Make a Cinematic Car Chase Short Film Animation in Blender

1. Make a Cinematic Car Chase Short Film Animation in Blender: Welcome back everyone to this new exciting tutorial series is gonna teach you how to make your own car chase film elements in Blender, and also how to build and publish your own game and play it on your PC and also on your own Android mobile phone. So it's gonna be a lot of fun. So as starting points, we're going to take a look at the gradient of realistic environments. You can learn modelling, matching the scale of cinematic environment space, or read references. You can learn realistic texture, texture painting and UV mapping. You can allow you to create an export, any map from Google Earth into Blender so that you can populate your scene and make it look more awesome and more realistic. You're going to learn rigging and animation, exciting vehicle movements. Next you're going to learn camera animation for cinematic shots. Making a car pursuits, make an L capture chase on the top, and so much other animations. You're going to also learn the secrets for achieving all tra photorealistic licensed in Blender. And also we're going to take a look at the fluid simulation and rendering, going to learn how to add fire and smoke. In our case, we're gonna be making an awesome nitro boost speed effect and add it to our vehicle exhausts. And finally, we're going to take a look at the production of our short film animation. So this is the final result is going to be able to achieve by the end of this. In part two, we will build our car chase game in both, and we'll engine and Unity 3D. So you can choose the game engine that you like the most. So we will get started by optimizing our bridge environments by decreasing the polygon just so that you can have a better performance and also gonna be baking the textbooks. Next you will learn how to export environments from Blender and we'll engine and unity assignment with dextrose in the right realistic way. After that, we will make our vehicle derivable in both engines. And finally, we will publish our game on both Android platforms. So this is the game project that you're going to be building by the end of this course. Divided this course into ten sections. In section number one, we will build it tends to read the British inspired by the Tom Cruise movie. You learn some awesome modelling jaws allows you to build realistic environments in Blender. And honestly, once you know these techniques, you can create pretty much anything imagination comes up with. In section number two, we'll take a look at creation of all the textures that we need in our scene, starting by the asphalt, you will have a great understanding on how PVR Texas War, e.g. the current map, the roughness, the metallic and the normal map. And how can we control and achieve the kind of results that we want. We're also going to be great in other materials like the Ross, the metal with using procedural texture it this way give us much more freedom and flexibility in creating any kind of Newtonian as we want. And also we're gonna be great in some realistic ocean shader animated to have those waves moving and applying it to our C. And don't worry if you aren't completely beginner. So you don't need to go through this procedure, will Jacksonian stuff? You can just pick the final result, the final textures from the resources, and you can apply them to your scene and basically the assets. In section number three, we'll take a look at exporting real maps. So this is an awesome and easy trick that allows you to export any map from Google and import it into Blender. And the good thing about this technique is that it allows you to import maps with their own chapters so you don't have to do with yourself. So this trick will help you populate your scene and make it look more rigid and realistic. So in section number four, we'll take a look at setting our vehicles for Reagan. We can get started by learning the fourth symbol conditions for having an excellent job covering in Blender. So basically these rules can be applied to any other four wheeled vehicle you have. So it's not just limited to the car example and provide them. Next, we're going to learn some awesome realistic vehicle movements, applying the brakes and suspension for having maximum realism, experimenting with vehicles on rough roads, it's going to be awesome making our car avoid obstacle. And so much other stuff that we're going to be making some exciting animations like the burnout acceleration starts creating regular traffic, shooting our car pursuits from the helicopter view and also animating the car pursuit from different angles. We've got the front, the back, and also the side view. Next we will learn texture painting. Basically we're going to be customizing the Carpenter of our vehicle, have inflamed detail to it to make it ready for what's coming next, which is adding the speed boost in nitrogen file. So I know for fact that 3D design is sometimes challenging, especially if you are a beginner. So if you're facing any challenge, no matter how small it is, please don't hesitate to ask for help. I took the promise to answer every question in detail and following up with you until the issue that you're facing is completely solved. Also, please keep in mind that you have a money-back guarantee anytime we want. No question asked in case discounting doesn't work for you. So I hope this introduction gets you excited to jump into this course and build this project. So if you have any questions, feel free to shoot them down below. So thanks for watching and I hope to see you inside. Have a fantastic day. 2. What You Will Learn: In this first section of our course, we learn to design our bridge environment from scratch. So by the way, this is the bridge that we're gonna be using to make our car chase animations later. So here we are in Blender. By the way, I'm using this version, 3.6 version of Blender. So firstly, I'd like to do is to bring our reference image. I'm going to just do a left-click here and we can expand the right panel. You can just click here and drag it to the left side. And on the bottom side, I'd like to split this window. You can click and drag up and we can switch this menu to the image editor. After that in the resources tab, you can just click here and download this bridge reference image. I can just click on it to download it. And after that, I want you to simply drag it. You can simply drag it like this and drop it in the image editor. Alright, let me just zoom in to cover everything. Alright, so before we can start modeling, It's a good practice to take some time to study our bridge reference image. So what do we got here? I'm going to just press control space so that we can maximize this window. Let me just zoom in. So if we zoom in, we're going to find that. We're going to find that we have a double road line right here would have in this section for the sidewalk, it's going to be covered by these double fences. After that, we will have in this big supporting column connected with these wiring. But if we pay close attention to our bridge, for example, if you draw a line right here, let me do it. I'm going to press T, and I'd like to use this annotate. So if you draw, for example, a line down here all the way to the bottom side, you're going to find that our bridge is symmetrical. So this side is the same as the other side. Here. We are having the same wiring or having the same design, duplicate it on the other side. So from modelling perspective, we don't have to model the two sides. We can only model one side of the bridge and we can use the mirror modifier to have it on the other side. So this mirror modifier is heavily used by designers. It cuts off large fork when working on it. Symmetrical elements like characters or even cars. So this modifier can be found here in the modifier properties. So the second-order so we can make here is that our bridge is repeating itself multiple times. So this supporting curves cannot repeat itself here. On top of this mirror modifier, we can use another powerful tool, which is the array modifier, which will allow us to create multiple copies of database objects. So also we have the option to specify the number of duplicates that we want to have. You can control that here. And the good thing about this modelling method is that if, for example, if I were to make some changes to bridge, it owns have to do it for the entire bridge. You can just tweak this base mesh and those changes will be copied to all the duplicates instances. So this is a huge save of time and effort. And the final note that we can make is that our brush is not 100% straight. So as you can see here, we're having this bending. It's bends a little bit like this. We're having some kind of curvature at the end. So we'll be using a third modifier called the curve modifier. It will allow us to twist our bridge. We can deform it along a path of a curve. And the good thing about this modifier is that it doesn't destroy our geometry, the geometry of our bridge, one is going to be destroyed. So for example, if you want to revert back to the original shape, you can just remove this curve modifier and you're gonna be back to the original shape. So as a conclusion, we cut down the modeling work down to only this portion of our bridge. And with the help of modifiers, we will be able to build entire structure of our bridge. So now that you have a pretty much good idea on what we'll be modeling. Let's dive in and build our bridge 3. Matching the Scale of Bridge Road: To build our Bridge other sort first by designing the road, this road here, the bottom section for our Bridge. To do so, I'd actually press a to select all the elements that we've gotten our scene. I can press X and delete everything. I'd like to start by simple plane. So Shift a, you can go to Mesh and a plane. So I'd like to press tab to switch it as mode. And I'd like to Scale displaying on the y-axis so we can press S. Why we can Scale is a little bit up. So basically here we're going to be having these two lines of Road. I prefer to have three because we are going to be building a big version of this Bridge. It was gonna be the same. I'm going to make some adjustments. So it's going to be true. So what I'd like to do, We can insert some edge loops. We can insert three edge loops. So control Are, you can insert just true. So there's, we can have three phases. Each phase is going to represent 11 Road line. But now we need to make sure that the Scale is right. So this is the first rule to achieve Photorealistic them is to use a real-world dimensions. So this is really important step if you want to achieve those good results. So what we can do it, we can search the size or the width of these lines to Road lines. So we can do a quick research. So let's search for Road line width. So here we're having this, how wide is a straight line? You can click on it. And as you can see, each line is 12 ft wide. So we can take, for example, let me just feet to meters. We can write here 12. It's gonna be 3.65 m. Or it says go back to our Blender Scene. And what do we need to do right now I'm going to just exit edit mode by pressing Tab. And we can press N so that we can go to the item here so that we can see how wide is this object. So right now it's 4.48, but we have to make it right. I'm gonna do bring my calculator here. And what we need to do is true since we are having three lines of Road. So we can do 3.65 mol multiplied by three. It's going to mount to, let's say 11 m. So let's go back. You should the dimensions and for the y-axis, I would like to set it to 11. So now we're having a good Scale for the Road. So each line has 3.65 m, which is accurate and by the word measurements. So this step is really important. I can't stress this enough. So this is a must if you want to achieve the good results or if we can scale up of Road on the x-axis. So let's press a, I'm going to press S X and we can scale it a little bit up like this to make it a little bit tall or white. Or so. The next step is gonna be to add the side. We're having this Sidewalk here. But for the Sidewalk, this width is not the same as the Road line. I think. I'm gonna give it, for example, 3 m, anything between 2.5 to 20 m, it's gonna be just fine. So on the edit mode and let you select this edge, we can extrude it. I'm going to press E to extrude it. And we can press Y so that we can go on this axis. And I'd like to set it to, let's type 3 m. We can just type tree. You can see that on the top here, we're having 3 m. So let's press Enter. And now we got that Sidewalk also which we can do. We can grab this face and we need to extrapolate up a little bit. So I'm going to press E, extrude this up. Also, I'd like to set It's going to give it 0.1 height. So 0.1, so that it's gonna be 10 cm. You can lift it up if you want, for example, 15. So G, Z. And let's add 0.5, which is 5 cm. So now the height of our Sidewalk is 15 cm, which is very realistic. So we can delete these sides. So let me select these sides here. And I'm going to press X and delete them. Perfect. So now we're having a perfect plane. So next we need to continue in this loop. I'd like to, on the edit mode, I'm gonna grab this edge. We can press one so that you can jump to the front. This is France, but actually we need to be on the site. So let's press three if you go to the side. So this is the side forestry. And let's switch to the vertex mode. I'm going to proceed to switch to wireframe so that we can be able to select any hidden vertices. And you can press E, Z, XSOAR down like this. And we can extrude again here. And try again. E. Y can go all the way till the end. Can also do the same trick here. Construct you extrude up. But actually this point must be matching the top point. So what You have a perfect match, we can use the snap tool. So let's use this Nitro. It's gonna be just like a magnet. So it's snap it to vertex. We can take this vertex and we can snap it here. So they will be on the same level, these two vertices perfect. And after that, we can just connect them both. So let's select all these four vertices and we can press F to fill them so we can proceed back to the solid. And this is what we got. So this is the Shape of our Bridge Road. I'm going to try to make it a little bit thinner. So let me select these phases. We can take them up just the bits like that. Now it looks pretty much good 4. Matching the Scale of Bridge Supporting Column: Alright, so the next one is gonna be to add this Supporting Column disregard. So to do that, I'd like to select my wrote here. And you can switch to the edit mode by pressing the Tab key. And I would like to select this phase, the middle parts. And you can try Shift S and put the cursor to select it. So now the cursor is going to be written in the center. You can exit edit mode, shift a, and let's go to mash and we can bring a cube. Alright, so let's switch it at this mode and we can scale this cube on the z-axis loop. So let's try SZ can sketch Real up. We can take it a little bit up like this. So the problem is we got right now is that we don't know for sure the height of this Supporting Column. So I'd like to show you a trick that's going to allow us to do an estimation of the height in meters of the Supporting Column. So I'm going to press three. So it must be on this orthographic. Otherwise this structure one is going to work. So I would like to bring my reference image. This is a reference image. I simply drag it and drop it here. And we can skeleton little bit up something like this, or it's sort of zoom in. So basically we need to scale this reference, Intel, this Road. It's going to be having the same order, real measurements. So here we're having two lines of the cirrhotic dominate the midbrain, my calculator here. So basically a one line is 3.63, 0.65 m. So we can multiply by two. It's gonna give us 7.3. I'd like to write this value down, so I'm going to press T here. Let me just press the mth. So I'm going to just move in, zoom in here. So 7.3 m. So this distance here needs to beat treatment meters so we can the ruler. And I'd like to measure this. You can measure this distance. So right now it's 1.7 m. Let me just write it down. So it's 1.7. So basically 1.7 needs to be 7.3 m. So we have to keep scaling of reference into this distance. We'll be 7.3. So we can do a quick calculation to get the ratio, the multiplying ratio. So basically we need to divide 7.3, can divide it by 1.7. So the ratio is 4.29. Let me just write it here. So let's say 4.3. So this is a ratio, so it's going to depend on your reference, but this is the way to get it done. So now what do we need to do? We need to select our reference. And I'm going to press S to scale it. And I would like to write that down, which is 4.3. So let's press Enter. Let me just delete these measurements. We can click here. Let's press Delete to delete it. Now let's try to measure this distance. Right now it should be 7.3. Let me just bring the ruler and we can calculate this distance. So it's almost there, 7.3, which is perfect. So we can just stick it here to make it 7.3. Alright, so that's it. Alright, so now what we can do, We can try to measure this distance that we got here, the length or the height of our Supporting Column. So let me just stick it here from the bottom and you can go all the way to the top here. So it's around 45 m. So now we've got an estimation on the land or the height of the Supporting Column. So let's go back to our scene. I'm going to just hide this. You can just take its driver to the right side, to the left side. And let me select my Supporting Column. I'm going to press N, go to item here on the z-axis. Let's give it 45 m. After that, I'd like to drag it up into the churches are Road. So it seems huge, but trust me, this is Right, right. So the next step, let me just go back here and let's see. So the next step we need to expand the Supporting Column to push it down. So basically, let me just zoom in here, can see that the Supporting Column is gonna go down here, reaches this level. It has this Brake of concrete objects that's going to hold, hold Intuit's. Alright, so on the edit mode, let me select the bottom. You can switch, use the vertex mode, press Z, switch to wireframe. You can select the bottom, you can simply drag it down. Just hide the activate snap tool. I think something like this can be fine. So here we're going to be adding this object's. Alright, so the next step, I would like to show you something. So here if we double-check the Shape of all Supporting Column. So it's narrow at the top. And it's gonna get wider and wider as it goes like this. So we have to do the same thing. So under this moment I'm going to press Tab and I'd like to select edge to edge mode. You can select this edge right here, and we can slide it to the left side like this. Alright, so now we've got that curvature on the side of all Supporting Column. Alright, to the next step is gonna be to divide the Supporting Column. So I'd like to add this section that we got here. This section on the top are in. So to do that, I'd like to go back to my reference image. Let me press 32, go to the front for reference image, and we can bring again Dutch ruler. So here we can do simple math. Let me just measure this distance. I'm going to drag it to all the way down. So it's Around 9 m. So let me just do that here. Alright, so let's select our Supporting Column. We can switch it at this moment, I'd like to zoom here to the top and we can use again the router. Let me just find it first. This one right here. The measure. And we can press control so that we can snap it, for example, to the top. And we can drag all the way down. So we're gonna go completely vertical here until we reach 9 m right here. Alright, so next I'd like to press Control R to insert this edge loop. Let's simply drag it all the way up. We can pass double G to slide it. And let's slide it all the way until it reaches this level, right here, double G again. Then we go Same thing here on the top. So Control R, L surrogates, for example here top. And basically that's it. So next, let me just slide it down little bit. You can press Control B to Bevel this edge. So Control B. Let's pivot like this. And let's do the same thing here. Can press Alt to select the entire row. Let me just hide the measurements. Don't need it anymore. Let me just go back to the Move tool and we can try Control beacon to Bevel this section. Alright, so next I want you to select these two phases. We need to extrude them here. Alright, so let's push them right here. I'm going to press trigone and we can select this vertex, this edge. I'd like to check, It's a little bit up. So as you can see, the top is not completely flat, so we have to create this kind of a curvature or the job. But it's not like this. So it goes up, it goes up, but it is flat on the top here. So to add the twist, we can press Control R. And let me take it all the way to the left side. Can click and we can drag it to the right side. So this way, this area here, It's gonna be flat. This section here. Perfect. So let's press tree and let's see what do we got. So this is just one-half of the Supporting Column, so we need to add the mirror modifier so that you can have an idea about the entire shape of it. So with this selected, but we find that that's we need to combine the both. So let's select my Road shift, select this object and we can press Control J. So J as joint, so that we can join these two pieces. So in order to add the mirror modifier, I want you to go to this icon, the ranch Modifier icon, and you can click on it and add modifier. You can search for this mirror modifier. So click on it and it's going to be added to your mesh. But as you can see, nothing is happening here. So the reason why nothing is M them Explained. I'm going to press one to go to the side of our Bridge. And you can see that the axis where the middle Modifer is applied is the x-axis. This one the x-axis. So this mirror is already applied, but we cannot see it because it's on the X. So what do we need to do? We need to have it on the y-axis. I'm going to uncheck the x-axis and let me just check the y-axis. So now we have it, but it looks a little bit weird. You have to do is to press Tab to go to that is mode can press a to select the entire geometry. And basically we need to drag it to the left side, like this, little bit to the right. There we go, something like this. So here at the middle image, just bring back, go to the vertex mode. It can proceed to switch to wireframe. So we're having this clipping here. We have to fix it. So let me just take it back here and we have to check the clipping so that this, this geometry Roads going to clip with each other. So if we take that to the right side, it's going to stop right here. It's gonna be locked. You can not go beyond this point. You can take this one little bit to the left side. Here we go. Alright, so the last other one should do is to increase the size of the Road. So I'm going to press Alt H, make sure that everything is de-selected. And let's select the Road by pressing L. And you can try Sx and the two skeleton by ten. You can have a big Road. Alright, so this is one portion of our Bridge and it has the Scale of Right? 5. Modeling Bridge Supporting Column - Adding 3 Layers: The next step is going to be to develop our Supporting Column. I'd like to add the missing details to make it look good. So the first thing I'd like to do is to add or to work on these three layers that we got here, a picture, add them here on the inside of all Supporting Column. So let's go ahead and do that. So first I'd like to do is to select my Supporting Column. You can switch should edit mode. And I want to be on the face mode. We can grab these two faces, select the first phase, shift, select the second phase, and the images face my brush three to face my Supporting Column. And you can do Shift D to duplicate those two phases. And you can try to extrude them outside like this to form this first, actually this one, top one, this one here. But we'll have a problem here. So if you check closely, you're going to see that this distance that we got on the top edge, It's a little bit smaller than this one. So why this is happening, right? So let's press chapters which Back to the object mode. Then I want you to press N to access the transform. And down below here we can see the scale values are not even. So basically all these values, X, Y, and Z, must be all set to one. To fix this problem, we can press Control a and it's apply the Scale, the scale right here. Now, all the Scale is even on all these axises. So right now, if we go back, let me just select this part by pressing L, can press X and delete it. Let's do it again. You can select these two phases. Is plus one Shift D to duplicate. And you can try to extrude it like this. Now, these edges, they are even, they have the same distance. Basically this problem happens if you do Scale your objects on object mode. You can see that change here on the Scale. So it is better to scale your objects on the edit mode, like this, not on the object mode. Alright, so let's fix the first layer. I've actually grab it here from the bottom and I'd like to drag it all the way up here, little bit down. And I've actually invert this design that we got you. So I'd like to press S and its size minus one. So that's gonna be inverted to the other side. So after that, I would like to select these two phases. And you can press shift D to duplicate them again, right-click and can extrude the second layer like this. Let's do the same thing here to the bottom. You can select this bottom, can drag it here to the middle, try as Z and minus one. Perfect. And the lesson to do is to add the final layer. So let's select these two phases. Shift D to duplicate, extrude, like this and you can select it again, the bottom, stick it up. Try S, Z and minus one. We can select the bottom. Can just lifted just a little bit. It's going to have the same distance that we got here. Perfect 6. Modeling Bridge Supporting Column - Adding X Mark: Alright, so the next applicant to be to add Top X marks that we got right here. Let's do that. Ethically selected my Supporting Column and let's press 32, face it on the front. And on the edit mode, I would like to start with this simple. With a single vertex. Can select, for example, this vertex Shift D to duplicate it, and we can put it here at the center. So first of all, actually do, I'm going to try to extrude, let me just press E, extrude on the y-axis. So basically I'm going to try to create a plain simple thing. So we can select these and press Easy, go down like this. After that, I want you to select this simple vertex and press Control Shift be this, you can Bevel it like this. After that we can select these two vertices and its extrude them up. Something like this seems to be reasonable. After that, I want you to select this part. You can grab this phase shift D to duplicate it, this part here. And I've talked to spin it. So our X, I'd like to spin it by minus or 180 degrees. After that, we can activate the snap tool, then can snap it here. Alright, so now it's the same objects. So now we're having some duplicates. Me just show you. So if we select this vertex, we can have it to, to Duplicate. So you can select this entire parts. We can press M. Let me also switch to the wireframe, can select this section, press M and merged by distance. So now two vertices are removed and it's called. So the next ten to do is to kinda separate this object. So I'm gonna select it by pressing L. Let's press B to separate selection, or it's within the next step, I would like to add the mirror modifier, sorry, added. But we have to change the center of this object to this point. So Shift S goes to two selected Exited It's mode, which objects such origin in order to D cursor or so. Now as you can see, we're having this X mirroring on the white arrow going to just add the Z. So next all we had to do so just to scale up, our objects, can switch to the solid. Let me just put it here. The central sketch like this. We can try, for example, to increase the size of this object. Let me just skeletal little bit down here. You can try. Let's take this one to the left side and this section to the top. There we go. Looks nice. So we've got our X mark. So all we have to do right now is to extrude it on the edit mode. I'm going to select everything and press E to exude. You can snap it to this corner. We go, It looks perfect. So last element that I'd like to add is this divider that we got here would have in this divider, this section right here. So to add this object, I would like to jump to the edit mode. I'm going to select this face. Without the snaps. All the chicks are legit little bit left side. Select the bottom and we can extrude it down. After that, we can just take this object to the left side. And the last to do is to add the remedy file. So let's go to Modifiers and Let's Add remedy file. So this Array Modifier needs to be on the y-axis. So let's set the X factor, which is zero. The why it needs to be here. So let's set it to minus one. There we go. Got it. So the last thing to do is to increase the Scale to treat to have three units of these X marks. So you can press 32, face this object, and let's scale those X marks to something like this. You can stretch them over here. So take your time to make it fits perfectly this shape. So I think so Gy shifts over just a tad to the left side. Alright, so last thing that lecture do is to kinda delete this part. We don't have it. This part here actually don't have. All we have is just these three layers. The first, second, and third. We don't have this extra parts. So I'm going to just press X and let's delete. It. Also lets the extra phases. Let me just hide my X marks in. Let's see what we got here. I'd like to play some clearance. I'm going to just fill this face here. And we don't need this edge. Animals will just press all to you and we can press X and dissolve edges. Alright, so let's exit that is more than Alt H to bring back those X marks. And as you can see, it looks perfect. Also we can apply some. Let me just show you. I'd like to add some kind of chip here. Some kind, I'd like to extrude this inner edge a little bit on the outside. So let's select it. I'm going to press L. Just select this unit and let's try Sx extruded outside just a bit. I'd like to add this kind of a strip, this part, this edge right there. It's going to add some nice details. Also here for the top, we can tweak a little bit choppier. So let me select this phase construction extra lit up in such a skeleton on the X. So ESX. Try something like this. So just be a little bit creative. You can Achieve, can create your own version of this Bridge. So now the top looks fine. 7. Modeling Bridge Foundation Base: At last element of electric do is to add the base of our Bridge. So we need to add the base year. So basically this Foundation is going to connect our Bridge to Earth. And it's also going to transfer the weight or the loads from the Bridge to the ground. Right? So let's go ahead and create it first. I'd like to select the bottom. Let me grab this face. I'm going to try to extruded right-click and let's scale it up. Something like this. And we can drag it down just a bit to have some kind of an interesting design. After that, we can extrude it down here. Probably we have to scale it down. So I'm going to press Alt. Actually it's Scale, this base. I'm going to press Alt here. And we can try, let me try to scale this one up because we can have messed up this calculation here. So what we can do instead, we can try to bring this one to the right side. Something like that. So now it looks accurate. So here on the bottom leg, grab this phase, can take it up a little bit. Good. Press Alt and let me try to move it to the right side, just so that we can have some even edges here. After that, Let's select the bottom Shift D to duplicate it. And we can scale it up like this, and you can scan it on the X, scale it down. Next, we can extrude it down like this. And we can simply connect, check this phase and drag it to the left side. Alright, after that, I would like to Apply some Bevel. And so we can select these two edges, dry control beep to Bevel, which we can increase the count by scrolling the mouse. Click like this. There we go. I can try to do the same thing. Let me try to bevel these edges. So Controller be structured, Bevel them like this. Alright, so we can exit edit mode, right-click and **** all the smooth. Let's like this. **** up smooth. There we go. It looks pretty much good. 8. Using the Bevel Modifier to Master Bridge Modeling: In this tutorial I'd like to discuss we do the importance of using the Bevel Modifier in Bevel in the geometry that regard. So here we are having the Bridge because if we zoom real close to this edge, can find them really sharp and they are not looking realistic at all. So we're having this 90% sharp edges. They Are, they don't exist in real life. So this is the second rule for Achieving Photorealistic is to always Bevel sharp edges. So I want you to check the difference. For example, here, even these layers, they are not visible. So it looks like one object. So if I exited this molecule back to the Obstacle, we don't see any details here. So our reference image would have in some kind of we can see those layers that are visible. So the reason why they are not visible is because these edges are other present sharp, so we need to Bevel them. To Bevel our geometry. Let me select my Bridge here and we can go to Modifiers again. Let's go to other Modifier. And I'd like to add the Bevel. And it's immediately going to have better results. So now this part, for example, looks exactly like what we've got no reference image, which is really interesting. So I'd like to zoom in a little bit closer. And I'd like to increase the number of segments. Right now we're having only one segments. Segments is this distance here. So this is one segment. So let's increase that. I prefer to increase the tree. And now it looks much more better. I'd like to apply the same effect to these chop X marks. So let's add Modifier, let's add the Bevel so you can see how better it looks like right now I can do right-click Shade, Smooth. Also, let me just zoom in and we can increase again those segments to tree. Right-click Shade. Perfect. So I may do this example to show you the importance of Bevel in sharp edges for and how it's going to affect the lighter later on. So for example, here we have in two cubes, so we're having to rescue. This is Bevel and it's perfectly, it's perfectly Bevel. And on the right side we're having this blue, this blue goo. It's not Bevel. So you can see how the light interacts with edges here. So this one looks much more realistic. You can see that edges looks a little bit shiny, and this is what we got in reality. So we're having this kind of triangle here. On the other side. If we tried to play with the lysine here. So this cube looks a little bit debt. So that's why you need to always Bevel your sharp corners 9. Why Bevel Modifer is not Working & How to Fix it: In this quick tutorial to show you the importance of using the bevel modifier and the problems you might face when working with and also how to fix these problems. Alright, so in this example of EF created to Q, so when I give it the bevel modifier and the other one, I didn't give it any performative file. And also I added a light source, and I also gave these cubes sum our shader like this. So if I switch right here to the render mode, so you can see the difference. So this object over here, this cube with the bevel modifier reflect legs are flexed lights on these edges, which makes it looks more realistic. On the other side, if we take this one and take it to the other side, you can see that this one has, this, has this trait, 90 per cent sharp edges which reflect no lights. This one looks unnatural, while this one looks more realistic. So this is the first rule for achieved phosphorylates glycogen. So always add the bevel modifier chew or objects so that they can reflect light. So I'd like to show you a real example. So in this case, this bridge modifier doesn't have the bevel liver doesn't work on it. So let me just show you that. I'm going to add over here the bevel modifier. And as you can see it taken our factory, we can see a little bit of difference, but you can see the difference here, but we still have these sharp edges which can reflect no light. So it's gonna be a problem. The first thing to check is to check if we have some overlapping vertices. To explain that, let me just create a normal cube. So shift a, let's just print it. You can just move it to the side here on edit mode, I'm going to sketch the way up like this, and let's add the bevel modifier church. Okay, So you got over there and it's increased amount of salt like this increases segments to tree. And right-click Shade Smooth. I'm gonna be jumping on the edit mode. I'm going to try control arch insertion edge loop. And I'm gonna be taking it all the way to the top. So you can see the problem here. So at this point, the bevel is working, but if y go up, if I connect this edge to the top one, you can see that the bevel is going to disappear. So the reason why we're having this is because we're having these overlapping vertices were not given any space for the bevel modifier to ticks effects. So the way to clean this up there is a quick way so we can select everything and press M, M and merge by distance. So this way is going to give blender. You can see on the bottom side, four vertices are removed. So blender is going to, if he found any overlap n vertices, can adjust, remove them, and keep only one. So let's apply the same thing on our bridge here. And let's check if we have some overlapping vertices. I'm gonna be selecting this one. And let's press M. And merchandisers also keep in mind, I don't want you to select everything because if you selected everything, Brenda is going to also remove these. So in our case, we want to keep these objects are separated objects. So we can select the first one, press M or do you know what? Let me just explain this. I'm going to select everything, press M and merge by distance. So here you can see that those extra vertices are removed. So this is not the case that we want. So I'm gonna just select objects by objects. The first one press M and merge my distance. As you can see, zero vertices are mode, which means that's our objects is clean. So Alt H deselect everything. Let's select this one, press M and merged by distance. And is can see zero vertices are more. So. Just keep in mind, this is the first step. Second step is, let me just stretch inquiries. This one, you can see that such organ. So the second thing to check is the scale. Let me also explain the scale. So shift, Let's add another cube. I'm going to just move it here. So check this out if I try to scale this object. So if we switch here to the n plus n Ls switch, usually the scale can see the scale here. If I scale this one on object mode, you can see that I'm affecting the scale. So obviously this is not the right way to scale objects. So if you want to scale upstream must do it on the edit mode. This so right here, if I scale it up, you can see that the scale is going to stay still at 23. So right here if I do this, so if I scale this object Sx to something like this, S Z tickets like this, you can see that the scale is a joke. We have three to three to two, which is not that good. So right here, if I added the bevel modifier, and if I increase this amount or something like 0.5, just to see, you can see the difference. So we have a huge gap. So the distance here is big, that is bigger than this one, which means that our, the final one is going to work. That's good. So to fix this, we need to reset our scale. So what you do, which is to try Control a and apply the scale is Control a and apply scales. And as you can see, we have these even edges, which is looking pretty awesome. So again, can increase this 123 right-click interests more than this. You can see we have an excellent beveling. So let's check this one in our case, you can see here that we have 0303 to 15, which is a huge, huge gap. So let's fix this one. So Control a ls, apply the scale immediately can see the difference. So now we have much more, better beveling. So I'm going to just go ahead and try to increase this one. As you can see, it's still not Muslim prevalence, so we still have another problem. Let me just jump here to edit mode and let's check. Take a look. So the third one, yes, I can see the problem. So the third problem we might have is this one. So we might have some closed edges. Let me explain that here. When working with this one, keep in mind that if you inserted some, for example, if you take this face and extrude it and right-click to cancel that move. You can see and try to again to extrude. So right here we're going to be having duplicate, so I'm going to just try to go inside. So right here we're going to be having two vertices, so duplicates, which affects this is again press M murdered by this. But in this case, if we have, if we select this edge and take it all the way to the top, make it as close as possible here. So this is the problem. What prevents the government different from checking the facts in our bridge? So we have these two edges. So we need to be careful with this one. So let me just show you. So here I've created that one on purpose just to show you this one so you can see the difference. So if it's close, it's going to prevent the bevel modifier from taking effect. So in this case I'm going to just press X and remove that dissolved as edges. And as you can see now the peripheral multifarious walking can just go ahead and increase segments to tree. And it's looking perfect. So now we have some nice reflection on these bottles. Basically, that's it. These are the three main things to check if the pebble is not working in your case. First, make sure that you don't have any overlapping vertices. If so, you can press M and move by distance. Second one is to check and apply the scale using the Control a and apply scale. And the third one is to loosen up tight edges given some enough space for the bevel effect, for the level two takes effect 10. Modeling Bridge Fences: The next step is gonna be to add the Bridge Fences. These Fences that we got on the side of all we're Bridge this part. Alright, so let's go ahead and build it. So I'd like to rely on a new reference image. I'm going to simply drag it and drop it here, this reference image. So you're gonna find that also in the resources. So basically this reference image is going to give us true informations. So first it's going to show us how this structure is built. So first it's gonna give us a pretty much close idea on how this Bridge fence is made. So I believe that this is the same Fences we got in our reference image. Let me just bring it back. You can see here. So it looks pretty much similar. And the second important idea, or the second important information that this reference gonna give us is the height of it. So here we'll have in human and human, I believe we can give it, for example, an average height on 1.5 meter. So based on this height, we can estimate the height of this fence. So I would say something around 1.5. It's gonna be reasonable because this guy here is not sending, I don't believe his tendon from the ground. Alright, so let's go ahead and start building our fence control space. And let's go back. Like I said, we're gonna be given at 1.5 for the height. Let's go ahead and do it. I'm going to switch it edit mode. I'd like to select this face. We can press Shift S cursor to select it. You can exit edit mode, Shift a, go to Mesh Q. We can drag this cube like this and let me just take it up. For example here, we can charge a skeleton on the y-axis. So S, why something like this. So it should be this thick, the fence or even down, something like this. What is after that? I want you to press N so that we can go, go, so this, we can go to item in here for this, for the Z dimension, I'd like to give it to 1.5. I would like to isolate this cube from the rest. So with this one selected, I would like to press Control I to select everything else and you can press H to hide them. So let's just work on this symbol Q on the edit mode, I'd like to delete these faces. Delete them sent in here. Let's just delete these side edges and we can select the top. And I'd like to extrude it down. For example, here, I believe the top looks a little bit bigger or more rounded than the bottom. Let's select the bottom. You can make it a little bit tall like this. And next I'd like to Bevel them, so I'm going to press Alt. You can try Control V to beveled out. It's actually made shack. I'm going to press N to check the Scale. So this kid is not even so Control a, and let's apply the Scale. Go back to the edit mode. You can press Control B to Bevel those I think we have to be on the edge mode. So let's select only these edges. Control B plus N, dry this panel. So Control V, Let's Bevel. Now we can insert some edge loops just like that. Let me just select the top. Looks fine. Same thing here on the bottom. Let's select these four edges. And I'd like to Bevel them, but not as strong as here. So Control be just something like this or it's after that, we can Scale, let me select them both. We can scale them on the y-axis, trim them a little bit. Let's Also, we have to scale them on the Z axis. So we can do it this way. But I prefer to go to this individual origins so that you can scale each one on its own. Alright, so next let's add these standing Supporting Column one here. So I'm going to select this phase, this phase shift D to duplicate it, I'm going to press R Y, and let's type 90 degree. Alright, I'd like to drag it a little bit down here and we can extrude it all the way to the top. I'd like to grab it. I can select it by pressing L and we can scale it on the Y. Just to add that tip here. Just like here, what we got. Alright, what we're doing fine so far. So now let's add these small metal pieces that we got here. So to do that, I'm going to add new. I would actually select just one face from here, shift D to duplicate it, and let's move it, for example you. So I'm using one phase because I don't want to have too much geometry. You going to be duplicating this a lot of time, probably hundreds of times. So we have to keep our geometry optimize and just scale it down here, also this sketch on the Y. So SY can dream it a little bit like that and we can extrude it outside. Alright, so we got this object. I'm going to press P, separate selection, exit edit mode. It's like That's objects. And we can add real Modifier. It needs to be on the X. But let's move his back, for example here, minus ten. And we can increase this count to something around ten, or it's an X. I would like to expand this fence. So let me just switch to wireframe. We can select this part and let's move it all the way back here. So now we created a one unit. Let me just apply the radio and we can merge it. So I'm going to press Shift and merge with this. So Control J to join them. Which one part? So now we'll have it one unit of our Bridge. So the next step is gonna be to add a remedy file. So let's add it right here. So it's gonna be on the X, which is good. So I'd like to set it to minus X, minus one, it on the other side, then we can increase this counts up something like ten. Alright, so now let's bring our environment. So I'd like to press Alt H to bring back everything. And let's put our fence at the starch here, for example. Okay. And can increase that count. I believe it's going to be around 30. So let's say she's almost yeah, there is fine. Just drag it a little bit back here. Alright, so we got our fence, I've actually just move it, download materials. So let's just make it touch Road. So GZ. And you can try to drag it down like this 11. Deforming the Shape of the Road: Before we can continue working on our Fences, I'd like to add this twist that we got no Road, this part right here. So once we reach the Supporting Column, we're gonna be having this nice twist in our Road. So let's do it also here. So I'm going to select my Road here, switched edit mode. And I'd like to insert edge loop right at the center. So can press Control or like this, we can click and after that I Back to Bevel it. So Control B, That's privilege like this. I think this is the right size. We can try to scale it a little bit up. So SX squared, something like this, seems to be reasonable. So next I'd like to in search true edge loops. So Controller, let's insert two edge loops like this. Nice. And the next step we need to switch to the edge mode. And I want to just select this edge first shifts. And scrub is four edges and we can bring them outside. Something like this seems to be acceptable. Next, I want you to do the next step. We can try, for example, to expand this space. So I'm going to press Alt, Shift Alt. You can try Sx to move with them, but actually we are on this individual points so we cannot do that. So let's go back to the middle point. Let's try Sx because Scale it to something like this. Alright, so the next step is gonna be to Bevel all these edges. So I would like to include this edge also. So Shift Alt, left-click, Shift Alt, click here. And let's try controlled BY. And you can Bevel this area. I want you to scroll your mouse so that we can increase those number of cuts. So now we're gonna be having this Excellent, nice guts on the edge. It looks pretty much similar to what we got here. So what I'm this first term, which is this one, and it goes straight for awhile and it goes back to the original shape. Alright, so this is the way to do it 12. Using Curve to Tweak Bridge Fences Shape: So we've got this row twists. But what we need to do right now is to make this fence follow the same twist. To do so, we're going to be using the curve modifier. So with this one selected, Fences selected, I'd like to go to the Modifier properties, and I'd like to add a new Modifier. Let me just collapse this remedy for the new Modifer is gonna be this curve Modifier going to find it under default. So click on it. And for this Modifier to work, it's going to need a Curve objects. And basically there is nothing better than this road itself to extract that curve that we need. So I'd like to do is to select my Bridge here. And on the Vizmode, I want you to be on the edge mode here. You can press Alt to select this edge. In July. After that, we can press shift D to duplicate this line. And let me just take it up a little bit. You can press B, separate selection, exit edit mode by pressing Tab. And we can select this edge that we got here. And we don't need to have any of the mirror modifier, neither the Bevel. So now we need to use this edge line as a curve. But before doing that, we need to convert it. So right now It's a mesh. So it's not a curve, It's a mesh. So to convert it, we can go here to objects converge into a curve. Also, I'd like to change the center of origin from here to here. So you can go to Object Set Origin to geometry is also we can press N to check the Scale. The scale is one as well as rotation. So they are all set to zero. And the Scale is such one, which is fine. So let's go ahead and select my fence in. I'd like to hear on this curve objects Also we can try this. I'm going to select this edge. Here. We can rename it. Let's call it fence Curve, suppress Andrea. Let's go back to our Fences. Here we can click on this curve objects and we're going to find this curve, fence Curve. Or it says you can see it's going, it's following this shape, the same shape of this curve. I'm going to press seven to go to the top. And that should do is to simply drag it a little bit down on the y-axis. Something like this. Alright, so let me zoom in. So it's following this curve, but it's not perfect. Can see for example, here would have in some displacements of that fence. So the problem is happening here is that we don't have enough geometry in our curve. Let me just go to Edit Mode. You can zoom in here. So for example, this part here on the top, it doesn't have any geometry here. So this is going Curve. Just like the curve that we got. What we need to do. We can insert some lines here like this, but I don't recommend this because if you do this, you're gonna be inserting edge loops for the entire fence. But actually all we need is just to add those edge loops only the for this portion here of our fence. So to do that, well, it takes you to do, Let's first increase that's Array. I'm going to increase it to 60, like this or that you can cover the entire Bridge. And also we can drag it here on the X, like this. Alright, so next, what I'd like to do is to click. We can, for example, click you switch, that is mode. So now we can edit live our geometry. But also before we can do that, I'd like to Duplicate this version. So Shift D can duplicate it. And it doesn't need to have the curve on it. So basically, I would like to create the second fence, this Fences we got here. Let's keep this copy and affected. Can move it forward. Something like this. Alright, so let's select this curve, this fence right here and we can apply, I've actually applied a remedy file. So you can go to the ray, click here and apply it. Next. I'm going to click on this edit mode and also on cage. And you can switch it at this mod N our lecture, insert some edge loops here to fix this problem. Check this out. I'm going to press Control or let's set can loops here. Let's press Enter. So you can see that this, this part of our fence is perfectly matching the Shape for Curve. So let's do each one also on the bottom. So Controller cell to jump press Enter. So basically I want you to do the same thing for the entire fence that we got in this section here. And basically that's it. So now you can see what I have in a perfect fence that follows exactly are Curve 13. Modeling Bridge Cable Wires: The next step is gonna be to add the wiring that's going to hold our Bridge still. So we need to design these Wires disregards here. So to do that, I'd like to zoom here to show you the nature of these Wires. So basically, it's just this part. It's going to repeat itself lots of times. This section here. We have to do suggest, Model this and we can use those Tricks, Modifiers to Duplicate this objects. So let's get down to it first, I'd like to start with this cylinder. Send the Shape. So I'm going to, Let's put the cursor shifts, can put it here at the top, Shift a and go to Mesh. And I'd like to start with the cylinder. I'm going to press period on the lamp. And what I'd like to do is to reduce the number of vertices as we got. So you can click, you can type F9. Again for the number of vertices, we can reduce it down to something like, let's press Enter. Now it's perfect. Also, I don't need to have it filled. Let me bring back the F9 and we can switch it from N, gone to nothing. So that's gonna be emphasis on it. So this is tickets to the top, and I'd like to spin it. So let's switch to the edit mode. We can press all why and spinach by nine. We can press 32, face it. Let me zoom on it. So this is the first sound that disregards. After that, I'd like to add these small Wires that you've got to on the top. So Shift D to duplicate this, put it up and we can scale it down. Good press S to scale it down. Something like this. Shift D to duplicate. Get, Put it to the left side. Let's make sure that they are on the same level, little bit to the left. And this one a little bit to the rights. We must be, Let's switch to the wireframe so that you can be able to select everything, something like that. Or it's, so let's spin around to see what we got. So basically this, they need to be on the same level. So you can select this bonds, can activate snap tool. You can snap it to you to the end of this cylinder centered on the other side. Let's snap it to your perfect. After that, we can scale it a little bit. Let's get even more. Something like this. Or it's in the next step is gonna be to add these vertical lines we got. So what lets you do? I'm going to press Alt a to deselect everything. Can press L, just like these two units, can press shift D to duplicate them. Right-click and we can try RY and its I began nine degree can press Enter, press tree or actually one. And we can simply drag them down like this. Let me zoom in. So G, Z, I can go up until we reach the middle. Let me check that from here. Seems good. Lesson is to add these kinds of loops. Have some kind of loops here. Trips. So under this model, I'd like to insert edge loop here. We can duplicate this curve, this edge, you can take it sideways. Let me just hide the snap tool. Get bot, you can scale it up like this. We can press F to fill it. Can press E, extrovert like this. And after that we can press L, just like this entire unit Shift D to duplicate. Let's pause here at the center and another shift D, and we can move it to the right side. So now we're having three of those units. Right-click Shade, Smooth, perfect. Let Me Try. Right-click Shade Smooth. Take this, all looks better. All right, So we got this units are will have to do right now, is to Duplicate this. We're going to be reliant on real Modifier. So let's add the RMD file. I'm going to press one and can press G. Slided like this. We have to scale it written down. Something like this looks reasonable. Okay, so next, let's press one. We can increase the count of this array. Let's try ten. Okay, it's almost arm and just scale it up a little bit. Intelligent match, matches the end. So we're going to optimize our Bridge later. For now, let's just put this together. Alright, so we can scale it a little bit down, which is to the left side. Next step on the edit mode can try to expand the bottom, like this all the way until it touches our Bridge. That's nice. Last intellectual do is to kinda make it curvy, curve it like this. To do that, I'm going to press one again, face it. And under this mode. But actually, before doing that, we need to apply the rate so that we can have a control over the entire shape. We can switch that is mode, just select only the end. Can search wireframes that you can be able to select everything here. And I'd like to drag it down, but we need to use this Proportional Editing tool to drag it down. Something like this. But the stores, it's not good. We don't want it to be like this. So let me just switch this type to this inverse square. Let me try this. So now it looks really better. Simply drag it down. You can press control space. Let's go back. And we can check, although our Wires are, I think we got this distance here. You can try to go even down, something like that looks pretty much reasonable. Okay, So the last step to do is to align the Wires on the bottom. So under this mode, I'm going to just uncheck this proportion in the central get press one again. Z2 swatches wireframe and we can grab shifts in group one, the bottom, like this. And I want you to switch to this medium points. And we can try S is zero. Jeff, it's completely flat and we can take it up into the churches. Our Bridge. Here we go, get that unit. So all we have to do right now is to merge it with our Bridge. So we can press Shift, select our Bridge. You can press Control J to join it. So now it's Duplicate it on the other side. So what do we have to do right now is to have it Duplicate it on this side. So for example, we can check me, show you a quick hack, can go to the mirror modifier. And we can check it on the X, this X, X. So we can check the X. I'm going to have it on the other side. Perfect. 14. Optimize Bridge & Use Array to Duplicate it: In this tutorial, I will actually simplify an optimize our Bridge because right now it's not Working while the present. So let me show you. So if we select our Bridge and if we try, for example, to add the right Modifier. So you can go to Modifiers. Let's Add Array. We can have these gaps here. And also if you zoom reclose, can see that our fence is a little bit messed up, which has strong much of the details. So we have to clean and optimize our Bridge. So the first interval lecture to affect to hide the mirror modifier, we can just click here, tried it, and once we can hide Array. So basically what you need to do, we have to cut our Bridge into this part and just press one. So basically all we need to keep, It's just this portion. You have to divide this portion into two parts. Also, we have to fix this problem. This X marks have to make it part of our Bridge. And after that we can use the mirror modifier and Array. It's going to work just fine. Or it's the first lecture that fight my Road from the health under this month. Make sure that you are not using the snap. So because it's kinda make, make, It's really hard to work with. Here. Salts a to deselect everything. And we can start by pressing Control R. Rated. The middle can press Enter. And after that we can switch the face mode, can press Alt here. Let's make sure that this is the right side. I want you to delete this side here. Keep the one with the Wires. So let's press X and delete those faces. After that, we can press L to select this part. We can press X and delete it. So now we have only this portion. So next I'd like to delete these Fences that we got on the right side. So this is what's causing this problem. So it's duplicating itself. So these fences are duplicating itself. On the left side, we have to delete them. That is mth. Going to switch to wireframe. We can, for example, select a to make sure that everything is selected. We can press L. To select these. You can press X to delete them. Same thing here, can start by deleting these units. X, delete those faces. And after that's gonna be easier, which grab? This part can continue like this, X delete. Here, Let's zoom in. Can press L X, delete those parts. Something you can press L EX Delete and we can select this portion. Let's delete it. So that's gonna be easier to select the entire parts like this X deletes. We have to trim this Fences. Need to be matching this line here. But before doing that, we can go ahead and define our Supporting Column. So I'm going to start by inserting an edge loop right at the middle. So Controller are here. You can press Enter, and I'll actually delete this portion here. So we can use the face mode, can press Alt, Delete. And also we need to insert some edge loops here. So control or press Enter, switch back to face mode, press Alt, Delete, and I want you to go like this. So for example here for these layers, so control our first venture and keep it deleting this right side. So Alt X leaks, control or continue like this. Okay, So the next step is going to be true. Separates the bottom because it's a little bit hard to insert some edge loops. You cannot do that. So what you need to do, we can switch to wireframe, can select the bottom Base Presby separate selection, or it's sort of select the top. Switch back through the sophomore. And we can select the remaining phases by pressing L, can keep pressing LU. Just like all of those objects, we can press X and delete them. So now we only have the health for Supporting Column. We have to do the centered for this X mark. So first we have to apply the middle Modifier, applied Array, as well as the Bevel. Next, electric courage from here. So you can switch to the wireframe. Can select this portion X deleted. Let me just offer it back. Patrol Z is going to be facing this object. So let's press 32 faces. Can select these EX, Delete. And let's continue like this X delete those faces. There we go. But here we need to make sure that this line, this line of vertices, is matching the top line. So we can select these. You can activate the snap tool and can snap it like this. So they need to be on the same level. Rise. We're gonna be having some gaps when add in the mirror modifier. Alright, so now let's make this X Mark parts of our Bridge Exited this month, you can select this patch. We have to check it from the inside. So obviously we have to insert an edge loop here to college. So like I said, we should not be using this snap tool. It's Control Z. You can uncheck snapshot here. Let's try Controller. Can keep doing that here like this control are for the entire shape. Also we can add it here. So Controller here, It's a little bit weird. So I'm going to press K to bring the knife tool and we can do is mainly just press Enter. Basically, that's it. Next I'd like to go to the top. We can press seven to go to the top switches wireframe and we can grab this area. Actually should be the face mode. Select these faces X and delete them. All right, so the silver watch we got, so we have to also fixed inserts on the inside here. That's nice. Let's trim these X marks, X, delete them. Also here we can press K, drag it all the way down this press Enter. Okay, let's do this. And we can select these phases and let's delete them. So basically just take your time to fix the geometry. You can press K, can go down like this. So now it's a little bit challenging to do with you. So what I suggest is just GOT, let me just go back to press Escape and we can just select these faces and delete them. The ones gonna be visible anyway. Excellent. Okay, But from what, this one, this phase here is visible. So we can grab these two edges, we can press F to fill. Okay, So now we're doing fine. All we have to do present also as actually can go to the top switch to wireframe. You can select this portion here, you can snap it here. Let's Add spreading this natural and we can snap it here. So now this X-shaped is perfectly matching Supporting Column. We can join it to be the Bridge Control J. And then we're good. So this section here is fixed. So once we have to trim these fence, I'm going to select switch to wireframe. Select this part. Can proceed in Shift to deselect the left side, and you can snap these to the end. Just like that. Here. Let's check this. I'm gonna delete this part X deleted. You can switch again to the wireframe. Let's select the top shifts like the bottom snap Material. Merida, get that. So the next thing that I'd like to do work on the left side. So we're going to look good. I'm going to press Alt just like the end of all Road and you can snap it here. Next. To deselect everything. Press L, just like these parts. Eks delete those faces. Switch to wireframe. Can delete these parts. And last name. We can select these objects. Pressing Shift to deselect right side, and you can snap it here to the nth. Switch back to solid and reach, make sure that this part is perfectly aligned. So for example, I'm going to select this standing Supporting Column leads. It can be on the vertex mode. Switch wireframe selects only the end. We can snap it here. Okay? So now we're doing just fine. It's all have to do right now is to bring back the middle Modifier. For this curve. I'm going to just delete it. Delete it. And now let's bring again the remedy far. So everything should be working just fine. There we go. Got it. For this objects, we can press Shift and select our Bridge in this press Control J to make it part of our Bridge. Also here at the middle of x2. Fix this problem. So you can select the middle X and deleted. Select this portion, drag it to the right side. Z, switch back to solid, and now it's perfect. It's all we have to do right now. It's just increase that number of rays. So let's set it to five. And basically that's it. So we got our Bridge. Looks pretty much good. So the last lecture, we can add some cylinders here. So let's do that real quick. So I'm going to select this face rest period. You can do Shift S cursor to select it, can exit it, It's mode. Shift a go to Mesh can very similar effects. You will use this amount of vertices, which just 12. After that we can spend it on the x-axis. So our X, it's published by nanodegree. On this Modeling skeleton little bit down smoothly. Without the snap tool, I try to sketch on the Y. Political Rights to the left side. After that, we have to use the remedy file. Can increase X-factor, true. Or something like six and it's increased. That's couch. Let's see. So probably it should be 20. Actually just can, we should stop right here. So let's select these cylinders and we can apply this remedy for you and we can pick, make its parts for Bridge. So Shift select our Bridge press Control J, and now it's all connected. Lesson Alex, you do can simply drag it the left side. Basically, we average 15. Adding Street Poles to the Bridge: In this story, only an extra adding Street Poles and electric place them inside our Bridge, these triples. So I'm going to provide the 3D assets that you can use. This Assets right here. Which ball can just download this from the resources and let's use it. So basically it's a Blender Scene. I'm going to just append it into our scene. So you can go here to file. Also, I'd like to Bridge, can press Shift, and right-click. We can spawn, It's right here. So let's go to File. You can go bend in my documents. I'm gonna go switch ball and double-click on this object. I want you to go to objects folder, Double-click on it and can double-click on this street ball. So double-click, we got it depended. So you can press Shift S and we can bring selection to cursor. Now we have it spawned right here. So after that, we need to connect to our Bridge, which just so much. So basically we need to be connected here. So let me just simply drag it all the way to the bottom. Here. We just place it. Looks forward to this press period again to the manage care. We have to move it to this location. So I'm gonna try to spin this around. So let's try. Rz has finished by 180 degrees. Electric brain. Remedy fire, control space. And let's add a new Modifier, Short switchboard. It's gonna be the ray electric, move it to Duplicate it on the x-axis. Something like this. I'm going to increase this counter file. We need to stop right at this location. So I'm going to just take it back. Something like this -23. Struck here. We have to push it a little bit forward. Something like this. Alright, so after that can just apply the Bevel and apply the ray. And you can press Shift and select our Bridge press Control J to join us. And as you can see, ostrich Poles are Duplicate it all our Bridge 16. Use Curve to Adjust the Shape of Bridge: Welcome back around to this new tutorial. So now the to show you how can we choose the shape of our Bridge, make it a little bit scurvy and add some action towards, alright, so first I'm going to add a curve. So Shift S then put the cursor here, the central. So Shift S and cursor to the word origin and shift a. Let's culture Curve and I'm gonna be choosing Path. Alright, so I'm going to press period to monitor, and there we go. Got it. So under this mode, I'm going to select all these vertices air. Let's scale them up to cover the entire Bridge length, of course. So I'm going to press seven chicle to the top view and let's make it cover everything. Let me just enable, disable those Proportional edition. We don't need it. By the way, this curve doesn't have to match the exact end at the starting point of our Bridge. So now I want you to do is to add the curve modifier. So select first our Bridge, and let's add the modifier, which is this one, the curve, it's going to be found it, you can find it on the deform. So Curve. And over here we can use this eyedropper to choose any object that we want. In our case, we need this one. Yes. The nerve nerve path. So we got it. But also I don't know why Blender to this plus this. So usually it should be at the center and it must stay at the center. So we must do it mentally, just move it to the center. So we got our curve right here. So what you need to do right now is to just twist it a little bit. You can just take this one up a little bit. And as you can see, that Bridge is gonna be following this curve, which is really nice. This is the way to twist it. You see that we have a nice curvature right there. And also we can do this on the bottom side. So we can select this one and twisted down. But in this case, I would like to enable the Proportional editor so that we can affect all these points. Make sure that you are scaling this circle. Can just scroll the mouse to cover everything. So something like this. After this we can select everything and bring it up like this. Okay, so let's take a look at from the inside, from the camera view and is considered cards. So we got that up and down here and we have that nice curvature 17. Modeling Landscapes in Blender: Welcome back everyone to this neutral know that you show you how can we Add Landscapes to our Bridge Environment? So go first to Edit Preferences. We need to activate a plug-in. It's built in. It's an add-on belt in inside Blender. We don't have to use any external plugins. So here's search for Landscapes, Landscapes, and you're gonna find this one, Add mesh Landscapes. So make sure to check this box here. And then we're good to go. So if we try this, if we do Shift a and Let's Add mesh, can see on the bottom side we have Landscapes, which is really good. So let's click on it. Alice, check it. I'm going to press period on the numpad just to show, just so that you can see this landscape and it's looking pretty much good right on the spot. Also here on the bottom side we have this tab. We can tweak. Twists are Play with the shape of it. For example, I would like to expand it a little bit. So instead of domination mentally, so we can do it from here, for example, in search, add more details. So ten is you can see it's going to add more stuff based on this map, which is looking really good. So we can go with something like this is five. And also for this noise, you can play with this one. So hit the arrow terrain. This one can try different ones. This one is, you can see it's looking pretty much smoother. So multiyear, this one also looks good, but in my case I prefer this one, the node. What is one, but this one, the default one I like It's okay, So after that we can duplicate this one. This object can move it here. Example, we can twist it a little bit so our Z 180 degree. And we can, for example, Scale which skeletal it splits up Scale Z. Let me select both of those and I'm going to just expand, go back and let's scale it up like this. Okay, go to the top view and we'll just move them right here at the end and our Z and spend them by 90 degree. Now as you can see, we got them. So if we went here to our Bridge, you can see our landscapes, but also we need to fix something. So usually this should be download the bits, something like this. Also, I think we need to increase their Scale up. Nice, so that we can cover an entire section. We're gonna be fixing this in the camera perspective. So if it's not funny, we can fix it. Also. I'd like to add the ocean, so let's just add a link. So shift a mesh plane and let me just scale it up. Sketch Way absolute scale it by 100. No, actually that's too much storage and scale up, scale it down to something like this. And also let's fix it, Let's make it. So GZ scroll down like little bits. Yeah, it was just cover the legs of our. But you can see the problem here, so we need to fix that curve. So let's go even down. So yeah, down like this, but we need to fix this. Well, I think we went too far with this curve. So let me just select it go today, this mode, you can select everything and S, Z and try to flatten that up. Just, just chat. So basically if we do this, let me just show you what I'm doing. I'm doing like this. I'm trying to as Z making it, making it flat. If you set it to zero, if you press zero, it's gonna be completely flat. But I don't want that. I just want you to assess a little bit. Alright, so after that, I think they are all visible from the bottom side, which is good. So now actually what you need to do is to hide these edges here. Gz, me, just move it down a little bit like this. And same thing on the other side. So GZ and it's moving down until we covers those lines. And basically that's it. Let me just take a look at it from here. As you can see, it's looking pretty much perfect. Probably we need to, for example, movies, little bit here. So you can see the central Right? So basically that sets, so this is the modeling of our Bridge. So in the combinatory, we're going to continue with taxes. So see you soon. 18. Texturing Road using Asphalt Material: So welcome back, gentlemen. So in this new section we're going to be tax rate our refinement. So I hope you got the modern writer also. If you have any questions, feel free to ask it down below. Okay, so now we need to check their own farms. I would like to start first by the asphalt. So in the resources you're going to find a folder, zip file. It has all the texts which are going to be using. First we're going to start with the road and breaks down reach. And also we're going to be learning some procedural Jacksonian. For now, let's just focus on our road. So here you're going to find three channels or treat Jackson's first, we have the base color, we have the normal map and we have the Romulus. So let me just go ahead and create an example. So I'm going to Shift S, put the cursor at the origin. I'm going to shift a and mesh plane. Let me its period on the numpad so that we can zoom on that plane. Okay, I'm gonna go ahead here to the materials. So this one is the material properties. I'm going to be creating a new material. It's going to be asphalt like this. And down below, and by default we got this animation ball. I don't want this, I want to just switch it to the shader editor. You can also switch, I guess, Judith shading here, but I prefer to do everything in my layout. Okay, So from here, make sure to switch it the timeline to the shader editor, and also make sure that we are on the object and is on the word because I don't want to be effecting the overall Jackson or the environment x. Okay, so we got this, so this is our asphalt texture. So what I'd like to do now is to drag these textures. Let me just select them. So first we have the base color, will just drag it like this. We have the normal map and also we have the roughness. So basically the order, let me just maximize this window, so control space, okay, So the order for these, we're going to start first by the base colors, which you can see it's on the top bar. And also we have the roughness. She's in the middle and down below we have the normal maps. I'm let me just place this one down below, which is the normal map. So I'm going to just go ahead and connect each one to the channel. So currency, base, color, roughness, roughness, and of course, the normal map to the normal map. But also agree we need to do something. We need to convert this normal mouse. So I'm going to hit Shift a and add a normal converter, normal map, this 1, s one, and we can just put it over. You can see this line is highlighted, which means that we can drag and drop this new node. Okay, so we got this also makes sure that you are switching the space color from sRGB color. So this is how normal maps works. So control spaces get back end over here. I'm gonna hit Z and switch to the material previous as we can see our material applied. So now we can see our texture. So definitely we have to do some scaling and we can also do that from the, from the UV mapping. But for now, let's just make sure that regards so you can scale it up, let limits as x, but before tweaking this check, so I'd like to explain how these channels works. We have the base color, we have the roughness. Also we have over here the metallic we can assign to it frees them. We can use this one as metallic. And down below it has, we have the normal mouse, so I'm going to just disconnect everything. So control, right-click. You can bring that knife. I'm going to just cut everything. Let's just print ease J or G. This one. She's moving to the left side. And let's start with the simple texture. So shift a, let's add a noise. I just would like to explain all these channels and how they work. So basically the color is what's going to be displayed in our planes. So let's just connect e.g. the color here. So we can do something like this. I'm going to just add color ramp and just put it on top of this slide. So it's going to be black and black and white, black and white texture. So it can also tweak it. Can e.g. make it. Let me just try the other effects like this. Okay. So now I'd like to explain the reflux. So basically if we feel this successor to the roughness, this is what's going to happen. So the black spots are going to be glossy and the white spots are going to be rough. So this is how this roughness map works. So let me just take it from here and connected the roughness. So actually it's not very visible. Whereas what can also connect to the base colors, as you can see both channels. So like I said, as you can see, the black spots are glossy and the white spots are rough. So this is how it works. Can also tweak it to make any sharper. So the more it printed like this can be having those unique black and black and white textures. Also e.g. the noise can increase that DTL so that you can have much more better defined details on these edges. So for the normal map, normal it's going to control the bumps. So let me show you that. So basically if we connect this one straight to the normal to one's going to work because we need to convert it into a normal maps. So basically the normal map looks like that bluish color. So actually in order to create That's all we had to do is to add the bump node. So shift a, let's add a bump node like this, and let's connect. This Qur'an publishers take it from here and we have to connect the height of the normal and the normal to the normal. So now we're gonna be able to see some bumps. Okay, So now as you can see, we have some bumps going on. She's looking pretty much good. Also, we can get back here, which is tickets back so that we can see our bumps to be good. Okay, so we're gonna be applying the same principles to our, to our asphalt shader. So I'm going to just delete all these nodes. So X, delete it. And let me just bring those, put them here. So let's just go ahead and connect them. So we have the roughness. Roughness is going to be connected to the roughness. Of course, this all is connected back here. So like I said, if you want to change the roughness, so actually you need to do is to add a ramp. So shift a app can ramp this one. We need to tweak it. So if we want to make it too rough or a dry dry asphalt, we need to make it this color ramp white. So e.g. can select the black one and let's try to make it white. So the more white it is, the more drives cannot be asphalt uracil is going to be. Also, I recommend making these, touching these handles a little bit so that we can have some interests in nicer results. Yep. Can you see those variations? So some spots on velocity and some spots are rough. This one adds much more realism to our final results. So let me just increase this one, degrees it down. Also, we can do this, we can hit Control and click this. You can add another handle also, you can use this plus icon. So e.g. this one, Let's make it completely black. And let's see if you're going to be having some, some nice variations. Actually were not. Okay. I'm just looking for the sweet spot, but I think that's it's too much. So let's make it white. So let's move it to the middle. Probably. Let's see that actually this one must be black. So it starts making it. So actually as you know, glossy, glossy asphalt looks pretty much good. I think something like this. This is the sweet spot. So making, bringing that white 12 by 10 v to the middle like that. So now we have some nice variations and it looks, It's looking pretty much good. Also, if you want, you can increase the bumps. If you didn't like these bumps, you can increase them up. E.g. 2.5 and you're going to be having some hard Bob's same thing goes for the other side. So if you want to reduce the bumps, can just set it e.g. 2.5. And I'm going to have some sterile bombs in my case. I'm going just go with 1.5. I like this one. I like the bumps. It's add much more realism also, you can see that we have some distractions on this. On our asphalt, so we have some cracks and so on. Okay, so now I'm going to just go ahead and assign this material. So we got to hear this asphalt. I'm gonna just go ahead and assign it to our bridge. Okay, so first thing we need to do is to select our bridge. We can add a new material. It's gonna be just the default. So the reason why I added this material just to make sure that it's applied to the entire bridge. Because if you have only one texture, which is the asphalt, so the asphalt is gonna be assigned to everything. So check this out if I change over here to color. So the entire bridge is going to be changing, so we don't want that. So let's keep this one like this to white and let's add a new material. So there is nothing new. You can just search over here for asphalts. We already created that material, so click on it. Nice. So now we need to tell blender, we assign this new material. So obviously we need to assign it to only the road. So on Edit Mode. So I'm going to just eat a and periods so that she can zoom, have a better resume. So actually, I would like to assign it to the road only. So I'm going to switch the face mode. And I'm going to be pressing Alt and click here. This is the first one, shift alt, click. So this is the second row. And Shift Alt and collect. And basically we got the third row. So from here we're going to be hitting a sign. Okay, let's wait for it. And as you can see, we got it. Also. We need to check our UVs. So over here, I'm going to split my scene. And I'm gonna be changing this one from the shader editor to this one, the third one which is the UV editor. So press on that and let's get back. So by default, I got it perfectly. But in some cases it's not like that. So let me just e.g. unwrap. So nice. You can see we have some weird UV mapping. Okay, it's not well set. So actually what you need to do, so control space. So actually what you need to do is to expand this onto cover the entire, the entire juxta. So sx, Let's do something like this. So S x by five can type five on the numpad or as x and g x. Let's move it to the mill. Like this may be Sx, just to make sure that it covers only the texture. Even though that's not a problem because it's going to be repeating itself. E.g. if you do it like this, it's going to detect is going to be itself. So control space. Let me just get back to see where we got n. As you can see, we got it on the other side. So actually what you need to do is to invert it. So we need to spend it. So R is z, nine degree. Can we got as part, as you can see, it's pretty much stretched all over our bridge. So control space here and let's scale it first s why you might have this one fixed on the first chance, but in my case, I'm not lucky. So as x and let's expand it to cover that. Okay, So Control Space, and let's get back to check. And you can see we start seeing some nice results. But even though we need to expand our texture even more, so actually there is lots of ways to expand it. We can do it from here. But actually the easier way is to just do it from the UV mapping. So from here control space. And we can e.g. Sxx by two, we can just type tree. Let's get back and see the results. I think now it's starting to look pretty magical year we got a nice texture going on. Can also increases by 1.5 as x, of course. Okay, so we tighten those marks or these white marks, you actually we have a good UV map also, I think for the bumps, maybe we need to reduce it a little bit down. So 1.2, it's gonna be enough. Okay, so that's it for this lecture. We'll learn how to assign this UV mapping, this asphalt to our bridge. So in the next lecture we're going to continue with the other materials. So see you soon. 19. Texturing Sidewalk using Bricks Texture: So now I'd like to work on the brakes so the bricks going to be assigning them to the sidewalk. So or the slight bridge, this one, this section over here. So I got this reference of research we're going to be using this texture is called the bricks. So you can download any type of Brexit you want. In my case, I'm gonna just put it in this one. Okay, so I'm going to just go ahead and create a new material. So let's just jump into the material tab here. So let's add a new one. Let's call it bricks. Bricks. So right here I'm going to just drag that image and we're gonna be setting the correct UV mapping. So just drag it here and let's connect it to the base color. Okay, after that, I'm gonna be selected my bridge switch to edit mode. And as you can see, I got that because I selected the bridge, the bridge first. So right now I'm going to just select this section, so I'll select everything. And also here I would like to select the bottom side. So I believe it's not visible here. But if we, let me just change the reference. So you can see that the bottom side is made of breaks or something like that. So I'm going to also select this one is using the L key. And I'm going to be assigning to it that breaks like this, so it's assigned or got it. So only have to do right now is to set a better UV mapping. So we can start with this object. So L to select this object and let's zoom on it. So these are the UVs. I'm going to select everything and hit scan them S by five, e.g. five. But that's not actually a good way to do it. I see. So let me try another way to view this. Use Gu projection for this object. Okay, this one looks better. Let's select everything here. And S by e.g. S5. So control spaces get back and let's see, even though they look pretty much small, those Childs, so we can scale them down to something like this now it looks better, okay. So you can see those bricks Kellogg pretty much good. So let's do the same thing here. So over here, I'm going to just Alt, select this section. We can go to the top and hits you and projects from view, e.g. we got it over here. So control space. So let's maximize this window, select everything and S by ten, or even up its increases. But I prefer, I think I'm going to be sutured it. So our z nine degree, or actually just r, doesn't have to be on the z-axis. So we can scale this one up until it matches the entire breaks. Okay, so let's take a look here. How we're doing. I think it looks fine. Yeah, I like this shape. Maybe we can e.g. our SY over SX SY x actually just to increase those tiles, so something like that. And we can try this S by 1.5 to make those units, are those tiles look a bit smaller? I think this is the sweet spots. Also. If you notice over two, you're going to see that this Brooks look like a picture. It doesn't look like it doesn't have any bumps related to it. So we have to add some bumps just so that you can make it look like the asphalt. So in order to do that, there is an easy quick fix to this. Let me just show you. So there is a node called the bumps. So Shift a and let's add the bump node, this one. And I'm going to be connecting this color connection to the height. Also. Let me just show you how it's these bumps them a treat, our Jackson. So it's going to be making it bluish. So this is what a normal map will look like. So using this as a normal map, it's gonna give us some bumps. So let's connect this one straight to the normal N is you can see our bricks looks a little bit bumpy. Can e.g. go ahead and reduce that amount? Also, you can do the opposite. E.g. five is going to be making it too much bumpy. So in my case, I'm going justice. I think one is the sweet spot, the default value. Okay, so over here I'm going to just go ahead and connect the color to the base color. I know it's can see we have pretty much better bricks. Maybe I think that's so far. So the bumps that is given 0.6, something like that. Alright, so there we go. So we created our Briggs materials. In the next lecture, we're gonna be working on the other components. So see you soon. 20. Texturing Bridge Columns using Rust Material: Alright, so in this new shirt, I'd like to make some arrest yellow material just like this one and apply to the rest of our bridge. So far we got this default material. So we set by default to be applied to the rest of our bridges. So basically if we change the color of it, you're going to be changing effecting on the bridge. Okay. So I'm going to just go ahead and start with the Musgrave texture. So shift a lit search for most great texture, this one, and it's connected stretch and height. I'm going to connect it to the base color. And let's see what we got. We got that. And also I would like to add texture coordinates. So Shift a and add texture coordinates, this one. And also a mapping nodes of shifts, Eliot's add mapping. Okay, I'm gonna be connecting this vector to the vector n of t. I'd like to use the objects I'm going to be connecting the object to the factor to the first vector. So now as you can see, we have some structure as well applied to this object, which is good. Okay, so now let's work on the settings. So basically for the scale-out lecture reduces way down to something like 0.1. Really subtle bumps. And for the details and let you check it, Let's take it to 16. And also for the dimensions, I'm gonna just set it back to zero so that you can have too much details. And also for this one we can set it to 0.7 just to reduce that effect a little bit. Also, I don t think that 16 is going to be, so let's reduce it down to something like even then it's gonna be fine. Okay, so now I'll actually do is to add a ramp so that we can control birth control. Because as you can see, I want to add some rough but not to this extent. So you want to just control that amount of forest. So I'm going to move these to the side and shift elites, add a ramp current. This one, I'm going to just put it on top of this, this line like that, and let's tweak it a little bit. So basically let's try to bring this one to the left side, to the right side. Yeah, he's going to see we're getting less and less of that effect. Also we can let me just try. Yeah, Actually, this one looks pretty much good. Okay. So you can take it to the right, bring these a little bit closer also, we can change the color of the white, make it just like what we got our reference. And actually I recommend choosing are going to go with strong colors like this one because it's going to stand out in our scene. And this one's going to look realistic. So always go for something a little bit. So even something like this kinda look pretty awesome in the final build. Alright, so now let's take a look at the second channel, which is the roughness. So basically reference going to control how reflective our maturity is gonna be. So in my case, let me just show you this. So if you sell it over the years with zero, I'm gonna be having 100% reflective material. If we take each one, we're gonna be having a rough material. So actually I'd like to do is to have some variations. So e.g. let's make the yellow parcel little bit reflective, but the rust, which is the back, we need to make it rough and the opposite is glossy. I made the mistake. Okay, so for this I'm going to be adding a new color ramps of shift a. Let's add kinda ramp like this, and let's connect. I'm gonna go ahead and connect this Musgrave to the fracture. And let's connect the roughness. So we got this and let's switch a little bit. So like I said, the black means glossy. So let's just reduce this one down a little bit. Something like this should keep some kind of a reflection because it's going to help with the lighting overall lighting in our scene maybe a little bit dry or something like that. Okay. Can also make these closer just if you want to have some interests in results, okay, so we can make the metallic value. Let's give it a 4.2 or 0.50, just to have a 0.2, I think it's gonna be fine. Okay, so just to make it look metallic little bit also, let's work on the bumps. Let me add another associates. Let's add the notes called bump. This one's going to help us to add some bumps to our scene. So let's connect this one straight to the height. Make sure it's connected to the height noted the normal, and on the right side, normal to the normal. Okay, so let's see what we got. Also, as you can see, we have some strong, so all we have to do is just bump that down. So 0.1 or actually 0.4. Yeah, That's too much. So 0.2, 25 or something like that. So based on the amount of bumps that you like, I think this one like this can be fine. Okay, so this is for a Ras. So basically for the other object like this, reach ball, so obviously we have some different, you need to assign some different material. So all I have to do is just create another one. So for this one, let's call it rusty, rusty metal like this. N, We can do this. I'm going to add a new material. And let's call it rusty are just metal. And from here we can simply copy. I'm going to get back over here and copy everything we got. So select all these nodes, Shifts, Control C, Control C to copy everything else, jump here and Control V to place all those nodes. And I'm going to just connect them so the base color and the roughness to the roughness and also the normal map to the normal map. And also of the year. Let's e.g. select one of these electric balls. I'm going to just try to zoom on it so as you can see, it's pretty much harder to zoom in if you're getting closer. So let's try to get close. So period, to zoom on that object which is good or service can see we're having this overlapping problem. I'm going to fix it later on. For now, let me just select all these components and tried to apply George that new materials. I'm using the L key to select the antiderivative. So something like this also for the bottom side, they're going to be adding the lab. Let me just go ahead and apply this new muscle, but also for the curvature that you make it a little bit gray. So let's go over here and let's make it a little bit dark. Something like this, even though it looks too intense. Let's try to increase that scale to 0.5. And let's see, even better. Now. It's looking better. You have some rusty poles. So let's do the same thing. So make sure to select all the electronic switch balls and do the same thing for them. So select everything correctly. There is a smarter way to do this. So let me show you. I'm gonna go to the top view, so it's seven to go to the top. Also, let's switch to the solid view so as you can see better, our switch balls, I'm gonna be switching to the vertex. And let me maximize this also control space to maximize everything. And I'm going to hit Z and switch to wireframe. And see. You can also scroll the mouth so that you can define the size. And I'm going to be selected all my response like this, shift to move, see and select everything. Just like this. Make sure that you are not selected every thing else, okay, that's fine. Don't worry about the bridge. We're going to fix it right away. Okay, So after that we can use shift and L key using the bridge and aren't gonna be de-selecting the bridge. So as you can see now, we'll just select industries poles. So controls basically back. Also, we can do this, we can add the group. So this is not just an optional. So you can add a new group like this and you can call it e.g. switch balls to reach balls. Okay, let's assign that. So just in case you want to re-select them again, no need to repeat the same steps. So from here what you need to do is to just assign that metallic material. And basically we got it. So now you can see we actually want to let you do as, let me just reduce a little bit the bumps because actually it doesn't have to be bumpy. So 0.1. Okay, so now what I'd like to do is to add the lamp material to these lamps. So let me just start e.g. with the first one. So I'm going to select this one on edit mode. We've got our switch balls. Actually we have to repeat the same problem again. So L, to select only the lamps and let's add the new material. I'm going to just call it lamp or light or whatever you want over here on the principle is you have, I'm gonna be switching it to the emission. So this one, you can also type II to go to the emission and can just go ahead and assign it. So for the resolution on the strength, I'm going to just give it five. That's a good starting 0.1. So we can give it just a tiny bit of that warm color instead of just straight white. Okay, so I'm gonna just do the same thing for all the materials are these lamps, so just select them all and repeat the same process. And basically that's it. So we get most of our British success. So we're going to continue texting the rest four components in the tutorial. So see you soon. 21. Texturing Realistic Ocean Shader: Welcome back everyone to the finish around so that we're gonna be working on our ocean shape. So I'm gonna just go ahead and create a new plane, shifts a, let's add mesh plane, and I'm going to scale it on Edit Mode. So I'm going to swatch it edit mode and let's scale it way up. E.g. S. By 50. Think that's slightly bit too much. So let's just reduce it down until it covers two spots. And also actually I don't need those extra stuff angles just because we are going to be applying a heavy shader. So we need to reduce that space as much as we can. So something like this, okay? So after that's what you need to do is to download the file that you will see in the resource is called the ocean shader. So this one obviously comes with this note set up. So if we switch off digital material preview, you can see that. So let me just reduce the scale to something like 50. So this is the origin shader that we got. So just download it and we're going to be, I'm going to show you how to exporters. So back to our scene. I'm going to first try to move my Ocean little bit down. I don't want it to be covered by those, something like this. And now let's import that ocean shader. So go to File and append. I'm gonna be chosen. Let me go just go over here to my home. So Option double-click and all we need just the material. So double-click on the material folder and you'll see this ocean. So double-click on it and basically got it in your material collection. So select the ocean and let's just pick that. So I'm going to just type ocean. This one, the first one. So down below I'd like to split my seam to the shader editor electric. Explain some notes that we got for the first one is the color of our material. So let me just switch over each of the material preview. So this is our ocean shader. So you can also change their color, which just show you. So e.g. this one we can make kids, can pick any color that you want, but I recommend keeping it like this progressive color changes. Let me just show you that. So if we added the research on that, so this is what's going to add the realism aspect to our ocean shader, this color variation, but you can change these based on the kind of ocean that you're working on. In my case, this node syrup works best this current variations sediment load that I'd like to show you as the scale, this noise texture. Let me just control space, this noise texture. So you can see the scale of each 1,200. So e.g. it can reduce it down. E.g. set it to one just to show you those waves. And actually that's pretty much law. So if you want to, you can increases or decreases. In my case, something around 1,000 works best. So on like this. Okay, so next what we need to do as let me show you. So I would like to show you this mapping node. So basically our ocean is animated. Can you see its moment arm is in space to play that animation, let me just switch over here to the timeline. So I'm animating it 0-500. So check this out. So the ocean is morphine. So we need this one. I'm gonna be working on the camera or the helicopter view. So basically you can change that, e.g. if you make it faster or slower based on your example. So I started off here to very low value, which is 00 5 m. So feel free to play with that job. Okay, so that's it for this tutorial. So if you have any questions about this, leave them are below. Thanks for watching and hope to see you in the tutorial ticker. 22. Learn How to Build a Realistic City in Blender: Welcome back everyone to this new exciting tutorial. So now we're going to learn how to import a real maps from Google Earth into our blender seen, this trick is simple and powerful. It allows us to add much more details and make our scene looks much more realistic. Alright, so let's get to work. So as you can see on the left side at HLS of the thing that we're gonna be doing. So first we need to install that random dock. So after that, one of the resources you can find it in the link down below. We can get access to all these resources. So I'm going to just go ahead and installed the render ducks or double-click on it. And let's just next. Accept that n next n, and we'll just choose a typical settings. Okay, so we got our render Doc. I'm going to just go ahead and check it over here just to check its color. I like the green one. Okay, so let's just search for that. Programs are rendered. Duck, get this one, just click on it and let's see what we got. So it looks like this. So actually, you need to do right now is to set the Google Chrome. So actually we're gonna be using Google Chrome essential. So after installing it, I'm going to just show you how it can create a shortcut and we're gonna be adding code. So let me just show you that. So this is the Google Chrome. I'm going to right-click on it. And I'm going to jump into its open, the file folder and we got this. So using this one I'm going to add a shortcut. So right-click and let's add shortcuts. So this one, create shortcuts, click on it. Yes, I would lecture places on the desktop. So we got it right here. Let me just put it on top and right-click on it and jump into the properties. So right here we need to change this targets. So we need to switch this Chrome into the debugging mode. So this one double-click on it so you can find this code. So basically we're just connecting between the render dark and the columns so that we can be able to export that 3D map. I'm going to just copy this text from here, right-click copy, but also I want you to make sure of something. So basically we got a link over here that's going to take us to the Google Chrome folder. So sometimes we might have something like this, program files x x 86 or something like that. So you need to make sure that you don't have that. So in my case, I just have it like this. I'm going to just copy it and paste it inside that targets. So inside this target, I'm going to just delete everything, right-click and paste that. And let me just go ahead and apply. So now as you can see, it's gonna be switching to this cmd or something like that. So let me just remove this one, so safe. Okay, double-click and we've got our code. Can you see this? Go to Google Chrome GPU. So I'm going to just type this code down. So it's 11 44 zeros. So this is in my case, you might have a different number. Okay, so now we need to establish, we need to set connected with our render doc. So all they have to do is to go to File and choose this one inject into process. So click on it. Okay, So now we got it and over here we're going to be searching for that number. So let me just type it. So 11, 44, zeros, as you can see, we got it. So I'm going to just double-click on it. And now as you can see, the connection status is established, so which means that we are on right track. So all we have to do right now is to just press, okay, on this one, on this Google Chrome Fen. And right here you can see that this is where under the big on debugging mode, I'm gonna just jump into the Google Earth. Google Earth here, this one. Let me just jump into London. Okay, let's get down to it. So I'm going to pick this map over here. Lonely might choose another one. So this one is going to match perfectly our purpose because we're having a river, actually having an ocean or something like that. So we're going to just copy this one. So feel free to choose anything else, but it has to be supporting these 3D. So make sure you really can see that. So if we zoom in, you can see that our objects, our map, It's gonna, it's gonna be displayed intuitive, which is really awesome. And also the good thing about this one is going to be exporting the taxes. So we don't have to check switch alone, so that's really good. So I'm going to just go ahead and fix my camera, for example, to this location. And I'm going to go over here and let's capture this frame. But actually I don't recommend capturing the frame immediately. It's going to have to jump right away and wiggle a little bit. So I'm going to be choosing this one character offset delay. So I'm going to just set this one to 5 s just so that you can give us some time. So click on this one. As you can see, it's count for three. So let's jump over here and start wiggling just a little bit. I know this condition looks weird, but the verdict in the resources, so we have to follow it. Okay, so absolute that solution to jump over here, you can see that we got sustain over the Chrome. So I'm going to just double-click on it, is sweet. And as you can see, we have some curved paths. One cannot pass through, cannot pass 3.4, which means that we did an excellent job. So right now, all we have to do, you just export this one. I'm going to just go to File and Export As are actually not export it as but see capture as. Click on this one and let's just save it to my desktop as let's call it map. Okay? So let's save that. And now we need to install that map and parcel add-on. So let's just go ahead and do that. So on the blender of remember just jump into Blender. So go to Edit Preferences and let's choose that. So Install add-ons cannot be from here. So Fire Resources, this one map model important double-click on it and it shows of the elites search for map. And they're gonna be seeing this. So make sure you check this box. I already did that. So check it and you're good to go. So now let me just delete everything x and delete. And I'm gonna go to File and Import. And as you can see on the bottom side, we have this option to import Google Maps capture as RBC format. So click on it and let's pick that one. This one, the map points or DC double-click on it. It'll just wait a little bit until we have its exports and imports and exports. Also, I'd like to give a shout-out to the guy who created this add-on. It's called Alien imi shells. So thanks a lot for this chi form. Provided us with this. Awesome. Okay, so now as you can see, we got it's important. I'm going to just do some optimization to my scene. So first I'm gonna be switching to the wireframe and I'm going to just delete those objects that we don't need so different then we're going to just select those shifts, select the rest x and delete those. Okay, we got that. And also we can switch the solid view so that we can be able to see that. Okay, so we got our scene also, we need to delete the rest of these phases, just delete unused phases. Also you can do this, go to the top view. So since we want is going to be using, and let's just delete these like that. X and delete. So now we got it. Let me just zoom into my scene. So if we switch to the maturity prove you can see that everything got, we got our city, Jackson, which is really awesome. So all we have to do right now is to just work on it a little bit and combine it with our bridge. But before doing that, I'd like to do some optimization. So right now, if we just select one patch and he j mod can see that it's kinda duplicate it, so we don't want that. So actually I'd like to do is just select everything. And I'm going to use Control J to combine everything into one piece. So let's just call it of the year MAP. So all sorted should do is to show you the statistics. So I'm going to right-click here and use this statistics. I'm going to just check it and let's see. So basically we have more than 1 million vertices, which is a huge number. So actually what you need to do is to remove the doubles vertices on the edit mode. Symmetric. That's everything is selected and try to merge and merge everything by distance. So as you can see on the bottom side, we are removed more than 8800000 vertices, which is a huge number. So now we only left with $200. Great optimization from heroes would like to do is to add something. I'd like to show you how to split my screen just so that we can make it fits our bridge. So I'm going to just copy this one, keep it just as a backup. Backup like this. Okay. I'm going to just hide it. For this one. I'd like to do the following. So I'm going to be switching to the wireframe. I'm going to be selecting only the bridge. Was actually the British bots. Only one side of the, of the map. Just show you what I'm trying to achieve here. And actually this will elect to do is to just expand this on placodes actually want is gonna be using this ocean. We already created our own ocean shader, the previous tutorial. So all we have to do is just combine this, but also order that you do is to delete the middle phases. So see also let's say a to deselect everything and see. And let me just speak those just like this. And I'm going to hit C and remove those phases. Okay, so the last step that really should do is to put these together, going to be connecting it to the bottom side, just so that we can have a long offshore. Because actually we're going to be moving our camera around. And as you can see, it looks pretty much awesome. Even though the curve over here looks a little bit different. But actually which one is going to be noticeable from distance? Actually, we're gonna be taken using this one to take shots from distance. Okay, so now let's jump into our bridge. Alright, so here we are back into our base. So actual electric do right now is to remove these landscapes and replace them with the map that we just exported using Google Earth. Okay, so I'm going to just select these X, delete them, go to file. An append can be bringing our ear, this one maps or double-click on it and go to objects. And let's pick those, both of these backup actually, all you have to do is just bring the map. Yes. Just the map. Okay. So what is our mappable, its period on the numpad to the one. We got it. I'm going to just scale it up. So S by 100. Maybe that's I don't know if that's accurate. Just move it. For example, here. You can add a camera. Just move it down. I think it should be Josh to our ocean. So we just switch the shader editor, which you nice. He also let me move it down. So GZ. So actually we must do some cleaning to these edges, but from distance towards gonna be. So actually we're gonna be shooting from this angle. As you can see, it's looking pretty much awesome from that. Okay, so right now I'd like to add my vehicle for doing that. Let me, for example, shifts. Let's add the camera just so that we can shoot a nice shot. So Control Alt and zero and also me or double or on this one since you can change it, as you can see, we can see our our city from distance, which is pretty much good. Okay, so let's just go ahead and import Delta vehicle. So I'm gonna go to File and bend, and I'm going to be choosing that folder. So let me just do it again. So go to Resources or optimized this score model double-click and GOCE objects, Double-click and pick all of those. So h is select everything and press the pen also, let me just pitch periods so that she can zoom on it. I'm going to just take it up and place it in front of our vehicle. So if 44 cameras, not the vehicle. So something like this also, I would like to go to the top view and play with this a little bit. So let's put it at the center or Z. Spin this around, something like that. Also, we can play with the wheels. So actually we must bring it up just a tad. And I'm gonna be selecting the wheels and spin them, or z. But as you can see, center of mass is going to be over here. So we can do this, switch, this mode to individual origins. Now we're going to be spinning those on each one. Origin, center of origin or something like that. Okay, so this is a nice view. We can also pick, keep an eye on the rest of our scene. So Control Alt and zero and try something like this. So just be creative with this or Control Alt and zeros, something like that. Also we can merge this or like this cheesy little bit closer and as you can see, we got a good scene. So later on in the compositing and render it and lighter, we're gonna be working on this one later on. So thanks for watching and hope to see you in the coming section. See you soon. 23. Set the Lighting & Finalize our Bridge Scene: Welcome back everyone to this new tutorial. So now we're gonna be talking about the Lighting. So we need to set some realistic lighting in our scene. So right now, if I switch so Z, if I switch to the runner. So this is the current licenses we got. So it doesn't look that good even though it has a cloudy scene, but we need to work on it. So let me just switch back to the solid. I'm going to just split my scene from the bottom side here. And I'm gonna be devoting the second section to the Shader editor. But what it's gonna be effective, one's gonna be working on materials we need to work on the, the word juxta over. You can see that objects I'm going to be switching into the world just like this. Basically this is the default settings. We got this background connected to the world outputs via switch over YouTube, Render view and play with this color, can see that displayed red color is going to be displayed. Alright, so let's go ahead and add that Skype, skype tax shifts a year and search for Sky texture. Just pick the first one like this. And I'm gonna go ahead and connect to the color. So we got it. So Also we can remove this background. Note is not needed. So let me just show you that. So if I switch the Render, can see that anyway. And also if we connect, so let's just get back. If I connect this one straight to the surface. Without this one, it's gonna be the same. But actually I'd like to keep this one. I'm going to show you why. So basically we have this strength we can down to something like point to. And we're going to control that strength of our sky texture, which is really nice. Alright, so now let's work on the Senate. So first we have the sun size. So if I go outside of any given my scene or Render can be able to see that sun even though it's not visible. So actually what you need to do is to reduce first elevation. I'm going to just set it to five. As you can see, we've got our sun over here, so you can see the sun. So let's just try to increase it. I'm going to just get back of the interaction increasingly image, for example, 2.5 size of our Sun, Zi. And let's switch it around for you. And let's see that sometimes you can see we have a big circle, even though this one doesn't look much realistic because actually son doesn't look like this. But we're going to give two weekends or It's so let me just switch back to the solid and let's start experimenting with the other settings. We have the sun intensity can reduce it down, and also the sun rotation. So since we want, so this is our shutter, I'm going to zero. So we want to have our sun right here. So I'm going to just try to spin it around. So let me just switch through the Rendering. And let me try for example, 70 or 90 degree N is, you can see we got our sun right here. So Also I think 120 is going to be best. So 120, alright, so we can iterate. There are under 20 degrees. If I switch back to the Render and press zero, we can have some. You can see our son displayed in our this camera frame. So we can, for example, just set it to 110 K. And let's also Reduce that elevation. Elevation. I'm going to just give it to one. You have that sunset effect. Also for this one, this altitude, this is one of the most important parameters to change. So basically, this is the altitude from the ground, from Earth going up to space. So in case you are launching some rockets into space or something like that, you can animate this altitude. Let me just show you that effect first. So let's switches random. If I increase debt, for example, if I give it 25, can start having that bluish color, mood or something like that. Even if you take it to 50, going to be deep into the space. In my case, I'm going to just keep does bluish canonical, just keep it at 55 is good. It's actually five would the South set doesn't look that good. But I don't need to have the sun Position only because as you can see, the sun looks artificial. So I'm going to just take it up. So senseis actually the standard deviation. Let's give it for example, or ten. Okay, We got it. That and also for the subtle rotation, let me try -110. Alright, so nice. You can see we have some nice lysine. Also, as you can see, for the strength I gave, It's only 0.2. She's good, but still though it looks too bright. So let me just see what we can do. So the cell size sampling density, let me just decreases to 0.2 as well. I'll start to look pretty much good, like I said, for the altitude, you can go ahead and animate it. If you are animate in Racket lunch, let me just show you that. You can switch usually the timeline and insert for example, right-click starts with zero, right-click and insert that keyframe and can jump, for example, to me, just see it as key-frame. Actually it's not visible, but it's animated. You can see that yellow. If I switch, for example, to frame at set, for example to 50 and it's gonna go up. So let's just insert as key-frame. So if we play our animals, you can see that it's going to go up to 15. Actually, yes. It needs to reach 50. Like this. So it's gotta be good animation. So let's just remove that clear keyframe and let's just set it to 55 is five. That's it for this tutorial will learn how to use the built-in sky taxonomy. Got to just go ahead and give my Scene our first Render. Alright, so let's go View and render our scene. Alright, so we've got our random and just save it as Render first, Render like this, and let's call it Sky texture. So we use the sky texture in this node. So I already put this one as a test and which is set to true. Alright, so we're going to continue our work in the next coming tutorial. See you soon 24. Set the Lighting - Let's Add an HDRI Map: Welcome back, gentleman to this new trial. So now we're gonna be discussing how can we use the HDRI Map. So these HDRI maps, they add much more Realism, much more better than this guy taxa. So basically, you can use this website. It's called HDRI haven, which it provides 100% Free HDRI Map seconds as you can download and use them. So now I got two of these. I got this one, the default one and is Simmons can rocks or something like that. I'm gonna show you how we can set it up. So previously we set the flexor skydive. So I'm going to just remove it disconnected from here and shift, Let's Add an environment taxol. This one, I'm going to just go ahead and connect the characteristic Car N over here. I'm going to be opening that those HDRI maps, so this own, Let's start first with the default one. The first one. Okay, so now let's switch to the Render View just so that we can see it. And basically as you can see, we're projecting some realistic lighting into our scene. So this adds lots of Photorealistic to our scene. Also, we can tweak, for example, the strength. I'd like to set it to 1.5 to have a strong HDRI Map. K is zero. Also, I'd like to show you something if you want to spin around this HDRI Map. So as you can see, we have the sun right here. So the way to spin it around, let me just switch back just to avoid any lagging. So shift a, we need to add the Mapping, mapping node, this one. And also we need to add a texture coordinate. So shifts a, Let's add a texture coordinates, this one, Let's connect the generated to the vector and vector to the vector. Alright, now we can see we have this rotation values. You can spin around the z-axis. Let me just show you. So over here, Let's, for example, give this one three-degree, just choose Spanish around a little bit. And as you can see, we got our sun hue. So meaning that this is the way if you want to change that size. Also if you want to move it up a little bit, HDRI Map, we can, for example, set this one should point 1 m, actually doing the opposite effect. So we need to do the upper sum -0.1 so that you can lift it up a little bit. And it can be able to see our sun, something like this. In my cases, just give it 0.0. O2. Yeah. Something like this. Just subtle increase in of heights for some yeah. Something like that. Maybe you have S35 would actually be able to see my son. It's something like this. Okay. And also for the strength, I think I'm going go with to choose fine, just to emphasize that. A better lighting. Okay? Alright, so let's go ahead right now and give our scene Render and we're gonna be saving that for later on. Also, real images skip back to the solid. Let's see our final render. I think I need to do some tweaks to my scene, an electric switch or to play with the camera a little bit. I don't like that View. So let me just select my camera. I'm going to Gy, something like this. Now. I think it's looking pretty much better. Also, let me just spin it up, okay. Or even let's keep an eye those buildings. Okay, so let's switch Render View and let's see what we got. This way. It looks pretty much better Also. Let me just spin around this one. Let's give it only to an hour, just 1010 degrees. I'd like to have to place my son right here. Some yeah. That's even Awesome. Okay. I'm going to just reduce it down to something like 3.3. Let you make it to hidden inside those buildings. Awesome. Okay, So now I'm going to just render this in the coming lecture. We're going to start working on the Compositing 25. Add Camera Depth of Field: So we've got so Render button, as you can see, there is another thing that we can improve, which is a Depth of Field. So obviously if you use Zoom on all the components in our scene, you can see that everything looks crisp, clear. This is not the case in real cameras, so an issue, it's something the Camera only focuses on particular objects. So we need to replicate that process. So I'm going to just go back into my scene and I'm going to be selected in my camera. And I'm going to go to the Camera Settings over here. I'm going to scroll down and we have this Depth of Field. I'm going to just make sure to check it. And over here we have this Focus objects. In my case, I'm going to be focusing on my car because this is the main objects. And also down below you have this f-stop in as you can see if you want to let me just demonstrate this. I'm going to be switching EV just temporarily. I'm, Let's just switch to the Rendering here. So now it's gonna even better. Alright, So let me just zoom in and let's get back to the Camera Settings and let's start playing with the depth of field. So all we have to do is to just play with this f-stop. So if we reduce that value, is can see we cannot be blurring the lateral components and keeping just our God. So I think I'm going to just go with something like 1.2. Can see we have in Dutch blurriness on the backside and Carlos crispy clearer. So this is a really awesome effect. Okay, so we can also play with it, can animate it, creates, for example, I'm just split my scene and switch to timeline. So the starting point we can make it, for example, blurry. In such keyframe. At frame, for example, 40 or even 20, we can make it on 0.2. I think there is an effect, there is a cool effect that this allows us to resemble at ten, Let's make it one point to and it's going to get back to the blurriness. So 0.6. And right after that is going to be crispy clear. Okay, So let's see if that's effects can work on us. Something like this is just show that this is real Camera. Give the impression that this is Rig yellow. So basically keep playing with this or Depth of Field. So as you can see that much more realism to our scene 26. Lighting & Compositing - Achieve the Final Render: So in this tutorial, we're gonna be working on the composite sewing. I got this random, we can see the Depth of Field and we got everything looks really good, but we need to get even more to make it stands out. So I'm gonna be searching over here to the Compositing. First thing, make sure that you are using notes this you can get access to these nodes like this. So the first time that I should do is use is the viewer I like to display my Rendering on the background. So Shift a and let's add the viewer. Second one, press Enter, and that's connected image to image. Size, can see our random, We got it displayed on the background. Also, we can press V to zoom back and Alt V to zoom in, just in case you want to play with It's a little bit. So the first, the first non-religious you use, as we can start, for example, declare color effects or shifts a, Let's Add glare. Let me put it over here. But actually we also need to connect to the viewer so that you can see that effect. That effect. So this is how it looks like. So in my case, I prefer, I, first, I suggest keep playing with these values. But this is my own settings. So you choose the four kilo and I increase that to seven. And also I choose the high quality and it's going to reduce that effect just, just a bit like that. Techniques is gonna be too much. So something like eight can see I like that effect, so it's kinda hide those son borders on page like that. So this effect looks really nice. Also, we can add, for example, some Blur effect. So shift a, Let's Add the Blur. Just put it on top of this and we can blow because our Car looks really crisp, clear, suny, to have some kind of distractions. So let's set, for example, the brewer give it five and let's see the effect. So we have some blurriness on the, on the x-axis. Maybe let's try series on Phi. But I don't recommend giving, giving it the same value because it's going to make our Render Roads low-quality. So just one apply desperate, only one axis are actually it doesn't work very well. In this case, I'm going to just go with two just to break that perfection that we get in our image. Also, let's add some color ramp or counterbalanced. I always mistake that. So search for counterbalance. Let me put it here. I don't think it matters. You can just put it wherever you want on the first or at the end. That's fine. Okay, So actually it's Materazzi or the order of these nodes have some effect. We can start, for example, with the bluish effect. So if you change it to give it that's blue. So you can see that we're gonna be having an overall bluish environments, but also I think now I can see the effect of that. So we must keep it in order to make this one the last, our last node, our last effect. So just connect this one to the composite case. We can see that bluish color Also. We can, for example, make it even blue, something like that. But also I like this warm color. The world catalogs. Also pretty much good. Maybe that's a little bit too strong or reduce ten down. Also, he actually didn't, shouldn't give it 2.5 the strength of that HTML. So that's a little bit too much. Or it tends, we can tweak it from here. So actually the sunset doesn't look too bright, of course. So something like this. So basically keep, keep playing with these nodes into the gut. Something interesting. So we're gonna continue our work in the coming tutorial. See you soon 27. Rigging - Learn the 4 Conditions to an Excellent Car Rig: Alright, so in this new tutorial, you will learn the four conditions for having an excellent coverage in vendor to 0.9. So we will start by simple car model so that you can better understand how it works. Next, we're gonna be applying those rules to the main Mercedes Benz. Alright, so let's get to work. So I'm going to start first by creating a simple color. Let me just delete everything, starts with you. And let's just insert edge loop here, Control Alt. And I'm going to extrude these two phases out. So I'm just creating a simple card so that we can better demonstrates why like this. Just so that we can have a demonstration over our our, our carb Reagan works. So let me just as x little bit like that and this one, let's move it down. And maybe I think also the just switch to wireframe, select these SY, scale it down like this. And this one also, let's bring it down a little bit, select everything flattened out a little bit. And also for the front side that you did something. So e.g. the front, I would like to make it longer length. Let's expand it a little bit forward so that we can make a difference between that. So that's the front and this is the free of our car. We just make it a little bit, something like this. Okay, so now let me add the wheel. So shift a, I'm going to be adding mesh. Let's just start with a cylinder shape. And also let's keep it at 30 twos. So RX RY like this, and let's scale it. Scale x like this. Basically do this for all of these wheels. So Shift D, move it forward, backward over here, select both of these shift D, and let's move it to the other side. And basically then we go so we got our car. So let me just position these wheels at the correct place, which is around here. So this simple card is going to help us to understand better the correct. Alright, so the first condition is just put, put a list over here. So the first condition is the center of mass of our objects. So we're going to start by the chassis, which is the maker. Sophisticated the research so that I can estimate the exact same location of the G spot or the center of mass. Because this one is really essential if we want to have some realistic or movements. So we must respect the physics of our gone. So I found that this is the best, the best demonstration. So it's going to be almost in-between the middles of these wheels. In the center of n is going to be down little bit nodes over here, the center, but down a little bit. So let's try to do that for our car over here. So basically, later on, when are we going to be adding the suspension and something like this. We're gonna be starting in doing the brakes. We must have some, some realistic center of mass. So for that, let me just, I'm going to hit N over here and let's try to manipulate in that cursor over the items. Let me just find this one on the view. So this is the location of our 3D cursor. I'm going to just try to move it down little bit. Something like this. I think this is the best spots and can move it forward a little bit forward, just a tiny bit. So basically it's between the center of this wheel. So I think something like this really works. So let's just see that I'm going to just go to objects and says origin and origin to 3D cursor. So now we got over there. Right now, if we do try to do this, so our x, This is for the starting points, you know, when you hit the gas pedal, so the chassis is goes up and when you hit the brakes, you have the opposite, something like this. Alright, so we said the first condition. So for the challenges but also for the wheels. So we must respect. So I must set the center of mass of the wheels to the center. Always do this. Goto set origin and origin to the geometry just like this. So make sure that they are in the central. Because basically the plugin or the animal that we're gonna be installing, it's going to follow these. So let me just check the first condition so we set it up. You can see that for the automobiles, we have them correctly placed at right at the center. Let me just check the first condition like this. So for the second condition is gonna be the naming, the card parts naming. So basically the plugin is going to follow those names that we're gonna be giving jogger. So e.g. the chassis, this is how we're going to name it. The first section, we can just call it a curve like this. I'm going to hit points and we're going to be writing body. So basically the plugin is going to recognize the body by the second section of this name. So the first section is Carter can name it whatever you want, e.g. King college, audi, or something like that. So it's going to always pick the second part, which is the body. This is the body of our car for the wheels, Let's do the same thing. So e.g. we must kept it at Aldi because this wheel belongs to the body of the Audi. So point's going to be, we'll points. So since this one is the back, the back wheel or the Virial, so we're going to be writing B, k, which is the Pakistan for the back end point, which is on this one I think is the left side. Let me just check. So this is the left side, left wheel. So same thing over here. We can just copy this one. Copy this one and go for the second wheel. And paste it over here. And instead of having it on the left, just delete that and make it on the right, just like this. So now we have the left, we'll end the right, we'll simply for the front. So we're going to call it Audi like this point. We'll points for the front. We're going to just set it to f, g. So this is the shortcut for the fronts. So point, right, so this is the right side. Can just copy this one and go to the last wheel, this one. And let's paste that and give it to the left. So this is the front left for car. Alright, so now we set the second condition. So let me just check it over here. So the coordinate parts, namely we must follow this search order. So the RD, RD and body wheels front and the back. So let me just check that out. And for the third condition, so this is really to avoid having any problems along the way, must do this. So the karmas be on the floor. So let me just check over here. As you know, as you can see, it's not on the front, so let me just select all the parts and I'm going to move it up into, beyond that. That's green axis. So now something like this can be fine. It doesn't have to be at the exact same location over here, but it doesn't have to be below. So if it's in a lot of you might have some problems with the positioning those bonds. So this is how it works. So let me just check that this one was easier. We just check it off here. And for the last one is one is also important, which is the position of our car. So if you hit one on the numpad, if we add one, you can see over here that we have the France. So basically the plugin is going to follow that order. So it's going to assign the front of the front and the back to the back. So as you can see, it's we have it. We are lucky. We have in it. This is the front and you can hit Control one switch. We can go to the back. So this is the bank can see the back orthographic. That's the back. If it's not the case, you can just spin it with them. If you have it like this, you can spin it statistics and follows the order. So the frontage must be the front and the back must be the back. Okay, so now we set all the conditions. So now it's time to install the plugin. So I'm going to just go through my navigator over here and let's search for free and let's go to Google first. Search for a free car. Rick, plug in, Blender. This one over here, the rugae car. You create yours. Okay, So this is the websites. I'm going to just download this file already, which is the blender animal could just download it. So let's scroll down. This one is for the blender, for an online version, but then the procedure works just fine in the latest, latest Blender version, which is 2.9. So let's just download this one, the version number six, and that's gonna be saving it to the desktop e.g. so save, okay, we got it downloaded. I'm going to just jump up here and go to edit, edit over here, Preferences, and let's install it. So install, going to go to my Downloads. So this one is the correct, I already did this. So double-click on it and you can see it's installed. You can just search for REG? Correct. And you will find it over here that Reagan correct. Generates caloric. So just make sure to check this box over here and you're good to go on. It's so after having touch here, if we want to check, can select everything over here. So the chances and the four wheels and you can hit Alt or shifts, shift a and go to armature over here and refill, you will find this extra option, extra chip, which is the former x. So simply click on it. Let me just switch to the wireframe so this I can show you the bones so everything is placed in order. So this is the beauty of following those conditions that we already followed. So we give the adults all the detail that needs so that it can give us an excellent caloric. You can see that everything is all set. I'm going to just hit N over here and go to the correct. And we're going to hit Generate. Soon as you can see, everything is working perfectly, so on. Let me just switch back to the solid. I'm going to also try to play with it a little bit. So you can see the choices is working. So for this one, we're gonna be using this option for doing the, those those drifting like this. It looks awesome. Also for the wheels. Let me just check the steering of our wheels from tree. As you can see, everything is working also for the suspension. Suspension is working fine. For the wheels. Suspension. Also, we need to work on Let me just check if it's working or not. So we need to make our wheels spin. As you can see, it's not the case. So in order to make it work, so we need to increase this wheels on the y-axis. I'm gonna be taking it to one just like this. And now it's gonna be working. You can see that the wheels are spinning, which is awesome. Alright, so let's, let me just try something. So I think we're all set. So we got the wheels, we got this one, this one working. Can just go ahead and animate it really fast. So e.g. you can try something like this. So on the one axis I'm going to just insert these keyframes. And on the frame six, Let's move forward. Here. Updates, installed those key frames and start from, you can see it's working just fine. Okay, then, so now let's jump into the Mercedes Benz. 28. Rigging - Generate Rig for the Mercedes Car Model: Alright, so now we're going to be applying all these principles to our Mercedes-Benz. Can find them on loan below, can just download it. If you are having trouble with it, you can just contact the support so that I can give it to you straight or it So for now, I, on purpose, I tried to mess up all those conditions, these conditions of these so that we can deal with different situations of reconsiders. We have all the weeds are combined and chassis is a name is different and also the center of mass is different a little bit. Alright, so let's try to work on it. So first I'm going to just check these conditions. The first one is the mass center. So like we said before, we must put it approximately over here in between the wheels and yeah, exactly in between the wheels upload limits for the y-axis of these wheels up little bits. Alright, so let's do that on it. So first I'm going to put on, let's do this. I'm gonna go to Object Set Origin, origin to the geometry like this. So now it's in the center, which is not, I think I think it's pretty much good that location. But actually, the best location is going to be in-between the wheels, which is here. So let's put the cursor again over there. So Shift S because it is selected, which is over here. And let's hit N. Let's go to Item. I think not item but views, views and to 3D cursor location, I'm going to just move it not on the x axis. So this is moving on the x axis. So let's just move it down a little bit. Not down. E.g. here, a, and let's move it down. Exactly. I think that's the perfect spots. Or it's sorted, select our chances. And I'm going to go to Objects, set origin and origin to 3D cursor. So the first condition is met, but also we must consider the wheels. As you can see, the wheels are all combined into one piece. So what we need to do first is to separate them. So I'm gonna go to the top view. So over here I'm gonna be selecting the, the wireframe. So make sure that you are on the wireframe, not on the solid. So he's be separate selection. Let me just check. So now we're having, we're having as a whole. Let's do the same thing. So let me just select the one that we'll go to the top. This one. So let me switch to wireframe. This one is B separate selection. This one is B separate selection, and this one all on the oldest left. So now what we need to do is to adjust the center of mass. So now as you can see, it's not. Such work in is fine. So-called objects has origin and origin to the geometry. So it must do the same thing for all these wheels. So go to object, repeat the same process. Now it's all set so for the center of mass, so we check, let me just check this first condition, center of mass. So now we get the second one which is the core parts naming. So let's work on that. So first one is this one. The chassis is, let me just change its name over here. So let's call it Mercedes. Mercedes points. But enter n for the wheels. This one over here is the front left, the front left wheel. So let's just start with Mercedes, which must be the same name. And this is a body point. We'll point f t, which is stands for the front end point or right, Left I think. Let me just check again. I can only guess from this angle. So this is the left side and this is the right side. So let's just copy this one and go to the second wheel and paste over here and changes the left by the right. Alright, Excellent. Let's do the same thing over here. This is the rear wheel. You can just change the front by b, k. So the first one is capital and the second one is uppercase and minimal keys or something like that. So this one is the right side. Okay to just copy everything and go to the last wheel and let's make it left side. So we said the naming, we got the chances, chances and all the wheels XL. So let me just check the second condition. For the third one is going to be the car must be on the floor. Let me just check the position of our car which is not on the floor. Let me just select everything. So basically, these lamps is going to be following the chassis is because they are parent to the chest is you can see that over here. So there isn't any, can just select it the chances and move it and those lamps can follow. So let me just select everything over here and let's move it up, e.g. here. Okay, It's not exactly on the y-axis. Alright, so that third condition is met. This one. So for the last one is gonna be the front and back position. Let's just check that too. So I'm gonna hit one. So one n, We can also hit eight. So as you can see, this is the front one, front side of the graphic and control one. So this is the back, the backside. So I think we're all set, all the conditions are being met. So all we have to do right now is to add that armature. So let me just skip this one. So Shift a and it's going to armature. And let's choose this, the formula Rick tsunami, got it. I'm going to just hit Z and switch to wireframe so that we can see it. As you can see, we have the main chassis is the main bone and these classes and these small bones for the wheels. So all we have to do right now is true. Let me just switch back to the preview. Preview. I'm going to go to a car wreck and generate a curve. And basically there we go. So we got it to work in. So from here we can adjust the chassis is suspension is working just fine. Also, let's check the wheels. The wheels are spinning. Even though to be honest, for the Mercedes, Mercedes has a special kind of steering wheel. So it's kinda break. It goes like this. Let me just show you when you spin it. Just do it from here first. So it's kinda go like this. Actually, how can we or why actually we can do that? But let me just switch to the wireframe. I just would like to show you this. It breaks a little bit like this. So this is just a special traits in the Mercedes Benz steering wheel. But we can work on that. Actually, we can do it. But for now let's just make the essentials. So let me just switch back to this one. And for this one, let's just set it back to zero over you. Also, let's check if it's moving. The wheels are spin or notch, which is not the case. So what we need to do is to increase these wheels on the y-axis, set it to one. So now if we move this object, it's going to be working. Okay, so that's it for this tutorial. So learn how to rig our Mercedes car. If you have any questions, you can ask them in the chat. Okay, so fact lot, I'm gonna see you in the tutorial checker. 29. Animate Car Suspension for Maximum Realism: Alright, so after rigging our cars, so now it's time to start playing with the Suspension. I'd like to create a simple animations so that we can demonstrate how the Suspension works. So basically, when you hit, when you hit the accelerator. So what's, what's happened? What's happened? So basically the chassis IS goes up little bits. So let me just show you that. I'm going to just switch, select my Rig and switch over each of the pose mode that you can be able to play with these handles. So for example, when you hit the break, Also let me just say tree. So there's we can switch to the side view. Let me just enable my screen casts keys. So basically, when you hit the accelerator, so the chances of the car goes like this, goes up. That's how physics works. When you hit the break, the opposite happens. The car goes like this. So let's create a simple animation that demonstrate that. So first I'm gonna be selecting this first, this one, this Rig responsible for the chassis and also for moving our codons. You can see it's moving because we set the axis over here to one. So make sure that it's such one. So let's start first. I'm going to just split my scene over here and switch this one over here to the timeline. So the starting point, we can hold Shift and left arrow, left arrow on the keyboard so that you can Start, jump into the starting frame. I'm going to hit N over N, which item? And for example, let me just right-click over here and insert keyframe. So basically we are registering the Started points of our car at dislocation. So I'm going to just switch, for example, to the frame 100, like this, 100. And we can just get back and we can move our car forward little bit. For example, here. Let's minus ten. Minus ten is fine. So as you can keep everything strict. So right-click over here and let's insert those keyframes. So it's going to happen if we start from here. So I'm going to hit space. And you can see the car is moving from point a to point a to point B. So we can also stop the animation right over here. I think there is no need to do that. So let's work on the Suspension. So like I said, at the starch, Car is usually the chances of the car goes up little bits. Soon as you can see, the specialty is dead. So let's work on that first, I'd like to select this one. So this one is responsible to the chassis for moving our chassis. And let me just also insert keyframes on this one. Let me just check. I think the one responsible for the Suspension is the y-axis. Yes, exactly. So for example, after five frames, I'm going to just switch it up five or even ten frames because it's not speeding up. Just take this one, Bakelite lipids. So for example, search back to one. I know that effect is we know what, let's just set it to 0.5. 0.5 is fine. So I'm going to just insert as key-frame like this. And after a while, for example, after it reaches 40, It's going to get back to the original place which is zero. So right-click and insert those keyframes. Let's just check the starting point. Nice, it looks nice. We got that Suspension working over there. I say either, I think that it's getting back to the first, to the initial state really fast, which we need to do. I'm going to just remove it from here. The little keyframe, for example, let's give it until it reaches 60 over here to search back to zero. Okay, so right-click, insert keyframes. Alright, so let's get started from the starting point. Excellent. So we got that starting points. Also from here we can, for example, stop at frame 140, 300, 140 like this. Alright, so space and let's see. This especially is working on the starch, which is excellence. But what we need to do right now is to make it make this Suspension works at the, at the end. When it's gonna be breaking. She is right here. So for example, let's jump into frame on it. And let's, before that. This is the reframe is going to mark the end of the acceleration. So let's just right-click insert that keyframe. And over here Let's jump to the frame on it. Then we're going to be moving it forward, forward like this. So -0.50, 0.5, like this. So right-click, insert keyframes. Back over here at frame 100th. This one. It's gotta get back to zero. So right-click on, I think it's going to get back to to zero, not exactly at the stop, but we can make it afterwards. For example, at frame 0105. So let's switch over to zero. Right-click, insert keyframes. Alright, so let's check that out. I think that's too fast Too fast. We can just select, let me just year. What can we do better? So for example, over here, Let's jump to the frame on 110 and update that to zero. Let's just get back to the previous one. This one, I'm just using the upper row and down. You can switch between those. So this one, I'm going to just remove it. So right-click and delete single key-frame, not single giveaway or so Let's check that out over here. Nope, nope, nope, it's not working. When it's Right. I know it's so the timing is not correct. Maybe we need to bring back the breaks we just started. Break from here. For example, let's say we can also do this. Let me just, I'm going to expand this one. We can select these using the left-click in GX so as you can move it like this. So let's try to move it for example, here, minus ten. Let's just see, like we just expand that. So let's must be breaking here. So the minus five must be here, minus five, -0.5. So minus right here. These keyframes, Let's see. Excellent. So it's gonna, it's coming back. Let's see why it's fast. So for example, it's just remove this one, please. Keyframe is also speeding up over here. So Gx 15. Nice thing. Now we're getting better. Now I like it. Now it looks good. Okay, So basically that's it for this tutorial. So will learn how to apply this Suspension. So control space to maximize this window and we can check it from here. So that's the starting point, and this is the end point. I'm not sure about the ending point. Maybe the timing is not correct. So for the start it's Exxon's but the Brake is not following up. I think we're good. Yeah, I think we can, We can get back and improve it even more as the static budget looks fine. Alright, so this is for this tutorial, I'm going to see you in the next one. Ticker 30. Apply Car Suspension on Rough Roads: In this new story, we're gonna be learning a second Animation Rigging movement, which is to drive our car on Rough Roads. So we need to activate those Suspension on death row. Alright, so let's first, let's get started first by creating a path. So Shift a go to Mesh plane like this. I'm going to scale it up by five. For example, just download the bits by four is fine. So S, Y and escaped by ten so that we can have a long path or just, just something like this. Alright, so much we need to do, let me just move it forward. Can we just move my path forward over here that we can do which may only. So let me just sub-divided over here. So Controller. So today this mode, so we can for example, set over here to four, select everything, alright, so after dusk, go to edges over here and go to subdivide this one already. So click on each no is because we have some Subdivision, I'm going to just increase those cuts. So for example, four is fine. Yeah, four is fine. And also now let's add the displacements so that we can add some noise. Jaw, lower jaw wrote me just switch back to the solid angle over here to add Modifiers. And it's gonna be the displacement, this displacement map. Here. Let me go to the Textures and let's create a new Texture. And over here I'm gonna be switching to the clouds. Because the clouds are bumpy just like this. Let me just skip back as you can see, we have a bumpy road. I'm gonna go back over here and reduce the strength to something like 0.25. I think that's wheel. So right-click sheets mood. Think, I think this path is good. Yeah, you can also do this. We can add Subdivision Modifier. Again. You can have more details on it. I think is perfect. So this is our rough road on it. So now it's animate our Car. So I'm going to just select the Rig for Car also. Let me switch over here to the pose mode. We can be able to animate the chances. For example, let me just split my SIP over here and bring the timeline so that we can animate. It, shifts a left arrow, this one, so you can scratch or you can do is mentally shift and right-click. You can move it like this is right-click. Alright, so starting over here, let me just, It's N and go to Items. And Let's Add, insert those keyframes. And I'm going to jump, for example, to frame 100. And it's movies for example here. So right-click -25 -25, electric. Keep them straight. Insert those keyframes, and let's try. It's alright, maybe too fast. That's too fast. We can water move these or updates. So we can do this. So select these and GX and move it, for example, here to 200. You can also type 100, so you can move it 100. So starting from here and let's see. I think it's fine. Yeah, the speed is good, but also I would like to do something. I don't want to have a starch and ends because we are the deaths in the previous lecture, I'd like to do is to have it already in motion. So that's what we need to do is to switch this one from the Bezier me, just show you that. So the second explain. Why don't we don't have a linear curve, animation curves. So if we switch over to the graph editor, you can see that our curve, this is why it's slowed down at the start. And it's slowed down at the end. Can see that the curve is trying to, It's going to be flattened, which we need to do it to select everything, hit a, to select everything, and hit G. And you can see that we have the constant, the linear and the bezier. I'm going to be using the linear. You can make it stretch. You can see that someone's going to be in motion from the starch. Check this out. So there is no slow down and there is no neither on the end. Also, I think Let's increase its speed. I think it's slower a little bit. So we can, for example, instead of having it at -25, can set it at -30. So click Replace keyframes at for him 200. Let's start again. I think we're all set already done. So what do we need to do right now is let me just also check the wheels. The wheels are spinning or not, which is the spirit, which is fine. Okay, So what do we need to do right now is to go to the CarRig. We need to assign the ground, this ground here. You can see this, we have this bigger. So I'm going to just click on this one, but also let me just zoom so that you can see the wheels. Right now they are not on the floor. Once we gonna be applying this, check this out. So this one is for the back. So let me just set the ground for everything. So just scroll down and keep assigning the ground for everything. Right? And finally, this, why it's not over there. Let me just check. What seems to be the problem here. Let me just check again my plane. Yes, the Scale for the plane is also a joke. So control a, Let's apply the Scale. And as you can see now it's working. The problem is not with our car, but the problem is with our, with our plane. We set it, once we set it, apply that Scale. So it's no longer That's problem. But which we need to do over here is let's increase the strength of the displacement. So let me just set it over here to one. Okay, Now it's perfect. Now we have a rough road. Alright, so let's start from the beginning and let's see the movement of our capital. So let me make sure that we assigned all those. Blaine. Blaine, Blaine can also change its name to ground. So if forgot the last one, just pick it from here. And now I think we're good to go. Alright, so let's play the animation and let's see Movements. And as you can see that it's considered Car is following those bumps. But I'm not sure if it's totally okay. But you can see that we have some space. It's not, it's not perfect, but we're gonna be fixing bugs. Can see that as a starting point, the car is following those bumps, which is fine. Alright, so for that, let me just get back to the first location a, Let's adjust the position of those things. You can see we're not able to see those wheels from the, from the bottom. So I'm going to just switch over here to the Boss Mode. And for example, let's select the first wheel. And let me just check. So this is one is the front left, this is the front left. I'm going to just adjust this one, this value a little bit to bring it down so that it can matches our purpose. So I think 0.00 is too much. So -0.050, 0.05 is perfect. So you can see a lot leverage over the wheel. I'm going to just copy this value. Control C, copy it. And I'm going to be based in it all over the bottom side, the maximum location Z. So same over here. You can see garbage over here for the other wheel. And let's do this infant for, for the back wheels. Can see that over here. And now for this we'll the Z and apply the Scale. So now we got it. So it doesn't work always perfect. So we're going to check that out. So for example, in jumped to the frame 50 and let's see if it's going to be working. Okay. Come on, come on, come on. Now, as you can see, it's messed up a little bit over here, but not a big issue. For example, the in the back wheel is missing. But I think this, this Plugin is tills in development or idea, or I don't know the exact same settings, but I'm going to keep research until I figure reach out for the Rough Roads so you can see, but from distance it looks fine. But in the Render It's going to be, you might have seen those caps make no sense to have a curve line. So it's better to have it like this on then having seen that gap in between, in between. Because especially with the Lighting, if you have some lighting over here, It's gonna be obvious. The scene is going to show that gap between the wheel under the ground on it. So that's it for this tutorial. So will learn how to animate car on a rough road. So we're going to continue our work in the next section. See you then? 31. Animate Car Avoids Obstacle: Alright, so in this lecture we're gonna be learning how can we make our car avoid obstacle? So we're going to be using this technique in our main animation so that we can make our Mercedes Benz avoids are trespassing the other cars along the way. So this is the main animation. So we're going to be using in our film on it. So it's going to work. I would like first to search by collision or plane. This is can simulate our road. So Shift S closest to the origin world and Shift a. And let's start with a plane like this. I'm going to just scale it up. Scale it up to something like this lecture. We have two lanes to join so that you can keep switching between lanes. Over here, SYN scatters back up like this. Why should we might move it forward? Discovered is that, alright, so the ticketing is we're gonna be using, as we are going to be using a curve. Instead of keep animating our cards, we're going to just select the choices and keep animating it's point-by-point. This is not the best way to do it. Let me just show you. This is gonna be taking a lot of time and it's not efficient. So the widget, which is to create a path and we're going to be telling blender to assign the cost. That's methods so that you can follow us. So let me just, I think, I think doing is it's going to be better and Control Shift a go to curve and we're going to be creating a curve. So let me enable my screencast keys. Hey, we can switch over to the solid. Mostly you can see our path, this one on the Edit Mode. Make sure that you are on the edit mode. I'm going to hit Z and an indegree. And let's scale it up also, I'm going to hit seven to go to the top view and I'm going to scale it way up. Intelligence covers the entire path. So let's move it over here, even increases up little bits, okay, Then we've got our path. We need to do right now. Let me also check. This is the most famous check the scale. If it's not such a one, you can hit Control a and apply it scale. So this is a must before proceeding. Alright, so let's select our car over here. I'm gonna be searching, I'm gonna be switching over here to the pose mode so that we can assign to this axis here, this break. I'm gonna go over here to this one, which is the bond constraints properties. You're going to find it in the right panel. And let's add over here both constraints can be the follow Beth. So simply click on it. And we're gonna be having this target over here. We can just pick it from here and we can also click and choose it. So this is our path, let's call it of the road. Road. Avoid obstacle because we are going to be creating and other ones of stucco obstacle like this. So let's pick it from here. Just like this, as you can see, everything is messed up. So we're going to the other side. So let me just adjust over here the locations. So first let's give it a fixed position because I don't want to go over here beyond one. I just want to set e.g. zero is the starting point and one is the end point so that we can have more control. And it's gonna be easier. So this is the starting point and this is the end point. Here. I'd like to start from here, not from the y over h minus y, so that we can just check it's not doing anything I see. But let me just first make it follow the curve. So click and follow the curve, and let's try minus y. So now it's switching to the other side. Alright, so let me check the chat says c, k, So we must also, I think we're good. Yeah, we're fine. So let me just go back over here. Select the rig, switch back to the pose mode. And we can start from here, so that's fine. We can start from here. We can also do the opposite e.g. search over here to one. And we can switch over here. This one, the ones that you can start from here. But I prefer to start from the minus y because this is what the plug-in, the add-on do. So this is the front. Let me just check. Actually, let me just check. So actually this is the back, not the front. So let's just set it over here to the y. And I'm going to be doing the opposite way. But that's fine. We're going to be fixing that later on for now. And just just would like to show you how it's going to be done. I can start from here, that's fine. You can start from here. Alright, So this edge over here back to zero. So this is the starting points are we can expand. Let me just, I'm going to select this one and jump into the frame number zero and right-click over here and insert keyframe. And also of the year basically at the end or at the end. So at frame 200th, we're gonna be reaching the end. She's the one over here. So right-click, Insert Keyframe, and let's just check the movement of our car. See, maybe a little bit too fast. So let's just jump over here and give it 4.85, 85. And let's update that are place keyframe. And at the starting point we can set it e.g. to 0.1. So it's going to start from here and right there I think. Just see it looking fine. Nice movements. Also, like I said before, if you want to avoid that store starch and slow, and we can just hit T over here and switch the linear so that we can make our curve flatten our capstone. As you can see, it looks in motion from the starch, which is fine. Alright, so we've got that movement. Also over here, let me just stop at frame 200. There is no need to cover something that we don't need. Alright. Excellent. Okay, it's working. So what do we need to do right now is at the middle of the year e.g. it's 100. I'm going to just duplicate my car. You just switch back to the objects more than can select. The Chelsea is in the wheels, so the four wheels select them all. Shift D. Duplicate them, just see if they are parented to this object. What do we need to do is to hit Alt B all let's be clear, the parents like this, so now let's find it. Okay. So there we go. We got it. I'm going to just sit seven to go to the top view. And let's position it over here. So this is gonna be our obstacle. Let's put it on the first line of the year, period to zero manage, and let's spin it by 180 degree or it's regarded. So our car must be on the first line. And it's going to be avoiding that obstacle. So this is how we're going to be animating our short film on the edit mode of the year. So I'm going to just go to the top view, select those two points and bring them to the side like this. Okay? Also for these lists, print them over here. So what we need to do is to subdivide this section over here because this section is where we're gonna be doing the switch. So select these three points and go over into segments and hit subdivide. So now let's add another subdivision. I think that's so much just, just these is fine. Alright. So let's just move this like this, and also this one. Let's move it over here like this. So now we've got that avoidance. Let me just try to see our animation. It looks really slow. So let's just see. I think we must crank up the speed limit, just make it increases speed on. So let me just select it back. My chest is over here. And instead of having each on 200, I'm going to just select the final frames, selecting my rig and g x. And let's set it. E.g. -50 can be at frame 150, 200 -50, which is 150. Okay, let's check this speed again. I think now the speed is fine. Okay, so what do we need to do is to tighten up the dots that curve a little bit so that we can make, make it look a little bit interesting. So e.g. like this, I suggest keep playing with this one, but do not try to make it really tight because it's going to result some bad animation. So let me just go to this seven. We can also had sex, since you can switch by 99 degree and from here it speeds. Let's see. Nice allocates. I'll switch back over this. As you can see, that's movements. Really nice. Little bits, little bit over here, you can see that movement is not as good. I think we, I think because we're not spinning our wheels. Let me try to animate this theorem. We also, as we can be able to see a better movement over there. Or switch we need to do is select again, the RIG can switch to the post mode and hit answer that we can access this panel over here on the rig. You can see that we have this real animations. We'll animations. So we can steer the car, the steering wheel, this one, and also we can steal the wheels. So far we have the wheel steering. So this is not the problem. So what we need to do is to bake the steering wheel. So let me go to the top so that I can show you that so far you can see that the wheels are fixed. Don't have any steering whatsoever. So let me just bake the steering wheel. And also for this factor, the rotation factor, I would like to set it to 1.5. I think this one works best when we are slowing down a little bit. So on the one you are increasing the speed, you can reduce that amount of something 1-1, 0.25. So over here, let me just click on this one. So this I can demonstrate, so you can see that movement. So the wheel are spinning. Also, we bake that animation. Also if you want, e.g. if I want to reduce, if you don't like this amount of frames because it's going to be consuming. You can just increase this one. E.g. 250.05. Let me just keyframe tolerance. Let me just pick this one and see before we must clear the Bake animation, let me just rotation to 0.21, just so that we can see that. So now you can see that we don't have too much of frames. We have frames when we need them. So basically if you set this value over here, the keyframe tolerance is zero. You can have on each frame we're going to have some on each frame of these are going to have a frame. So let's just search back and let's just see it spinning. It's not spinning. I don't see any spinning over there. You know what? Let me just clear that animation Alice tosses again. So big, we don't rotation. Let me set the factor or is the factor not the rotation but the course during this one, the carcinogen I was, I was doing it the other way. So let's just hit okay. And basically we garbage. So we're sitting. Okay, so let me just go to the front so that you can see the movement of our car. We got that steering really nice. Even though it's phospholipids. We can, we can slow it down. That's move it. Let me just get back to my curve and we get a little bit. So e.g. they just bring these back a little bit SY to give them some space over there. This one, let's move it forward. Little bits. Okay. Let me check again. But I think it's flying. Yes, it's flying. So let me just do the same thing over here for the ground. Select the ground real fast. Just not the Mercedes Benz. The ground. I think we'd have in that scale problem. We can fix this in a second, which is select this one. You can see the scale is over here, this is not fine. So Control a and apply the scale and it's going to be fine. So as you can see, the wheels are on the floor. What about our car over here? I can just select everything over here is in the left-click and B to box select and shifts and de-select everything over here. So now we are selecting just our guard. Let me just move it down just a slightly, just a little bit. Alright, so let's start from the starch and let's see. Now it looks fine. We're avoiding that obstacle. Fine. But what we need to do of real images, pay close attention to the movement of the car. Movements over here, basically talking about physics. So basically when a car, when you steer the wheel to the left, the chassis IS goes to the right. So this is our physics works, e.g. here. What we need to do to add the realism Jersey, let me just switch over here to the pose mode. Gonna be selecting this jerseys. And let me show you. So e.g. a. Video is going to go this side. It's gonna go like this. It's gonna be turning. It's gonna be going back over the year. It's going to be having the opposite like this. So let's animate that. So that's a must if you want to crank up the realism in your scene. So for EV over here, let's register that, that location, I think it's on the X axis. On the x. So let's right-click Insert single keyframe because we might change other things, e.g. the brakes, the brakes like this. So over here, just insert single key-frame and let's search e.g. to frame or 60. It's going to be reaching the peak. Or I think Savage is the peak, is the peak of that from that moment. So let's say over here to one. Perfect. So right-click and insert single keyframe again. And let's switch back e.g. Example frame 100, actually going to return back here, 110. So let's switch back to zero. Right-click, Insert single keyframe. Basically, if you want to add more realism, even though when it's going to get back over here, we're gonna be having some slides. Slides. Just set it to 1.25. We're going to be having a slight movement on the other side. So e.g. 0.5, this is a single keyframe and back over here, one on frame 140, it's gonna get back to the normal state which is zero. So right-click, Insert single keyframe. Alright, so let's get back over here. Also for the end frame, let me just set it to 150 so that you can cover just to need let's see. So we got that. I can see that suspension. But on the storage software C is yes, Actually, we're not we're able to seize here. Yes, here I can see it. But let's let's, let's try to improve it. So e.g. at frame 25, Let's set it or dataframe. Let's see. Actually over here at frame 40 must be up. So let's go back to frame 25. Let's insert that single keyframe. Basically here we must start that process. Let me check the final year one. So e.g. here, let's, let's start that process -0.5. Okay? Replace single keyframe. Single keyframe like this. Let's see. Nice, nice. I can see it right now. Now it's working. We can magnify that effect. So e.g. over here at -25 nanometer zero, but over here adds 40, can set it to minus one or minus two. Minus two, just so that we can see that I know that's too much, can reduce this back. Just would like to see. So over here, let's set it to two again. Nice. So now we can see it back over here. I'm gonna be back to zero. And over here, let's set it to minus one. Minus one, or replace keyframe. And over here it's set to zero. Alright, so let's play the animation so that we can see that. Okay, Let's see. I think it's perfect. So basically it steers like that. It goes like that once you see the wheel. So actually we're having a good approximation about when the driver hits turns the wheels. Alright, it looks fine. Even though his specialty is really high. So let's just sort of do this suspension. So this is the starting point of the, let's just set it to minus one. So we just use this technique to give us some idea. So I think we're on the right path. So let's click Replace single keyframe, end of the year back to zero. Let's check again. Really nice, really nice. So I like allocates. Okay, so that's it for this tutorial. So we'll learn how to make our core avoid obstacle while adding the suspension. So we're going to continue our series incoming tutorial. So if you have any questions, you can talk to me on the chat. So see you in the tutorial checker. 32. Animate Acceleration Start Burnout: So when this new tutorial we're gonna be making our burnout starts. That's regressive acceleration power. Alright, so let's get to work. So I've put over here a demonstration of images. So control space over here. And let me show you this is the starting point. We're gonna be putting our car just like this, in this position. And basically we have three or four keyframes. It's going to be after that. Here. And for the third frame is going to be here like this because it's going to be pivoting a little bit. So at the starting point is going to be on the other side, are here. And on the third frame is going to switch to this side because, because of the acceleration and for the last frame is going to be over here. We're going to replicate this process in Blender now. Alright, so let's get to work. I'd like first to start by creating a path. So Shift a and let's go to curve is going to be a path like this. So on the edit mode than me or Z, Spanish by 90 degree. And let's scale it up. Scale is S five or S2, something like this. Alright, and let's just move everything up forward. So this is going to be the starting point of our burnout starch. Alright, so now let's assign our caloric to that path on the pose mode over here and gets switched the pose mode. So I'm gonna go over here to the bottom side, which is the bone constraints properties. So click on it and let's add. But before doing that, let me just select the bottom one is one. And let's add the file path. So over here I'm going to be choosing that path just like that. So you can see is flipped on the other side. Let me just fix the position and make it follow the curve. Also, we will set it to minus one. And let me just, let's just start from here, from there. So let's select our curve on the edit mode or Z 180 degree, and basically that's it. So basically if you have it already in that place, there is no need to repeat this process. Alright, so as you can see over here, this curve, it's not a very actual gonna be working on this, this element, this rigging element. Let me just show you this. So I'm going to select this one and switch over here to the post mode. And let me just grab this one and we're going to be moving it forward and backward. So g, x must spin it. So our z like this and I can see that we're gonna be using That's backbone to create this kind of starch. Alright, so let's first, I would like first to try to change the path. So that's the starting point. Let me just check it out. Switch to the pose mode, this one. Okay, so let's see, it's working just fine. So the also I'm holding shift so that you can slow down that starch. You can see those wheels are spinning correctly, which is what we want. Alright, so now let's play with the curve. So let's play with the curve. So you can see the position of that curve must make it look like this. Okay, so on this, I'm going to hit 76. You can go to the top view. And e.g. this one, move it a little bit like this to the side. And also let's bring this one back a little bit. This is gonna be the starting points. And it's gonna be something like this. Fancy to be honest. Okay, so it's going to go like this. It's going to flip to the other side and it's going to straighten up at the end. So we might e.g. select this one, bring it outside a little bit. I think let's add a subdivision of here. Simplify that. And let's see. Let me just check. I think that's a little bit too strong, but let's set, Let's see it from here. So that's starting points. So it's better to animate it so that you can be able to see it. So I'm going to split my screen over here, switch this one to the timeline and shifts left-click, left arrow, left arrow. And let's set this one over here too. Just like prefers to switch to the pose mode. So let's select this one right-click and insert that first keyframe, e.g. at frame 200 is fine. So let's set it back over here to 0.75. 0.75, let's see. 0.8. 0.8 is fine. Alright, so right-click and insert that keyframe. Alright, so let's check. Okay. No, actually, it's actually we're not switch we want. So let me just start again. Kind of study that position. So basically there is no need to use the curve to pivot. We need to do it using that object. Let me just show you. So I'm gonna go back over here to this element. And let's try to straighten up little bits. Select all of these. Bring them inside little bit. I think let's go to the wireframe, go to the top view, cancels with this. Let me just bring my image, this image, images and bring it in front of our eyes. By the way, we will find it with the resources if you want to study that's authentic. So let's switch over here to the image editor. And over here let's start with the first frame. Just like to keep an eye on. Let's do this, so forth so that we can spend and just like that five to switch from the perspective to the orthographic. Alright, so let's check that out. That's important, I think, yeah, we're actually pivoting it. So what we need to do is to select all of these as x, n minus one, minus one, just like this. Now it's like our scene. But over here, Let's tweak it a little bit. So let's move this one back a little bit like this. But the starting point I'm going to select, select this one. Switch back to the pose mode, actually must be selecting the bones. So switch over here to the bows, and let's select this one and our Z. And I'm going to start from you. But the beauty of, of changing this, this Rick, this bone. So it's gonna, it's gonna stick, stick together. Just show you, switch the Y or Z. You can see the width DR, they are fixed. Which is a really nice so this one help us a lot with, with that burnout start. So e.g. over here, let's set it to something like this also, we can flip that. You can have exactly like this. This is a starting point. So I'm going to hit N and the C value. So e.g. set it over the years to 40. 40 degree. Right-click and let's insert a keyframe just like this. So basically over here, let's just check at 75. I believe we must switch to the second one. So this one over here. So it's going to be switching up. So basically at frame or 60, I'll just switch back to 50. 50 is fine. So let's set this back to zero. So right-click and insert keyframes. Let me check. Nice, really nice. So the starting point is fine. But as you can see, as you can see over here, we must have that same effect on the other side. Let me just see if we are going to be covering that in this one, these effects. So basically at frame, let me just see that's from 75. Let's spin this one on the other side like this, -30 or -35. Right-click, insert keyframes. Let's check again. Maybe that's too much at the starch. Looks like it if it's sliding. I don't like that. But over here we've written down, so e.g. at frame 132 minus ten, right-click, insert keyframes. Let's see. You'll get the second slide in. No, actually we must expand it a little bit. We can do this. So instead of having it over here at frame 100, I'm going to just throw more, delete this keyframe and jump into the frame 140 and threatening it up completely. So let's set it back to zero. And so does keyframe. And let's check again. Getting closer. I'm going to set the nth frame to 200 from year 200 so that we can keep that loop in 0-200 frames control space. And let's see. Nice. Okay, let's check again. Over here. It's like if it's fixed. So it's gonna go like that. And for me it's gonna get down, get back. So I think at frame over here, let's set it back to something like point -15 keyframe. Let's check that out. Starting point, it's not Dutch. Good. Nope. I didn't notice that, to be honest at this dots. Let me just remove this one. It'll asked to move. Now actually it's not, it's not that script. Okay? So I'll Control Z to bring back these keyframes and let's fix the starting point. The starting point looks a little bit fake. Even though we're gonna be having those wheels are sliding, they're gonna be slightly, but I'm not sure if it is. We'll just check shifts. Left arrow. Actually, it's mustn't go forward a little bit. Doesn't have to slide from the starch only if we are pivoting the wheels at the starch, which is not the case. Yep. It's not the right thing. So e.g. let's set it back to the three. Alright, right-click. Replace keyframe. Actually e.g. a. Frame or 20. Let's switch it up a little bit. 15. Just testing if it's gonna be working on ads. Actually, it does something like this. No, not at all. Can just remove this frame and I'm going to keep working on it In chubby matches. I like is I like it at this stage. But the starting point, it's not that good. Let me just check. The first position over here. I think it's the same, same position. You can see that Chernobyl E, which is the same over here. But it's not following up correctly. It's mustn't be or it let me, let me try to play with with the acceleration. I think the problem is that with the acceleration, let me just select this one on the pose mode. This one. And let's just try to make it slower at the starch. So I don't want to have this kind of acceleration. So e.g. at frame 30, let me just set it back to just 0.25. Right-click Keyframe. You should see, There we go. Now it's fixed. Now we got it fixed. So basically we must slow down the starch because it would make no sense to starch because the waves are going to be spinning. Let me just see from here. Really nice. Okay, Let me just switch back over here and try to move this one. It's going to have our cars falling apart. It's really nice. So now we got it. We get that burnout starch. So basically our camera is gonna be for Mu. So we can, we can try that. So Shift a and let's add a camera. And we can, let me just go over the font-style Shifts Control Alt zero, since we can fix, cannot not location X to move it back a little bit. Or Z. Go like this. You can also animate the camera. Let me just do that. So right-click animate just the location or the rotation of it. So e.g. at frame 50, let's spin it a little bit like this. Updates those keyframes. And at frame 100, let's cover the entire thing. Right-click. Alright. It's actually, you must not spend with our canvas if you want to magnify that affect what we're gonna be working on the camera eligible for knowledge, just see this, the movements. I think we still need to work on the start. I don't like this dots. Maybe let's make it even slower little bit. Let me just try this, but I have another idea. So we're gonna be flatten that curve, that curve that we discussed in the previous, previous. So what I'd like to do is to flatten that curve. So over here I'm gonna be switching this one graph editor. And let me just play with the starting points. So switch the pose mode, select this one. So this one over here. So we can select it and we can increase its scale, scale it up, or scale down. Just so that you can control the starting points. So e.g. let me scale it's scaled by 1.5. Just slow it down a little bit. So basically i'm, I'm, I'm selecting, let me just explain to select everything points. So this is the entire curve, entire animation curve. I'm selecting this one. You can see this line. So e.g. if you set it to zero, it's going to be linear. So Control Z, let's get back. So basically I'm trying to scale it up like this so that I can increase that. Flatten this one. And by flattening, It's going to be, we're going to slow down the movement at the starch. So let's just increase that a little bit like this control space and let's get back and let's see. Sometimes it works. As you can see, it's not working as expected. Yep. I think because of this problem, because it's going down. Let me try to take it up a little bit. No, no, no. Let me just go back. I think this way is better. But I think what we need to do right now is to seal the wheels even more thing that's going to give us that effect. Yeah, I think so. So don't look at the wheels. Think it's the movement of the charges is fine. Little bits. So now let's, let's see the wheels even more. So let me just select this one. So r can just spin it like this, but you can do that manually. So it's n over here, and over here. Basically we must affect the x-axis. So right-click, Insert single keyframe. There is no need to add the other keyframes. So that's the starting point. E.g. at frame 20 or dataframe, that spin it lots more. So e.g. 200, 260 is one term, so we're going to be applying it by 1010 terms. Right-click, insert a single key-frame and let's try that out. Really nice. Maybe it's too fast. Let me just check. Yeah, it's too fast. Episode let's go back over here and let's divide this one by two. Divide by two. Replace single keyframe. Okay, let me just remove this. So let's just keep this on. Okay, we got it over here. Let's I think it's 1,800. Right-click. Insert single key-frame, and let's try that out. We're gonna be improving that later on. For now, let's just say I think this one's going to cut it for a starting point. So from the top we can see that. I can see it from the top. From the top, it looks, it looks, it looks fine. Alright, so let's do the same thing for the other wheel because it makes no sense to have one wheel steering and the other one fixed. This one right over here. Let's insert that, inserts a single key-frame. And let's jump into the fifth. And let's make it 1,800. Right-click, Insert single keyframe. Let's check that out over here. Nice, but I don't like it looks robotic from here. Actually. It's must Spinlet limits. Let's just try to improve this one. So it's not. So let's, let me check this one. A to select everything over here. So that's the starting points. It's going to be a fury. Can see that 30 degree and it's going to go all the way to the -30 on the other side, -35 and it's going to get back to zero. So e.g. here, let me try to show, try to spin it a little bits. Just decrease that point down. Nope. Still have this problem for them. Try to do the opposite. Scale by five. Scale by five again. Nope. Just scale it down, make it look like this. I think this way is fine. So we created our burnout animation starts. But now let's work on the chassis is is, you know, if we hit this, if you add this much of torque in your car, the chat is must go up. So let's select this one over here and let's animate it as well. So the starting point, actually we must enemies the y-axis. So I'm going to right-click, insert a single keyframe, e.g. at frame 25, it's going to reach its peak of torque. So let's set it to one. Let's click Insert single keyframe. Let's check that out. Nice. Got that governed. Think a little bit slower. So let's start the exploration of the torque from here. So let's set this one to zero. Right-click Insert single keyframe. There we go. So basically we must change. We must take the chat is up once the car starts. Like this. Really nice. From here, e.g. at frame one and you can just starch, right-click, Insert single keyframe. And from here to the frame 140. Or what frame, the end. This end, we can just set it back to zero instead of single keyframe on it. So let's check that out. Control space shifts left a row. No, no, actually it's not it's not that good. Something is missing. So let me just keep trying until I figure it out. Why don't have any movement or this dots. Basically it must be moving from here to here. We have a very low amounts. Select this 1.25. Just checking those animations. K. Let me just try to remove this one keyframe. Yeah, that's one is better, but we must tweak it a little bit. So e.g. the starting point, let me just check the curve responsible for that. And I think this one, you can see that it's down. So we must increase its ticket up. Little bits. This one, GZ and go out. I think this is what's giving us trouble. Or we can scale it down, down our X. Scale this one down a little bit. Okay, so now we're going to have a movement from the storage. I think we fix it. Let me just try to take a look from the top. Yep. Now we have a smooth start. Now I like it, but we must fix the suspension. Let me just try to fix the suspension of it. So basically we change the starting points. So we must also change this one. So basically we start stashing here. I'm going to just remove this one because we are starting from the start from here. So the charges must go up from the starting point. I think now it's perfect. Yeah, now we just go back. Really nice. Let's switch back of original material preview and let's check the routes. Excellence. You just joined this area so that we can see our car. We have some some lagging over the IC. Me just check it from the top. The top gave us pretty much good idea. I think it would good whiskey, That's it for this tutorial. We learn how to create this burnout start from scratch. So we're gonna be using it as a starting point for our film image. Or if you have any questions you can contact me via the chat. So thanks for watching and hope to see you in the combinatorial ticker. 33. Animate Regular Vehicles Traffic Circulation: Alright, so in this tutorial, I would like to break down the entire process for creating traffic in our bridge C. So I would like first to bring back my road. So I just created a plane and accentuate the asphalt that we created procedurally in Blender. Alright, so let's get to work first. Let me just bring these corals to the side. Just let everything be checkbox select shifts in the select this object. And let's just move them to the side. We're going to just bring one by one. So let me enable. Alright, so what I'd like to do first is to start by creating the path. So shift a, I'm going to go to a curve. Let's use a path like this. On the Edit mode, I would like to z nine degree Spanish by an indegree. And let's say it's seven. Go to the top view. And I would like to scale it up to this covers the entire path. So S by 2020 so much. Let's just see. I think it's fine. Yeah. So let's move it over here to the left side. So this marks the first-line. Can also do it over here. So road, line number one. Number one. So right-click or Shift D to duplicate this one. And let's move it to the right side. Also over here, we must adjust so-called objects, origin and origin to the center. Let's do the same for both of these. Also make sure that you are applying the scale. So basically if you try to scale them up on the edit mode, if you will, is going to have that problem. But if you try to scale them outside that you can see that the scale is changing over here. So this might give us some problems later on. So always do this, control a and apply the scale. If you don't have the scale, set one to one and 1.1. Alright, so what we need to do right now, I'm going to just bring my first car like this also wanted me go to the top view. Couldn't just move it to the center of our origin. Doesn't have to put it in the center of order. Sergeant points is going to be done automatically. So also just bring it back little bit so you can see that just like if we're aiming using a gun. Alright, so what we need to do right now is I'm gonna be switching to the post mode. And I'm going to be selecting this blue light or blue axis. So I'm going to be coming over here to the bone constraint properties. And let's add this one to follow path just like this. Then over here I'm gonna be considered target. I'm going to be, we can pick it from here, but we can, since we have just two lines, I think only you must change the name of it to line number two. So we can click over here and pick the line number one, just like this. And you can see it's going to the end of it. So let me just tweak it a little bit. So first it must be onto minus y because this has to do with the front and back of our plugin and all of the Olympic events, e.g. make it follow the curve. C, it's touching correctly, but it's on the other side. Also. It can make it a fixed position so that you can set this factor to zero is going to mark the starting point and one it's going to mark the end point. So what I'd like to do right now is I'm going to just select this curve over here. Let me just get back to the object mode. Just like this one. On the, this mode, I'm going to hit Z and let's give it 180 degree, just like this, so that you can flip it on the other side and can start right over here. So this is how we can solve this problem. Alright, so now what we need to do is limit just animated the path of the on the bottom. I'm going to split my scene from here and let's switch this one. Let's give it the timeline so that we can keep an eye on our animation frames. So the shortcut for switching between those, you can hit Shift and left row. Switch to the starting point, e.g. let's give it, let's animate it. I prefer to animate it on the pose mode, not on the object. So switches pose mode, select the ground. And e.g. let's give it the offset factor. Let's set it to zero at the starting point. So right-click Keyframe at the exact zero frame shifts and rates per row, so that you can jump to the last frame, which is 385. Now that you set it to 400, significant breakage for something like this. So shift right arrow LH surge over here to one. So that's the final on the end points. Let's click. Okay, so now if we start to jump on an image, you can see our car starting from point a to point B. But you can see that we've got this problem. So it's going to slow down the starch. And it's going to also slow down at the end. So we don't want that because our cars are already in motion. So they must they must be kept at a constant speed. So let me just explain how this principle works. Let me just switch over here to the graph editor. Let's see the problem. So basically it's not obvious, but the line that we got over here, it's not linear. It's kinda busier like this. Let me just explain that. So we'll switch over to the page. So the curve, the animation curve that we get, it looks something like this. So over here at the start, it's going to slow down. Over here. Slow. Excuse my writing skills, and also slowed down over here. So what we need to do instead is changing from the Bezier, which make it like this linear. We can have a constant speed. So let me just go back over here. And so what you do, which is to select the entire frames using a k. So let's consider how Rayleigh highlighted. You can hit T and switch over here from the Bezier to the linear, just like this. So now we're gonna be having constant speed. So I don't have to have any slowdown from the starch. Neither the end. Alright, so we got this, which we need to do right now, is to just position it a little bit better. So e.g. I'd like to move it. I can starting point is going to be over here. I think, about starting it from here. So 0.4. So it must also keep a, keep an eye on the speed. So right-click, replace that single keyframe. So it's gonna be starting from here and it's going to end right there. You can see it's a little bit slow. Movement is a little bit slow, so e.g. we might decrease that amount a little bit to 250. Can do it from here. Also, I think let's keep an eye on both of these, the timeline and the graph editor. So over here let's focus on the timeline. Alright, so let me just set it off to 250, like this. So basically of you, we got to appreciate particular idea about the speed of our curves. So it's going to start from zero and ends at 4,400. So for the, so it's going to go 400 frames per one factor. So let me just write that down because the speed of it is really important. Let's write speed. Speed like this. And it's going to be 400 frames, 400 frames per one factor, factor. Let's make it uppercase. So this is the speed of our cardiomyocytes keep that written. So I did some change to our path. So basically, since we have just a short path path already, I search the starting point to zero and then point to just 100 frames. So this way it's going to be easier to understand how the traffic's work. So I set the animation over here. So e.g. a. Starting point and given zero and at the end of the year, I give it 0.5. So the speed, we're going to be adjusting the speed of it. Over here, the speed is 100 frames. Let me just get back to make sure it's going to be one factor. 200. Yeah, So that's that. So 200 frames, just so rich it down. So we'll just do this 100 frames, frames per one factor. That's the speed of our cards in the first-line. So now let's get, let's add another car. I would like to add another car or v. So let's switch back to the object mode. Let's bring our second car on. I'm gonna hit seven and let's move it. E.g. here, back a little bit. Something like that. And also let's switch over here to the pose mode. I can select the blue, the blue of n. Let's go over each follow path and let's choose the line number. All right, so we got it. So the starting point, I'd like to move my vehicle forward little bits. I think the red card is not placed correctly. So e.g. just fix the position and make it follow the curve on minus one. Centroids corrects. E.g. at the starting point, we must give it points. Wait for, let's collect in such reframe, or let's give it 0.5 so that we can understand the speed. The speed. So basically at frame 100, How much do we have to give this one? So we can do it as mental list of the starting points. So over here at the end, Let's give it 11 over here, right-click and insert keyframes. So let's check that. So that's the speed of it. But also, as you can see, it's not linear. So select everything and switch over here to the linear. So now it's going to be going in a constant speed. Excellence. So that's our first path. Alright. We can add more vehicles, e.g. one in-between those. But this is just a demonstration of video or it's, so let's add the third codon is going to be on the other line and I'm going to be tweaking its speed a little bit up. So let me just position it again. Order. Go to objects or so let me switch over here to the pose mode. Go to the bone constraint. Let's follow the path and let's choose the line number two. I think kind of problem, yeah, I actually wish we need to do is to select this blue axis. Switch over each of the final path and let's make it follow the line number two. Alright. Fix the position and make it follow the curve on the minus one. But as you can see, it's flipped on the other side because we didn't we just come back. I think it's gonna be it's gonna be nice. So two vehicles going on the other way. This is not the case that we got was I think let's do it. Yeah, let's do it this way. E.g. the starting point, Let's give it three starts from here and it's not registering. Then we'll select this one first. So at frame 30, actually, Nope. So at the starting points, e.g. here, 0.2. Okay, so that's the starting point, is such a key frame. E.g. at frame 100, can make it to reach here 0.6. Right-click insert keyframe. Let's check. Alright, so we can does, but over here Let's make is also linear. So select everything switched to linear. Let's see. Nice. I like it Now. All we have to do is let's add another, another car. This one, let me switch back to the object mode and select vehicle. And the switch of First, let's move it right to the center. Switch over here to the Bozeman because as you can see, we're not able to add any bone constraint. Not. So we must be on the, on the post mode. So let's follow path. It's going to be line number two. Let's do this thin k minus one. Alright? Where is it? Actually the last problem. So basically we must apply it to this one. So follow path is going to be the line number two minus y fixed position and make it follow the curve. Alright, so we got our vehicle. So for the starting point already, e.g. we can move it WayForward here. Let's make it closely. You can break that same thing that triggers one of them. So 0.4, right-click and insert keyframe. E.g. at 100. It's going to reach the end 0.8. Right-click insert keyframes. Let's see G and make it linear. Okay, Let's see, I think the art on a constant speed. So e.g. we can make this car approaching the other one. So this one. So since this is the starting point, we can select this one, switch the pose mode, and let's give it for exam 0.1, 0.20, 0.15. Okay. Because we're going to be increasing its fetal activity. So that's the starting point. And at the end, it's going to be approaching. So let's give it 0.65 or 0.75. 0.75, right? So right-click and update replaced as key-frame. Alright, so let's see now, it's approaching over here on that scale, which is fine, excellent. So as you can see, we've got our car traffic. You can add as many vehicle as you want. In our case, we know it's gonna be two lines, two cars move it in one line. Now have some bus, we have some other stuff on it. So that's it for this tutorial. We learn how to create tests. We can also do this. Let's just show you this one. Can e.g. move our chances and little bit so they don't have to be on the same position. So e.g. this one we can just switch to the pose mode. Came up with e.g. at the bits to the left. Okay, let's do the same for our other car. E.g. this one switch to the post mode. And it's a little bit inside. Alright, so let's start our animation from the starch. Now we have a decent car traffic animation. Alright, so see you in the tutorial chicken. 34. Animate Standby Car Position: Welcome back everyone. So in this new show, we're gonna be making this animation of our car. Just as cinematic shots for car. I'm going to just go ahead and delete my camera and start fresh already know so you can just skip this camera, create a new one. So Shift L, Let's add camera. This camera, Let's call it camera dash animation. It's just to make it different. So I'm going to jump into the scene properties L. I'm going to choose that camera. So which one camera animation. Okay? So as you can see, it's face down. So what we need to do is to go to our car. Let's select our vehicle. I'm gonna hit period to zoom on it. And let's use e.g. sludge from this angle. So Control Alt and zero to start from here. Also, we can select our camera and gy to make some weekends maybe. I want to cover also the environment or just car. So g x and g x, g x like this also. Let me just spin it around. So something like this. Okay? So as starting points, I'm going to simply jump into frame zero. Also of its starting point, It's set it to zero. So right-click over here. Let's insert delegations as well as the rotations. Okay, so I'm gonna jump into frame e.g. 120, which is 44 s. Based on if you set 30 frames per second, it's gonna be formed 4 s. So just to reduce it down like this, and also we can spin it around something like this. We can also change that later on. So let's insert those keyframes and let's check the speed of our movements. Also, let me just hide my other camera. Don't want to be disturbed by that. Okay, so now we have a nice smooth animation over that. Can also make it, make it sharp or linear. Let me just show you that so I'm going to split my scene. Let's use, Let's keep an eye on our graph editor. So let's select our camera on here. I'm going to add a to select all these. So e.g. let's pick this one. Can hit G and make it linear. Actually, it's not, let me just see. Actually it's not working. So T, yes, linear. Actually it's not working again. So it's like everything G Linear from the last time ago. Got it. So now it's going to be moving at a constant speed camera. So this is the first shot, so we can jump into frame 121. So we can also use the up arrow and down arrow just switch or to jump between frames. So overlay, I'm going to just go to the next frame. And e.g. we can take this angle. So I like this angle around the back, especially with, we'll spin it up my spin. So Control Alt zero again. And let's put shortages position or vehicle right away and it's just move it down. Okay, and let's add that. So right-click, insert those keyframes. We got that, and let's jump e.g. its frame 200. Ok, and let's play with our camera. Let's just move it forward. Something like this, okay? Right-click and insert those keyframes. Let's try again. So we've got the first shot. Okay, this next shot, It's looking nice, can also add e.g. before that burnout starts. So this one's going to look something like this. Basically you got the idea. You can just go like this and create any kind of animation, smooth animation. So that's it for this tutorial. So we're going to continue the other type of animation with the helicopter in the pursuit in the coming lecture. 35. Animate Helicopter View Camera Pursuit: Welcome back everyone to this new section. So now we're gonna be working on our camera. We're going to try to make those shots just like start first by the one from the top side. This camera view from the helicopter, right? So we got this camera called helicopter camera Alec Epstein, and just go ahead and create a new one so we can switch to wireframe. Put the cursor at the origin, shifts as cursor to the word origin. Where is it? There we go. So shifts a let's add a camera. Can we got it? Let me just zoom on it. We got this camera over here. I'm going to just move it outside from there, the bridge up. So now all we have to do is to switch out the two switches. One, let's call it camera dash helicopter. So we can go over here to the scene properties and choose that cameras that you can focus on it like this. So now if we read zero, you can see we're gonna be focusing on that. What the camera is going to be, see it. So in my case over here, I pick this range from 74, 8,200 for the camera, for my helicopter view. So you can see that already can start from the middle. And obviously let's start from here. And we can check which one is better. So actually the way to do it is to hit Control Alt zero so that we can change the position of our camera, this viewport, this view. So I can start e.g. from here. So Control Alt zero. As you can see, we've got our GZ or GUI, GUI. You can move it on the y-axis. Gx mortgage backward because I want to hide this end. So RAC just can do it like this. Nice Clark, Nice. So e.g. we can start at frame. Let's start from frame three, fern, it's gonna be fine. Okay. We can exit this one to see yeah, got our car. Resolve vehicle. And actually, we must start from e.g. from frame 40, 40 is fine. So g or g x lets me go to the side view, starts from you. So actually I'm going to just expand this one. Let's start at the start making 40. Then it's going to be 200. So it's N and go to items. And we can insert right-click insource give rooms like this. And also we can insert the rotations because we want to affect the location for camera as well as the rotation. Want to affect this and also the, the, the position of it, this one. Okay, so I'm gonna jump into a frame to 100, 100. And let me just move this one Meli this so what is our vehicle that we go get our vehicle. So that's it. So it's in the middle of our camera shot, which is fine. So right-click, insert those keyframes. So now if we play our LMS, you can see that that camera is going to follow up. That carpet is, you can see this following up is boring, so we need to tweak it a little bit. First it must be on linear, are going linearly, not speed LIB. So as you can see, it starts slow given, given the opportunity to spin up and its speed up out of that. And at the end it's slowed down. So actually we need to remove that. So like always, we're going to be doing, it can be switching to, let's make a split. So this plus icon split like this and this one, we can change it the graph editor. So I'm gonna hit a to select all the points and each period on the numpad. And it's going to be cut our graph. So this red curve is the one responsible for the muffins or on the x-axis. So extra 22 to t. And we can switch it to linear. So now check this out. It's going to be going in a constant speed. So better, but it looks predictable. So we need to make our camera looks fun. So actually I still need to do is do e.g. a. Frame 100, 110, several example 130. So dislocation is getting the car is going to speed up. It's going to speed up some layer. Right-click insert keyframe. But also we need to change the butt. As you can see, we have that sharp, sharp change already, so we don't have control Z. Let's revert back to the curvy shape. And after that, all I need to do is just select one by one. E.g. this one is S zero and image right? Now. Maybe we can e.g. select this one. Let me just check. Yeah, It's due on that one. Can just scale it S and scale it down. Let's try that up. Yes, even better. What's actually what I'd like to do is e.g. at frame, Let's jump at frame 100 can make its speed a little bit where it's collected in such keyframes and we can change our view. Just make some variations. Nice. That's actually on the end over here. I'm going to just get back right here and I'm gonna be changing the view. So just like if the camera is speeding. So let's try this up. Now. As you can see, we are having more flexibility, so the car is going fast. So the helicopter is following up. In a nice way, but we need you to make it even more so e.g. here we can make it at the center. E.g. either right-click and let's change that angle to cover the entire thing. So let's start again. Maybe e.g. doesn't have to be perfect. So e.g. here we can, can move it like this. It's going to reach the end. Same thing at the end of the year. We can make it even better by trying this. Just tweaking to see which one is going to work for us. Okay. Yeah, actually not bad. I think I'm going to roll with this one. So now what do we need to do is to add those vibrations, the camera vibrations, so on as you can see, if you are filming from a helicopter, capture makes some huge noise. So obviously, you will have some shaking like this. So we need to do that. So it's really quick. I'm going to just eat over here and add the modifier. So for the noise modifier, got it. So basically we set it on the, on the X. So as you can see, the red is highlighted, which means that this noise applied to this one. So e.g. you can try, I would like to try it on the z location. This one. This is your location. Okay. Let me let me try try to play with this. Yeah, actually we are affecting the rights or iPhone. So hit N again at add modifiers can be the noise and we can get, so if we zoom in, you can see that we have a little bit of a bumps. It's looking nice, but that's a little bit too intense so we can reduce the scale of that. Let me just show you that. So for rhythm, can read this one, right side, expand this one. And for the scale e.g. we can the strength actually. So let's give it two points for yeah, let's see, that's nice. It's nice. But actually I don't like to have it on the x-axis. You can see that it's hesitating are making some, I don't like it on the X location. So on this one I'm going to just remove the noise and keep it only vertically like this. My chocolate applied, e.g. let's see. Let's see, applied to the y or the x. Let's swatch applied to the X rotation. So decks, dealer or Euler rotations. So let's add that noise modifier over here. And let's check the strength. That's really intense. So 0.1. Okay? What about the scalars increases to ten? Nice, but I think we're getting there, we're having something or start 25. I like this one is a fact. So basically when you increase the scale, let me show you this. So Control Space to maximize this one. So this is what happens when you increase the scale. So we have those bumps that was noise close to each other, but when you scale them up, got that smooth bumps, which is fine. So obviously when you're holding a camera, a little tablets direct camera position you play. Keep making this noise like this. I like this one. Okay, so that's it for this tutorial. So we don't know how to make the helicopter and images, so we're going to continue in the next coming tutorial. See you soon. 36. Car Pursuit Camera Animation: Okay, So now I'd like to work on our main Camera Movements, which is the Camera Pursuit of our car, vehicle. Okay, so let's work on that. So I'm gonna just go ahead and greeting new cameras or shifts a, Let's Add New Camera. I'm going to just call it this one. So Camera dash pursuits. Okay. So if we hit period, we're going to find consume on that Vehicle, on that camera. So actually from the beginning, so I'm going to just drag this one to the frame 40 can start from any frame you want. In my case, I'm having 40 frames. You can see below it. So the cardinal be fallen apart. So I'm going to just zoom. Let's just get back to the frame 40 or so. Let me just focus on my Vehicle for him, forages, get back. So over here I'm going It's Control and Alt and zero. But we're fortunate, I forgot something really important, which is to go to the scene properties and make sure to change this Camera to the Camera Pursuit that we use in. Okay, so now if it's Control Alt and zero, we're going to be behind our Vehicles so Gy can control that GX and me go back lipid like this. Okay, so let's say it's N and let's go to Items. And I'm going to right-click insert location as well as the rotation. Okay, So we need to make our Camera follow up the car. So I'm gonna just jump into frame folly and 400. And we can do this. So seven to go to the top view. And we can drag our camera all the way to the end. So this is our Car, I know, which basically by those headlights that we cards. So we can move our camera bill behind our car, just like this. May be Gx, Gy, also GZ, something like this. Okay, so right-click and let's insert those keyframes. So now let's start the animation is because it's gonna be following up. But we have that delay. So basically the delay is because the Camera Movements is not linear. So we need to split, let me just split my scene over here. And this one we're gonna be changing the true, the graph editor just so that we can see our curves. So we can do this a and point to Select All, to see all the curves. Make sure that Camera is selected so that you can see the curves related to that Camera. So for example, this, you can see this curve going up. So actually we need to make it a little bit linear so that you can just stop, Start from the beginning. So I'm going to select this curve, this one, and we can hit S and scale it down. Skeletal sounds like that. It's can see it's following up, but its speed a little bit. So let me just also select the final points. And we can scale it down. Can make it sharp. So we can collapse it on each other. But I prefer to have some variations. Sort of starts from the beginning. Nice, fine. Give, got that churn. So for example, at frame, which frame is this? Let me just get back from 120. We can change or we can get back to see our Vehicle Also, we might spin it around. So let me just move it down to something like this. Okay, so right-click, insert those keyframes. I would like to movies, move my camera a little bit up. So Replace as key-frame. Okay, so let's start again to see that actually is you can see we got a problem. We will go in through that. That's a boss. So actually we need to avoid that. So for example, at frame at five or 75 years, of course 75, we can make my Vehicle or my car like this, nascar, but Camera, right-click, insert those keyframes. So now as you can see, what's going to be hitting that, actually, we, we did. So right here I think we need to don't have to make that sharp, sharp move. So right-click, let's make it like this Also. Let me check. Yeah, it's pretty much close to the bus. So now I think Let's just remove this one on can just right-click and delete those keyframes. So make sure that you don't have too much of these keyframes because we need to keep that Movements a little bit natural or organic. So we got that. Let me just get back from the start to see actually don't like, I prefer to keep it low, something like this. And also let's spin it up. Replace those keyframes, and start again. Okay, Nice. So especially over you can see that, that nice twist that the vehicle, this is why we don't need to follow every churn with the camera. So we need to give it some room for error or something like that. You can see Vehicle, we can see that nice twist. But also for example here it's gonna be Also the camera's going to go make lefts. It's going to make left at 350, can make a little bit left like this. So right-click, insert those keyframes. He sold. It starts again and let's see. First germ, nice deaths kinda follow up even better. So I like it But actually here we need to, for example, you just start adapting to this one. So for example, frame 200. You go outside. Here, right-click, insert those keyframes. We can make a nice turn over. So let's check this up. You need to keep checking the, how the camera is behaving. So that's the mass. Nice. So for example here I'd like to frame to 100. We can spin hour or we can spawned our car, our camera, to the front of our Car. So let's do that. So frame jaundice than one. So I'm going to just move my Vehicle, my camera forward. I always mistake my camera with Car, something like this. Okay, So the spin it around and let's simply insert those new keyframes. So I'm going to be, Car is gonna be, the camera is going to be jumping from the back view to the front view. Okay, pretty nice. We got that. But also at the end because you can see the end is focusing on the back. So it's tried to strategy make that choice. So actually what we need to do is let me first go forward. Let me just spin my my camera like this. I would actually put it right at the front. Down. Something like this also lets move it up, right-click, replace those keyframes. And let's try this. Gives you got that nice, nice and slow. Hopes on here we need to yeah, let's move our car to the middle of the Streeet the road. Because so basically here at frame 275. So the counter should be in the front for Car because it doesn't, We should not hit the other Mercedes. So for example, let's go outside. The other lines, switch lines and also we can make it, I can see the Camera right-click and just replace those keyframes. So I'm going to zero to check that. You actually, we need to tweak it from here to here. It's, that's a big change. I see. For example, let me try to make it like this. So right-click replace those keyframes. Let's check this section over here. Not bad. Yeah, we can upload this one. Maybe. Let's see, That's nice, nice, I like it. So we can summarize or we can finish by this. So I'm going to just zoom. So just to give the impression that the vehicle is making an escape or something like that so we can move. It gets closer and closer to our Vehicle. So let's trash can just see how it's scopes. Okay, so the Camera is following up. Nice twist off. Okay, so here we have a problem. I'd like to make it a little bit close. So for example, its frame 220 me just make it, I think 240 can spin it around just a tiny bit. Can insert those keyframes. Alright, so let's get started and see which goes, okay. The first Germanize, second one. We gotta breaks. Nice. So for example, this one, we can spell it a little bit. So like this, to basically keep tweaking it until you are satisfied with the final results. So for example, in my case, I like this. But also at the end, let me just show you. So the reason why we will have in this slowed down. So actually we need to collapse. This one will just select the Final point. Each S is zero. So now it's gonna be zooming better on our Car. A really nice. So let's Add now the noise on the Z, on the z-axis. So I'm going to be selecting this object transform, and let's choose the Z location. And I'm gonna hit N of near. Let's Add the Modifiers cannot be the noise or it's sort of split this to see, as you can see, it's bumpy. We have too much pumps. So all we have to do is to just reduce the threat to something like 0.1. Okay, we got those bumps. Looking pretty nice. Maybe let's just reduce it just a little bit. 75. Nice. We got thats pumps going on must also add the same effect to other accesses. But this is the idea. So just to make our Camera looks a little which organic? Those movements have to be not organic but natural. Not to robotic. We hate that robotic Movements. Alright, so that's for this channel. So if you have any questions, you can leave them down below. So thanks, I don't have to see you in the coming tutorial ticker 37. Add Greenscreen Background to your Render & Use Motion Blur: After we put everything together, now it's time we start the production for cautious animation. And in this particular tutorial, we're gonna be learning how to set the green screen background that's going to allow us to add any background image. Here's the deal. Sometimes when you use an HDRI maps, you get a good lighting accuracy, but the HDI image doesn't look that good. It's going to be really awesome if we have a chance. If we can have some flexibility with that. So meaning that we can keep the lysine, this HDR map, but we can play with the background, we can make a difference backgrounds. So in this tutorial this is going to be doing, I'm going to show you how we can add the green screen background and after of data. How can we include any background images or it's, so let's work on it. So if we switch right here to the render view, gonna be able to see our background displayed on our HDRI Map, displayed on the background image. Alright, so actually I should do right now is to tweak it, but also I'd like to show you the new settings that are used. So let me just switch year to the shader. I'm going to be switched to the world. This is the new HDRI map. Then I'm using it looks really good to give us some realistic glycine if it's awesome, I'm setting the rotation of -220. So in your case, you can find, it can keep looking for better HDR maps, but this one looks fine for me. You're going to find it in the resource. Alright, so let me just get back. I'm going to just combine order, just skip back timeline over here. And let's see, we got our animation going, looks pretty much good. So the first time in order to do is to go to the render properties. This one, I'm gonna be scrolling down to the film and make sure to check this transparent and basically that's it. So now as you can see, if we switch the random, we're going to keep the light chain. But we don't have any background whatsoever, which is really nice. Also an important setting that I would want you to check out, which is this motion blur. So just to check in, check it on. So it allows us to add the blurriness around the objects that are in motion. So this is a great feature that adds much more realism just by checking this box for the settings. As you can see, I'm sending this shutter to really low value, can experiment with it. So higher value it's going to add increased dots, motion bird, and lower value is going to do the jobs, of course. Alright, so now I'm going to just go ahead and give my scene or random let me just jump here. I'm going to just set this one to 100. Actually just 100. Okay. I'm gonna just go ahead and give them my scene and render. I'm going to see You're right after that. All right. So we've got some rendered as you can see, the fog glow and everything looks gorgeous. Sono going to just jump into the compositing and we're going to start to weaken its ultimate end. Like I said, if you need help with any part of the discourse, you can let me know. Alright, so this is where we gotta just duplicate this calorie balanced. You have different kinds of facts, just merging between effects and stuff like that. So this is a trick, so I'm going to just add RGB curve shifts. Let's add an RGB color. So the first one, okay, we've got this color. So now we need to mix between the two. And I'm going to connect or combined this RGB to the background on this. So shift a, let's add an Alpha over first one, this one, and then just connect your notes. I'm going to just press V to some packages that you can see our notes even better. So let's connect this one to the image, the top image, this glare to the bottom image. And from here I'm going to just G movies to the left side, to the right side, shifts and right-click and action nodes. Not the shift, but just revert back. So it's control, control and right-click so that we can bring that knife. Can you see that knife? It's just so that you can make it cuts. So let's combine our image with image over here off to the composites and to the viewer, just like that. So now we've got that, but yeah, we can see now the background image, which is just the domain. And we can play with that. So if we make it green, going to be able to see that screen. But I believe green screen is a little bit dark continent. So something like this. As you can see, this is the trick. But also, so now how can we add, how can we add a background image instead of just green screen back on? So let's do that. So shift a, let's add an image so it's going to be just so normal image node. And I'm going to just open background. So in my case I'm going to show you the background or amusing. So this one double-click on it, the background. So this is the background that I'm going to be using, can just search for any background like this one looks good, but also we can, we can, we can add you use another, our background images. So let's go ahead and connect this one to the image and let's see what we got. Alright, so we got that, can display them, can just remove this RGB. So v ls is going backwards. As you can see, the scale is not that good. So let's fix this, let's fix this scale. So shift a. Let's add a scale, scale like this. I'm going to be putting it on this line, and I'm gonna be changing this scale type from relative to the render size so that we can have it adapt around. You can have it adapt to the new, to our render size. Okay, so we got that. So also we need to add some transform. So as you can see, our background, all these v going to zoom in. So we got it. But also I would like to tweak it, shifts a, let's add a transform node. Transform. This one. We just put it on top of the scale. And let's tweak it so we can move e.g. the x-axis. Let me try 110 silver we got actually should not, should not be on the X, but actually should be on the y-axis. So let me just set the y-axis to 100. Let's see. Okay, cool. What about, Let's try 250? Pretty nice also for the scale, this scale over, I would like to scale it down or try to increase it up because it doesn't fit years old V. So right here we have small buildings, but these balanced, little bit too huge. So let me just scale this one by 1.5 and let's see if it's going to be better or not. Actually, you want about 2.5. Okay, that's a little bit too much. So let's just search 1.5. Let's take this one to 300 or even 400. Let's see. All laws. But 320. Cool, cool, cool, can also spin around. I think it's, it looks a little bit to spend. So let's try three degree even I saw just so that you can align that horizontal line just like that. And also we can know what let's just keep it at 300. 300 is fine. That's 1.5 scale. Also, we can do something, so right now it doesn't fit. So as you can see, we have different variation, different colors. So they just set it to 250. Download. This may be even 220. It's good to see the sun. Sun but the sky. So shift a, Let's add a color balance. And let's put it on top of this and I'm going to try to change its color a little bit. So let's try to make it warmer or a little bit instead of Jewish. Even better. So you can see the variations in color. So now it fits better our random. Also, we can do this. So we can try to tweak this one a little bit. So I'm going to hit M to mute it. Even better. I like this bluish. The bluish looks fine. Just keep it this way. Keep the bluish may be reduced down a little bit. Alright? But also over here, if we zoom in, you can see it. That's good. So V volts, so the merge between these lines in the background doesn't look that good. So we can do this. So shift elites and an alpha converge. Second node, I'm going to just put it on top of this one. And let's see if it's going to be better. So can you see we're just cleaning up these lines. So we can also duplicate this node Shift D, which again, she can have that effect, duplicate it. I think this is the, this is S which should not go beyond two of those. So now as you can see, we have a crisp clear image. Also we can do this. I'm going to do Shift L is the current balance. I'm going to just put it at the end here and connect everything like this. Then you just so that you can have a control over everything. So let's try first to the warm color. Nice also can go ahead with the bluish. But the bluish lips, I think I'm gonna go with the warm color. One color looks even better. 38. Production of Final Animation with Customized Background (Compositing): Welcome back. So in this nutrition, we're going to be producing our final animation like this. So basically, here's the deal. A video is a sequence of frames. Let me just show you an example. So for example, I rendered this video before. So it's a sequence of frames that we put in order add a particular rate. Let me explain. So after we render, this is going to be able to achieve can have a sequence of frames. So by default, in Blender is give us that 24 frames per second. Let me just show you that. So here I can hear the rates, frame, frame rate can see it's set to 24 frames by default. So we're going to replicate that same process. We're going to run the multiple frames and afterwards we're going to be combining them into one video. Alright, so let's go ahead and start tweaking the same. So as you can see, first thing I did is I went to my dimensions and I set the frame size or the resolution to only the quarter, which is 25%. So I highly recommend going with this approach because if you went with 100% is going to take a lot of time and you might not agree or you might not like the final results. So as a starting point to go with lower value, something like 25%. And after that, if you are, if you're satisfied with the motion of your video, can go ahead and increase data. So for the frame rate, I'm gonna just keep it at 24. You might go ahead with 30 to experiment with different settings. Also overlay. This is one of the important features or settings to change. Switch must be first PNG because we're are gonna be playing with the background. And also it must be this RGBA. So this is a must because once you have or to restart that PNG process, so removing the alpha channel. So this one's gonna give us that Alpha channel in the background. So Also for the Render properties, go ahead with, go with lower Render samples, 200 and less than 500 interlingual satisfied, it can increase. It's up to something like 400, 500. And as you can see, I'm checking the denoising. You have aqueous be clear, randomness. And also I'm checking the Motion Blur, set it to 0.15 and also under the film tab, make sure to check this transparent because this is important, is going to allow us to have that transparent background. Alright, so let's go ahead and start writing our animation. So I'm gonna go over a year to what's This is the output properties. Okay? So I'm going to click here on the outputs and choose, for example, let's go ahead with the desktop. Can just call it Animation and just accept that as our folder. Or It's so I'm going to just go ahead and Render, Render Image button Render Animation. So it's gonna go from zero until the end, which is 385 frames. So you can adjust that if you wanted to start from, for example, frame 100 and Get Started, set that up here and ends at frame 200, for example, in my case, I'm going to start from zero and end at 385. So go ahead and Render Animation. So you can see that the frames are adding themselves one-by-one automatically without doing anything. So all we have to do, just wait until that's Render process finishes the entire frames. Also forgotten important thing to do, which is the Compositing. So actually when Rendering these frames, you should not have no Compositing URL. So I'm going to just go ahead and connect everything. So control and right-click to bring that knife and let's disconnect everything. I'm gonna keep these nodes because we're going to get, getting back to them later on. This one. So just G, J, smooth it like that. And let's move this one, actually the G naught J. Let's connect the render layers to the image and also on the bottom side. So now go ahead and give your scene Render. So at the end you can find these, can find a sequence of frames that look like this. So now only have to do is to go ahead and merge or combine everything into one video. So let's do that. I'm going to just jump into a new Blender synthase and you have to be the old one because we're going to just using the video editing feature that we got in bone, which is really awesome. So you can see over here, I'm gonna go through this plus icon on the top video editor, and let's use the video editing. Again. Right here we have this ad can click on Add. Let's Add Image Sequence. So press on that. Let's choose that. And actually this is the one that I put as a test. Yeah, let me find EID. So here, over here we have all those keyframes. You can check them over here. Alright, so all you have to do right now is to press a, to select everything and Add Image strip. So we got it. You can zoom back, Shall we can see everything is can see we got in Motion. By the way, if you've got the frames, by the way, if you got the fringe inverted or reverse it. So there is an easy quick fix without so select strip and go to video and reverse frames because sometimes it happens for me. Now is can see we're reversing those frames. So actually I'm on the right track, so we just removed us. Okay. So as you can see, the Final one as the final frame, which is 360, I'm going to just adjust that in the end. So 360 like this. And I'm going to set some settings over here. So for the fowl of file format, we're going to keep it or change a to F, F MPG video. And for the encoding, I'm going to be changing this must Charaka to Material skier metro scar tissue, MPG 44, which is going to give us that mp4 format. Okay? For this keyframe interval, I prefer to take it to five hundreds so that we can reduce the amount of the file size. Alright, so after that, I'm gonna just go ahead and render this one. So I'm going to click choose the destination. Let's, for example, add my documents. So let's call it Final Animation. Okay, So let's accept that. I'm going to just go ahead and Render Animation. Just get back. So I'm just going to wait for it until it finishes this process on it. So we've got our Rendering finished. I'm going to just go ahead and check my final animation. So I put it on my documents. We got it. So let's just take a look. And basically, there we go. So we've got our Final Animation with just combine all those frames into one video. So congratulations If You Achieve This Also, if you struggling with any bonds, you can call me or you can contact me via the sports. Alright, so now this is the plan we need to add a background image so we're going to work on. So actually now Right now it's black. So we need to add the customizable BJ or It's so I'm gonna be using this background image. I'm going to just jump into this Blender Scene. So this is where we add that sequence of frames. So I'm going to just delete this one because it's going to interfere with our Compositing. So make sure she deleted make sure that the video Editing doesn't have any clubs or It's so let me jump into the Compositing. And let's start with using nodes like that. Let me just expand these like this. Actually we want is gonna be using any Render layers can adjust mix between the average of N. Our video shifts a. Let's Add an image sequence or just image. This one. Let's bring that sequence of frames that we can also bring our video. But I prefer to bring the animation so double-click actually it's not here. So this one, I'm going to just open that sequence of images, can go ahead and connect it to the composite and shifts Ellis add a viewer. Alright, let's connect the image to the image. Alright, so I'm going to press V to get back. So this is our Different, if we jump in, see that change of frames, which mean that's the sequence of frames is working just fine. Alright, so now I'm going to shift a and let's add another image. So the other image is going to be our background. So I'm going to just pick it from my desktop, so Background, Double-click on it. Alright, so now we need to merge between those. So like, just like our Shader editor, we're going to be using the Alpha over. So Shift a and let's add alpha over. So it works like that. Mix RGB or something like this big Shader. So first one is gonna be our first image, and the second one is going to be our sequence of images. Alright, so can control and right-click. So this, we can cut those connections. And let's connect this alpha over two. Both are composites as well as the viewer. Alright, so let's take a look. We got some merging going on, but we need to fix it. So the Scale is not right. So in order to fix the Scale, I'm gonna be adding a shift, a, Let's Add Scale node. Alright, so let's put it on top of this one. And I'm going to be changing the scale type from relative to the render size so that you can make our background fits to the borders of our Render. So let's do that switch to Render resides. And basically we got it. But also we need to do some tweaking. So I'd like to add a transform, Shift enemy, add a transform node. This one, I'm going to just put it on top of this line. And let's tweak is a little bit. So basically I will actually be able to see some buildings from the background image. So let's try, for example, 200-year on the y-axis, 500, almost for about 600. I think the image looks like this big. Yeah, you can see that it doesn't fit the buildings that we got here. So actually we can do this. We can scale it up by 1.5, Scale our image. And let's try over here 800 to Bridge up getting closer now I think it makes sense. Okay, so let's set it for example, 100, 700. Okay, Nice. Now it looks pretty much good. Okay? So Also if we zoom in on our back valence so we can see that we have to changes that we need to do. First one is the back, the background looks crisp, be clear otherwise. So here we have that Depth of Field blurry. It's making our buildings adding dots blurry factor them. So we need to do the same thing for our backgrounds. So there is an easy quick effects. So shift, Let's Add the blue node. Get a second and I'm gonna just put it on top of this line. This line of V is for our background, which is reverts back to show you. This line is for our background image and the bottom line for our sequence, it's still empty or it's so for the blurriness, let me Alt V to zoom in just as you can see. I think something like I'm going to just set both of these values to five. And let's take a look. Now, start to have some blurriness. But also as you can see, we don't have a perfect It's not merging correctly. We have this line that splits or obvious land, so we need to fix it. So actually in order to fix that, we're going to jump into my sequence and I'm going to be adding an Alpha converge. So Shift a and Let's Add an Alpha converge second node, not Alpha over. And let me press V to zoom back, just so that you can see all and middle mouse so that you can play with this one So check the checkout. So here we have a bad quality of that. Uv mapping, UV mapping paths. You can the idea, so now it's pretty much low-quality. I'm going to just drop this node here and you can see it's going to start to look really good. So this is a quick hack if you want to fix that Greenscreen products. So Shift D and let's replicate this process and we can put it again, is can see it's looking much more, better or it's on V. Let me zoom in. And I still think that the buildings on the backlog small, so the Scale is not Right, right. So we can try for example, 1.75. Alright, let's increase that to 750 to bring it up a little bit. Now I think it's Start to fit. Our scene starts with really nice. Alright, so we got that. So the next step is we need to do is kind of correction. So I'd like to add some mass. Over here. We have that suddenly a bit greenish. This background, otherwise the other one, it will look slightly bits or cloudy or something like that. So we need to fix that. Shifts a, Let's Add color balance. I'm going to just put it, drop it on top of all backgrounds. And let's make it merge between these two. So for example, let's make it greenish. Not really. Actually, we must reverse the process. Was make this one little bit warm. Something like this. Okay, I'm going to just shift D, duplicate this one. What actually you can do that at the end. Let me just go ahead and make it greenish. Looks greenish, bluish, greenish, something like this. Now as you can see, the buildings kinda start to merge between each other. But overall, yeah, overall it doesn't look, that's good. Although the overall shape doesn't look that good, I think we're going to sacrifice that. So that's not a big issue. Go with the warm color. And also we can add another correction on the end, shifts a, Let's Add counterbalance. This one can you just put it at the end so that we can affect everything and make everything blend which each with each other. So check this out all to print that up. So let's make it for example, bluish. Can you see that? So now everything is affected, which is really nice, or it can go ahead with the warm color. Actually, I like this color. But also if you will want to go with that movie style shooting, you can go with the bluish. So you know, that affects that if you want to be in Mexico, make it look like this. I like this, especially if you are if you're a fan of Breaking Bad or something like that. So we can see that those transaction in between movies. So in Mexico they make it a little bit like this scalar. But in New York or a DC machine to take of it, that bluish color. So that's just a quick chip. Alright, so we got our Rendering finished. I'm gonna just go ahead and take a look at our Final Render. And as you can see, we got a big problem. So as you can see, the video camera is moving, but the background stay still. So we need to fix this. And I promise you, I have an easy co-infected is going to do that 39. Faster Rendering Optimization - Reduce 93 of the Rendering Time: Welcome back pigs to this neutral. So now I'd like to show you a cool trick that allows you to optimize your rendering time by almost 95 per cent. So in our example, we're going to be rendering this frame in the cycle. So it took, here you can see the time that it took. It took us almost 3 min and 30 s. So that's that's gonna be time-consuming if you are planning to render e.g. 500 frames or something like that. But here in the cycle exit took only 14 s, which is a huge improvement in time in the rendering time. Alright, so let's do this for first. Make sure to download this Blender version, which is the truth 0.0 cycle x alpha. So if you didn't find it here, you're going to find the resources because blender is changing too fast. Um, I don't recall. I don't guarantee finding the same order of the file, stuff like that. So after downloading this version, I want you to put that file into some logistical to see your local desk go to Program Files and you're going to find the blender Foundation, double-click on it. So this is irregular version of Blender, which is 2.2, 0.92. Here we are going to be putting dots file, which is the blender to 3.0 Alpha version. So let's double-click on each analysts access data blender file like this. So after that I'm gonna be dragging. So make sure to drag this on your scene. I'm going to simply drag it into our blender and always make sure that you are exactly on the 3.0 Alpha. Because if you double-click on this one's going to take you back to the old version, which is the 2.9 version, or it's after that. Let's jump into the layout and let's wait for the shaders to compile. Okay, we're good, so let's check the settings. So first one we have, as you can see, I'm running, I'm going on for the full resolution, which is two k. So let's scroll a little bit down here and let's check. So actually you must switch to the render properties first. So I'm using the GPU as my main advice. And for the render samples, I'm only given at 100. I don't see much difference to be honest with you, but if you're seeing some flickering in the legend, so you might recommend, you might go ahead and increase that samples. So I want you to check an important thing. So let's just scroll down to the performance tab, this one. So here we can find this under the final render, you're going to find this persistent data. So make sure to check this box. So this is a really important venture. Do so check this box and now we're good to go. So here I rendered at frame 40, 40 frames, frame 40 trucks 3 min at a reduced. So this is irregular blender or cycle rendering time. So let's do this. Let me just go here and start rendering this in our blender cycle x. Alright, so there we go, our render is completed. So can you see this? So it took only 14 s, which is a huge, huge time improvement in rendering time. With this way, you can go ahead and experiment with multiple possibilities. You can create a lot of animations. You want to take too much longer, so there is no need to compare. So yeah, 3 min and 32 compared to only how much is that? 14 s, That's almost 95% of the time cut out. So that's a huge improvement. So also, if we jump back here in, if we start, let me just switch here to the render view ports. Let's just take a look. It's gonna be really fast. Can you see that the rendering, the render tree is really fast? I believe that there is some great opportunities ahead. So maybe bundled with sometimes it will be instance, we don't have to render anything. Such could be fantastic that way. Alright, so there we go. So I think EV is dying right now because the cycle X is Carolina's. Okay. So if you have any questions, let me know. So thanks for watching and I'll tissue in the combinatorial, have an awesome day. 40. Finalize Animation Project Camera Tracking to Greenscreen Background: In the previous lecture, we had this problem with our backgrounds and background is fixed, but the camera is moving in our film shorts and I need to fix it. So actually there is lots of ways to do it, but we are going to be doing the efficient way. So if I jump back here to my positive, so for each year we're combining our background with our sequence of renders. So we can e.g. keep animating this transform. So e.g. this is the first frame, can go year-end, try to spin it around or play with dads, or move it to the side like this and animate that position. But this is going to be really, really difficult to do. So good luck with that if you want to do it. Actually, there is a better way to do it. I'm going to show you. We need to get back to our blender seen where we have our camera. This scene, the main scene. You can see we have our camera moving here. So actually, what I'd like to do is to add a background. And at the end, let me just show you so I'm going to exit that. Let me just switch it a solid. So shifts a, let's add a plane. I'm going to just scale it by 500 and RX, and let's set it to 90 degree. Okay, So now we're fixing that background because just e.g. over to the left side. But also it lets you experiment with another way. Let's leave this plane. Let's call it P j, l is leave it to the end. Only if we didn't figure out this way. Just hide it. Let's hide our background image. I'm going to be switching this tab to the shader editor. And on the word we're gonna be removing this one we just control and right-click to disconnect that down below them. Just move it here. I'm going to add the new environment, depth of shift, a, add new environment. I'm going to be connecting the color to the color like this. And I'm going to open that and bring our background. That's what we're gonna be using by two, we're going to find this in the resources, of course. Alright, so now if we press zero and switch the renderer, let's take a look. Also. I think it's gonna be better if we just are let me just turn on, turn off that transparent and also are going to be, what is the response here? This one can just turn it off. Let's take a look at it. Like to be able to see our background. Yeah, I think I'm gonna just switch to the EV. Ev is going to be faster. Switch it around or LLCs and are able to see our background. But actually, what we need to do is to the buildings are down below. So let's put zero over here. Let's add, again shift, Let's add the mapping node, mapping. It's connected vector to the vector n on the left side. Let's add that texture coordinates. Alright, so I'm gonna go ahead and connect the generator to the vector. Let's switch for it. So now if we control this z location, yeah, Let's try to bring it up. There we go. So you can hold shifts, something like this. Let's actually just going to see the scale is messed up. So we need to improve this scale. So let me just try this. Actually, not that one. This scale, this one is scale. Actually we lost everything. Let me just set it back to one. Let's find a way to scale it up. Scale our stocks are up. That's weird. Alright, you can increase that to five. Alright. Let's set these just one-on-one para zero and trying to bring it upward. Or let's try to do it. Something like this. But as you can see, the quality of our texture is not that good. I have another background image, this one. I just duplicated that thin twice. So let's try to replace this year is if it's gonna be better, nuts. If it's gonna be better, we're going to be installing new software called GIMP. Just take a look here, I think now it's looking much more better. Yeah, I like it. You can print this one back to 1.5. Xi3 looks fine, or about five. Nice. But as you can see, we have this curvature which is not needed in our case, doesn't look as good. Even though this HDR map, things look a little bit interesting, we can let me just switch back here to the timeline and let me try. No, no, I don't like that curvature. I'm struggling. I did the research on subjects. So this guy is changing the y scale is because it's connected. Texture coordinates is connected on the generated. But I follow the same steps, but loan like if you have a better way to do this, I appreciate sharing that with me. So let me just set these both to five and it's going to be better five. Let's see, that's up. Something like this. Alright. Let's see, we have a low-quality image. That's, that's the problem. That's the main issue. But actually it looks fine right now. So we doubled chapters, looks pretty fine. Yes, I'm satisfied with this here. So for the front, it looks fine. But on the back doesn't, it looks empty here, which make no sense. We need to find a better way to hide that problems. So let me try to be like this, something like this. So let's try minus six. Alright, so let's starch. So minus six works only for the bottom side. So actually we're gonna be doing something. We're going to be inserting some keyframes so that you can play with the virus. I know this is not the case in real reality, but so basically at the front. So RBAC, so Control Z, which box was, what was the prayer? So -5.5. Alright, so we've got it here. Let me just select my camera. We still on the front. Here, we did this, which you can see that. So we're gonna be doing the same thing here. So let me just zoom in. So at frame 180, we're going to set it as -5.5. Alright, so right-click, Insert single keyframe at frame 181, going to set it at minus six. Let me try 0.6 -6.5. Or even point to you. Looks fine. Alright, doesn't have to be that intense, looking fine. So right-click and insert a single keyframe. So we got that and let me just jump into the next frame. And let's see. So obviously here we're switching back. So we need to reinforce that keyframe here. So let's set it. Right-click, Insert single keyframe. Here it's satisfactory or -5.5. Right-click Insert single key-frame. And let's do the same thing here. Again, -5.5, right-click Insert single key frame, and here -6.2, -6.2. Okay, so lastly, I think that's it. Okay? So now as you can see, our camera is going to be following the trachea we don't want it's going to repeat the same rendering from the starting points. So actually all we need to run there is just the background. So here's the trick. I'm gonna be selecting only my camera and hit Control E to our first selection. X deletes. Yep, that's it. All we need is just our camera. Can you see that camera move in? Perfect. Alright, so let's render this. I'm going to just jump here into the render properties. I'm going to set this one to 100. And let's see what we got here. I think we're fine. Let's select. I'm going to be pulling it at my desk, chocolates college, BJ render, rendering our background image. So actually we need to create that folder first. So what is it, zero. So BJ animation. Alright, double-click on it, except let's go ahead and render animation. All right, so let's get back. You can see it's not working well. So we've got some problems. Let's get back and see. This is a starting point why it's not showing this. Let's take a look at rendered by render the right way. Let me check the compositing. What do we got here? We got the layers. As you can see, the composite is missing up. With our I'm going to just delete everything. All we need is just the render layers going to be connecting straight to the composites as well as the viewer. Also, be clear, I'm going to just remove it. And let's take a look at our first render. I still have that problem or no, why? Why is that objects connected here? Oh, yes, I think because we still have the spleen. The spleen is blocking the view. Can you see that? So basically you must be careful with that. So let's just remove even though we're not rendering, that's weird. Let's delete it. What do we got next once we have our background? Yeah, this one. So x deleted. So make sure that you have, don't have anything here. Right-click register, move this one. Alright, shifts like everything, x and remove. Alright, so now if we do a quick render, going to see our background, which is awesome. Alright, so let's go ahead and render the full animation. So see you after this random reaches, I think 300 and Okay, Susan, alright, so we got our background render is finished. So now we're going to be assigning them to our background video or something like that. So let me just switch to the compositing year. We're going to replace one singular image by that sequence of background images. So BG animation and open all the images. And as you can see, we're missing up with everything because we have this transform, we need to hide it. So let me try em terminals and is consumed by default set on the right place. But also for this one, I think it's going to be a warm, it's going to be better. Let me try to press M. Think this one is going to be fine. Actually don't need this card correction here. Alright, so now this is the deal, so we need to investigate if the background is going to be updating. So let's e.g. or follow. Keep an eye on this building here and this line of our bridge. So let's just start to move a little bit. As you can see, it's abrasion, which is pretty much good. So this is our aim. Yeah, okay, so let's just go ahead and render this animation. So again, the sentence cannot be just put it at the desktop. Let's call it final animation. Final animation. So let me just switch to MPG file. Alright, so sick the keyframe to 500. And let's go ahead and render final animation. So see you right after that, right? So there we go. We got it. We got our final animation is you can see everything looks great. By the way, this is not the end of this course, so I'm planning to keep adding. Content choice can keep improving this course, or it's a thankless for watching this course. I really appreciate your support. So if you have any questions, you can leave them down below. And I hope to see you incoming projects have an awesome day. 41. Advanced Car Texturing Add Flame Decals: Alright, so in this new tutorial, we're gonna be customizing the car paint of our Vehicle and making it ready for what's coming next, which is adding the Speed Boosting nitrogen file. So we're gonna be adding some lines just like the Game reference that you're gonna be following. Also, I would like to add some Flame Decals, so it's going to be looking really awesome. Alright, so let's take a look. We're gonna be working on this Vehicles. What do we got here on the right side we have this Car pins Material, Let's see, is applied to the chassis or Vehicle. I'm going to just go ahead and delete everything from here and we're gonna be replaced in it. So X, to delete everything, I'm gonna just add the principles ECF. So principal BST of analysts connect this one to the surface. So now we can play with colors. For example, can make it a little bit silver. Let me just bring it back, bring my reference that we're going to be followed. So I got inspired by Game Nitro Speed Game, this background or this reference. So we're going to make our Car looks like this. Alright, so for the color, we got that silver color. See that? So let's try to achieve it. So for the roughness, Let's say reach a 0.15 is as you can have a glossy surface. And for the metallic atom increases to 0.5, for example, start to resemble to it. But maybe that's Car is a little bit too dark. So something like this. Look. But let's go ahead with the metallic given 0.7. 0.7 is fine. Alright, got it. So we got that silver car. Okay, so now we need to work on the other stuff, but before doing that, we need to UV map our cars. So let me just place my scene again is plus icon explicit spaces like this. And let's switch through the UV editor. And I'm gonna be switching here to Edit Mode, select everything. You can see the UVs that we got sculptural space. So it's really chaos. We have a KRC. So if we went ahead and start toxin with this chaos, going to have your computer crashes or something like that. So, um, let's use this smart UV projects. Let's just zoom on it. As you can see. Now everything is organized inside the boundaries of this texture. So meaning that when texturing this way, this is the right way to textures. So if we take this model into Unity or another software, it's going to work perfectly like magic. Alright, so we got this. I'm going to just jump into the texture paint. And I'm going to start by creating a new material. New Texture, non-symmetric, just an image. So let me just multiply it by four. Can just do that simultaneously by just selecting both of those in here. Let's call it car paints. I'm going to just set okay, and let me just get back to my layouts. Because as you can see, this is the image that we use it. This is the one. So actually we have to add a new image. So shift a, Let's Add an image, note Texture image, this one. If we search here, you're going to find this car paint, which is a torque, just a black like image. Let me just show you that here. So the car paint this one. So it's just a black image. So let's go ahead and connect to the base color. And I'm Car is gonna be black. We can tweak it in the Texturing page. So let's jump here. So we can also do this Z and switch. The Material Review says you can see is better. But also here I'd like to bring that reference here as well. So let's just set this one to the UV editor. And here the spring, our car paints 01, okay, so obviously you will need to change first color, make it silver just like what we did before. So here I'm gonna be making it a little bit darker, that color like that. And I'm gonna be switching to the field. So I'd like this on the fill tool. And you can just click here. And I'm just going see we got it apply to the entire college is good. Maybe a little bit darker? Yes. Just a tiny bits. Is this all looks too shiny? Second look. Yeah. Now, it's looking good. Okay, So now let's add these lines, these straight line that we got on the top side, it's looking really good. That's black one. And beside that we have this greenish color. So it's looking pretty much get okay, so let's do it. Let's do that. First we have to change our painting to this drawing. But if we start painting here with the black one is it's painting and see that. But we need to do something. We need to be painting straight in a straight line. So in order to do that, so I'm going to just scroll here on the top bar and I'm gonna be switching the stroke. So click on stroke and stroke method. I'm gonna be changing it from space to this one line. So now if we want to the top side and collect and just draw, can see that we have going to be painting a line just like that. She's good. But in our case, what we need to do is to have a straight line. If you want to paint a straight line, we can collect and press Alt. You can see the difference So this one's going to give us a 45-degree angle. So I'll just pick it Street and painted like this. Okay. So this is the way to do it, but we need to tweak it a little bit. First, we need to decrease the amount of the brush. So let me just revert back though. The brush can change. That's really CO2. What about just 2020 is gonna be fine, okay, so click Alt and see that. Yeah, now it's looking better. Maybe a little bit up about 30. Click. And now we got, but also we need to do something. We need to make it strong. So write them if we zoom in, you can see edges are not fading away, which is good. But actually when I'm going to just increase the strength to maybe 50. Okay? So this is just easier. Which dot? So we can draw like and you can see now we have a strong line, but I'd like to keep this fading away. Doesn't have to be perfect, doesn't have to be one single curve. So something like this, it's gonna be fine. So we can do the same thing on the other side like this. We have to keep symmetrical. So Also there is another way, better way to do this. Let me just see. Yeah, It's looking fine. We can also do this. Let me just get back to the layout. I'm going to just select my chassis here. What I'd let you do is to split it by health. So let's just switch through. It is more control space. And let me just switch to wireframe. I'm going to just delete the health of our vehicle. So let's just make sure everything is selected good X and remove vertices scenarios. You can see we're just selecting one part's fine. So we can also do this. I'm going to add the mirror modifier. And anything that's gonna, it's gonna be done to one side is gonna be applied to the other side. So Add Modifier, It's gonna be the mirror modifier. So now you can see, Got it, But you need to fix this center point or something like that. So first make sure that the clipping is enabled. Let me just show you why when you start right now, if we take these, can go beyond the pivot point like this. Once you set, once you set the color pen, you can stop right at the middle, just like this. So now we start to rush at the middle. So let's do the same thing for, for everything. I would like now to reset the UV mapping so that you can benefits of the Maps or you, and let's use the smart UV mapping. We got a new map. Okay, so let's just skip back and fix the Texture pains. So first thing we need to, let me just pick all the color, silver color so you can use this eyedropper and click here. So this is the main color. And I'm gonna be switching to the fill. Hello, just click as you can reset those colors. Movies. Yes, sometimes it doesn't work. I saw you have to do that mentally. She make no sense. You know what, Let's do it either way. Let's use the brush and we can scale it up. We can starch, can start doing those. Can get back to the dots instead of the line, but that's fine. Get it done this way. Okay, finally, and this one, cross controlled space and check that out. Just fill those. Alright, Excellent. So Control Space is just get back and let's continue working on our model. Like I said, we need to add that line on the top side. So let me just set this one back to just 20. And I'm going to press seven and click All and go down like this. Yeah, I forgot to change the color, make it dark, something like this. Okay, so press we got that line. We can reinforce that line again by adding another one. Probably something. Maybe that's a little bit too much. That's too much. Almost. Yeah. Let's Add another one. Yeah, perfect. So this one is perfect. So let me add the greenish color so we can add it from here. So let's take this one up and we can also pick, pick it from the reference like this. Okay, so let's just decrease that radius to only five. It's click here, press and draw down. You can see we got our greenish color, which is looking really good. Pretty much good. Alright, so we've got that's Camera Orbits on the bottom side. We have to do it. Let me just get so controlling one, go to the bottom side here and we need to redo that here. So our control, all of those control, just stick that down but we need to increase. It just increases to 15. Let's proceed. I think that's true. Much 15 is too much. Yeah, 15 is too much. So let's just stick to ten years old and Get down just a little bit to the left side. We got it. And on the middle I'm just bake again the plaque Car. And actually, when you are picking some calories, it's parents will pick it from the Texture, not from here, because here it's affected by the Lighting. So it should be actually the work right now. So let's set it back through 50 dress and Alt and Get down Little bit to the left side. Oh, that's so much. Okay. A little bit to the right side. Perfect. Now we got it. It's looking pretty much good on the side. Maybe it's a little bit too wide. Those colors, but this one doesn't have to be that intense, but that's fine. You can also do the same thing on the front. This is the idea. Once you're done, you can go ahead and save the image. Save it as you can, save it to Texture here, car paint and save it like that. Alright, so what I'd like to add some Flame Decals or Vehicles, I've got this reference here, this texture. So make sure that if you are using different one, make sure that PNG file with an alpha channel Background can see that the background is white. It's a PNG file. So meaning if it's transparency, that's what I'm trying to say. Okay, so let me just jump here and set that texture. So you can go here to this Texture properties and let's press New and over. Let me just call it flames just to make it distinctive. So let's open that. This one flames double-click on it. So we got it. So now if we went ahead and start painting, let me just show you that we can see that we're repeating were built in it as a mask. And see that, let me just sort of Bridge back. I'd like to switch the stroke method to only dots like this. So let's see. It's repetitive, but it's really boring. So what we need to do is to change first, we need to make it stands out. So to fix this problem, we're going to go to the workspace station or to this now actually this one not the workspace settings and then be scrolling down. And for this, let me just show you this one. So we've got our texts are here under the tax or jab. Jab. So we have this Mapping set to tile swatch. I want you to change it from tiles to stencils. So now we're going to be able to see that Texture display, which is good. So now we can, for example, or press Control to spin it around and also shift to scale it down and scale it up. So right-click and shift, shift, right-click. Yeah, let me just for example, go to the side. But first let me just zoom in and we can space increased our app. Let me just try to paint a little bit here. So we got It's painting, but the problem is it's not Suspension with this color with the Toxocara. So actually unity do is to increase that. Let me just show you here this color picker. Let me just check the add color picker. So just make it white because targets can make our Texture lock stock. So let's go ahead and try to paint or two bits. So as you can see, will pinch in some file, which is really awesome effect. Let me just reverse back and I'm going to press 32 to the side view. And let's control and reset this one true, for example, nine degree up a little bit shifts, scaling it down. Some, something like this. Okay? And we can go ahead and start painting that. That's effects. Don't have to go crazy with this one. So let's take a look at it. From the side. It looks fine, but maybe here on the bottom side. Let me just fix that. So let me just control Z reverts back. Maybe you can scale this one up a little bit. Something like this. Smaller. Let's go ahead and paint that fire. Excellent. Let's take a look at it from the solid silicon fine. But also, I liked this effect here. It looks pretty much good. Also on the top, Let's go, let's press seven and we get, we get for me. So I'd like to add to flames. So that's symmetrical effects cannot work in an Excellent choice. So let's add that one just like that. Okay? So let's take a look carriage. As you can see, we got an Excellent effect. Let me just switch back to the layout. Can, Let's take a look at our car, but we just a quick tip to make our car paint looks even much more better, to add a little bit of bumps on it. So let me just show. So this trick is really easy. So here we got our texture, which is this one. I'm going to be adding a bumps known control space. Let me just maximize this one. So shifts, let's add a bump node. This one, I'm going to just connect this car paints here to the height, to the height now to the normal N, normal to the norm. For the strength, it can reduce down to something like, You know what? Let's see first. Let me see that first. So right now you can see that we added some bumps to our, to our material. We can just reduce it down to something like points or one, or 0.15, it's gonna be fine. And also the good thing about this one is that if you want Back to the cortex on page and start painting, you're going to be painting with the bumps applied. So let me just show you that. So you can, for example, add some effects here. This one. Okay? So let's take a look at that. N is you can see the bottom side. We count it's bumpy, which is good. This one just a quick tip. Okay, So see you in the combinatorial, have an awesome day. 42. Make Gameplay Car Animation (NFS): Welcome back everyone to this neutral. So now we're gonna be exporting our Vehicle to just check stored in the previous tutorial. So you're going to find the resources, this file and resources can download it and use it. So basically the idea is to export it into our Bridge scene and animate it just like the Gameplay. So we're gonna be animating it like this. So we're going to put your camera behind, just like if it's a Gameplay, but also focus on this one, a blind done. That nitrogen boost effects. You can see I'm changing the Camera, going to replicate that same process I already did that. Can just walk you through the same steps. So this is the Final Result or Achieve. So it's looking pretty much similar to that. So I just pick the, the nitrogen scene. Alright, so let's get you to start first by exporting our Car into our scene. Okay, so go to File and append. Must be on the desktop. So Car Flame Decals, double-click, Ellis, pick only the objects, objects. And we have over here all those objects. So let's click on Append. I'm going to press period on the notepad. Let me activate. My screencast is superior and basically, this is our Vehicle right at the center of the grid, which is good. So you can use this one. So for example, if you're having an animation, you don't have to recreate that animation. You can just switch cars and basically this technique can use it anywhere much just for this vehicle. So the steps to do it first, we need to hide this path to select the bones. And I'm going to just hide it. As you can see, garbage at the center of the grid, which is good. So I don't need the wheels, the wheels. I already have them. Can just delete those online. It is a chassis. Alright, so let me just go to the top view. Maybe it's consuming need to move it forward little bit. I think zero, which must be zero here. Let's try zero. Now. That's even. So let's move it forward until it matches the same Car N we can move it down. But before doing that, Let's just select this one, the curve first shift, select the second one, Control J. Now we have them both combines, which is good. So let's switch to wireframe. And I'm going to just delete this one like that also. Let's try this. I'm going to switch to the side view controller I just to reverse selection. Let's see, should it be like this? So this is its right place. So Control I to invert selection and delete those vertices. So now if we check, you can see that we have the new car. So basically this is the same technique that you can use to spawn off the chain you Vehicles to anything you want. So I think what about the chassis? It looks a little bit going upwards. Yes, lucky that you can see that. So obviously we need to spin it down here like this. But why is that? Why do we have that problem? You know what, let's just do it mentally. You can do that here. Let's Add two degrees for just 1.5. Okay? And if we spot anything weird along the way, I'm going to just fix that. Okay, So let me bring back my curved path, this one. And let's check if everything is working. Before we, we got our Animation, our new Car. Probably hear the wheels little bit, not absolutes, good. Yes, it's good. Let's carry on. Just to see. The animation is working fine. Yeah, the chat is working. Everything is working just fine. Really nice. Alright, so now let's start with our new Animation. This one we're going to just views in this video as a reference. So obviously we need to put our camera behind our Vehicle. And at some point we need to Boost juice, that boost effect to emphasize the nitrogen. Alright, so I'm going to just create a new camera. So, yeah, shifts a, Let's Add a new camera. Let's call it Gameplay. So Camera, dash, Game Play. What do we need to do is first we need to switch the main camera in our scene. So in the scene properties you can see this. So this is the default camera. I would like to change it to the Gameplay. So where is it, this one? Gameplay? Because sometimes you can see it's focusing on something we don't need. So here Control Alt and zero. Let's select my camera and select this Car, shifts, select Car and press Control B, and sets parent two objects. So now the camera is linked to show you that line. So we have this line Real. The camera is going to be following our Vehicle just like this. But so we have a problem. So usually in games, it's not our cameras. This is followed Car like this. So Camera is connected to the Vehicle. Just like if it's parch, just like if it's part of the car. So this is not the case in games. Usually the Camera disregards backward. So it's a little bit flexible. So it doesn't go with any churn. For example, it doesn't go can see that car. So we need to find a better way to do this, because obviously this way is boring. It's not It's not, doesn't give us that Cinematic. That's Gameplay effect. So the idea is, let me show you the idea. Let's just delete this camera. I'm going to start fresh. So let's delete this camera. I'm going to create a new camera shifts a, Let's Add a new camera should be, you actually should be at the center of the origin. So Shift S first, put the cursor to the word origin. Shifts a, Let's add Camera. We got it at the center. So now what we need to do is to assign this Camera. I'm gonna be going to the physics. This one is the object constraints properties. And let's add this follow Curve. So we're gonna be given this Camera the same path as we're giving you all. So both of them, they're going to be following the same path. So here let's choose that path like that. Okay, let me zoom on our Vehicle. We got it. Got it down little bit, so let's move it up. And also for the rotations then we just spin it round forward like that. Yeah, something like this. So let's take a look. So it's gonna be following the vehicle, but also Let's do some tweaking here. So let's fix the position and make it follow the curve. Why it's not following? We have to animate this one. Of course. You have to animate our camera. Let's just move it a little bit backward here. Okay, I'm gonna just Position my camera. Just like just like this. Maybe a little bit for to have a better view. Yeah. Something like this. Maybe you just keep a space for our nitrogen should be scene. Okay, so we're gonna be adding, right-click insert keyframe here. I'm going to jump into the last frame, which is 385. And let's keep following that Car. I think. Let me just shift to slow down That's Movements. So here, 0.95. So right-click, Insert Keyframe. Alright, so known as a follow up our camera. So it's following up. So we need to do some tweaking soon as you can see, it's not linear. So we need first to select all these keyframes, press T, and switch to linear. So now it's gonna be following our vehicle the better way. Okay, that's fine. Cool. But we have to work on the the Z location. Honesty, I don't know how to fix this one, how to make it follow follow up because for the Calgary using dots, Brake add-on, we're using this Rig gallons allows the vehicle to be on the on the surface regions ground as a surface. But for the camera, we don't know how to do it. So the easy way that I figure out, which is animates our frame-by-frame. So you can jump intraframe 50. We can set, for example here. So right-click, insert keyframes. Let's start from the beginning. For example, here we can sit here or you know what, let's use this one as the reference, this line, this backbone. So right-click insert keyframes. Here. Let's go up. Right-click insert keyframes. Let me check. Fall. You know what? Let's just follow our eyeball. The thing that is normally to use a reference on that. Obviously, we didn't get scaling right? So right-click insert keyframes. Can go forward. Here, do some weekends. So obviously I need to find a better way to do this. But for now we can just go with this one. We've got the twist, maybe even though it's located leads. We have to fix this one. We have to be close to it. Now, obviously this is not the right way to do it. Let me just, for example, the Final consider to one in here. Let's bring it back here. -15. Okay, so let's take a look at that. It's gonna be better nodes. It's following up. Yeah, that's good. But it's still a little bit intense. Let's just reduce it just a tiny bit. So we said before to both 95, Let's sit point 0.97. Okay, so right-click, replace keyframes. And let's move this one forward to minus five. So right-click, replace single key frames. And let's start from the beginning. We just need to have some kind of smooth camera movement, but it doesn't have to be a link. So we need to have some kind of a flexibility, can see that. So now the camera is Flexible. Even though here it's looks, looks a bit too intense. So let's go with points at five. Replace single key-frames. Let's get back to minus three. Actually it's minus ten -10 m. Okay, so right-click replacing wireframes and let's try again. Okay, Gap this year. Nice, nice. I like this one. So we're able to see a little bit of the side side, side of the car. She's good. Great. So now let's just fix the this one. Obviously here, let me just delete this keyframe. Just check that up. We can get back a little bit. So you can keep this distance here. The same thing on the top side. Right-click replace single keyframe, and let's jump into frame 50. For example, let's get back a little bit down. Right-click single keyframe. Frame 100, Get back up a little bit. Insert keyframe 150 is still the same thing. It back up. What about 200, 200 dismiss top. I promise you if I found a better way to do this, so obviously there is a better way. So I'm going to share that with you. So let's just get back here and keep tweaking this one every 50 frames. Del little bit. Click, insert keyframes. Looks weird a little bit. The last 1,200.30 frames, 350 frames. You can also animate. Why not? We can also animate the last one. Let's just move it down. Forward. Right-click, replace. Keyframes. Strike from the beginning LSC kilocalories. We've got the first, we're going to tweak it selected because it's looking boring right now. No, actually, this one, the 200, should be far away and going up. Right-click, Play single frames. And let's continue. Nice, nice, elegant, like. So right now what I'd like to do is to start working on this one, the Car path, this one I'd like to tweak it. It looks a little bit different. So I'm going to just select everything. Because this choice C here, I don't like it. Gets. For example, let me try. Let's take a look here. So for example, here we can slow down that doesn't have to be sharp, doesn't have to be shot, so we can expand the vehicle. Let me just split my scene here. This one's gonna be just for playing with the curve. Just move this one forward. Okay, let's see us. Nice now. So now it's not that, it's not intense, which is good. But what should we apply? The nitrogen? Probably here, but here we are reaching the end. I think from the starting point here, for example, a boost, it's going to stop. Or we can boost it from here. Why not? You can start the boost from 50. Yeah, let's, let's try that out for the Boosting effect. Let me just show you so we can get back here to the starting points. So when animating Speed, Boosting the speed of our Vehicle, let me just show you. So when each animate Car chassis Nitro, lift it up a little bit. Because that's boost Definitely it's going to affect the camera, the chassis evolvable. Second thing is gonna be the Camera. So for the camera, we're going to be adding two things for us. First, we're going to be working on the focal length that we're going to be animation that. And the second one is going to be the noise. So let's get to work on that. So first let's just boost the speed of our Vehicle, for example, from frame 50. And so frame, or Let's give it, for example, 5 s of Boosting. So five multiplied by 30 frames per second, which is 100 frame. So 50-200, like this until here. Okay, that's fine. So let's start from here. So the widget, which is first we have to select our bone I'm going to be going through the bunk and strange and I'm going to be animating this one. So right-click and I'm going to insert this keyframe at frame 50. I'm going to jump into frame, for example, 200, 200 year. So obviously if you want to increase the speed of which we have two tickets far away, for example here. So right now it's 0.4, 0.5, 0.5. So let's set it to 0.65. I think that's so much so 0.6. Yeah, that's fine. So right-click, insert keyframes. So that's the Boost. Can have it from here, it's going to boost from them, but we need to work on it. You can see it's going linearly, should be going slow down, exponential growth, not just like this sudden Speed now. And now let's do the Center for our camera. So we started from frame 50 and ended at frame 200s. So let's will simply not our camera. So let me just jump into year the bond constraints. At frame 50, I'm going to right-click and insert this keyframe. And let me jump into frame 200. Okay? I can just increase its speed. Shifts. So down That's Movements like this. So right-click Keyframe. Alright, so let's check that up. So from frame 50, obviously, it's speeding up, but we don't see that effect. So right here it's slowed down. From frame 50 is going to speed up, which is good. We have, for example, to remove this Vehicle from the way, the way. So Gy, let's move it forward here. Because with nitrogen can be dangerous to have Traffic round. Yes, That's cool. We can also do the same thing for this vehicle here. Gy on GX. Here. It's checked out. Okay. First one. Nice. Get that. Lucky to have that good. Okay, so what I'd like to do right now is to emphasize that boosts effects, Boosting effect. So starting from 50, yes, I can see that speed, but I would like to check first if it's sublinear or curvy. Let me just switch to the Graph Editor and let me check the bone constraint. This guy here, this guy, I'm still having trouble with that, to be honest with you, let me just switch the pose mode. Select this guy. Yes, it's this one. So if we the green one. So for example, if you play with this one, let me just gonna be effecting the speed of our Vehicle starch here. G. Can you see that center? This is the one responsible for the speed. So right now as you can see, it's linear. So actually you need to do is to make it G, Let's make it to Bezier. But we have to do it for all of these points. Select everything using the alkene. The alkene allows us to select the entire curve, prestige and make it linear or busier and busier. So now we can control that. You can control that one's gonna be sharp. So let's just get back and try, will check from the 50 frames. Can also, for example, this, let me just try 50 year. For example, we can make it speedy. So let's jump intraframe 70 and let's see that effect. If you try to increase that. Yes, it's definitely working, but let's try this. Okay, cool. Yeah, I like that. That's actually the one that's Boosting nitrogen is going to start from frame 50. But now it's gonna be messed up. Yeah, it's gonna be experienced in some weird problems here. Let's just see. Yeah, so extramission you should do is to make the top this one we have to meet, we have to be making it linear. So let me just select it back. My bone, this blue bone. Where is this here? Selecting everything? This one, I believe. Yeah, this one responsible for the speed. So the starting point, and then they must be linear. So S is zero. Same thing for the starting point because you can see this problem. So the Vehicle is slowing down at the start. So this is where having that issue because of this guy. Now, this one, yeah, this one. So S zero. So now we don't have that problem. So I highly recommend playing with these curves just so that you can understand what's going on. So you have a problem whether with the camera All with Car. Let me just exit that mode and check the Animation. Check our Car. I think our call is fine, but our camera, it's still has that linear curve. So there's a switch back to the object mode. Select my camera. And let me check each here. Yes, you can see that it's linear, of course, that's the 50. So let me try this. So T make it Bezier. If you try now I can see it's going to be messed up. You still have that, That's that noise effect. But like we did before, we need to set the first one and you choose surge collapses on its, on its own so S is zero. And let's do the same thing for the, from the end part so as zero, okay? So right here we have linear, not sharp. This one a shot. This one is linear, so control space is just get back. Let's check our animation. You can find right now. Yeah, I think it's in Proportional Speed with our Vehicle. That's fine. Okay, that's cool. But let's, let's take a look at basically to boost Vehicle only at the starch. So I'm still searching for way too. Chicken this one up. This way. It's kind of er, this is exactly which one we're looking at. But not for only our car, but only not our camera. Let's do this for our Core First. Let's just print this one pack. That's boost is good. Yeah, but here, let's just make it as close as possible to that. We don't have it before. Sec look. Yeah, it's Boosting. That's fine. That's good. But let's do this effectual are Car first. So let me select this Car. Check that up. We can move it a little bit. So I'm using the J, by the way, the J naught G by J, J to make it faster. So like I said, we don't want to, we don't want it to be fast. Here. Should be fast only after after the 15th frame. Nice. Can you see that it's speeding up? The car is speeding up, which is good. So we can increase that effect by doing something like this. Let's check that up. Nice, but that's no, no, no. That's so much like a cartoonish Game. Mosquito. Realism effects the real physics. But I'd like to have that boost to be continuous. So let's just expand this one even further. Nice, nice about maybe that's a little bit too intense, so let's just move it back a little bit. Okay, Cool. Probably sharper. Okay, something like this. Nice. So now it's speeding up. You will never, never and tweak in this. But now I like it. So now we have Boosting effect, which is good. So let's fix our camera because what we're gonna be using the focal length, let me show you that. If you reduce that focal length, it's gonna be far from the car. So actually we don't need to animate our our camera to make it far away from the Vehicle. That's not needed. So at frame year 70, Let's just bring it back. Yeah. Shouldn't be like this. Okay. So let's take a look at that. No, still too intense. Shifts. Nice, nice, pretty nice. I like it. Yeah. But G shifts little bit to the right side. Now actually, the left side, we must startup. So G shifting in little bit to the right. Something is not right. I don't like those Sharpie. I think this is the perfect spot. Okay. So the last thing that I'd like to do is not the last one, but we still have two things to add. First, Let's Add, Let's animate the focal length, this one. So we're going to start the Boosting. Are the nitrogen going to start it at frame 50. So here let's insert that focal length. And for example, at frame 100, okay, What about 100? Okay, let's set it to 40 or even 35 if onto I think that's so much Let's take a look. Yeah, that's so much just 40 Right-click insert keyframes. Nice. So you can see that here we can just get back to the original, which is 50, 50 frames, frames. It's also here we can, for example, make it a little bit closer. What about 55? Right-click insert keyframes. Here we can set it to 45. And let's just bring back through what's the original place, 55. 55. In search those Replace keyframes. Alright, so let's check that effect again. Now it's mesial attributes. I don't like that starch. Now it slows down. Good. You know what? Let's Add the, Let's Add that noise. That one is going to hide imperfections that we got. Here. Let me just saw where is our nodes, okay, so these are our nodes. So I'm going to be applying the noise. So Gx just, yeah, we're gonna be blinded to the x-axis, Gy forward. And also on the G Z. Yes. Okay, So let's do that song and press N over here, and let's go to Modifiers and let's add the noise. Okay, so now if we play, if we play our an image, you can see that it's gonna be bumpy. So I still didn't. So basically when trying, I was trying to animate this effect. So let me just show you here. We don't have the noise or over there, the animation. We only have that noise once we press the nitrogen. So here we don't, we're not able to animate these keyframes. I think this is a bug in Blender. You will, hopefully we will fix it later on. So right now, which we need to do is true slash with a lower bumps or low noise. Let me just show you that. For the strength you can give it just point zero-one. See that? So still bumpy, which is good. So let me do the same thing for the y-axis. Add Noise strength, give it 0.1, and symptoms on the x-axis, Let's Add Noise, give it 0.1. So let's try that. Just see. Okay, cool. Maybe, yeah, that's a little bit too intense. Start from the beginning. So for example, when Rendering this, we're going to render 0-50 and we're going to stop and we're going to change these settings. So for example, on the GX, let me just check. Actually like Gy forward and backward. From here we can set it to 0.20, 50.25. Just to have that affects 0.25. Let's just check that up. Yes, you have that effect also here, 0.25. Here, it's so much, so just 0.15. Let's start from the beginning. We got that with the boost. It's gonna be with the nitrogen boosts cannot be looking at us. So by the way, this is the one that I achieved. Let me just show you. So if you follow the same steps, can be following something like this. It's gonna look really awesome. Yes. So the last thing that really should do is to animate in the chassis. So you can see here once we activate the nitrogen, the chest is going to go up. So let's do that real quick. Alright, so now let's animate the chassis. We need to move it upload limits. So at frame 50 you, so let me just jump into the pose mode. I'm going to be selecting my chassis. And I think Let's animate it right here. Actually should be no, no. What's on the X here. So right-click and insert symbol keyframe. And we can jump, for example, to frame 60. You can take it down, set to 11 here. So right-click, insert a single keyframe. Let's check that up. Nice. Can you see now so nice Boosting effects, which is good. Maybe that's a little bit too intense so we can set it. It's going to reach its peak at frame 70. So let's just set huge one, right-click and inserting of different and just get back to the old one. And I'm going to just delete this one. Deletes different. So now it's going to start from here and it's gonna keep going up until frame 17, 75. Yeah. And at frame for example, it's already going down. I don't know which frame we're here. 320. But actually at frame 200 shouldn't be reaching its original place. So zero, right-click and insert single keyframe. Let's check that again from the starting point. Maybe a little bit before. Now what? Let's just apply that to Boosting effects a little bit backwards. So not at frame 40, 50 registered, for example, to frame 45. 45, right-click, insert zero, single Different. And here let's just say, I'm going to just remove it so that we can start from frame 45 and not for me. Okay, Let's just start from the stuff from the beginning and let's see. Nice. Pretty much thorough. Check if everything is working fine. Yes. It's going up. Definitely. Yeah. We got some some we can for example, he's set it to 1.5. This is just a Gameplay. Don't have something that goes like this because this is too intense, too much torque. But I just want to see if, if it's working or not solely just maximize X1. Let's see. We got it. So in the next lecture we're gonna be working on our fluid Simulation and we're going to be adding nitrogen Boosting effects. Alright, so see you in the combinatorial ticker 43. Fluid Simulation Add Nitro Speed Boosting to Car Exhaust: In this new tutorial, we're gonna be learning about the fluid Simulation in Blender. We will add the Nitro Speed, Boosting, fire effect and smoke to our vehicle exhausts. First, I'd like to select my Car, the chassis for Vehicle, and let's work on it. So first we need to add that domain. So let me explain. If you want to have fluid Simulation whatsoever, you need to have two objects. First gonna be a domain. The domain is where that semi-trucks can occur. In our case, we can just create a cube. So on, let me just Bridge here. I'm going to put the cursor here. So Shift S, cursor to select it and it's Add shift a. I'm going to bring the queue. So this keeps going to be our domain images. Move it up. As you can see, I'm trying to move it backward. So obviously we're going to be having the Nitro Simulation starting from here. And it's going to go, for example, interior. So you have to be optimizing this cube because otherwise cannot take more time to bake. Actually don't need any. This space. One is gonna be big and anything in this area. So let's just move down to something like this, also on the ground. So I prefer making it well aligned with the wheels like this. So we're going to understand this principle later on. Okay, So after That's also always make sure that the Scale of this item is set to one. Otherwise you can do this control. I apply the Scale, it set to one and one-on-one. So we got our domain. I'm going to just jump into the physics properties, this one. So physics properties click on it and choose fluids. This one is set interval with right now and for the type of it, like I said, it must be a domain. So again, the domain is where that Simulation, it's going to occur. Also, let me just set the center of mass from year to the center of it. So objects has origin and origin to the geometry just like this. Alright, so now we need to add our second objects, which is the source of our nitrogen, of our fluid Simulation. So I'm going to just do some tweaking Z. I'm going to be selected my Vehicle, go to Edit Mode. I'm going to be selecting these Exhaust here. So just faces like that also here to something like this. Also would like to extrude it inside a little bit. I don't want to be able to see that. That's end. So maybe a little bit deeper, something like that. So after that I'm going to do Shift D to duplicate these objects. Just learn more planes. And I'm going to press P and separate selection. So now we have these objects separated. We can move them outside a little bit like this. We're going to set this object to be the source of our nitrogen in our scene. So change over here, the fluids, so click on fluid. Always we are in the physics properties. And for the type of it, Let's go into flow. For the type of the flow. So I prefer to set it into fireplace smoke and also for the geometry. So actually we need to have an ingoing. We want it to be keep producing that smoke. It's going to keep giving us that smoke, not just one time. So you have to set it to inflow. So the difference between inflow and outflow. So the outflow is going to suck the smoke if we are having any smoke source in our scene, if we set any objects into an outflow, It's going to suck the smoke. And for the inflow it's going to do the opposite. It's going to image the smoke. Alright, so we got that. You guys, all the components Also, let me just go to objects at origin and origin to the geometry like that, which is good. So I think this is the sweetest spots. Something like this for the type of it. Like, like I said, we set it to flow, but I want you to make sure of something. So this object over here must be inside the domain. Otherwise, it's, one's gonna be walking this Simulation we're going to be working. Make sure that this object is inside this domain, which is just the keys in our situation. Alright, so let me select this published Also. Let me set this Scale. So Control L, I apply the scale to 111. Okay, so now we're going to go, alright, so whenever it starts our fluid Simulation, so we're going to let me just first sewage material preview much bigger problems. So if we jump, for example, intraframe 13 can see that data objects cannot be exiting this going outside this borders. So let me just reverse back. So in my case, I'm going to Adjust height or let me just switch here, selecting my bone first CarRig, we're gonna be switching to the post mode. And let me just jump into the physical properties. Where is it? Actually you must be selecting this one. This bone is one. So this is where we, this is the one that we animate it. I'm going to just hide that path, this one, which is hybrid so that you can have our Vehicle fixed. So let me just find it should be at the center of the origin. Here. There we go. Pay. So let me bring the other components and let's link it to it's just so that we can see our simulation first and after that we can now connect this object with the other one. So let me just move it side. I'm going to press seven to go to the top view. And let's put it behind our Vehicle. This is our Vehicle legit behind it. Just like doubts. Perfect. Period. To zoom on it. Sick look, maybe download a bit. Something like that. Must be touching the ground Okay, so from here, you can see if we start the big eruption, be having any problems because we're excluding, but excluding that curved path. Alright, so let's start a bacon, but let me check the other components. So we have this guy here which is good. We can call this here the nitrogen source nitch or Exhaust. Exhaust. So now we're good. So let me select my domain. So if you want to bake, you have to select your domain and go back to the physics properties. Scroll down. So as a starting point, we're going to go with 32 divisions. That's fine for the resolution and Get back to it later or so here for the type of our baking, I will let you set it to all. I want to, I want you to check this is resemble this. We can bake and we can stop and we could continue the picky later on. Let's start baking this one just so that you can see what we got is you can see it's going fast because running on low resolution. So let me stop here. I'm going to press Escape to stop here. And let's see. So now we're having some smoke, which is good, but we need to work on it. So actually what we need to do is to push it outside. So actually the Engine is pushing the smoke outside. So since we don't have any force-field, the smoke goes up. So if you switch to wireframe, can see NADH. So this is a source of our smoke and it's just going up. So we need to find a way to push it outside. So this is where the Force Fields comes to play. So Shift a and let me show you. So down below we have here force fields can use one of those. So actually I'm going to be using the wind so that you can push that smoke to go outside. So let me just put the cursor useful shifts as course, which is Alexa, and Shift a and let's add a force-field. It's going to be the wind just to push that, just if it's blowing, blowing into that, but you know, the direction of the wind is not set correctly. So what you need to do is to our X and spinach by 90 degree. Actually by -90 degrees. So let's just reverse back. So our X -90 degrees, so it should be going this way. The effect of that, let me just scale it down. I don't think scaling down will affect that just because strength here stay still. Choose one can also do this control I and let's control is applied the Scale because it's just so that you can see that objects even better. So let me just move it backward. For example here. And I think that's the best parts we can move to look a bit to the Center for the strength of it. Let's start with something like five. Also, keep in mind that you have to save your scene because with the fluid Simulation is always crashes. So here let me just college Nitro tests. Alright, so let's see if that's and it's Get back and try to bake our smoke. So let me just expand this one. So if you want to read bake, you have to free the old data and repackage again. So free that data and bake all from the starting point. Okay, so we can stop at frame 60 to assess quality and integrity of scenarios. You can see we're pushing our smoke this way. So if you want to, if you want to have more smoke or more nitrogen, we can do this. You can select the source for nitrogen and it can go over each of the few signs. And you can set, for example, to 2.5 just to increase the amount of fuel that regard. So let me just reset the bake in again. So let's free the data and bake again. Pick all again. Good. Let me stop and check again. As you can see, we have in some our strong stroke fluid, but it's going up and see the directional valves which is not good. So actually we have to push it even further. So let's increase the wind effects. Just a dish we can make our, our nitrogen goes a little bit horizontally. So I'm going to just increase its strength to ten. Okay, so let's read bake. So I'm pretty sure that the word of remaking scanner keep repeating echoing in this video. I'll probably want thousand times or even more. So let's stop here. So let's stop here and check again. Now, there we go. So as you can see, we have that, so it's going straight. It's a huge, the amount of nitrogen that we got is really huge. So actually what you need to do is to reduce the size of these objects. So we can Scale and down like this. But also, if you want to scale objects on its own, make sure that you are switching to this one, the individual origins. Otherwise, if you are an intermediate point, which is default, so you're gonna be skinny like this, which is not the case. So switch this one to the individual origins and scale it down. Also, you might consider the skin H on the x-axis. So ESX, making it smaller because we don't to have this really looks like a rocket launch or something like that. So just get back here and let's free that data analysts speak again and let's see the results. Alright, so let's stop here and check again. Nice start to look. Looks good. Yeah, maybe. Yeah, actually what we need to do is to also apply the Scale. So the SCOTUS Scale is applied as we still have huge amounts of smoke over there. I think if we increase the resolution of our domain can be better. So now it's set to 2D to free the data and set it, for example, 75. Okay, We can always, always make sure to save control S to save everything. And let's Render. So I gotten this top, bake everything. Let's wait for a skeptic some time. Because as you know, the more resolution Long course can take bake. I think that's 40 is enough to give us an idea about. I think now it's looking, Start to look even better. See that I like it. Maybe you can reduce the fuel bit down. So it's going to be from this way. You can reduce the fuel just a tiny bit. Let me just select my object and go to the fuel itself, for example, to 1.75. Okay, so let's try again. I'm going to be selection might domain, and let's free the data and bake again. Let's stop here at frame 40 again and check again. Now now I think it's looking pretty fine. Don't worry about the smoke. We're going to remove it in the Texturing parts. I think we're good. Yes. We can also do something else. So if you want to add more details to the smoke, right now, it doesn't block Car. Messy. So actually nitrogen looks like a bit consistent like this. So we need to add some randomness. So if you want to do that, you can check this noise, noise effect like this jacket. And let's keep it at, I think two is fine. Okay, But also let me just free the data and really, really bake so that we can be able to see our noise takes effect. So let's pick again and let's see. Let's stop here again as Chuck, what do we got? So now as you can see, it's more messy, tells a lot of details which is good. It's going to look really good in the tax rate section. Like it. So right now, let me just switch to the maturity of previous associated with Car. Yes, actually, we are not able to see anything because we didn't apply any material to our domain. So let's do that. So I'm going to just expand this bar over here and let's just switch it. Or we can make it cuts, divide this one into two sections. This one is devoted to the Shader editor. Here I'm going to be switching to the object. So like always, you need to be selecting the domain if you want to apply some textures to the smoke that you have incited, not the source of our nitrogen. Here, Let's Add a new material. Let's call it Nitro smoke or fire, not smoke, fire. From here. Let's remove this principle VSTS. Let me just maximize this one so that you can use it. So we want is gonna be using this one. I'm going to be using, so X to delete it, we're gonna be using a volumetric shift a. Let's Add a volume principle, volume, the second one. So Shift a and just type volume and you're gonna get this one. So the volume should be connected to the volume like this and control space. There's just get back and take a look. Right now, we can see that we have some smoke which is really settle. Not sure if you can see that or not. But let's go ahead and increase this a blackbody anti-institutional, for example, 100. And now we're going to be able to see our fire can see now she's good. Doesn't look that square root on the viewport, of course, but we need to tweak it. So for example, we can switch here to the render, but always make sure to save, don't want to lose our progress. So let's switch ear to the Render View just so that we can see what we got. There we go. So we got our fire. So what we need to do is to tweak a little bit the check surrogates images show you. So we can do this. I found this formula if voltage on the vendor Stack Exchange. So let's do it, shifts a, Let's Add first a math node. Okay, we need this one. Then after that we need a ramp, so it shifts a, We need a colorRamp. And the third node that we need is the attributes. So just bear with me, I'm going to explain everything, the connection between those attributes. So first, I'm going to just go ahead and connect the factor to ramp. Can see this nice effect. And also this while it's connected to the top one, for the name of this one, you should be density just like this. Or we can copyists or you can just write it down density because we are going to be connecting this value to the density like this. This is for the first known, for the second node, we need to switch it from linear to constants that we can have fixed scholar be playing with this one so that you can have different results. For the third node, we need to switch it from add to multiply. And we need to increase this value to 100. Okay, So Control Space Eligius, get back and give it a check. So we're not seeing anything I see. So let's switch to the Render View and let's take a look so you can control a little bit the sides. Let me just take this, this node handle and we'll just take it. The right side to the left side. Yes. Actually, I'm not seeing anything. Doesn't show anything but that's fine. So probably just remove this chip. Density. What about connecting this one to density? Realistic, look, there we go. So actually we should connect it to the density, the density attribute. Now we can see some, some realistic, yeah, it looks start to look Realistic of them. We can also trim it a little bit because we don't want to have any heavy smoke like that. The SEC Luck. Yes, It's looking good, but let's make it even closer. You know what, let's do something. I'm gonna get back to the fluid Simulation. I'm going to only render The fire, smoke. Let's select our domain. Let's switch back to the physics properties. Let's scroll up. Actually I forgot about, yeah, Actually it's not the domain, but this one source of our fluid. So here let's set the float type to only fire. So let's select our domains and starch. Let's 3D data and let's make it all again. Experimentation, that's the key. We have to keep experimental with different results just as you can have or cheese something good. Alright, so let's stop here, escape and let's check what do we got. So it's nice. Several, We don't have any smoke whatsoever, which is good. So let's switch to the random. Look at it at in the Rendering viewports. Okay, let's make these closer a little bit. I think this one only works with the smoke. See any change here, but that's fine. Can roll with that, that's fine. So let me show you the other settings that we can change. So here on this principle volume, we have the blackbody intensity. Let me just switch back to the solid because sometimes it's lagging on the Render view. So here we can do this. We can change this blackbody tint color. We can make it, for example, bluish, give it that's kinda realistic look. So usually the nitrogen has this bluish color. It looks like this, but not like this. Let me just Street Bridge. Even more. Something like this. But let's increase that. This color. If you value, Let's click on it and let's set it to, for example, 50. And it's secret, no-no, That's too much. What about 20? Even 20 is a lot. So let's set it to, for example, five. Let's take a look now actually, I don't pay them like this bluish effect. What about let me try to play with it a little bit here. Yeah, for example, that's something like that. Okay, let's increase this one to 15 sigma. Look at it. It's gonna be better. Yeah, we can keep experiments with different colors of the file smoke, the nitrogen. I don't I didn't like it, to be honest with you, this one looks a little bit greenish. Let's just try to remove that green color, which is playing this one just little bit to the right side. There we go, so it starts to look good. Right now. We have some residue, have some white stuff inside it. Let me try to increase this intensity to 150. Increase that. What about a 300? Niceness now, no, I like it here. Now it looks really good. Let's bring our Vehicle back into the street racing. So let me select my bone here and let's switch to the post mode. Gonna be selecting this one. Top one is going up because our Bridge is not straight. So let me go here to the bunker. Strange and let's make it visible. So now we're going to be, yes, actually forgot something really important, which is to make this object over here, the wind force field and the cube, we need to make them connected with our Car. So the weighted towards is really simple. Just select all the components that you want to link The vehicle is and shifts and select the car. So mature that Car is the last one selected and press Control B. So now we can see that we have to set parent object. Okay, So now they are connected. So if we select our chassis and mortgage, so those objects seconds stick to Car, which is good. Okay, so let's bring back our Vehicle to work. So obviously the starting point is going to be from 50. So how can we set that? First select the domain. Let's jump into the physics properties, scroll down. And here we have this inside the cache tab. We're gonna be seeing the starting frame NBN. In our case, we want to start this one from frame 50, GIC here from 50. So let's set the starting frame to 50. And the end points cannot be, for example, 100. You can stop at 110, 25, 125. Okay, so our fluid's going to start from frame 50 and it's going to end. It has 125. So let's give it a check. I'm going to select my domain. Let's 3D data analysts read bake again, okay, so are picking is completed so we can give it a check. So normally should start at frame 50 and it's going to end. There we go. Righteous. Pretty nice. So we've got going on and it's going to end at frame 125. Let's check that up. I also recommend doing this so you can see that shut down doesn't look that good. So it's gonna be good if we have, It's our exponential or not, we'll just linear. So actually there is a quick trip to do that. You can select the source of our fluid and you can animate it. The fuel, for example, at frame 25 can now let's just first, we can stop, install the decline of our natural that frame 110. So right-click here, sets, insert this keyframe and we can jump into a frame 125. And we can set this fuel to what? Zero. It's going to end at that frame. So this way, what's gonna be sudden? It's going to be animated. Touch shutdowns gonna be animate. She's gonna, it's gonna be looking really good. Alright, so that's it for this tutorial. So we will have to add this fluid Simulation to our course. If you have any questions, can live in download. So thanks for watching and I'll see you in the common tutorial of an awesome day. 44. Optimize Environment for Game Design: All right, So welcome back over into this new channel. So now let me show you how can we optimize our bridge here, our scene for game development? So first what I'd like to do is to select only the essentials. I'll let you select my bridge. And also I need the ocean, so that's, those are the main components. And also here I need to keep this curve that's adding this tourists, tourists. So let me select first my bridge, this bridge a, and let me just pick the name of that. So I'm going to go to modifiers. The name of it is this nerve bath. So let me just search for it. This guy, this guy here. Okay, so let's select that first shifts. Left-click, select the bridge and also shifts in the ocean. So control, I drew rivers selection. Let me just share on my screen cast is so this one control I, I need to do it again, I k and x and remove everything. So we're selecting, every other one will be selecting the rest of the selection. So we got our scene right now. So now let's just show you is how can we optimize this one? So optimization is really simple, simple process. So it's to help us to reduce the poly count of our mesh. So right now I'd like to do is to check the statistics so you can click on this icon. No, not that one, but this one. You can make sure that you are checking this statistics just so that you can be able to see the number of vertices that we have. Right now, as you can see, we have 14,000, which is a bigger number. So we might need to reduce it down because we're going to be publishing our game on mobile phones. So it's better to reduce it. The polygons that we can maximize performance. Alright, so I'm going to start first by removing these cuts. I think we have too much cuts here. You can see that I don't think that's gonna be necessary. Alright, so we're gonna keep removing and checking if that's affecting the scene. So let's start from here. So this is actually I think I need to keep it. So Shift Alt and select every other one like this. So now as you can see, what slot in 1,200 vertices. So that's a reasonable, so we can just delete it. But before doing that, we need to check. So I'm going to press zero. Actually, we lost a camera. Okay, that's fine. So I'm going to go to Edit mode and we can check from here. So let's start from here. So we need to, we don't need to lose too much details. So I don't want to lose this curvature. So let's just delete that. So x and remove this 1.1200. That's good. So right now as you can see, we didn't lose too much of that curvature, we still have it. So what I'd like to do right now is to repeat the same process. We're gonna keep optimizing our scene until we get we can see those changes, but it's actually right there. We have to stop. So that's the first step, as you can see. Now let's check the entire geometry. So we're running at 12,000, So we just remove two, which is really good. So the next thing that I'd like to show you here is these pipes. For these pipes already, they have too much geometry. So you can see that they are taking a lot of space and we can do this. I'm gonna be selecting every other one. Let me also go to the inside. So this way it's going to be easier to select everything like this. So Alt, click here to select the entire row. We see that so everything is selected. Let me just go to the inside. So obviously when playing game, you're always gonna be paying attention to these pipes on the top side. So we're going to just cut them down, really, really down. Something like luckily we got that nice circle. So right here we're selecting 12126. Not a big amount to be honest. But as you can see, it's duplicating itself multiple times. So we must consider that true. So let's say that this 100, 200 year and multiply it by five, which is 500 or no, I think it's 1,000 years. 100 per each, 200 multiplied by five, which is 1,000. That's not a negligible amount of vertices. So Excel is just remove that. Alright, so next, let's do the same thing for these pipes here. Let's take a look. So we can try this alt click. Okay, so we're selecting everything which is good. So I'm gonna go to the inside, gets inside here. And I'm going to repeat this process. So select every other one like this x and these orbits before in the way that as you can see, it's almost 200 disease genes, good amounts. And also here Let's do the same thing for these tiny pipes. All allergists select Every don't want again, but here we need to check. So sometimes you might not have it's continuous. I think I have this case and the bottom side, I'm going to show you how to fix it. So X and X Allison dissolve that fine. In here. Let's take a look. As you can see here, we have this problem. So it's not continuous. It's gonna, even though if you are pressing old, she going to stop right here. The reason why we are having that, let me just show you. If I get inside this pipe, you can find some faces. Let me just show you. Obviously you don't have any phase. Here on the bottom side, we have this face. This phase is blocking that selection. It's not allowing us to select everything. So the way to do it, do what effects it is simple. I'm gonna go to the front. Mark is the front is the one, the one key. And I'm going to zoom on it. Let me try again. Yeah, that also I'm gonna be switching to the wireframe. And from here as you can see, we can, we can, we are able to select all these frames, all these phases like this. So now we're selecting everything can switch here too. Yeah. So hopefully you can see them, all these faces that they are blocking our, our, our selection. So all we need to do is to X and resolve, resolve those faces. Now I believe we are going to be able to select the entire row. So let me just give it a try. Alt, perfect. So as you can see, everything is selected. Wireframe. It's all selected. So let's trim it down. So let's add those. Going to be zooming here. We must follow this example here. So let's select period here is Zoom audits. So this is the way through because sometimes navigation it will undermine to be confusing. So I'll select Shift, Alt, select allergists, can these down like this. Okay, so as you can see, wow, we're selecting 352 vertices. So you can imagine the duplicates. So let me just do it exactly 350 multiplied by two, which is 700 multiplied by five. So that's 3,500 vertices. So that's a really good optimization here. So let's dissolve those edges. And basically now let's take a look at the entire geometry. So we're learning right now at 11,000. I prefer, I really want to cut it down to only 1010000 or something like that. So let me do some optimization here on these three balls. Obviously I got some problems here. So I need to work on it a little bit. I need to delete the left side, this side here. So let me just select it using the alkene. So keep pressing L key into neural, select everything and also these objects. So right now we're selecting 1,000, which is good. X and dissolve pitches. Perfect. Now let me check. Yes, we are running at 10,000 vertices. We can also, for example, do some optimization to this object here, but I don't recommend that. So you can see that we have this bevel here. It's set at three, but we already apply that, but that's fine. So I'd like to keep it for having some kind of reflection on these edges. 45. Bake Textures The Right Way - Ocean Shader: Welcome back everyone to this new tutorial center. I'd like to show you how can we create a real textures. So let me explain. So this is our ocean shader. So if we export this plane into Unity, unity one is going to recognize is not set up that we built. So this node is only recognizable in Blender. So what we need to do is to bake these chapters into real textures like this. So this process is called baking and we're gonna be doing is right now. Alright, so let's get down to it. So the idea here is to just make a cut. So we're going to just export or bake, for example, just a section. And we're going to tile it, duplicate it lots of times. Alright, so let's do that. I'm gonna go to select my plane, go to the top side. So Shift S, I'm going to put the cursor at this one at the center. So this is a central for grid shift a, and let's use a plane. So this plane is going to be our example. So obviously you need to scale it up on Edit Mode. I'm going to be scaling it up. So let's get, for example, by ten, okay? They note that it's not, doesn't have to be right down. So we can just move it here just so that you can see the section is we're going to be a vacant. So where is yeah, it's here. I think can maybe a little bit up. So this increases up to something like this so that we can have a bigger portion of our ocean. Fine. Alright, so let's call this one that baked, baked option, just so that you can be able to recognize it. So first we need to add a material to it. So from here or from here. Simple. So let's add a new materials college. Ocean. Ocean baked doesn't have to be the same as this one. So this is just a separate material. So shift a, let's add an image texture, this one. Okay, let's connect to the curve. And here we can create a new texture. So let's press New. And here I'd like to go with two k. So let's multiply this one by two. Same thing on the bottom side, multiply by two. And here let's call it ocean, ocean texture. So we're going to be big in our ocean from here to this texture here. So let's press Okay. So right now it's gonna be just a black texture. I can show you that here. So ocean texture here. You can see it's just a black. So after the begging, we're gonna be able to see this color here, the ocean shader on it, sorted. Now let's start at the baking process. So first we have to select the ocean. I prefer to bring it outside the collection just in case. Yeah. So they are at the same level, which is good. So let's select first the big ocean and shift and click on the ocean. So this one is the second one, right? So we got that. I'm going to go to the bacon here, but also I forgot something really important, which is the UV mapping. So we need to check this one. I think it's set up by default. So if I jump here into the UV editor and switch on edit mode for the big ocean. So you can see, let me just see. Yeah, it's connecting, it's contained. I've already done, which is good. So the UV mapping is set at the boundaries of our texture, which is good. So right now, only have to do is just go ahead and bake. So let me just select the beak, the ocean first and shifts the ocean in here for the resolution, let me just scroll down a little bit here. We found the beak yet BQ. So I'm going to let you start first by the color. So let me just search for the diffuse, so the diffuse color. And also here this is an important attributes. So this one, we can use the direct lighting or indirect lesions. So in our case, I think I'm going to just keep the color. So all I need is color because we're gonna be affecting or sick. Look. If you want to use this this lighting here, I think it's looking good. It's making our texture looks realistic. I think I'm gonna go with that. Yeah, that's fine. So let's just turn on the light in that direction and direction. I think we're good. So also here to make sure that you are selecting this selected to active because we're doing here. So it's selected to activate the ocean is the active one. And also here for the resolution results from the Senate. I'm I'll just keep it like that because this is just a normal bacon. It's not that difficult. Let's just go ahead and start baking. For some reason the diffuse does not work in baking, the views does not work. It's given me this black image. So when I switch through the combined networks, but also make sure to switch this one to the ward and try to increase this background color for exam, I gave it five just so that we can make it, make our text looks bright. Alright, so let me just go ahead and break right now and also make sure to check, please this direct and indirect light in. So let's go ahead and bake. By the way, you don't have to wait until the bacon reach 100 per cent so that you can see how it's going. So we can start, for example, at seven per cent, just press Escape. And I'm going to stop that. So you can see that I'm Morgan or I'm going in the right path. You can see the texture is for me here. So I'm going to just continue. So start making. I'm gonna see you once this structure is finished. Alright, so there we go. We've got our diffuse map. So I'm gonna just go ahead and save it. So I'll just save, Save As, I'm going to save it here as ocean shader or ocean texture. Let's call it diffuse. Use our base color. So Save As now let's bake the next one, which is the roughness. So switch to roughness here and let's bake again, make sure that this one is saved because it's going to lose it. You can look just right away. So big switch for it to be baked. Alright, so the baking of the roughness map is completed, but as you can see, two not to be completely black. So it makes sense because we said previously, the ocean to be completely transparent. So can you not see me for displays? This was just a stupid move. So that's fine. We can save it. Oh no, it's just a black kid. Just turn it back into transparent. So what we need to watch we are interested in is through the normal maps. So these pumps, these pumps are really essential in the ocean process or it's sort, it's big data. So the normal maps can be central on it. So we've got our normal maps, so this one is definitely worth it. So if we zoom, you can see these bumps. So this one's going to be essential. So let me just go ahead and save this one. I'm going to be saving it as normal. So like I said, the fuse is just a black image of data. So save image as that. So now we need to assign d. So let me just bring back or sulcus form always upload limits. We're going to need to switch back to the object just so that we can test if our textbook looks like the ocean. Otherwise, we might tweak it a little bit. Alright, so this is our taxes. I'm going to just drag them and put them here. So let's just drag this one. And this one is the normal control space to maximize this window. Let's start with a diffuse. Let's connect it straight to the base color. And this one will just delete this structure delta H anymore. And this one is connected surgeon the normal, but we need to add as normal converters. So shift a normal map and just put it here on top of this one. And also here we must switch to the non-color. Okay, so construct space. Let's get back and let's take a look at our new Jackson. So it looks weird. So definitely we need to tweak it. Yeah. For this roughness, for the roughest, I need to set it back to only zero so that we can make it completely glossy. So it looks a bit like that. So this is how it's going to look like in Unity, which is a little bit intense. We might consider, for example, reducing. Let me try and just switch to another color. Let's see if it's gonna be better or not. No, Not at all. It's just revert back. I think it's reasonable. So we're gonna be using this structure in Unity 46. Bake Bridge Textures The Right Way: The second map that I would love to bake, or which is the Rust Belt with the rest we need to be careful a bit. Let me just repeat the same process. I'm going to just duplicate this plane that we can reach. Shift D can just move it to the side. Here I'm gonna be switching this one. Let's choose the material and yellow this one. Alright, so here we need to tweak it a little bit 3D to tweak our material. So we can also do this. I'm going to just duplicate this material here. I just wanted we can make two copies. I don't want to alter the any changes. I don't want to affect the other Bridge. So this one, we have another Material, so let's work on it separately. So luckily here for Fourier, for the texture coordinates, I don't like that. So you can see that it's going just like if it's scaling down to this point, pivot point or something like that. So when you just switch it here from the objects that starts with a generator, the generator doesn't give us any details here. So what about increasing the, Let's try to increase Scale of our structure here. Here we can see those bumps, but same thing here. Yeah, what about here for this one, Let's try to increase that Scale. Yeah, there we go. So I'm going to increase it to 0.5. Let's see. Yeah, sounds like this. This all looks fine. But also we need to consider making it seamless so the borders we might, we need to make them all unified or I don't know how to explain that spot. So we're gonna be tile and this one, let me just show you a problem with this one. So if we add the overview, the remedy file, so it should be working just fine, but also we're going to be added. Another remedy file should be down below, so let's set it here to one minus one, K minus one in here it's set to zero. So it's gonna be seamless. But right now we're using, we're not using that. We're using this one as a Complete just Bridge back to just UVs. We're going to be using the UVs and set up the generator. And just to have an idea of what's going to happen later on. So this is our Texture. Can see it's repetitive here, but that's not a big issue, especially with our mesh here. It's different. We need to tweak it. So this is how it's going to look like. The Rust looks good. But we need to, for example, let's try something else. Here. Destroy know what this map, but this one. Increased doubts. No. What about you have big black puddles? You have something like this, but let me try to increase the scale of our war Musgrave texture. So let's search 0.75, even up a little bit. One or about one. So you can see the problem here. So this is what I meant by seamless. We don't need these edges here. I'm gonna just revert back. I think the prior one looks good. This works fine. Let the bits problems here, but that's fine. So we're gonna be big in this one as our new checksum. So let's just remove those remedy file. And if it's not working, if it's not fair in our example, we can revert back control. Have tried, tried different examples. Also for the bumps, I think it's sent you increase, It's a little bit up. But also I need to invert the bumps. It looks a little bit out outwards, not in words. So let me just try inverts the bumps are at so we can the bumps inverted also for this surface, it looks a little bit flat, so I think we need to control this noise Modifiers. So let's try to increase er. Can you see that? So on the background we are seeing those bumps, which is nice. So now slash, look good. What it looks like calculates, be honest with you. So let's go with 15. And from the broadness here, Let's try difference. I think I'm going to just keep it that way, but also for the realistic look. So what about the metallic? So this object is purely metallic, so this increase that up. Now start to look good. We can tickets to 0.6 and also for its color. So I don't recommend going with strong color like this. So it's better to make it contrasts little bit down. So the more you make it like this, you can give it those strong candidate looks fake it looks comes to English. So in reality, we don't have those strong colors. So consider going with something more intense. We just try. Yeah, I think I think it is the sweetest spots here. Okay, fine. So let me just strange those, I think now it's good. So let me just go ahead and bake these texts Orbits. I think we deviated a little bit from the, from the yellow color. Let me just move it a little bit here. It's shown probably darker. Okay. Yeah, let's just go with this one. Alright, so first we need to create, Let's call this one baked on just this one is the Ras. So let's add the new plane. So Shift D, duplicate this one. Let's call it Rust, bake, bake the Rust, something like that. So here we need to remove that texture. So you need to add a new chunk. So let's call it bake. This one going to just use this Texture for just bake, it, shifts a. Let's Add an image texture. And I'm gonna be searching for the audience. What is create a new one to K? That's fine. Let's call it peak. We want is gonna be using this one as a final law. So you can just use it to bake on it. And after that, we cannot export our own Textures We've got this one selected, shift and select the Rust Camera. Good, but also make sure that you are checking the UVs. So in this case, films have just a normal cube, normal face. So you don't have any challenge without so select the Rust bake first shift, select the Rust and a score of age depicting settings also over here for the random samples. So since we have a low, we need, we have too much details. I'm going to just increase it to 200. I'm going to just scroll down over here to the bake settings. And I'm going to start with the combined. So let's start with the combined and from Lighting, I'm not sure what Lighting should we keep the light enormous. Let's start with keeping the lights and on, and it's If he's going to be better. So make sure that this one selected or it's so vague. Like I said, we can always stop and assess the quality of our bag. So I'm going to press Escape and see how our bikini is going. So as you can see, we can see the, the Rust going on, which is really nice. I think we are on the right way. So I'm going to just continue our bacon or we got our Texture Beta and we will just go ahead and save this one. So this is our diffuse map. It looks great, gel-like. So let's just go ahead and save it as Rust, base color, base color. Alright, so let's just save it here. And the second one is gonna be the normal map or the roughness. Let's go with the roughness. Alright, so hopefully the roughness is gonna be fast. So we got our roughness map baked. I'm going to just go ahead and save it, save it as the roughness. So let's call it here base color. So roughness map. Ok, save, and let's bake our last Map, which is the normal maps. So this memorial is essential. So it's big. It's also, I will suggest that's fine because thinking of increasing the strength of the normal mode, but that's not needed. We can do it later on. Alright, so just switch for our last Map to be baked. Alright, so this is our last Map, which is the normal map. Just go ahead and save it as normal map, which is C. Alright, so now I'd like to do some experimentation through our columns are Bridge Columns here. So let me just duplicate this one. You can messed up, not messing up everything. You can switch it a solid and just move this one aside like this. So all I'm interested in is just this object. So I'm going to use the Alt key to select these sections and control in X, remove everything. So now that you apply this new material which we just created, this new, I'm going to just remove everything here and create only one Material. Let's call it Rust peak. Alright, so now I'd like to drag those textures that we just bake. So we have the base color, we have the roughness, and we have the normal, the normal map. Okay, So Control Space and let's assign this base color to the base color. Roughness goes to the roughness and also for the metathesis, increase it to something like 0.8. And for the normal methods connected to denote the normal and it's at the normal map converter. Put it on top of this one, and let's switch this guy to the non-color or so control speed. Let's get back and switch here to the material preview. Let's take a look at it so as you can see it right now, it's sucks. So we can also change the set origin George into geometry like this. And let's experiment with this a little bit. We need basically to have some interesting results. So let's switch to edit mode. You, Let's start with smart UV projects, just so that you can see now is you can see it starts to look better. Also here for this metallic value, I think it must decrease it down to something like 0.2. Now it starts to look even better. Yes. So maybe it's glossy. Yeah. It's looking like this colossal. Let me try to switch this one to the non-color. Now, start to look slightly, which we're to be honest, but I like it. This is how it's going to look like in our game. It's going to look like this, which is good, not bad. Also, we can do this if you want. We can increase the tiles here, we can scale it up. But I think it's gonna be easier to do it in, in Unity. We are going to see that because if we scale it here outside the boundaries, swans going to work, we must keep it inside the boundaries, but we're going to see how it's going to go in Unity. So I like this shape. So I'll actually do right now is to change. We need to just keep this object is like this one. And let's, let's make a copy, Shift D, make copies. So this is the version that we need to export into Unity. So we need to reassign those, these objects. So I'm going to just press tree. Actually, it's really hard. So just go ahead and make sure to select all these objects using the LTE, of course. Right now let's try this so you end Smart TV projects. Let's see. Yeah, we got it. Yeah, Let's take a look at it. But here for this, we need to use the Metal Rust Metal big bras to be yes, Let's take a look at it. This is how it's look like. It's pretty much low quality because we're doing this would combine it all these units into one Maps. So this is not the case. So actually what we need to do is the third one. So we need to select each one alone. You smart UV project, like this, okay? So we've got that. This is the first 1 s one will need to repeat the same process. Use multiple projects. Let me check if it's difference. Yeah, you can see that it's a little bit difference and that's good. We don't want need to we don't have to make it all look in the same. So this Matsui Project generate different UVs each time we use it. So that's good also for the last one, not the last one. Okay, got this. And from the last one. Same thing. Select all these you and smart UV project, basically that set, so we got it. So this is how it's going to look like in our games. It's looking pretty nice. So I'm going to just go ahead and export our scene, but we're gonna be doing that in the coming tutorial. See you soon 47. Install Unity - Create Game Project: Alright, so now we're gonna be installing keep Engine as we're gonna be using, which is Unity zoologist search for Unity here. So 3d, I think that's the real name of it. So this is their official website. So it gets started. Of course, Let's get started with that. So here the teams, we don't in general, I'm gonna just jump into individual. So this one is three. I'm going to be using the personal version. So solar three, so Get Started wavelets. So for first-time users can click here. So I'm a returning user. I already sign up here. So just go, go here. And that's accepted terms. So you are not making under 1,000, Kay? She's case. So most of our sergeant Star Started with Game Design. I'm gonna be installing this Unity Hub, so let's save it to my desktop. Or it's just switch for it. It's one megabytes. After that double-click on it, and let's install the Unity Hub. So this one's going to allow us to install Unity version. So I'll just wait for it to finish. Alright, so let's run the Unity Hub. Alright, so we've got to a firewall. Notifications on will just allow access to Unity app. I think it's pretty much secure. Alright, so this is the Unity Hub. So trying to do right now is to install Unity version on the installs here we can add a new version like this analyst's shoes. I'm going to be choosing the latest one, which is this one, Unity 2020. So I think this is the latest version. So click Next, Next. And also here, make sure that you are checking this and joined Bell support because we're gonna be publishing our Game on mobile phones. So make sure to check this 12. And let's go next. Let's wait for it so we have to agree to that. So Visual Studio, Yeah, the visual to you and also for this one, the Android SDK and NDK license. So done and just switch for it to finish. It's going to take awhile. Thank is one gigabytes or something like that. So we're going to keep pushing for this line here to finish. Alright, so our Unity installation is completed, Sarah, and actually go ahead and starch or create new projects. So you can go to products here and let's create a new one. Let's call it Game environments. So here let's call this game environments. Are Car Game just to make a distinguished, distinguishes, okay? And also make sure that you are checking this 3D because we're making a 3D game multitude DVM. Let's go ahead and create for it. So our Unity is setting up. So let's just wait for it. Alright, so there we go. So this is Unity interface. So in the coming lecture, we're gonna be burning our assets and we're going to start building our game. So you see you soon 48. Export Bridge Environment into Unity - Assign Textures: So welcome back. So now I'd like to export our files, our Bridge Environment, into our game. So first I'd like to create here a folder. So shift a, Let's Add a new folder just to keep everything organized. So Bridge, and we can call it Bridge Environment. Okay, that's good. Alright, so let's get back. I'm going to press Control and scroll the mouse that you can be able to see our folder here. So this reverts back to our Blender Scene. So this is where we left. It lasts last time we were discussing the bacon. So we bake this guy here. So our, our Bridge here is baked. So keep in mind that this is how it's going to look like in Unity. So if you have these, these objects, so it must consider one thing which is the boundaries of this, this checksum. So he must not exceed in You must not be exceeding this on otherwise you might have some problems with the Jacksonian. This is the proper way to check for objects that you can export them into other engines. So I'm gonna be exporting this guy here. I'm going to just delete or hide. Let's just hide this one. What do we have next we have, That's what I'm going to just delete it. And for these two, I'm just doing some Optimization here. So let's just remove those synonym for this guy. Smoke this one to the center here. So this is center of our grid. And also here, let me do this. I think that's fine. Alright, so let me, let me also track. So we have this one, the other arm Let's just deleted. This one. Was it published on the back collection? Okay, I'm going to select both of those and go to File Export, export these as FBX format. So FBX, and let's call it Game Environment. I'm going to just export that will get Also, you can do this. So if you have in too much objects and you want Also, we want only to export the selected. You can do it and check it easily here. So export FBX and you can check this box here. Only limit to selected objects one. So that's a good thing to do. Alright, so now let's jump into our Unity scene. Let me get back. By the way, these are the taxa that we bake. This is our game environments. I'm going to just drag it like this and I'm going to drop it here inside our Bridge Environment. So double-click here, so we're gathered here, we can have it. I'm going to just simply drag it and put it into our review scene like this. And basically we got it, we've got our scene so I can recognize as a starting point. Okay, So now what you need to do is to bring our textures. So here I'm going to be creating a new folder. It's called it textures. So we have three taxa should. First we have what I think for. First we have the Ocean. Second one, we have this asphalt. Also we have this Rust metallic that's applied to these objects. And also we have, here we have some Bricks. So let's bring the essential first TO inside textures. Let me just, we have here the big Ocean, the Rust. I'm going to just drag them here. Also here we have the Bricks and the roadmap, so I'll just drag them all. So here we got everything here. This is a process. So we have fixed now, we have some we can fix now. That's fine. It's not a big issue. This is the process of creating textures. I'm going to just, for example, starting with the, I think it's already Assign. Can you see that everything is assigned, which is really, really good. We don't have to do any assignment which is good. So all you have to do is to just put these here, but I would like to change them. I will actually play with them all at limits. So let me get back here, for example, to draw, to start with, I'm going to press Shift, Shift a. We're not in Blender. So right-click to create, and let's use our, Let's create a new material. So this is the way sclerosis, let's call it Asphalt. Hello, actually have much more control creating our own materials. So selecting this one, you can see this tab here on this panel we have the albedo. Albedo is the base color, the same, just different, different name. So we can simply drag the base color like this and put it into this box or it's on the bottom side, we can see our structure. You can play which spinach it a little bit. So next Map is gonna be the metallic and the normal map. But you can see the difference here. So I've been struggling for this for awhile and I finally figured it out. Basically, this is not the right way to assign PBR taxes. So we need to swatch here from standard. We need to use this Autodesk interactive. So click on it. So you can see the difference is this one doesn't look that Realistic. This Assign defaults. By default Assign Textures, so we need to do it ourselves. So second Map, as you can see, we have the metallic, we don't have it. Our Road distorted metallic, roughness, skirt. I'm going to just drag this one and polish here. Okay. Good. So I'm not seeing anything right now. Yeah. Because we didn't assign it. That's fine. And the last Maps can be the normal map. Let's Bridge here at the normal map. Alright, so we've got our Road Texture can see it's looking pretty much good here we have the bumps, us, we can increase the bumps here, it's increased, for example, 2.5 You can see that hopefully you can see the bumps. Let me try five just to see those bumps. No, it's not showing here on the top side we can see those crazy bumps, but in my case I'm gonna just go with two trees, fine. Alright, so let's assign it to you. So we need to overwrite this default material that it's applied View. Slipping good about not perfect. So we need to use that one that is glassy. So select first year mesh and go here to the Mesh Renderer. So you're going to find materials like this. So it must click on this Material tab so that you can see these, these are all the materials that is applied to this object. So I'm going to just recreate or reset this one. We're going to overwrite tier. That's to what I'm most looking for. Overwrite this Material using the asphalt. So just drag it here and immediately you can see that. So now it's looking much more, better. Can see it's reflective. It has, and it's not all, all reflective. You can see the difference between the default and this, the default and this Autodesk interactive. So this default one, the standard. If you switch back to standard, We won't be able to adjust the smoothness. Which one's gonna be all glossy like this or Rough. So this is not the case. So let me just revert back to the Autodesk interactive. You can see the difference. We have some intuitive, have some durations which is looking really good. So let's do the same thing for the other objects. So for this object here, let me just so much. Let's see, zooming is consulted bit difficult here. I'm still new to, to not new, but I've been, I think last time I've ever interacted with Unity spin for more than four years right now. But the center of the basics. So let's create the new materials. So I'm going to just revert back to Textures. Jump into the Rust, right-click here, create a new material, and let's call it Rust K. For this one, Let's switch it again to the interactive Autodesk interactive. And let's assign this one, the Rust base color. We have here, the normal Map plus sign here and the roughness right there. Okay, So after that, let me check it here. Slogan, pretty much good. I like it. For the metallic we can increase. It's up to something like point 0.5. Okay, Looking good. Alright, so let's select our objects again. And let's go here to this material again. And what we need to do is overwrite second Material, which is the Rust suppressed baked. Okay, so now as you can see, we have, we have each all we have the bumps, we have the roughness, the glossiness. We got everything attached which is looking really nice, especially from distance. Looking pretty nice. Alright, so for dental materials, we have here this Bricks. So for the Brexit is actually a quick way to, to add the bumps. Let me just show you. So I'm gonna just revert back here to where we have the Bricks. Right-click create a new Material. Scala to Bricks. Looks okay. I'm going to just drag this guy. But before doing that, Let's select our Bricks. Which Bridge here. But for this one, let me try this. I'm pretty sure there is a way to do this. Let me try to fix. Yeah. There we go. So now you can see we got it, but we must stop everything. We must stop the original taxon. So this one we can call it Bricks, normal, normal Map. Alright? And we can go back and bring this one. You can bring the Bricks, the diffuse like this. We can assign it, as you can see, it's already assigned, which is looking good. But I don't like this one. It looks red. Why is that? Yes, we have to select the Bricks and Bridge on the albedo. So now we got it, even though it looks like it's weird. But I don't think that's going to be big issue, so we can reduce that to 0.5. Looking better. Also for the smoothness there isn't much make it smooth, should be glossy, should be Rough. So point 0.22 is fine. Is that Rough For glossy? Let me try the other way. Yeah. It should be even the glass, it looks fine. So let's set of points. About 0.6. One-to-five is fine. Okay, got it, right there. So let's select again our Bridge in here. I'm going to just overwrite the Bricks. We got it, even though it doesn't look, That's good to be honest with you. Let me try just tweak it from you. Smoothness. Usually or technically we must reduce that down for the metallic. If those make no sense to increase the metallic of metal, that's we're just looking for something that looks good. I think here we're talking about scholar also here. Let me try to, yeah, I think I got it. So there's no need to increase the metallic and set. I'm going to just make my Material. It's dark, like this, even though we can control that. Okay, so now it's looking pretty much greater, less material that aren't actually do as actual corn, is this one the Ocean Shader. So let me double-click here, right-click. And let's create a new material. And it's just to repeat the same process. Scholars Ocean, alright, let's assign to it those materials. So first make sure to switch it to Autodesk interactive me also here, check this one. I'm not sure if we're using the yes, we are running out on the standards, so let me just switch it to Autodesk. Check the metallic roughness. Let's make it Rough. See much difference to be honest So just keep it that way for the color darker color. That's fine. Not a big deal. Okay, so let's work on the other Texture, which is the Ocean Material, this one. So let's drag, so let's drag the albedo first, the base color we have the normal map, the wrong road is essential, can fix it. And also we have, this one is the smoothness actually don't need this. We can just control it through here. So plaque can see that now it's looking, looking glossy. Alright, so let's select our Ocean here. Let's pick our materials, which is this one, the ocean. And we can just overwrite that. But you can see the problem. So we need to scale our Texture up. So let me just find a way to do it. So let me select my Material here and let's try to increase the Thailand. Yeah, it's working. So what about 50-year? Same thing. 50 on the other side. It looks legit. It's weird. From here. Should be animated to be honest, but that's fine. It's not a big issue. Can also Let's try. 13330 is fine. Yeah, Camera roll with this. Nice. Alright, so the last material that I'd like to work on is this metallic silage apply some color to this black of this white, whiter Material. Let's get back here to the Textures and let's add a new one. Let's call it Metal. Alright, let's work on it. So for this, modernists make it smooth. For the metallic also should be purely metallic. And for the corona electrode make it dark, something like that. Okay, so let's select our Bridge and it's assign this one. First. We have Metal. Okay, there we go. So it's looking good, but I think that's intense. Also, we have the last one which is the light. These labs. Lamps should be, should be. So we can right-click create a new material, let's call it lights. I believe we have here the emission. Let's search for emission. Lights. What about lights? Directional lights. Okay, what about this one? Increase the shyness. We're not able to add colors. So I'm gonna be figuring this out later on. How to add the color, the lights, lighter color. Here is splits particles VR Mobile. No, that's fine. We can just roll with this color. Let's make it Rough, completely Rough Order. Which shows you be honest. So let's assign it, select our Bridge again, and let's put this one on the lamps so we can see it here. So it's visible here, but we get a little bit more about making it doesn't have to be true to be yellowish. We've gotta tweak it later on for now, we got our environments exported and textured as we wanted to be 49. Set Car Controller - Drive Your Own Vehicle: Welcome back around. So in this new tutorial, we're gonna be brilliant our car and we're gonna be assigned to it Car Controller so that you can be able to play with our Vehicle. I've got a free package. We're going to be using such a free and it's really awesome, is called the Realistic Car Kit. First, we have to jump into the Unity Asset Store. Assets Store this one. And let's search here for the Realistic, Realistic car kits. And also make sure to check the free Assets. We don't want to pay for any Beta Assets. And there we go. So this one, this R, C, K is one. This is an awesome free asset that we're going to be using to control our Vehicles. Just open this in Unity, download and use it in Unity. And we can, Let's wait for it. It's fetching packages. Right after that, you can just click on this important and you're going to have it, and I'm going to have it into your scene. So just important here, or import everything. Alright, so this is our Assets folder. You can see that these two folders are added. We have the terrain auto upgrade and also down below we have this all CK. I'm gonna be choosing this all CK. And after that, we're going to pick the scenes. And simply we have, we have to see is we have the simple one and we have the touch one. This one is going to go for our mobile phone phones, and this one for our PC. Let's start with the PC version. So double-click on it, and let's set it up as you can see, we got it. So we're going to just export our Bridge and it's just remove everything Also here. If you go ahead and playing the scene, you're going to be able to play with which you can see we got it, So we got our Vehicle. So everything is working perfect. Also the shift for the nitrogen, nice. You can switch between Vehicles. You have the police, and the old car. Can choose anything we want. So let's just get back. We have a crash. So what it actually do right now is to delete all the other components and we're going to put our Bridge here. So action between each do, I'm going to just delete the map. I'm going to just delete all the map, but I need to keep these lights are like these slides, so shift and select everything and right-click and delete the leash. Luckily, we don't use the X here to delete. So we have our map here. Okay, So it lists everything, but we still have the Vehicles. You can see those three cars, which is nice. Also, we have our Camera. The camera is attached to this Vehicle. Camera scrapes, which allows us to be following our car. Or it's so for now, let's just get back to our other Bridge Environment. I'm going just simply drag this guy here like this and the cyclicality. We need to adjust the light chain. So let's select first the Skybox slides. And let's reduce this intensity to something like two or even down one. It's actually, it's not the right one. So let's use only this directional light and it's reduces down to one. There we go. So we got it. What about to choose too much? So 1.25 or something like that also here for this directional Skybox lights. So this one is essential. So we can, for example, set it to one points 1.5. So now we got some bright colors going on here. Can Also, I think we have, can tweak Italian, Spanish around. I think if you want to spin that, we need to spend this one. You can have different I think it was at the perfect Yeah. This one is the perfect spots. So yeah, something like this. Okay. So now let's take a look at let's print our Vehicles and put them on the starting point of our Bridge here. Let me select the rally first. So we can go here to the top. You can see that. So just to go to the top side, what is our Bridge? It's not visible from the top side. So we can, for example, select our Ocean and hide it for just a second. I'm not able to see the I had everything, so let me just revert back and bring back this one already know and that's fine. Can do it from here. Now it's good. So let's go to the top view. And let's select our Vehicle. Assembly movies here. Second Car. Just move it here. It should be well aligned. So to just put them on the starting points, all these Vehicles. So this one's gonna be the starting points. Second Car, K should be here. Back down. And for the police one? Yes. Old car police the rally there. It should be at the starch. Okay. Fine. Okay, so let's just bring back the Ocean, Ocean Shader. But also as you can see, we need to work on the materials. We lost them. We already did US, we already created those textures, so it's going to be easier. So let me just find the cars first. So I think we have to move them. Yeah, this is starting points, so let me just move them up. Okay. We've got the police. Okay. We have the old car, so the navigation is a little bit weird. You can double-click on the old car. Or we can do this. We can click on some components like this that you can zoom on it. So this is my way Selection and zoom in on some objects. So let's put this one, the starting point illustrated here to zero. This must be facing our Bridge centered for all Vehicles. We can move this one, for example, here. And for the last one, which is a police car, can it says you should zero. And let's move it to also forward. Forward here a little bit to the left side. Fine. Alright, so let's start playing our game and let's see. So we're gonna be falling down because we have no collisions. So what do we need to do is to add a collider to our Bridge. So let's select our Bridge like this. But this is not the best way because we're going to be adding, reducing the performance. Let me just show you will be explained. So Add component is going to be physics, physics and choose the mesh collider. So there is differences between the mesh collider and the box collider. So if I want to have higher performance, we must consider using the box collider, not the mesh because the mesh, let me explain. So if we just hide this geometry, so if you just hide the geometry from here, so you can see the difference. So this one is going to be heavy for the performance of our machines. But for the testing for purpose of dozen, That's fine. Alright, now, if we play This, can see that. So we're gonna be playing inside our, we're going to have some collisions. So Also if you strike it, one of these switch Poles can be physically Obstacle. Okay. Something like Also we can switch Vehicles, for example, the police car. And also we can activate the silent using the E. E as extruded and also the nitrogen shifts. But as you can see that materials are not working properly, so let's work on them. So let me select this one. Let's check here where we got, we got those textures. Yeah, let's start with the Ocean first, because the original looks a little bit weird. Let me select my Ocean. So for the material image, just track this one per each year. Okay, perfect. Same thing for the other materials. So we got here the concrete me just revert back to the textures. I think we should put them all in one place that isn't only to yellow, just drag this one. I don't think we're allowed to do that, but that's fine. So let's assign the Rust. Rust, bake it. Let me just drag the Rust can be garbage. Next one, the Bricks, we just converge back. We got here. Let me just do it from you. Now. We keep keeping that selection good. So asphalt that's assigned to the Asphalt, okay. Now it's looking much more and better. And also for the Bricks, let me just select the Bricks. This one, Bricks lights. What is the light? Which is I think yeah, last one. And we have also this metal ball. And I think that's it from the concrete. We don't need it, That's fine. Alright, so let's play the animation, not dynamics. Let's play our game. I'm used to play animations not you can see now it's looking pretty much good. So next, we're gonna be working on the lighting. And also I'd like to show you how can we change our cars and use our own Vehicles? Don't have to stick to this one. We're gonna be doing that in the coming insurance. Alright, so have FUN. So I'm gonna, I'm gonna be seeing you in the combinatorial ticker. Also, if you have any questions, feel free to ask. Have an awesome day. 50. How to Replace and Drive Different Vehicles: Welcome back everyone to this nutritional not actually show you how can we export our own Vehicles? So I like to Replace this one by the cartilage with Customized this one. So let's get down to it. So first thing I'd like to do is to check yield college we got. So the chassis you will need to apply all the Modifiers for exam Awesome can just go ahead and apply this edge splits on edit mode. Let me just check it out. We've got everything connected, which is good. So we need to have the body and we need to have the wheels as separate object. If it's not the case. If you have them all combined, for example, like this. So Control J. So if you have It's combined on the how to do is to go to Edit mode. Let's select these objects so the wheel, We are careless, make sure that everything is de-selected and press P and separates lecture notes you can see into wheel is separated. Alright, so now let's exports are Vehicles. So first let's select everything and go to File and Export and export FBX. So here let's call this Car Model just like touch number one. Okay, let's export also, you can check this selected object if you have multiple objects here. So this one's going to limit the exportation or to only the selected arches. So let's export. Alright, so we got it. Alright, so this one is our FBX file. Then just simply drag and drop it here into our Unity Assets folder. And also over here I would like to right-click and create a new folder just for our course. So Car Collection or something like that. So just Car. We need to keep everything organized so that's essential. Okay, so let me just drag this Car Model and put it here into the card folder. And also here, right-click. And let's add textures. So check CRS case, we need to do that Textures. Now let's bring all the texts that we need. So first, we have the car paint, let me just drag it here. Also for the textures, we have these tire and all the windshield and all the stuff. We're good to go. Let me just get back here to the core Alice check, can just print our Vehicle. You can see that we have a problem with this. With these wheels. The wheels, if you are facing this problem. So we need, what we need to do is to flip the normals, this reals. So if you're facing this one, for example, on the chassis, so it's the same. So let's just get back to our Blender Scene here. I'm going to be selecting these wheels. So these tubules and on debt is mode, make sure that everything is selected. I'm gonna go to Mesh normals and Use this flip. So now let me just zoom in so that you can see the difference. So this one is inverted. If you do this, mesh and flip can see that. So that's gonna be outward, not inwards. So let me just again select everything else. Let's export this one for the second time. Export FBX. So let's call it fixed normals, normalise. Alright, so let's save that, export it, and let's just bring it back to our scene. So this one is the second file. And I hope by the second time it's gonna be having the textures. Perfect. So as you can see, it's comes with the textures because we already have that folder, the Texture folder, this contains all the taxes. So that's really good. Okay, So let me just go ahead and delete this Car Model. The first one, we need to keep our scene optimize so if you don't need anything, we must delete it. Okay, so now that you work on the texture, so now as you can see, this one looks a little bit, looks ugly, so it looks dry out of colors. What do we need to do is to work on the court paint and just jump here into the Textures. Right-click, create concrete material. Let's call it car paints, Car page. So here we can see that we have the albedo, the metallic, and all the channels. So I'm going to simply drag this one and polish on the albedo here. We call it. And also let me just select this car, the car chassis, right-click or Control Z to reverse back. And so you can see here that this is a car paint under the Mesh Renderer. You can see the materials here. So I'm going to simply drag this one and put it right here. I think we're going to be seen any difference, but if we start working on this material, so check this out. If we make it, for example, smooth, glossy. Get to see that also here for the metallic electromagnets, purely metallic, so something like 0.75. Alright, so as you can see, the Car stature look really nice reflection. And also I think that reflection is a little bit too much. So what about 0.9? All sorted that you do here is I'd like to add the normal map for this page. So relaxed you do is to bring, again, that's this one. So the car paint me, just bring it back, bring it can this Texture. And let's college. This is the second one. So actually this is the second one. So right-click. Let's rename it. Let's call it normal. Normal Map. Alright, so selecting this one, we can go here to the 3d. Actually not true, but the Texture Type. You can click on it and we can switch it to normal App. So click on that. And let's press Apply. So it's gonna be turned into that bluish, even though it's a little bit too strong. But let's just give it a try. Let me just select my corn yield or the chassis and actually the material, so the car paint material. And let's simply drag this normal map here to this spot. And you can see that the roadmap, but it loves little bit weird about think, yes, it looks legit, difficult, so let's try it here. 0.1 It's kinda Reduce the bumps. I think it looks fine. We can roll with that. Alright, so let's create the other materials. So first we have, is you can see we have the windshield. So this material here, the windshield. So right-click Material, this for let's call it wind shield. Shield. Okay. So let's just move this windshield to the albedo. And after that we can drag it and polish here, but let's tweak it. So for the metallic, Let's start first with the roughness. You can see our material is velocity, but I'd like to make it a little bit dark. So we can mental abilities cut off from here. So let's make it a little bit dark, something like that. Now it looks pretty much good. So the other materials is of course we have, Let's add some some metallic missile for the bumper of our Vehicle. Theoretically urine and excrete new material. It's going to be Metal. Number one. We might create multiple metallic shaders. So here it's make it darker like this. And also for the smoothness, Let's take it to one. Almost not one, but also from the metallic. It's make it purely metallic. Okay, So let me just drag it and use it for the bumper, using, uses for these objects on the front. Also, what about this one? Is this card played? Nope. Center for the rims. Start the back rooms and year for the on the other side, we can use this job to yes. The servers back and signage the right object. For the glass. I'm not sure about the glass. We can use the Ocean Shader, but that's gonna be weird. Let's just use this one. Center for this object is just used that we have our scene. A gap year should not be scene does gap I think that's because of the normals. So much flip this normal, but that's not, It's not a big deal. So on if we want to make this game professionals something that's also for the front. I think I missed that, so we need to add some lights. So headlights, so right-click Creates Material, Let's call it our lights, lights, dash one. So this one's gonna be the signage here. So let's simply drag this one here. Alright, so let's work on our light material. So obviously, we need to make it look a bit dark, dark red, red color like this. And also for the smoothness, Let's take it to one and also for the metallic, Let's try this. Now looks pretty much good. I like that Scholar looks fine. The other thing that really should do as, Let's work on the frontlines, right-click. Let's create a new lights. Light dash T2. Let's make it first as a signage here and let's see what we can do with this right now it looks a little bit, but obviously this is not the right way to create lights. So this is one channel is just temporarily to see. I'm just trying to give you enough of the ideas that you can go ahead and create more stuff and esophagus. So I'd like to do is to make it a little bit bluish, like this blue color here. It's going to look good. Probably darker liquids. Also. Manipulate the metallic smoothness. Bad luck, a bit weird, but go with something like this. This one works fine. If no one's gonna be able to see our Vehicle from behind. So that's plus, okay, So now what that should do is to Replace are Vehicle, so we just create our Vehicles. So now I'd like to replace it with this one on the chassis so we can select this chassis that we got here. Let me just go to the top end. I'd like to assign it. But before doing that, let me just check some things. So what about this one, this object here? This one is not necessarily, Let's just delete it. Okay, Good. I think they are at the same note, we need to increase the height, the size of this objects. Okay? But obviously, I think the problem is not with this course. So this color here looks out which huge? It's seeking a full line. So it's not the case in real reality. So actually there's two ways to do this. So it might decrease the size of our Vehicle. But I don't recommend that because there is lots of physics, there is lots of rigid body and lots of scripts as applied to the car with this size. So what I suggest is scaling up the Bridge. So let's scale up the Bridge. So for example, you can give it to 125 here. Same thing here, 125 and same thing on the z-axis, 125. And I think it's going to look even better so we can simply move it up. Shift now, actually this shift is not working here. Let's go. That's good. No problem. So you can see that we have a problem with the normals, with the Bridge here with these cell legs. But that's fine. We're just gonna be seeing that anyway. Okay, so for this one, Let's just increase it up. But all I'm interested in is the chassis. So let me just go to the top view switch here and let me try to scale it up. So S by 1.20, $0.05. The same thing here on the y-axis and also on the z-axis, 1.25. So I think it looks pretty much same. Tips like it's for the size of it So let's find this prefab. This Car prefab. So this is the Raleigh, Raleigh Car. So this one, and this is the body of our vehicle. So this one, if we just hide, it, can disappear. So what actually do is to hide only the mesh. Render this one, because I would like to keep all these other components like this rigid body, rigid body but this collision. So I will actually keep it so we can recreate it, but it's going to take some time, but there is no need to reinvent the wheel. We can just simply push my Vehicle D, but we found the Without Limits, just check the prefabs. So this is our Car, Ronnie, I'm gonna just try to, This is our body here. Just try to move it outside. That collection is pre-fab. As you can see, children of a prefab as such, cannot be deleted or moved. So what we need to do is to unlock this prefab. So right-click here, and let's go to prefab and unpack and back. So now we're going to be moving these objects. Finally, we have here the car body. Excellent. And actually I don't need the wheels. You can just select everything shifts, insipid, bottom one, right-click and delete everything. So we're just interested in the car body. So what actually do is to move it here inside our body here. Ronnie car body. So I think doing like this one's going to work. Yep. Open prefab. Yes. What's when you should do is right-click here Alice prefab and its impact and packet, this one. But also to check if it's working. We don't want to lose it. So let me just get back and select my car body is one and let me just drag it here. Alright, so now it must be connected. So let me just get back here and go to the top view. And also let's switch to orthographic view and I'm going to simply drag it here. So download lipids. Okay, let me also go to the side view. Now let's check it from here, which must be down like this, forward. Probably we need to scale it down because Scale looks like a bit. Let me select it again. So she has a different scale here. So we set it first, 1.25, I think now it's, it's belongs to the entire peafowl. So that's easy. We can just cuts out. Let me just check this one. So it shall be like this, which is 52. 52. Let me just set it to an exact same number. 52 raise to the same thing for this one. So 52, Choose center for the last one. Just delete everything. 52, perfect. Alright, so let's just move it down little bit. I think we will get Also, we must delete the other components of our Vehicle. For example, this is glass. So it has this nice material. Let me try this drug it from here and put it like this. There we go to work in. Perfect. Yes, that's really awesome. So right now we have that Material. Let me check for the back side. It's gonna be better not find a better angle. So let me just drag it here, amperage on that object so it's not visible. No, that's fine. There is no need to do it. But on the front side is you can see it's looking pretty nice. So we added that glass shader. So let me just select this one and I'm going to just hide or you know what, that side, the entire thing actually don't need this simply for the inside collision. We must keep it. For the steering wheel, we don't need it. And for the shadow, I'm going to keep it. Okay, so let's play this game LSC. Use the packet views. I think. Let me just switch here to the back and let's take a look. Yes, the wheels are not alive. So let's select our Car. I'm going to try to move it a little bit. It's actually the Lamborghini is blocking our axis like in our view. So we can move this one freely. Let me select the entire Colorado and this movie to the side. Oops, that's too fast. Can move it here and take a look. So obviously we need to remove the chassis of Own Vehicle ultimate to the left side. And probably we need to scale it up. So yeah, no, it's not good, Not lot on the y-axis but I think on the X, yes. This It's makers cover the entire wheels. Also for this one, for the wheels. I would like to expand them a little bit, make them large so we can go ahead with 1.25. I'll move them inside. 1.25. Okay. Move inside. Centered for the other wheels. So as you can see, we cannot see that clearly. Here to the central endless search here, 1.25, center for data, we'll same thing, or 0.25. Okay, and it's more, we can just attach the right side. Alright, so let me, Let's go ahead and play our If it's not the case, all the how to do is just place these lamps mentally. So these labs, you can just play with them. So I believe let me just check again. Actually what addiction to establish a smoky to look a bit to the right side. Okay, and for the other one, move it up. Okay? Topology bits, okay, fine. Alright, so let's play this. You can see these fans that we got here. So this is the source of our nitrogen. So you can just place it to fit your exhaust. Which ago. Alright, so let's play a lot Game 51. Unity Lighting Improvement - Add HDRI Map in Unity: Welcome back of orange. This nice Material, not actually show you how can we change the lighting in our scene? I'd like to use my own HDRI Map. Perfect short list, this one. Alright, so let's get down to first, I'm going to just go here to the main folder. You can add a new folder just for the HDR, maps. Hdr. Double-click orange arrow. I'm going to simply drag this, these new taxes, not toxic but HDRI. Just put them here. Okay, So this is the first step. I'm going to be selecting this one and I need to change its. So Shape from 2D to cube in Jamaica to cubical shape. After that, on the bottom side, we can just apply a Pisano. You can see that our structure is, becomes a sphere. It's 360 degrees sphere. Okay, so now let's add a new material. So right-click and create a new material. Let's call it Material. So let's call it HDRI, number one, dash one. And here for the Shader type of electric switches, true cube map. So cube map this on the Skybox cube Maps or click on it. And I'm going to simply drag this HDRI from here. I'm going to be printed inside this cube, like this. Now as you can see, we call it from here, all we have to do is just assign it to the Lighting tab. But if it's missing in your case, which is I don't see to which we need to do. What we need to do is to go to Windows and ready to go to Rendering and click on Login. So now you've got this new tab, going to just try to put it here. Alright, so we can Lighting M is your sweatshirt Environment. And we can see over here the skybox material that we are using this one, sunny sky box. I'm going to be using this one, mine, this one HDRI. Just put it here. And as you can see, we got it. So we got our skybox material number one. Okay, We can also spin it around so we can do this. So let's select our HDRI Texture or we can switch up the inspector and we can play with the rotational that you can spin it around. Like this. I think keeping it like this should be fine. Alright, so this is basically, this is the process of using our maps. In the next tutorial, I'd like to show you how can we import Assets. We're gonna be adding those Landscapes here. 52. Import Assets into Unity - Add Landscapes: Alright, so in this needs to turn on the tissue we, how can we important these Landscapes and put them into our game engine? So I'd like to fill a little bit this space, a year slope, slope that it's empty and boring. So I'm going to add some Landscapes. I'm going to be selecting these two Landscapes and go to File export and export FBX. And make sure that you are selecting, checking this selected objects. And we can just put it for example here. Okay, so let's call them Landscapes Assets. First. Let's college Landscapes. Landscapes. Okay, So let's see if that's export as FBX. This is our Assets. I'm going to simply drag it can put each year into our Assets folder. So let me just pull it outside here. I'd like to keep everything organized. Bridge on to the Bridge environments and we can right-click here and add Assets. Now, let's, okay. Let's simply drag this Landscapes and put them here so that we can just move them outside. Okay, so let's scan them up. Right-click, double-click on this Assets, Realistic localities. They'll look massive. They are on the right on the right end. So this is touching points. Okay. For Vehicles, I don't know why we have in this foggy foggy elements so we can able to try to figure out a way to remove that. So let me also spin it around by 90 degree here. Alright, so let me go to the top View. Little bit hard. I'm not used to Unity navigation, to be honest with you. Then go to the top here. Also, you can do this. Let me just try to hide this one just so that you can see our Bridge. So actually we're not able to see anything. Just the ocean, so let me just hide it. Okay, perfect sonatas can see we were able to see our Bridge, so I'd like to put it at the central ray like that. So let me also take a look at it from our close distance. Not bad. How much it increased by two. Okay, on the z-axis increases true? And let's try to align it again. Okay, here, probably down. I think it's on the right spot. Okay, So let me take a look at it from the gameplay to add, Let's bring back our ocean. So let's just, let's just check it's sort of signal of one Camera. Let me select my camera and let's see what we can do with this. So this is our Camera. Let me check the lipids. The far clipping is 1,000 to 10,000. Alright, so let's play, let's play our game and let's single the Taxol applied to this Landscapes. We can create a new one. So it's better if we can add grass texture or something like that. But for the sake of learning, let me also charged with both this one up a little bit like this. Okay, so create a new material and let's make it, let's call it Landscapes. Conquer is simply applied to this one. Let's try manipulate the scanner. We get a little bit dark, probably greenish, gray initial little bit. Something like that's about as you can see, it must be not Rough. Supposed to be Rough, muscular. See, metallic knowledge make no sense to make it a metallic, but it makes it a little bit dark. She's good. That's why it's glossy. Yeah. Let me just try to make it Rough. Like this. If not still glossy, I don't know why we have in that issue, but let's not worry about that. So let's take a look at is from distance that you will remove on Scene Materials. Let me check. My camera got to try to remove this fog. Have some kind of a fog here about this fog here if you want to remove it. So I don't like it to be honest with you. So we need to finally figure it out. You need to go to the Lighting. And on the other settings you can see this fog year. So this is width and this is without forget, we can play our game and see the difference. It looks better. This is without the fog and is one is with the fog. Just turn that on. But I think more about decreasing that the mountains. So the density in a set of two whole 0.1 to 115 or something like Desmos also for its color. Let's make it It's given us bluish color. Like this. We have to do this outside the game play. So let's activate the fog. Can reduce this one to 0.15. It's really tiny number. And let's make it a bluish Those looks fine. Also for the landscape, we need to assign it to the other side. But I'd like to do a little bit of dyslexia, this one go genetics lecture and try to reduce the contrast of that greenish dark area, something like this. Now it looks pretty much good. Alright, Also I think we need to scale it up just so that we can cover a lot of space. So let me try to increase that up. And I prefer you should switch to jump into one-by-one. So for example, this one, Let's increase Scale. Yeah, it's going up, but it's going at a tiny rate. So we can select everything and try to scale these. That's not the right way to do is what about this z-axis? This is what I would actually do. Expand it a little bit. And also on the z-axis we can give it some depth. And also let me just move it up. Alright, so let's just jump into gameplay and let's take a look at it from the inside. We have a gap here. Yes. So technically we should scale up our texture. This one just be scaled up only the ocean. So let me set it here to 200, 200 on all scales. So since it's a plane that isn't true, this we can just set it to one on the z-axis. So now I think we're gonna be filling those gaps. Lost. Let's try 250. Alright, let me try it at the five-year. Nice. Okay, so let's play that. But also we needed to achieve this. We always gonna be having any problems. Texture scales. Soon as you can see, everything is filled and it's looking really awesome to have the sun. The sun. Right now, as you can see, we're not able to see the sun from this perspective, from this angle. So we can, for example, let me try select this whole Trojan War, Get down a little bit. Like the sun is hidden by the other one. This will just do something like this over to side. Let's take a look again. We can also do this. I'm going to be selected in mind Texture here now the HDRI, non-textual, this one, we can spin it around. So just try to find a better angle. This is the best angle, even though we're not able to see the sun, but this one looks perfect. So it's 360, 360 angle. Okay, that's fine. So fortunately, there is no way to move it up. Shelter, move the text wrap HDRI Map, but that's fine. Okay, So in the next time, we're going to be produced in our themes 53. Build & Play Your Game on Your PC: Welcome back up onto this new exciting material. So in other to show you how can we build our game and played on PC so you can play the preview right now, just, just to see we have some lemon. Alright, so let's build our game. All we have to do is to go to file. So built-in game is really a really simple. So go to Build Settings. And here we can do it, but I'd like to do something. I would like to go to the Player Settings and other could change. One setting. There is only toys can see there is endless of stuff that change to play with. But in our case, it's just would like to change the icon, the default icon for Game. So in order to deal, I'm gonna be jumping into GIMP, which is totally free software. I would like to use Render. So This Final Render that I got here, this one and electric grids are an icon out of it. So if you are to create an icon, you must set this resolution of 510 12, supposed, supposed to be identical. So over here, Let's set it to 512. Same thing here, 512, okay? But as you can see, we must decrease first the size of our four. Let me just deselect everything. Yeah, We must decrease the size of this one to something like I think something like it's gonna be reasonable or cover up more of that until 500. I'm keeping an eye on this angle here, so 500, That's fine. Alright, so Also let's try the Scale. I'm going to just cut this one out. This way. This way is not the good, The Right Thing. Let me just select this one like this N. Let's create 500, 512 by 5,500.12. Same thing here. So let me just move this one. Upload limits must be like this. Almost. Alright, so after that, let me just check the boundaries. Yeah, we're good on the bottom side and we're good on the top side. Okay, so go to Image and I'm going to crop to selection. So now this is our icon. Now actually in lecture Movietone, little bit to left side. We lost that selection. Well that's fine. We can simply use this one movie till little bit to the left side. Good. Okay, So Goto, I'm gonna go to image and crop to selection. Okay, So this is our icon. I'm going to just export it as, let me just use here Car Game points, PNG or porch points PNG file is not an icon. So let's just go ahead and save it to my desktop. Alright, so this is our icon. I'm going to drag it and pull it into our Assets folder. Here. That's fine. You can just put it right there. And I'd like to assign it. Let me just take a look. Where is it visible here? We can will not able to see here. There we go. I'm going to simply drag it and put it here into our assets. Ensure our default icon. That's all we have to do is to just remove this one and go ahead and build our game, build and run. So I'm going to just put it a year into this folder. Let's allergists wait for it to finish. There we go. So this our game. Check. This one. I always make that mistake. Building one. In the millennium 54. Build Mobile Game App Play Your Game on Your Phone: Welcome back everyone to this last tutorial in this section. So let me show you how can we export our game into Android and play it on our mobile phones? Alright, so if we jump here to this all CK folder and go to scene's going to find we have the symbol. So this is the first one that we used. And also we have the touch. So if you double-click on the touch, we're gonna be seeing this. So this is our mobile compatibility of something like that. So now if we just play this, we're going to have that Car, police Vehicle, blades, but you're always gonna be blameless with the usual who use these tools? Controller. Okay, So what do we need to do right now is to export, we need to bring our Bridge here and build our game from this location. Alright, so let's do does I'm going to just get back here to my Bridge or you know what? Let's get back to the other scene. I'll show you a cool thing that our collection do. So let's get back to our simple scene. Electrical read some prefabs. We have here. This Bridge can just export it. So we have here the yes, this game environment. If we just hide it from the inspector, you're going to hide everything. Also. We can also bring the Landscapes, put them inside if that's possible. Okay? So this prefab here contains everything just like collections in, in Blender. Okay, So after that, I'm going to right-click and let's try to, I'd like to make it create emotional. All we need to do is to just drag and drop it here. So origin prefab, okay, so now let's consider the culture can just bring it again and again. That's good. Alright, so let's jump back into our touch. Double-click on it. So here are thick with any change to the scene. I don't want I don't want to save and I just need to save because we didn't do any change. Okay, So let me just bring my scene here. But as you can see, slacking, texturing, and all the stuff, nope, nope, we're good. Yes, we're good. So we have that problem with the fog. So all we have to do is to go to light it, entered this one down or just remove it. We don't need this. Okay. So we got that opportunity to do right now is to add the collision. Let me check if we have the collision. So we should be having the collision. So this is go-to Inspector. Let's take a look at the Bridge. Perfect. So as you can see, we have the mesh collider. So org need to do right now is to bring our Vehicle, our police vehicle is one, so double-click auditor can go to the top view. Okay. Let me just move. It's a little bit to the right side here. Starting point right here. Alright, so let's spin it around by 90 degree. And I think we're definitely good right now I can switch back to the perspective, most of the oceanographic. And let me just move it a little bit up. I think a little bit. Okay, So let me just play just to see how it's going to go. Perfect. So we have our Bridge, we have nice charts, are working. Okay, so now that should do is to delete this, the fault plane. We don't need it anymore. So let's just go. What do we have inside our ear? We have the walls. Those collisions prevents us from falling down, but actually don't need that. So right-click and let's delete this one. I'll just skip parts. As you can see, we lost the lighting, so you must keep these two. So let's bring them outside. And I'm going to delete this Map. Alright, so I think it's too bright. Yes, the Lighting is too bright so we can adjust it from here. The Skybox set to one intensity, What's the buyer? That's fine. And you'd set to three unregistered 1.5 so we can increase it up if you want. What about 1.5? Here? Side2, K2 is fine. Yes, allocated to. Let's play this again and let's give it a check. Pretty nice. Yeah, we got the nitrile group, everything is working. So all last step is going to be to add the lysine. I'd like to use my own HDRI Map. So let's do that. So I'm going to just get back here, switch to Lighting, okay, Environment, scene. So here we need to bring that HDRI. We already discussed this. How can we place our HDRI maps? I'm going to be using this one a, and basically we got it. So all we need to do right now is to build our game. Let me check it for the last time. Alright, I don't like talking points tangible, consulted bit dark. So let's move our Car little bit forward. For example, let's select it again Let's move it right here. Alright, so to split that again, realistic. Look nice. We have the nitrogen breaks. Everyone is one. So let's go ahead and build our game. Also, by the way, if you've seen this clip in issue, can see that the mountains are clipping. You can see it here. So the way to fix this, this very simple, select your camera and just increase. Let me just show you switched inspector. And you can see this clipping planes. You will just increase this one. I'm going to just multiplied by ten. And basically that sets alright, so now if you just play our game, one's gonna be seeing any clipping, any color pin on the background, which is nice. Alright, so let's go ahead and build our Game on our mobile, on our Android platform. So go to File and Build Settings. And right now we are on the PC platform, so we need to switch to the Android. So select first Android. And here as you can see, we are not able to build and run our game, but we need first to switch the platform. So click on Switch Platform and wait a little bit until it's sweatshirt. Alright, so now we are on the Android platform. We can check, can do a double-check. You can see here we have a problem with the Bricks. The Bricks doesn't look that good for the Asphalt. I think we can roll with it. So that's bad. Even though it's too much philosophy, I think. Yes, but we can tweak it later on for now, let me just fix the brakes. Let me check what's going on with the Brexit. So I'm going to select my Bridge Environment here and let's Assets. This is why you need to keep everything organized. Okay. There we go. So we this is our Bricks. So what about the brakes? Yeah, the normal map. So let me to remove this normal map or actual Trinity do is to select this one. So this is the normal map. I need to switch back to defaults. Normal map. Why is it should be working? So the default Bly can also do it in another, for example, in GIMP or sunlight, just a bluish that Map bluish man. Nothing fancy. In this case, this one does not work. So which means you do is it's just remove this normal Map. Click on this circle here, and let's throw all the way to the top and select none. We sent out, we have it even though it's flat, boring of that, but that's fine. Secondary. Okay, so let's play our game. Let's see if there is anything to change. I think what probably we need to increase a little bit of the fog on the background. So let me just do that. So for Lighting this fog, I'm gonna turn, turn it on a, Let's decrease this value to something like oh one. Oh five. Okay. Just to have Asphalt looks, looks good. Let me check it again. Nice to think, oh, 0.2 is gonna be enough. All right, Fair enough. I think yeah, like that. Also, we have the possibility to change the color of the fog. So let me just make it bluish just like if we have a reflection of the ocean or flexion. So let me just make it stop this one. Yes, that's mean it's make it a little bit bluish. Let me just try. Increases. Here's 21. I think that's so much O5. Like for the color. Should be torque, should be honest. Okay, We can go with this on. So feel free to choose any. Alright, so let's build our game. So go to File Build Settings. So I'm going to just choose this one, Build, and we'll just build, build our game. Let's choose. Here, I'm gonna be choosing followed excretion if all of this college Android Game double-click on each analyst's shoes dot save that file and immediately tell a starch we have also to put the name of our cards. So let's call it Bridge Car Game. Okay, so let's save that as epic APK version. So let's save energy source for it to finish. Basically there we have it. So now we have our own version, our APK Game. So from here we can just go ahead and upload it insurer Mobile and then solve this application. Alright, so congratulations for Achieving this. So if you have any questions, let me know. So, um, because it's still going so this is not the end of this course. I'm fine to add more details on one, to add more stuff. So thank you so much for sticking with me. So if you have any questions you can ask, and also I will appreciate the Vinaya review if you don't mind. So it takes lots and have a fantastic day. 55. Introduction to Unreal Engine: Hello and welcome to this new section, what we're gonna be making our game using Unreal Engine. So I got this request for many students. So here we are. We will Build our game in Unreal Engine. So as a starting point, we will export our environment and Texture it in Unreal Engine. Next, we will make our Camera Orbits Around any objects in our C. In our case, we're going to be making it Orbits Around Vehicle. Then we will Rig our Vehicle and make it Drivable inside our Engine, which is NRI. And in our last step, we will publish our game and played on RPC. Alright, so let's jump right in 56. Export Bridge Environment to Unreal Engine Texture it in Unreal Engine: Alright, so we'll come back, gentlemen. So in this new tutorial, we're gonna be learning about how can we export our Bridge Environment from Blender into Unreal Engine. Alright, so let's jump right in. So here we are in Unreal Engine. So I'm gonna go ahead and choose a new project categories, and let's pick games. So I'm going to press Next and I'm going to keep it as blank because we need to have an MTC. So blank next or it's sort of scroll it, Bridge, and let's create a new project. Alright, so here we are in, in religious, We got this boring table and we'll just delete all these components and start fresh. So let's select both of those chairs. Just deletes, press the Delete in the keyboard and we're good. So Also I'm going to just delete this one on these unnecessary stuff. So for example, you will have the statue, I'm going to just remove it as well. And I think we're good for the audio. I'm not sure voltage, we can just keep this. I'm going to just collapse all those just so that we can see better the followers are, It's so here in the contents browser, I'm going to right-click and create a new folder and let's call it Bridge. So double-click on it and I'm going to be bringing our Bridge FBX format. So all we have to do right now is to bring these. I'm going to select all of these foreigners, and I'm going to drag them right here. So we have here the FBX format and we have the texture that we need to assign to our Bridge. So here I'm going to be unchecking this Generate missing collision because it's sometimes it causes some problems with the collisions. So I'm going to just remove this and we're going to set it ourselves literal or it's, so let's go ahead and import all are in, so it's exported. So we're having some issues, but not something serious. So I'm going to just remove this one and wait for this compile and shaders to finish. We have 58. Shader is true compile. So let's just switch for it. Alright then, so here we are. So all you have to do right now is to bring one, to bring this Bridge so you can find it. So I'm going to just drag it and put it like this. I'm going to press Alt and right-click, actually this one for the zooming. Left-click, left-click for the pivot points if you want to switch, play around. So as you can see, some Textures are assigned automatically, which is really awesome. I really like this. So you can see this. I'm going to just press W just as if you are playing a game. You can see this one is already assigned even though it's not high-quality, because we didn't bake it as high-quality. But it's going to serve the purpose. So actually what you need to do right now is to work on the other textures. For example, we have the Asphalt, we need to work on it. So let's find it first. This one is the Ocean, this one is the Rust and this one is the road. So double-click on it. So here we are. So we have this one electric do is to just move it to look a bit down here, just so that we can have access to these files. I'm gonna be accessing the where is it the Road. Get double-click on it, and let's print first the base color. And we have the roughness map, and let me just drag it. And lastly we have the normal map. So let me just move this one for it like this, and let's zoom on it. I'm going to be connecting this RGB. Actually, here we have in, let me just show you. So I'm going to just delete this one. So the legit, and I'm going to be selecting this RGB and it's connected to the base color. Here for the roughness should be connected to the roughness as usual for the normal map as you know. So RGB to the normal in here you can see the maturity previous looks awesome. So we have the roughness, we have the normal map, and we have everything will only had to do is just apply this texture. And let's just jump back. But before doing that, and also save, and let's get back to our scene. And as you can see, we have our texture assigned to the ground. And it's looking already pretty awesome, especially with Lighting. I really like how it's turned out to be in Unreal. So unlike Unity, It's a little bit difficult to get this photorealism. So let's work on the other materials. For example, we have this metal, they're just double-click on it. And let's expand those. For example, I'd like to make his pretty much dark. And also I'm going to be connecting this one to the roughness so that we can have a rough or smooth surface just like this. Also, I think let me try to connect to the metallic to make it a metallic. Basically black means that metallic and is considered looking perfect. So I'm gonna just Apply and safe. Alright, so let's get back to oversee and let's check that as you can see, it's assigned to these Streeet Poles and it's locking already. Awesome. Alright, don't like now to work on the Bricks, but I forgot to bring the Taxol. Alright, so I'm going to just simply drag it and drop it right here. But as you can see, sometimes it works in a weird way. So fail to re-import Bricks. So I'm not able to see to you even If I do refresh. But the weird thing is if I want to another folder, for example, the road, and if I tried to brilliant right here, it's going to work. So Bricks and is can see we got iteration. So sometimes in real works in a weird way or I'm not. Well right now, so let's go back to our, our Bricks. So double-click on this node and I'd like to Bridge outside like this. And let's go back and select. So I've published on the road. Okay, that's fine. I'm going to simply drag it over here. And let's maximize this window. And let me just move this one to decide. Select this one, delete it, and let's connect this one should the base color. So what we need to do right here, right now is to work on the Ocean. Let me just get back to the Bridge. And I'm gonna be dragging this Ocean. Me just drag it over here and let me just get back. Take a look at it. Can double-click on it here on this word outliner. Just let's, we can see it and it's can see we got it. So since the spleen has the ocean Material, Apply choice, I've gotta just double-click on the ocean and let's work on it. So I'm going to just delete this default node a, and let's bring our own notes. I'm going to just move this tab over to the middle here so that we can be able to see these materials are these images. So let me just jump into the ocean, bake and I'm going to drag the diffuse. We have the roughness and we have the normal map. Alright, so let's just maximize this window and let's move this one down. Just make some order here. So here we have the roughness should be connected to the midterm, to the roughness of goals. So since it's black, as you can see, our material looks pretty mature reflective. And also here for this one, I'm going to be connecting to RGB to the base color Center for the bottom side, the normal map to the normal map, because we have a little bit of bumps and everything looks perfect. So I'm going to just Apply and save and Get back to our scene. So let me just move this one back here we might need later on. So let's just get back and check. Alright, so I'm going to just zoom in. It's actually we can do it this way. I'm going just double-click. And basically regards, as you can see, we have our Ocean and it looks pretty much Awesome. All right then, so we can sour environments exported into Unreal Engine. So in the next lecture, we're going to start working on our car. We're going to be able to drive our vehicles. So see you soon. 57. Rig Vehicle for Unreal Engine: Alright, so in this tutorial, we're gonna be rigging our Vehicle that's before getting started, I would like to check something really important, which is the normals. We need to check the normals of our Vehicle, which is the face orientation. So I want you to go to this icon here and click on overlays and check this face orientation. And it's going to see everything turns blue except one thing which is this wheel. You might be facing this problem too. So this is what's gonna happen if we kept it like this. We're gonna be having this annoying problem when we're going to be exporting it into Unreal. So basically we need to fix it right now in Blender. So to fix this problem, it's actually really simple. All we have to do is to select our wheel, which is the infected objects. No need to go to that this mode. Select everything, make sure that everything is selected. Let's go to Mesh normals at, Let's flip. And as you can see, turn blue. So now we need to check the Scale. The scale is really important in Unreal Engine. First, let me just turn off That's face orientation and we need to jump into the scene properties. And for the unit system we need to use metric. And for the unit Scale we need to set it to all points 0.01. By default, you can have it at 0.1, but you need to add this zero like this. And for the length, set it to meters. So the lesson that we need to check before getting started, which is the Car orientation. If you press one. So the car should be facing forward like this. So the CarFit should be on the right side. So we can just select everything and spin it like this. And Julie got that angle and also make sure to check the Scale of your Vehicle. For example, going to be selecting the chassis. And let's press N, go to item M, Let's check. So here they are the dimensions of our chassis. So it's 5 m long. We 2 m height or length and width, 1 m height. So it looks reasonable. Otherwise you can scale it up, scale it down. And once we finished scan and I want you to do something because let me just show you an example. So if we scale this one up like this, you can see the Scale yet it's gonna be messed up. So I'm trying to do this control I and apply the Scale. So in my case, I'm going to just revert back to the original size, this one. Also check the other stuff you can just select everything, press Control a, apply the Scale. And also I want you to apply the rotation. So in case you spin this objects a little bit, it can be seen something like this. So let's spinach by a 90-degree can see here. So you must apply the scale like this. The rotation, not the Scale. So Controller a, Let's apply this rotation so that you can set it to zero. So let me just reversed which Back here and now we're good to go. So let's get started with creating our bones. I'm gonna be selecting my chassis and let's put the cursor right at the center. So Shift S and let's put the cursor to select it and shift a. And let's print an error mature single bone also here Let's click on this WBS toggle x-ray so that we can see beneath or inside our Vehicle. So this is our bond. So we have to scale it up, way up. So let's sketch S. It sounds good. And I'd lecture Spanish on the x-axis. So our X -90 degree Also make sure to apply the scale here, the Scale of our bone and also the rotation. So control a, apply the rotation to set it to zero and control a, apply the Scale, or it's symmetric to switch to the edit mode. So on the tablets press Tab and I would like to duplicate this bone, but first I'd like to set the names. So I'm going to be selecting this bone, press F2 on the keyboard, and let's call it main. So this bond is going to be controlling. Our chair sees the chassis for Vehicle. Also here to show you the names as I push that I give to these components. So for example, the body, a right here, the body and here is the front left. We'll F L stands for the front left, France, right, rear left, and we're right on it. So back to the bone, I'm going to be selecting my bone and let's switch the edit mode and extruded. So can press E Y to go forward like this. Or It's so this bond over here, it's going to be assigned to one of these wheels, but actually we need to do is to duplicate it four times. But before duplications, you can see the problem is if I tried to move it, it's gonna be connected to this main bond. So what I'd like to do is to press Alt B and let's disconnected the bone muscular, the parent just disconnected so that you can move it freely. But you can see that it's still connected. It has this line, dashed line. So we need to keep it that way. I'm going to just move it to Elizabeth for it. And since we have four wheels, I'm gonna be duplicating this bone four times. So shift B, so two bonds, we can select them both Shift D and let's move it to the right side. Alright, then attach each bone traits wheel. So what I'd like to do is to exit edit mode. Let's select each wheel. So this is my first we'll, I'm gonna go to the add mode, select everything, shifts S and culture to select a gate. After that, I'm going to be selected in my bone. Let's select the first one. And I'm going to press Shift S. And I'm going to press this one selection to cursor. And it's can see this bone is gonna be snapping perfectly to dislocation. This wheel is called Front left. So I'm going to be selecting this bond and F2. Let's call it F L. Alright, so let's repeat the same process for all the wheels. So let me select the back wheel on this mode that selects everything shifts S corps to just select it. And let me select my bones, Shift S selection to cursor. And let's call it so this one is the left. So our L, Alright, so let's do it for this one, on which mode select everything shifts as course, you just select it. And let me select it this Own Shift S selection to cursor. So this one is the rewrite F2, and let's call it to rewrite Finally we got the front right wheel. So let's select it on Edit Mode. Select everything shifts S constitute selected. And let's select the last bone. Shift S selection to cursor and F2 LS college friends rights. Alright, so let's check the bones names to make sure that everything is set correctly. So armature, main and excited to have Front left, front right rewrite, and we're left, we're good. Alright, so let's select our Vehicle and let's connect it, or let's parent it with this bone. So I'm going to be selecting the body shifts, select the real rights that we can to be able to select all the wheels with the chassis and Shift and select the bones. The bones must be the last one selected, the last object selected concede formula so they are, it's highlighted in orange, wildcard is highlighted in red. So press control V, and let's set the armature deform with empty groups. After that, you need to set the vertex groups. So I'm gonna go here and select, for example, our chassis. And on the Edit mode, Let's select everything and you know what, let's disliked. So control a alice check. I'm going to be selecting the main bone and let's press Select. If it's not the case, only have to do is to select, for example, this mesh. And I'm going to be selecting this bone. So let anybody wants, and I'm going to press Assign. So this is just in case it's not set by default. So let's check our will. So this is the real left. So let's select everything. De-select, select. Yes, Actually this is set correctly. If it's not, you can press Assign. Let me check all the wheels. This is the front left, which is case, France, right? Excellent. This one is to rewrite. Awesome. So in order to check that everything is working well, we can select our bones and let's switch to the post mode. And you can, for example, select this one. Let's play with it. As you can see, our vehicle moves with it or we'll lose our Vehicle. If we select the main bone, everything should be moving. And also here if we select this one and press or X or Z, actually two or Z, we can spin it like this, which is fine. This one we can spinach on the y-axis. So part of why, and it's concede spinning just fine. So now everything's set up correctly. All we have to do is to just export this file into Unreal. Alright, so let me jump back here to the object mode. I'm going to be selecting everything and let's go to file and export FBX. If you have other stuff in your scene or they have to do is just like the mesh and the armature. There is only to add, for example, exports Camera or any empties. So let's scroll a little bit down here. We need to set it, this one to the X forward and the Z up here. Let's set it to the Z up. Excellent. So for the geometry, I think we're good. Apply Modifiers here. I'd like to switch this one to the face, this modern electricity to the fate. Because if it's not, we're going to be facing a problem when exporting into Unreal. It's going to give us a message. I don't know exactly what's causing this problem, but let's just set it to face and it's gonna be fixed. So here on the armature, let me check. So I need to uncheck this app leaf bones. And finally, for the big animations, I'm going to just keep it at default because we don't have any animation. So let's call it, I'm going to just call it to Rigging number two because this one over here is the one that I put it as a test. So let me just export. And this is our FBX file, so we're gonna be exporting it in Unreal Engine in the next Camera lecture. 58. Make Camera Orbits Around Vehicle - Player Controller: Welcome back everyone to isn't new tutorial. So now we're gonna be working on our Player Controller. So we need to make our Camera Orbits Around our Vehicle for it. So let's jump right in. So this is our FBX file that we just exported from Blender. So from here I'm going to simply drag it and polish it. But before doing that, I'd love to set the culture organized the workflow here. So I'm going to right-click and let's create a new folder. Let's call it Vehicle. Inside this Vehicle, I'm going to double-click on it. Let's create a new photo. Let's call it Car FBX or something like that. So Car F X, it should be connected like this. Alright, so double-click on the core of Bx App. Let's simply drag our model and just switch for episode here. Let's set import everything and let's just wait for it, or it's We got to, to export it with a few warnings, of course. So basically there is a change in the bones names, so we need to take care of that later on for dominion, just clear this out and let's check our FBX file. You can see we have three important objects. We have the Car Model, we have the Car Model, Physics Assets, and we have the skeleton. So basically this is just the bonds. So here are the steps for setting this up. First, we need to go to the contents browser, which is browser. Of course browser, which is this one. Let me just get back to the Vehicle and let's create a new blueprint for the class. We're gonna give it a bone of Real Vehicle. Let's do that. Right-click over here and let's choose a blueprint, glass. And right here I'm going to be searching for wheeled vehicle. And I'm going to be choosing the bone, not the wheel, this one. Select it. And let's call it, for example, Car, BPO, which stands for blueprints, or it's so double-click on it. Let's set up our mesh, our Vehicle. So here I'm going to be selecting my mesh from this panel. And on the right side, I'm going to be choosing on the mesh type, I'm going to be choosing my car. So click on the non-energy choose our Car Model, Reagan. So click on it and as you can see, we have our Vehicle with this mesh selected. I'm gonna go to add components L. Let's Add a spring arm, this guy on the top. So let's just click on it. And after that, I would like to add a camera. So let's add the new components. So let's call it search for a camera and basically regarded and also we can see the order that we got right here. Alright, so let's check our sprint arms. So I'm going to be selecting it and press Alt and left-click so that we can spin around our Vehicle, going to just move a little bit back, and let's change these coordinates. So for example, on the x-axis, I'd like to move, it's unlikely bits backward, and I'd like to move my camera a little bit up so that we can have a better view, something like this. So we're going to be able to see our car from this angle. Nope, a little bit backward. I think that's accurate. Number three, we need to set the mouse Controller. So we're gonna be doing this in the project settings, so in case you're not seeing it here. So let me just show you can go here to Edit and Project Settings. Alright, so after this, I'm gonna go to the Engine tab and let's search for inputs. This one click on it. And here in the bindings we need to add these access mappings. So I'm going to click here and let's add, for example, let's call it mouse X. And here it's search for mouseX, mouse X, this one. And let's add the second one is gonna be the mouse Y. Mouse Y. And let's set it shows here. So mouse. Why? Alright, so we're good to go. So I'm going to just jump back into my scene and I'm gonna be switching to do Event Graph. So from here I'm going to just set our animation. I'm going to just delete these default stuff or its right-click. And let's solve for the mouse Y. So the same nodes that we created earlier. So Mouse, why? This one, the axis, axis events and not the axes values but the exit events. Or it's we get the most wireless, bring the mouse X. So the mouse X axis events this one. Or it's sort of stick them up a little bit. So we need to connect. These two are relative, Add relative rotation spring. So right-click and let's search for it. So Add relative rotation, but for the spring arm, not for the mesh. So let's choose the last one. And basically we got it. So basically we need to connect. Let me just show you. So we need to connect this X to the top side. And here we need to expand this Delta or rotation. So right-click and let's Bridge struct Ben and I'd like to connect the X to Z. I know it sounds weird, but this is what comes in the documentation. So X goes to the Z like this. For the y-value, I would like to duplicate this guy here, this node, so Control W, and let's move it a little bit down here, and let's connect it here. So this one, the white goes to the white like this. For this axis value should be going into the Y because Y is close to the why. And for this sprint arm, there is no need to duplicate it. We can just connect the blue to the blue. Our targets already done so we're good to go. So all you have to do is to get back. I'm going to just compile and save of course, and let's get back to our scene here. And I'm going to simply drag our core and move it, put it here on the floor. So let me just move it a little bit up. Alright, let's play our animation. But actually we forgot another step which is to set the layer order. So here let me just show you this is the last step. We need to go to the blueprints. This one, we need to select our Car, BB, self is the self, and let's search for it. So here we have auto possess Player under the bond. So let's set it to play with zero. And let's scroll a little bit down and we're gonna be finding under the inputs, we're going to be finding this auto receive inputs. And let's switch it from disabled to Player zero. Alright, so when I will put you go, I'm going to just compile and save, switch back here. And let's play our animation. So if you recollect here, you can see that we can move freely, which is good. But you can see the collision is not working as well, so we need to fix this one in coming lectures or so. See you soon. 59. Make Car Drivable in Unreal Engine - Part 1: So after sending our Camera Orbits Around are Vehicle, now it's time to make our Car Drivable. I've put here five simple steps to follow in order to achieve our objective. The first one is to select our Car physics Assets. And we need to change the car body collider to single convex hall. So I'm going to be jumping into the car FBX. And let's choose here this physics Assets, second, walnuts. So double-click on it. And as you can see, our calculator looks like a capsule, so we need to change that. So I'm gonna be selecting our main, this guy Add. I need to change this primitive type from capsule to single convex owl. So let's regenerate bodies. Alice, just wait for it is, you can see it's perfect right now we have a perfect collision. Alright, so kickin up step number two. So we need to create a new blueprints. It's going to be the class Vehicle real for our wheels are It's so let's do this. I'm going to simply jump into my main folder, which is the vehicle. So let me just check if we need to just so Car we'll Okay, that's fine. So right-click, let's go to blueprints class and let's search for we'll Vehicle, we'll The last one, this one. So we use this one before. Now it's time to use this one. So let's select it and let's call it Car dash. We'll alright then so step number three. So we need to go to our we need to select our Car blueprints and we need to set up our wheels. So let me just show you how to do that. So select our Car blueprint, double-click on it, you can find this tab. And I need to switch the view porridge. And let's select my Vehicle Movements. So let's select it. And from here we need to set the Vehicles setup. Here we need to set the wheels. The wheels syrups has four elements which are present the four wheels. So let me just expand this like this and let's set it right away. So for example, here on the wheel class, we need to change it to the car wheel. So the same blueprint that we created earlier, this one the color wheel. So we're just selecting it here. So let's select it for all the classes. So Car we'll for all the four wheels and now for the bone names. So if you recall at the start, when we just exported our car, we had some problems with the bones names, so our Unreal changes the names of these bonds. We need to keep that in mind. So for example, the FR has one and are always true and so on and so forth. But also here we need to keep in mind the order when setting the bones when you just start from the front right, front left rewrites and Real left. So let's set that right. So I'm gonna just jump here and add, let's start writing the names of our bones. We have the front, right, front left, the rewrite, and finally we have the rear left. Okay, so now all you have to do is check the numbers. So far. Number one, okay, so let's set that you are going to be number one or number two or L. So this one is number two. Again, we have FAL number three. What is the FL number three. Okay, and lastly the RR is number four. Okay, let's set it like this. And the lesson to do here is to disable this tyranny for the back wheel. So this is obvious, so we don't want them to spend or to rotate. So let's just say what's the ending for the rewrite and the real left wheels? Or it's sort of just compile and save it. So now step number four. So we need to set the controls. So we need when Acceleration, we need to press W, S for the reverse for churn you can press. And so this is the default settings. Because right now if we just Play our game, we want is gonna be able to move. We need to set that up. So let's jump into Project Settings. Again. If you're not seeing it, it can go to Edit and chooses Project Settings. So here I'm going to add more accesses. So I'm going to add the new one. Let's call it here. Accelerates. Dash, reverse. Alright, here we are going to be choosing the W for the acceleration. So the W keyboard. And let's set it to one. And I'm going to add the reverse, which is S. You can choose any key that you want. In my case, I'm going to default. So this is what's gamers know about the key. So minus one here, it's obvious. One go forward, minus one, go backward. Alright, so now we have this one, Front Acceleration and also we need another ones. I think. Yes, from here, Bridge add this one here for the reverse. So let's call it Vehicle or Car churn, because we're gonna be bringing those notes later on. For now, we'll just call them. So I need a. The a is gonna be for turning left. So the left is the minus one. We need to give it a minus one for the Scale. And lastly, we're going to be using the D for turning, right? So let me just scroll down until I find it. There we go, and set it to one. So let's jump back into our Car blueprints and let's set this up so I need to jump into the event graph. Alright, so let me just scroll a little bit back and right-click. Let's bring the accelerate reverse. So X events, yes, this one. So these are the ones that we created just now in the Project Settings. And right-click, Let's Add the second one, which is the Car churn. I called it right? So Car turn axis event as always, for the acceleration which is connected to a node calls throttle. Throttle. I don't know how to pronounce it. I don't know why they making these names so hard. So step set, throttle, input, this one. So it's kinda scary. Name throttle. Yes, so let's connect this one, the white to the white end and the green access to the green axis as always. And for the culture, we need to bring another node called serine. So right-click and let's search for steering sets during inputs for Vehicle. Yeah, there we go. And just move this one down. So let's put the culture and let's connect to watch the white, white nodes, the node N here, let's connect it like this. And for the Vehicle Movements, we don't need to nodes. I'm going to just delete this guy and let's connect the blue to the target self, or it's on, I think we're good to go. So let's just compile and save. And let's try this out. I'm going to just go here and let's play our game. So let's take a look. So it should be moving. Excellent. So now it's more of it. But you can see that the wheels are not spinning. So we need to add that Animation. We're going to be doing that in the next lecture. See you soon 60. Make Car Drivable in Unreal Engine - Part 2: Welcome back gentlemen to Part three of making our Car Drivable in Unreal Engine. So now we need to animate our wheel. So we're gonna be making them spin and also the front wheels, we need to make them sphere. Alright, so let's get down to it. So basically we, I got these steps, three steps to make them, to make this happen. So the first one is to create an Animation Blueprint. So I'm gonna jump here into the contents browser and right-click and scraped and Animation. So it's going to be this one Animation Blueprint. And here I'm gonna be selecting this Vehicle Engine instance. On the bottom, I'm going to be selecting the Car Model. We have just one. Alright, so let's press Okay, so here I'm gonna be calling each Car dash Animation. Alright, so step two, we need to jump into the car animation. This one double-click on, It's alright, so we got here. So let me check names of the nodes that we need to add. So we need to add two. We'll handler four-wheel vehicle. Let me just check this result and let's search for we'll Blur. It's also need to uncheck this box. So we'll handler for, we'll Vehicle. This one comes with two nodes, which is excellence. And when to select these components Poles, I'm going to simply drag this line over here and let's search for Poles. But also he, I need to check this box and pack like this. And we got this mesh space Rough both. So click on it and we'd good. So all we have to do right now is to compile. And as you can see, we have this nice flow of animation going on. Looks really nice. So I'm going to just save Alice, check our course. I'm going to just Play. And let's take a look. So we're still not there, so we have to fix, need to add something else. Let me just get back here. So basically we need to do the last step which is to select the Car blueprints, this one, so double-click on it. And what's next? We need to select our mesh. So this one, the mesh, this guy here, mesh, Vehicle mesh inherited. Next, we need to jump into the Animation class and one to assign the car animation. Let me just search for it here. So this is the Animation, and here we have the class. So I'm gonna be searching for the car animation. This one, the one that should create it. And I think we're good to go. So let's just compile and save, or it's always get back to our scene. Let's play our Animation. Alright, so let's N is you can see we got it. So now we have everything working. We have the Suspension. I like the Suspension. So another thing that we need to fix, which is the serum. I think it's exaggerated. Don't have cars like this. And the other thing is the collider. So the wheels are not on the top. So we need to fix this problem. But start first by the serine. So let's fix this angle or it, So I'm gonna be choosing this Car. We'll double-click on it and I'm gonna be searching for this, will set up your angle. I'm going to set it for 45. So let's just compile and save. Alright, so let's see if the serine is fixed. And I think it's almost 30 years, I think we're good. So now we have Realistic serine. So let's fix the other thing which is the Car radius. So in order to fix this, we need to get back to our Blender Scene and we'll need to check the radius of our wheels. So let me select my wheel. I'm going to press N to check here the Scale, the scale of the X. The X is at centimeters. So this is the radius. We need to divide it by two, which is 40 cm. So this is the height that we need to give our radius. So let me jump into the car. We'll double-click on it. And here we have a missile for it, the Shape Radius set to three, so we need to set it to fall. It might be different value based on your car. So let's compile and save. So now it should be on the floor. So let's Play. And as you can see, it's perfect. Maybe. Yes, I think we're good. Cops. Excellent. Alright. So probably we need to fix the Camera and each movie to look at this backward. So let's jump into our Car blueprints and I need to jump into the viewports. And let me select the current sprint arm. And I'd like to move it back. So I'm going to press Alt and left-click to spin around. Let's move this on the x-axis to something like this. Alright, so let's compile and save. Alright, so let's take a look. I think it's looking perfect right now. We don't have enough shadow. Looks like it's fits flight, but we're gonna be fixing the Lighting in the coming tutorials. For now, we need just to make it Drivable. But also you can see this we have another problem. So the Camera kind of follows the vehicle. I don't like that. I want to separate a movement from the vehicle. So it's pretty simple. I'm going to just jump back into the car blueprints. And here in the Camera Settings, I'm going to uncheck this inherit role at enrich you. Some weird names actually inherits pitch. Alright, so now it's gonna be separate. Camera is gonna be separate from the vehicle. There we go. So you can see that Suspension, everything looks great right now. Standard sliding, but I like it as a starting point. Rho, nice Drive it. Also there is another thing that you might experience, which is this problem we do. Once you start accelerating, because you start driving your Vehicle at higher speed, can see that the will start to behave in a weird way. So there is a quick fix. So this one, let me just show you, I'm going to be jumping if you do Project Settings and simply search for Motion Blur. So let's search for it to you. And basically we need to uncheck this box. Alright, so now our lips can be easier. So let's Play and let's take a look at it. Okay, let's try our Vehicle at higher speed. And as you can see, we don't have that problem anymore. Our Vehicle looks awesome. Or it's in the next lecture, we're going to be starting texturing process for Vehicle. And so basically that's it. So if you have any questions, let me know. Oops, that's a fail. Or it's will see you at the next lecture. 61. Finalize Texturing Car in Unreal Engine: Welcome back around to this new lecture. So now I'd like to show you a quick way to Texture our Vehicle and make it look interesting like this. Alright, so let's get down to it. So here I've put our Vehicle to the default settings. I tried to delete all the materials so that we can start fresh. Alright, so I'm gonna put these textures in the resources so that you can download them and use them. We have a year, the car paint with the normal map. We have here, the child's the roughness and the normal map, and we have the windshield Material. So I'm gonna go here and right-click and it's create a new folder. Let's call it textures, so that we can keep everything organized. Here we have the materials. These materials comes with Blender. We're gonna be using them to assign these textures. So let's double-click on these Textures and let's copy and bring everything we got here. Alright, so normally we got all the taxes and parcel. I would like to go back to my core FBX and let's start, for example with the tires. So double-click on the tire. And here we can simply drag this one to the side and double-click on Textures. We have tire. I'm going to bring this satire. Let me just Bridge every year over year ALL just assign it to the base color. So this one, I'm going to just delete. That's color. Here. I'm gonna do an Apply and let's save this. And as you can see here, we have our views of our material is applied. So we need to work on the roughness as well as the normal maps so that we can have these bumps, these nice bumps, or it's telling me bring the normal map I'm going to assign. It's pretty clear and let's assign it to the normal. Can connect RGB to the normal, like this. And we can see here the preview. You can see that we have some bumps here, which is nice. So let's apply this. Let's save, and let's take a look. So nice you can see we have the bumps which is nice. Less than is the normal, is the roughness. So let me copy here the roughness map and it's connected to the roughness. So we need to have some reflectivity of our material. So let's apply this. Let's take a look that's going to look like, yeah, I actually, I liked. It looks nice. So let's do the same thing for our second material, which is the tire number two. So I'm going to just save this. Okay, Let's go back here to the core of Bx and let's double-click on the tire number two, which is a top, this one. Alright, so let's go back here to the Textures and tire again, and let's copy, Let's bring this one, the tire. So I'm going to copy the RGB to the base color. Let me just delete this, 111. So let's apply this. And let's see. Colic can see that it's applied here, but it's, doesn't have any normal map. So let's end the normal map here. Let's connect to the normal express. Apply sick a look. Nice, We got it. And less elements we need to bring the roughness, the roughness. Let's connect it to the roughness. Let's apply this and we're good to go. Cyclo cow, the material will appear. And it looks nice. Alright, then let's work on the second Material. So now we need to work on the car paint, which is the main elements. So let's save this or it's not. Let's go to the core of Bx. Alice chose the third material, which is car paints. So double-click on it, we can drag it aside like this. And let's bring these taxes. So we have the car paints, gonna just copy it or drag it from here. Second element, we got the the normal map. Okay, Let's zoom, delete this node, connect the RGB to this base color, which is repeating the same process and the Vcd UVs. So let's check how the material will look like. It looks nice, but we need to work on the reflectivity. It's not a reflexive right now. So let's add the constant three vectors. So constant vector, this is just a color. So I'm going to connect it to the roughness. And basically black, if you set it to black here, our material is going to look 100% reflective. On the other way, if you set it to white, It's gonna be sharp or it's gonna be rough. So you can see that we have no reflection. And since this is a core pain, so it must be almost 100 reflective. So let's keep it like this. Alright, so now we're good. I'm going to just go ahead and apply this. And let's save and take a look at our Vehicle. Nice. We have It's reflective. You can see that the reflection of the sun on the car paint, which is nice. Alright, so now let's work on the third element, which is this one, the windshield. So let me go back here to Car FBX and let's double-click on the windshield, this one. Alright, so let me just delete this one and let's bring the textures of the windshield. So we got this and we get the normal, actually don't want is going to need the normal map. Because as you know, the windshield is just a just glass. So let's test this out. So we have here the base color. Let's see how the normal map and look like. So let's copy it. Let's set it, are connected to the normal and last element. I'm going to also need the constant tree again. So constant to be a vector which is just a color. Let's keep it black and let's connect it to the roughness there. We can have our material looks reflexive like this. So let me just go back here and I'm going to just delete this normal. Alright, so let's apply it as essays. Now you can see that our material is 100 reflexive. So let's go back here and let's take a look. Now I like, now it looks reflective or it's so for the raw materials, we have the tail lights here. So let's go back to the FBX and let's, for example, we have here red glass, so we can create a new material for this one. So right-click here, and let's go to materials and textures, and let's create a material. So I'm gonna call it tail lights to lie like this. So double-click on it, I'm going to just make it super simple. So right-click and let's use again the constant vector. And let's connect it to the base color. And I'd like to make it red, dark red, something like this. Okay, let's press doubts and let's apply it. In here. We can simply drag this element and drop it here. And you can see emit cubic yard does Material, but also I'd like to make it shiny so we can add a new constant, constant to refactor. It needs to be black so that we can have the four reflectivity of that material. You can see that here it looks really nice. So let's apply it. We got it, Got it, reflect Focus. So let's save this and then we have it. So this is the final result. This is our final products exported into Unreal Engine. So if you need any assistance, I'm here to help. So thank you so much for sticking with me during this course. I hope to see you in other future projects.