create it then another facing animation. I will click on here. I will name this animation as pillars. I will switch on the PDMS layer. I'll select my items and pay attention now, because for this animation, I have eight different items, not just one. So the order of my selection could be important. If I wanted to control that order of selection, I could click on here, stagger in order of selection, and then click on My different objects. This one will appear the first one, this will be the second one, and so on and click. Okay, and now I will adjust the different properties of this animation for this class, I will use Sky drop, and it will start just a little bit later than the thinness of the previous one. Like we have eight different items, the duration will be a little bit longer. Let's say four seconds is in maximum. And in this occasion, we will play with the staggered bar. But first, let's have a look. We can see that all the pillars are dropping down all together. So we will have to play with the stagger. Let's set it at its max, and let's play it again. Now it is up to you to adjust the stagger, I will say is 0.7 for example. And let's have a look about these two options, move, distance and invisible. Before I start, if I go to the beginning of this animation phase, I can see the first pillar dropping down from a certain distance from this slider. I can change that distance. Let's do it for example here. And in case I switch off this invisible before I start, then it would be like if we don't add just the MOOC distance var, because we will see the pillar dropping down from the top of the screen. So I will switch on this option. Let's have a look about this new phase animation. I think is working nice. So let's jump to a new one. I will click on here. I will switch on the layer called marbles. This will be the name for this new animation. I'll select my objects, a stagger in order of selection, okay? This one will be the first and the second one. Okay, I want them to drop from the sky. The animation will start after the end of the previous one, and the duration will be around three seconds, more or less easy in, at its max and a staggered at its max to distance, let's say 50 as well. Let's have a look. I think is working correctly. So let's go to the next phase. I will unhide the glass layer. I will select it. Okay. I want a sky drop as well. It will start as usual after the end of the previous one. The ratio on three seconds as an operates is in maximum. We don't need a stagger. So let's have a look. Okay, move this stance again, little bit higher, 50, and it's okay. Let's add a new phase in animation. We will unhide furnitures. We will select all of them. We will click on a staggered in order of selection. This will be the first 1 second, 1 third, 1 fourth, 1 fifth, 16 to one. I've selected the platform by mistake. So I will click on it to unselect it. And I will say, OK. Name furnitures. This time I will use the implode effect duration alittle bit longer than the average, let's say five seconds or six seconds because we have many objects, you seen. Maximum stagger, maximum distance, let's say 50. I will place the start of the animation here after the end of the previous one. But you can see that I can't do it because my total length of my clip is not long enough. So here I have two options. I could make the clip longer or my animations shorter. I'll do the second one. So here exterior walls will start a little bit earlier and the duration will be like a little bit shorter. Prs. Once all is arranged, I would add my last facial animation. I will switch on the roof layer, name roof. I will select my objects, this one and this one stagger in order of selection. Okay, Save changes here, Skype drop around here. Look at that. We are in the page number 2. So if we want our references, we have to go to page number 1, duration around three seconds till the end of the animation is in Max, stagger, Max, move this time 50, safety in this, let us have now a general look about our total animation. I think is working nicely. So I will save changes and now I will prepare my clip for the final render. So I will add a template. In this case, for example, realistic, I'll disable the real sky effect and I'd include Assange, either just stand here. And for this example, I think that it could be super nice if we use this orthographic view effect here in camera orthographic view, I will switch it on. I'll go inside the clip and I will arrange the camera in my desired position. I'd save changes. And now before rendering, I should go to the Build mode and prepare all my materials. You can notice that all of Coretta files have gone here without any material applied just in blank, I will start switching off the roof layer. I'll go to Material, click on here, and our choose colormap will go to the texture folder. And here we will use the diffuse map, the relief almost 0, whether in 0.3, okay, we will use the same material for this bends and for this exterior wall. So I will click on here copy material, Okay, now click on here. Standard based material, the same for the band and the same for this wall. The swimming pool has its water. But if we go under the water, we could apply here these little stones for the swimming pool. We would increase a lot the weathering and not much reflectivity. Ok, we can change the glass to this interior glass 000 001. Okay, here we have a marble. It is my carbon number 3. I will reduce the relief at 0 and I would increase reflectivity till 1.6, little bit weathering. And it could be okay. Now, I realized that the color is to gray. And this is because the polarization is 0.5, so I have to reduce it as 0 to keep its color. And here is okay, I have to do these changes as well with the stone. Let's go with the other marbles. Marble one, polarization 0, reflectivity, 1.67, relief 0 weathering 0.3. Now this one, polarization 0, reflectivity 1.67, relief 0, whether in 0.3. Now let's use materials from the Lumia phones library, aluminum for the pillars, for example, indoor metal, aluminum. Here we will choose another color, not white because they are gray color like that. For example, aluminum, 0.20.1 save ten years. And we would copy this material for the rest of the elements made in aluminum as well. So here I will say copy material, okay, I'll go here. Standard based material, save ten years. Maybe we have to repeat this operation for the different pillars. Here we have another aluminum. Let's go now with this small things. Here I will choose another kind of metal. Let's go with the roofs now. And finally, we could change our water and I will get this clear pool. Once we are done with our materials, we can go back to the movie mode. Once here we could arrange our effects in order to get a better result in the render as we have learned already. But for now, I will render our clip. So I'll go here, render clip, entire clip, three stars, 30 frames per second, full HD resolution. Once the render is complete, Let's open it. As you can see, this effect is so powerful and it can help us a lot to explain our project. Besides one, we have done all the work we've animated face. In effect, we can make the most of it, for example, doing another clip instead with a drone view, with an eye level view. This time is going to be much more easier and faster as far as we have done already or the hard work. So I'll go here to clip number 2 record. I will choose An eye level view starting from here, set eye level 1.6, horizontal eye level 20 millimeters focal length. I will start looking at that part of the building at camera keyframe here. Next camera keyframe, we'll be keeping my position, but looking at the other side of the building. Then I will start moving towards the interior and other camera keyframe here. Another keyframe here. And here. The last one, I will say that I want my clip a little bit longer. And once I have the structure of my clip, I will copy all defects from clip number one. Once this is done, I will eliminate the orthographic view and I'll have a look about my clip. I think is working quite okay. And now I would be ready for render. Before doing it, I will edit some reflection planes like this one, this one, this one, or the glasses which are involved in my view, this could be enough. So let's render the clip three stars, 30 frames per second. And here, HD, or full HD, is up to you. I will say full HD. The name will be number two. Once the render is done, that's open it. So now it's time for saying goodbye. I hope you have enjoyed this class. As you can see with this effect, you could sign up your imagination a lot. I invite you to use it in your own way, and I'll see you in the next episode.
20. C-Panorama 360: Hello everybody and welcome to this new episode of This course in where we are going to see this new mode, 360 panorama. So I'll go into it. And here we'll find amine you, which is very similar to the photo and Moby menu that we already know. That if I click on any of these little windows, I have this option, a store camera, so I'll do it. But first of all, I'll place myself in a very strategic position. For example, here, I will say that I want my eye level at 1.6 horizontal eye level. We'll start the camera. Then three options will appear. A store camera again, render right now these 360 panorama or remove it by double-click, you have to understand that the mechanism for doing a 360 panorama consist on taking a lot of photos from the place we stored the camera just before that place is working like a rotation acts. So the program will take from this point photos at the top, at the bottom, the left, and the right, in front and behind, then Lumia will, so all of them together and the 360 panorama will be generated. But before doing this, it would be fine to adjust our effects for having a better result. As we already know through that here, we can't load any template. They are not available for panoramas. And if we try to select individual effects, we will see that many of them, actually the most powerful, are not available for panoramas, neither in any case. We could go to the photo menu, go to a photo that we have already worked, copy its effects, and go back to our panorama view and eventually load here these effects. We can see that some of them haven't been loaded, but at least our image will improve quite a lot. So once we have already selected our point of view and we have arranged our effects, then we have just to go here, render 360 panorama. Here we have two options, 360 panorama and my Lumia. Currently, with this version of Lumia, and I can't use this tool, but actually it is very easy how it works through my Lumia and your image will be uploaded to the cloud. And over there you will be able to easily towards the final result and a specific software for Watson 360 panorama photos. If we are not able to use my Damian, Then we have to use 360 panorama option. And here we will have to adjust these different options. The first one is output quantity. Here I recommend you to go till the maximum because as far as we can't use the most powerful effects, the time for rendering won't be so much, but we will increase the quality. The second option, stereoscopic, will help us to watch our render in 3D, but we will need some kind of glasses. So for this example, I will keep it off. The third option, target device, give us two options. Generic device, this is what we are going to use, or this another one in where we can find two different brands of virtual reality glasses in case that we are going to use them. Finally, we cannot just the resolution and here we'll go to the max. So I will click on here. I'll choose my folder and I will put a name. In this case, number one, safe. Once the render is complete, let's open the folder. Let's have a look about our image. Here we are. This is the kind of 360 panorama image. And as you can see, we need now a software and a specific software for being able to navigate inside this space. So we'll go to the Internet and I want you to write down panorama viewer. Google will so as this first option, panorama viewer, which actually it is an extension of Google Chrome. I click on it once here. I just have to click on this button to add this extension to my brochure. Say yes, and it is already here. I'll click on it. I will select my file. And here we have our 360 panorama image that's inserted in this software, where we will be able to have 360 degrees view using the point where we start the camera in Lumia on Piazza rotational acts, we can zoom in and zoom out as well. So it could be a very interesting tool for sewing. Again in a different way, our projects. Well, time to say goodbye. I hope you enjoyed this class and I will see you in the next episode.
21. D-PosTproduction: Hello everybody and welcome to this new episode of This Lumiere course in where we are going to talk about post-production. As you already know, post-production is beyond this course because we would need another software in order to do it. In my case, Photoshop. In any case, through this class, we will see the most important aspects of it. We will start by opening one of our Lumia on files and we will go to one of the images that we have already worked with. Once here through the layer visibility effect, I will hide the trees in order to watch the sky. I would have just the position of the sun, just for having a different view. And I'd go to render here will go directly to the additional output tool. And we will mark all the different maps, the depth map, the normal map, the specular reflection map, the lighting map, the sky Alpha map, and the material ID map. We will have a general look about all of them in Photoshop. Finally, it's high time for render our image. So click on desktop, we will choose a folder and we will put a name, in this case number one, once the render is complete, we will find these seven images. Number one will be our main image. Let's open it. And then we will find the depth map, the lighting map, the material ID map, the normal map, the sky Alpha map, and the specular map. We will have to open all of them in Photoshop. Once we have all of our images open in Photoshop, we should place all of them in the same file. We have different ways for doing this. Here I will show you, for example, this one. I'll go to one image, in this case the depth map, I will go to its layer. First of all, I have to unlock the layer, click on the right side of the mouse duplicate layer, and here put a name, in this case, depth, and choose a destination number one, okay? And then if we go to our image number 1, we'll find in our Layer menu a new layer called depth. We will have to repeat this operation for all the images. Once this operation is complete, we will find in our main image six different layers apart of our background layer, which we will have to, first of all, unlock. From this point on, we will start working on our post-production. First of all, I recommend you to copy this background layer, layer number 0. Maybe we can change the name and call it, for example, main image. And we will copy this layer and we will place it on the top, then we will hide it. And we'll leave this copy just here in order to be able to compare our final result with this original image, which is our, let's say our start point. Then let's start using this specular map. Firstly, I will make visible just this layer pressing Alt while I click on the I, and then I will make visible as well, the main image gas, this both images, you must know that the specular map is working just on the reflections. So all the materials with some reflections applied on lumen here will be affected by this map. And it's a way for working with this specular map, could be go here to the blend mode and fold it and then use this third area, this third sector, lightened screen color, dots, Linear Dodge or lighter color. You have to play with all of them and tried to choose which one of them fits better. As you can see, some of them make a very radical chains, but others could give us a better result. For example, in this case, I think that screen is making our reflections more intense, so I will choose it. And then we could play with the opacity in case that we want to reduce that intensity. Take notice that we can always use the eye in order towards our main image without this map, With them up, as I told you, I think that with this screen blend mode is getting better our final image, but we have to reduce the intensity. So I'll go, for example, to 25 percent. Let's jump now to the sky Alpha map. So I will hide the specular map and I will show the sky Alpha map, as you can see on the screen here, we have two colors, black and white. Through the white color, this map is telling us what part of the image is the sky. So it gives us the opportunity to select that sky in a very easy way in case that we want to change it. So let's do it. First of all, we should go to the Internet once here, typing sky Images Tools size big. Then here we will have to select one sky, for example, this one right-click Copy Image. And once in Photoshop again, I will paste in that image here. So I have a new layer, layer number 1. I will place this layer next to the sky alpha layer. I'll select the sky alpha. And here I will use, for example, the magic one tool. In order to select these white-collar, I land, select this contiguous option. I click again on the white color. The tolerance is correct more or less. And then I'll have to go to my newest sky layer. And once here, I could create a mask. I'll hide the sky alpha iron now. As you can see right now, we have a new sky. If I unlink the layer and the mask, I could play with that sky. Let's place it, for example here with many clouds because I don't want a very strong blue sky at the background. Next map is called normal. The normal map is talking about the textures. And according to my experience, it is a map which is not worth working too much on it. In fact, it is working normally in After Effects, not in Photoshop. So I recommend you to work hardly on Lumia with the textures and forget about this normal map in post-production. Let's come now to the next map, in this case material ID. So I will hide these normal map and I will show the material ID. Here we are like We the sky Alpha map. Here we find different colors which are created just for simplify our selections. So if we want to change any material, we can select any color easily and change the properties of that material. For example, we'll do it with these two chairs. I will use the magic tool again, tolerance 40 in this case, for example, I will click on here. The selection seems okay, but I have here more thing selected. So I'll click on here, subtract from selection, and I will deselect all of this part. Here we are. Now, I will hide my material ID layer. I'll click on my main image layer and I will create an adjustment layer. In this case, for example, I will use the hue saturation adjustment layer. Once its menu appears, I have to click on this option, which means that this adjustment will affect just to the layer just below. I click on here and then I can easily change the hue of that chairs, fight them in another color. I could use as well, the saturation slider if I want to reduce the intensity of that color and make the chairs, in this case more white. Let's leave it like that. Next map is called lighting. I will click on it. And here we can see our image just focused on the illumination. The areas with more light are the areas with a more pure whites and the areas with more shadows are the areas with the darkest blacks in the middle, we can find different grades. In my opinion, this is a very interesting map. We can use it easily like we did with the specular map just using the blend menu. First of all, we have to select it and then unfold the blend menu. And I recommend you to use this fourth sector. Here you will have to pay attention which option is the best over light, soft, light, hard light, vivid Light, Linear Light, Pin Light and hard mixed normally over light or soft light are the best ones. Let's use this overlay blend mode. And then we will play with the opacity 30 percent for example. And we can have a look about how it was before and how is it with this effect before and after. As you can see, the areas with illumination have more illumination right now and the shadows as well are more like, more powerful, more intense, we have more contrasts. Our next map is called depth map. Here it is. This map is made by a transition from the most pure white and it's number good to be 255 till the most pure black, which is at the background. In the middle we find all the different gray scale from 255 till 0, which is placed in the farthest position. This map is used just for focus some areas I'm blue, others in my opinion, it is not very useful and it is a little bit complicated to use it. First of all, I will make a copy of this main image. You will understand later why I will place it here next to depth. And I will change the name to depth mode. Then I'll go to the depth layer. I will select all by clicking Control a, and I click on this tab channels, and here I will create a new channel, this Alpha number one, I will change the name to depth channel. And then I click Control V to paste my depth layer, I'll go back to the Layer menu. And once here, I will make this depth layer invisible. And I click on the depth mode layer, I will deselect everything by Control D, and then I'll go to Filter. I'll use a filter called blue. And here, Lens Blur. Once the filter is append, I'll go to source, and here I will select my depth channel. Then the first plane will be occupied by the white colors, and they will be blue, and the black colors at the background will be the most focused ones. If I want to change this, I can click on here invert. And then the first plane is very well-focused and the background is so blue. And other option here is to use this tool, set focal point, and choose one element of my image, for example, this chair. And then the chair will be the main focal point and everything around will be a little bit lower. Fine, I'm happy with the result. I will click on Okay, and I'll go back to my main image. And here we can see our main image with this blur influence. You must know that if we use the filters, we can't go back that easily than when we use the adjustment layer. This is a destructive way of working. That is the reason because I made a copy of my main image before, because this way I can hide this layer. And I still have the main image protected in case that I don't like this blue reflect. So now we have just finished with all of our maps and we can see altogether the specular on Skype alpha, on, lighting on and the depth mode own. This would be the result. And this was before, after and before. As you can see the depth map, it doesn't improve the image, so I will hide it. So this would be our final result without the depth mode active. And this would be the previous image, the original one, previous and after previews and after. So once we have arrived to this point, it will be time for playing with the adjustment layers. Here we should go to this spectrum to our layer because it is placed on the top, just below the main image copy. And here we will start using, for example, this level adjustment layer. Through this adjustment layer, we can make blacks more blacks playing with this slider, whites more whites. Just moving this slider to the left. If we don't like it, we can always hide this adjustment layer. This is the reason because it's called a non-destructive mode of working. We could use as well exposure and type here a value like 0.05 in order to increase a little bit the exposure we could add as well saturation adjustment layer. And here I recommend you to decrease the saturation of the image a little bit. Let's go, for example, to minus 20. And we can take before and after, I think is getting better without that saturation, we could add as well our photo filter, we have here, warm filters and cold filters, depending on our taste. Let's play this warming filter 85. And then here I will reduce the intensity till ten, more or less, 10 percent. And in my opinion, this for adjustment layers are the most important ones. We can check again our start point, Clicking on the main image copy. And then after all of our work, I think there is an improvement before, after more things that we can do in this post-production phase, we can erase things that we don't want to be in our image. For example, this lump, this lamp could be a mistake and we don't want it anymore in our image is clear that it is not right here. So we should go to our main image, then select the correct tool in Photoshop. In this case, I will use the spot healing brush tool. I would increase the size of this brass and just by clicking on here, this lamp should be disappear. But it's not. The reason is because if we want to make this kind of operation, we should combine all the layers all together first. So we should be so sure about that. This is our final result, that we are happy with this image. I will select all my layers from this first 12, the last one, click on the right button, merge layers. As you can see, this is a kind of destructive mode of working because we can't go back easily. But it is supposed that we are so sure about that we are happy with this result. So now, if I use again my spot healing brush tool and I click on here, it will disappear completely and my roof will be definitely clean. Apart of erasing things, I could add elements as well. You have a folder called silhouettes in where we will find different PNG files, which can be used here in order to compose a more artistic photomontage. I will open one of them. Here we are. We have this photographer. I'll drag it to my main image. I will scan it. And then maybe I could use a black and white adjustment layer just to the layer below. And I could change a little bit the opacity. Here we are. So we can add people, God's tiles, bikes, whatever you can imagine to make your image in Photoshop more and more artistic. Finally, by clicking on here, I could change the shape of my Columbus doing the image like more and a square or more panoramic depending on my taste or my interest. So as you can see, we can do many things in this post-production phase. I hope that you have been able to follow me in Photoshop in case that you want to learn more about this program, I have a course which could be interested for you. We finish here this class, and I hope to see you in the next episode.
22. D-5 advices for a better render: Hello everybody and welcome to this new episode of This luteum course. This episode will be the last one of this course. And I would like to give you five as biases for having a very good render. So the first advice is to use good quality models. Here at the screen we have two examples. At the left side, we have a model from the library of Lumia. You will find it here at the indoor library. In the contrary, at the right side, we can find a model from a sketch. It is a model from the warehouse library. And we will see that here, this model has a much more better quality. If we focus on this model, we will find that the geometry is kind of complex. It is not made by just orthogonal planes, but the geometry is making these curves. And then a part of the geometry, we will use a texture. If we go here, we will find that the detail is kind of simple. Everything is two orthogonal and at the end, it will not give us this feeling of photo-realistic image. A part of this, if you want to edit any of these models, you will find some differences. For example, here, according with this Lumia and model, and I go to Materials, this model will not react. So I can change the materials in case that I want. The only thing that I could do is going to select Indoor, select my model. And then this menu will appear where I can change the layer and the color. And that's all. On the contrary, here, I could do many things with the sofa. If I go to Materials and I put my mouse on my model, we can enter on the material library. And here we could go to indoor and change the material completely. For example, in case that we want plastic, I could go here and select, for example, this glossy plastic. I make this radical change with my sofa. I could select as well, the legs of the sofa make them in metal, for example, aluminum. Okay, so at the end, if we are adding an add-in, good models from our own libraries, our final project will be much more personalized. You have to take into account that the warehouse of SketchUp, for example, is very good, but you can find more objects in case that you are using another software for modelling in different libraries on the Internet. Here I will give you two examples. One is turbo squid.com. You will find here very nice models, totally free. And the other example is 3D sky. The second advice for having a good render, a good way to use the rule of thirds. Rule is very simple, and it is just about how to compose our image. So according to this rule, when we are using a main element, this element should be placed following these guidelines. For example, here we can see this horizontal line which fits perfectly with a horizontal of the image. And then we have these two guys that are placed following this vertical line. And at the same time, the eye level of both of them is following this second horizontal line. We can see another example with this image we have got here this main horizontal near this line. On the other side, we have this human being, which works like the main attractive element for the spectator. And it is placed following this vertical line in order to create that tension on the photography and her eye level is following this another third in order to balance the composition. So it is a very simple rule that we just have to pay attention to follow it. And then our renders, our compositions will reach much more better. And finally, our project will achieve better standards of quality. The next advice for having a great render would be the use of great materials. As you already know, we have hearing lumen, such a good material library. We have learned how to use it and it could be a great resource in many cases. But you don't have to use just this library because then your project will be so similar to the others. And sometimes we need a more accurate material, which we can't find here in the Lumiere library. In any case, if we are going to use it, we should do it properly. For example, we have here these two cubes. I'll go to materials. I click on this first cube and then the material library will be open and I'll go to outdoor bricks. Here, I will find different bricks and you have to pay attention on the ones which have the letter d, which I reminds you. That means that there is a displacement map for this material. In case that our material has this kind of relief, we should try to use material with the displacement map here at the four page, we find more with the letter D. I will use this one. I click twice and once we are in the Edit panel, we will be able to play with these sliders as the relief, that is placement or the weathering in case we want to use another material library, I recommend you to go to the Internet and look for this airway textures page. This page is show professional and you will find incredible textures just for free. I have to say that it is one of my favorites because the materials are so realistic. If you want to use it, you will have to go to the texture brochure. And once you are here, you will be able to search using these different filters, like product's material structure. Imagine for example, that we like these bricks. We should click on it and then we will find an image where the material is already applied. And three different maps that diffuse map, the bump map, and the specularity map. At the bottom of this page, we will find these free texture file. We have to download it. And once we have opened the file, we will find three images and we have to be able to distinguish them. If you look carefully, you will find a letter B in this first image, which is telling us that this is the bump image or the bump map. This second one with the letter D means that it is the diffuse map or the color map. And this third image with the letter S would be desk specularity map, which we are not going to use in Lumia. So once we are in Rumi and again, if we want to use these textures, we should go to Materials and go to a standard. And once here, we should load our texture first, our diffuse map, the image with the letter D, this one, and then our normal map the image with the letter B. Then we should adjust our sliders polarization 0 and we should decrease the relief quite a lot. If we go closure, we can see that the scale is so small, so we could make it bigger. We could decrease as well the reflectivity and even more, the relief, a little bit, the gloss I would say according to the relief, remember that we can go closer to the texture and flip the normal map direction in order to get a better result. I think that here it could be much better. Then we could use as well, the weathering 0.30.4 could be fine. And as you can see, the result is much more realistic with this material from this airway texture page, like I told you, is one of my favorites and I strongly recommend you to use it as much as you can, according to websites for downloading different textures, I could say that the textures.com is very good as well. And finally, I would like to talk about another resource which can be very helpful when we are working with textures. It is this website. You will find it easily if you just google normal map. Thanks to this website, we will be able to create aid or normal maps or displacement maps. We just have to click on here and then select our diffuse map or colormap. In this case, this one with the letter D and the website will create a normal map for us. We can see it here in 2D and in this third window in 3D, we will be able to adjust this normal map through these sliders if we don't want a normal map, but our displacement map, then we have to click on here displacement, and the displacement map will be generated for us. Then click on Download, and that's all, once in gloomy. And again, we should go here, choose displacement map, click on the image that we have just created. And then this displacement map has been included in our material and we will find another slider for its adjustment. The fourth advice would be to use the facts that is very, very important to get a very good render. Remember that easily we can use the templates that Lunarians offer us. And at the same time we can add individual effects from here and we should adjust its values to our purpose. In my opinion, effects like real skies, EPA light, reflections, shadows, a skylight, or global illumination are the most powerful ones. Inventory, the last advice is about the post-production. You will have to use another software like Photoshop. And once there, you will have to use these additional maps, like the depth map, the normal map, the specular reflection map, the lighting map, the sky Alpha map, or the material ID map. We did an episode for learning how to do this. And apart of using these maps, you will be able, they're in Photoshop to adjust different values of the lightens the shadows, the saturation of the colors, and many more things. And furthermore, you will be able to remove or add different elements to your image. So thanks to post-production, your render definetly will make such a big progress. So we have just arrived to the end of this class and to the end of the course, I hope that you have learned a lot and you have enjoyed it during the bath. I really wish this course will help you to get your goals. If you live a good comment about the course, I will be so thankful. So I'm saying goodbye now and I hope to see you in more courses in the future.
Manuel Pallarés, Architect + Graphic Designer
