Make a Cinematic Jet Fighter Animation In Blender

1. Jet Fighter Course Intro: Welcome to this exciting journey we will be designing this Fit jet fighter from scratch and using integrate awesome and cinematic animate in Blender four. I section number one. We dive into the fundamentals of T modeling as we craft the F 15 components, the cockpit, the entice engine, the wings, the rockets and missiles. We'll be building this beauty from scratch. Next up, section two texturing real. We will learn to unwrap paint brush the jet color and the logo images with numbers, and material prosections like grunge brush the seams to make the jet materials looks amazing. We'll also learning to texter paint our jet missile. So basically, we're going to be doing everything in just one software. Blend. In section three, we'll dive into blender simulation system. We will learn firing smoke simulation to be able to create an amazing fire missile effect. We will dive into procedural tectoryGive us control of our jet engine flames. You can change the size and color and control length of these engine flames. Then we will create a stunning jet tail smoke using the particle system in Blender. Section four invites you to explore the art of animation in Blender. We'll bring our F 15 jet to life with these threatening and cinematic sequences, the rolling over animation. Firing missile animation, and the rise of the sky animation. And basically that ethic journey tough the creation of our F 15 jet fighter from its two digreprin to become a cinematic marvel. Each section will bring you closer to master umber modeling, texturing tools, rigging, animation, and crafting realistic animations that truly bring our 15 to life. 2. How to Align Jet Blueprints in Blender: This storal, I'd like to show you the quickest method to align our jet blueprints in Blender four. Here we do have three of these blueprints. We have in the front, for jet, the right and the top. This is the first step to do in order to model any complex object in blinder like vehicles, buildings, even characters. All right let's get down to it. The first step to do, I'll actually delete everything that we got in our scene, so we can just press A and x and delete everything. Next, I'd like to drag and drop these blueprints. First we have in the front. Back in blinder. To access the front, we are right now in the user perspective. To press number one on the path. If you press one, you can see here on the top, we are on the front autographic. What we need to do right now is to drag and drop that front blueprint. This one, you can just drag it and drop it. We can just make sure that it's at the center, just like that. The next step is going to be to add, let's add the right blueprint. To access the right, I want you to press number three. Now as you can see we are on the right autographic, so let's go ahead and drag the second blueprint, the right and we can try to align it a little bit down, let's put it here. And lastly, we're having the top of electric press seven. Number seven is going to bring us the top to graphics, all we have to do right now. Drag and trap this blueprint. I'm going to select it, press G to move it and let's move it here at the center. Nice. The next step is going to be to all these reference images because right now they are not organized, they are not cooperating with each another. For example, this one, it's facing this way while the side or the top, this one here, is facing the red axis. What you need to do is to make them all face the same axis or the same way. I'm going to select at the bottom preference, this one here, and I to spin it on the z axis. Let's press R z. Spend it, for example here by 90 degree. Let's make sure that all these pprins are facing the right direction. They are all facing this, this greenish axis, which is the y axis. Perfect. Next, we have to do some scaling down. You can see that the front here looks a little bit here so we need to scale it down. But I'm going to just hide it for now, and I'll just work on these two. For example, this one needs to be matching the other reference. Let me show you. I'd like to put this nose right here. Let me just drag it a little bit down here. I can press shift to go real slow, and we can drag it to the left side here. Can press shift again to go slow. There we go. We can press GY to go down just a bit. Something like that. Next, I'd elect to put the cursor right here, so shift and right Clect, put the cursor here, and we can switch the pivot point to this tree cursor. Right now we're going to be scaling this image from this point, so we can try to scal it up or down based on our needs. Here let's check this out. First, this is the end of our blueprint, but here this is the end of the, this wing right here. Let's scale this up, can scat it up until this end reaches the end of the wing. Something like that it's going to be reasonable. We can also check other parts. For example, the torch of the wing, so it's here, it's aligned with this one on the bottom, same there for the end, so they are all aligned. We let's send it to the front, I'm going to bring back this empty image check it so that we can bring it to our attention. Here they should just go back to the median point and we can take it forward. Let's see. We have to drag it a little bit to the right side, and let's align it using those wings. Here I'm going to just drag it down. L et's move it a little bit back. Luckily we're having a perfect match here. We can, for example, let me just drag it a little bit to the left side. There we go. That is the perfect match. For example, if you have it like this, you can just ski it down until those wings are fitting the wings on the bottom blueprint. Let me just move it back here. Last thing to do, we have to align it on up or down. Let me just move it a bit here forward. Let's make sure that the nose are touching each another. The nose here. There we go. Nice. All right so we've got the scale and the position. For example, the front blueprint. You should not be moving it up or down, should be moving only on the y axis, GY, can move it a little bit back. For example, this one on the right, on the right otographic, you have to move it only on the x axis, so Gx, move it back like this and the one on the top, it should be moved only on the z axis. Let's press G z and we can move it down. Now we are ready to start targeting our chat. Also, I'd like to show you the great way, so we can press control and queue. This way we're going to be dividing our window into four parts. Here we're having the top, here we have in the front, and here we're having the right. While in this user perspective, we can check the overall progress of our scene. But I don't like this. It looks a little bit disturbing. I'm going to just go back to my default scene, and we can keep switching by pressing one, three, and seven. 3. Improve Blender Modeling Workflow Shading: Before we can start modeling, I'd like to show you a quick track that's going to allow us to improve the modeling shading in blender, so that we can go from this to this. To create this shading, I want you to go to the top here to the top, right, and click on shading. After that, first, I want you to switch the lighting from Studio to MTCp. Down below, I want you to check the cavity. And make sure that to increase the rich value two as well as the value. Immediately going to see that we're having more definitions here. Our chat definitions and edges are looking more bright and vivid. The last s is going to be to add some shadow so we can check the shadow value here, and the past value that I found is 0.4, can decrease it down or increase up. 0.4 seems past. Basically that's it for the modeling shading in blender. 4. Modeling the F15 Jet Cockpit - Front Nose : In this strial, we're going to be working on the front nose of our jet. This section right here. It's called the cockpit. All right, so let's get down to it. So to create that, we're going to need a cylinder. So we can press Shift A to access this menu, and we can go to mesh, and let's add a cylinder. So on the bottom left, we're going to have this tab. So I want you to click on it, and I want you to set the number of vertices to just 16. It's going to be 32 by default. Set to 16, so this is going to be manageable to edit. So on the edit mode, we can spin this object, so our X can spin it by 90 degree. Press enter, and we can press to move it and let's move it all the way to the front. I'd like to have the center of the cylinder aligned with this point start of our jet, something like that. Next, we can press Z and switch the frame, and we can select the front of our cylinder and we can simply scale it way down. After that, we can take the right side and move it here to form this shape. After that, we can just scale this part down while move it a little bit up. The next step is going to be to check if this object is at the right location. I'm going to press one to jump to the front orthographic and we can zoom back, can see it's off track so we can select our cynder and move it to the right side until it matches with the reference image. All right, so let's press to reach, you go to the side and let's carry on. I'd like to select this edge line, and we can extrude all the way to the second portion of our airplane here. After that, we can press S to scale it up and let's move it up. Here. You can also press one to go to the front. Let's say you can see it's perfectly matching the reference image edge line. Let's press three. Also here we need to add extra edge loop. Control R here, can skate up like this. I'm going to select again this portion, and I'm going to extrude it all the way to this third portion of our airplane, can skate it up and move it up like this. Perfect. Same thing here, we can take this vertex, try to move it a little bit backward. Something like this is perfect. All right. Let's exit that mode, and let's check double check the shape. You can do right click and shape auto smooth. You have it perfectly smooth. The next step, it's going to be to extrude this portion again so we can press switch again to the frame, and we can extrude press, y, and let's go all the way to this portion here. This is the third or fourth portion of our airplane. What we need to do right here, we can select these verses, track them up like this. Same thing here. You can check this one up. In the middle, we can insert the first edge loop. Let's put it, for example up here, and the second one here. All right. Next, we can select these two edge lines, drag them up. Same thing here. Let's take these up like this. Here at the middle, we can press control bar we can drag these two points upward like this. Let's take a look at the shape from the outside. It looks good. Now we're going to be adding a new modifier. Let me explain. If we go to the top, if you press seven, go to the top, you're going to see that the airplane is symmetrical, which means that this side is the same as the other it's inverted. What we can do, we can use the mirror modifier and only work on one side. Let's select our progress right now. On the is mode, we can press switch frame. We can delete one side. We're going to delete the left side, x delete verses. Let's zoom in here. You can delete these verses again can exit is mode. And we can let's go to the modifier properties, and let's add the mirror modifier, this one right here. We need it to be on the x axis, so it's already on the x, so we have it here. The problem that we got right now is the center of origin is here at the center here. We should change the center of origin from this point here to this edge line. Any point on this edge is going to work. Let's use this one, for example, we can select this point, shift curt to select it. We can exit mode, go to the objects. Such origin and origin to the true decursor. Okay, we got it. If we press Z and switch back to the solid, we're going to have the mirror working 100%. If you apply any change to the right side, so that same change going to be applied to the left side. All right, so let's carry on. So on the side here, go to press Z switch to the i frame. I'd like to align these versics with this edge line of our reference image. So let's take it this one, move it up here and continue like this. Okay, for this one, can take it up. Let's use The move tool to move things perfectly. Something like that seems to be fine. All right, so now it's time to make our front, our cockpit looks more interesting. So what I suggest first doing is to add the subdivision surface modifier. In the modifier properties, you can add a new modifiers can be the subdivision surface modifier. So now we're having more of those vertices, the duplicated, which makes our cockpit looks fine, looks good. So what we need to do next is to define the edge line of our window, the cockpit window. Let me just show you. This line. But also, what we can do, for example, lift this part up. Let's lift it like this to make this new edge line works best with our reference image. I'm going to hide the subdivision surfers modifile for just now. You can click on this screen here to hide it and on the mode. After that, we can switch to the face mode, and we can select these phases, can press shift and left click to select them all. You can press to create an inset and we can drag it just a little bit down like this. After that, we can move it down, we can move it here, just a bit down like this, we can press shift to go real slow. After that, I want you to delete these extra phases. X and let's delete them. We're going to need them anyway. What we need to do, we need to move these edges to the left side. We're having this problem here. We can go beyond the center point, so we can go back to the metal modifier. We can check the clip in so that we can stop right at the center. Also we can check the subdivision, we can make it visible. We have a problem here. This edge line, it's not defined. It's smooth out once we use the subdivision modifier. How can we fix this problem? On the e mode, I'm going to show you a quick trick to do it. Let's we can be on the edge mode. I want you to select those edges that you want to highlight. All of them, we can press old. Shift A to select them all, something near Shift Alt, and you can press control and click on edge crease. You can click and on the bottom, I want you to increase this factor to one, that edge line turn to be red. Now if we bring back the subdivision surface modifier, you can see that that edge it's going to be highlighted. Looks really nice. We can also increase if you want to have higher details, we can increase the level view port to two. The last move that I'd like to perform is to add those cuts on the front, this cut here and the second cut right here. On the mode, let's start Let me check. We have this edge line here. You can select this edge line. We can try to eval just a little bit. Control B to val just a bit. You can press shift to slow down this movement. Something like this can be fine, can collect left click. Let me just get rid of this edge line. Next, I want you to extrude it, so we can press, extrude. We can do collect, to cancel this movement, and I want you to scale it on the inside, so you can press. Let me go to the inside and do it. Al And let's go like this. So I'm using the Alt S. So I'm doing the Alt S instead of just as to make the scaling down even. All right. So the next movie, it's going to be to grab, C press to select this line, shift, select the second line. And let's go on the inside, shifts. We need to select them all. All of those edges, and we can press control, and click on edge grease. Click and increase this factor to one. If we go back to the solid, you can see that we're going to be having this perfect cut in the middle of our nose. I want you to do the same thing to the front, this section right here. Let's do that. Con press Control B. Something like this, really tiny. Al, let's go inward. Actually, we must press, to exclude first, Al, Let's go inward like this. After that, we can press Shift old and let's select all of those edge lines. You can press control. Let's click on edge case. Click, and let's increase this factor to one, and basically 5. Modeling the F15 Jet Air Intake : In this orio we'll be adding this air intake. We'll be modeling from scratch and adding it to our jet. All right, so let's get down to it. So what we need to do? I'm going to expand the bottom or the pack side here, Cress, try to extrude. For example, can try to move it a little bit up, S Z and scale it up just a bit. After that, that's what I want you to do. We can select Let me just grab these tree edges. Compress three to check. Yeah, we have to select the fourth one on the bottom. And I'm going to extrude it on the x. X extrude it just a bit here and extrude for the second time. Here on the back, I'm going to press one to check. So we have to move these verses down here. Okay. Simply on the side, the mi select these on the right side, can try Sx and press zero to have it completely flat. There we go. That's nice. Here on this edge, we can also press old and try Sx zero. To have it flat, we can hide the subdivision s 75. Just to see. Yeah, it seems to be fine. Okay. The next step, it's going to be to extrude can press old here. Shift, shift old to select the entire edge line, and we can press and extrude it way back. Can press three, and also can try to scale on the z axis, S z something like this. Seems accurate. All right, so now for the front, I'm going to select these phases and I'd like to extrude them outside. Let me press to reach, go to the side, so frame, and we can move it for example here and try to spin it on the x, and let's spin it sideways like this. R x and we can move it down. All right, S y. Something like this. Okay. Next, we can insert an extra edge loop. For example, here, can press tree, switch to the y frame. And let me take these up, put them here. I think that, this doesn't matter. Let me check again. Nice. Looks pretty much decent. Let me bring back the subdivision surface modifier, see. Obviously, we have to sharpen these edges. Let's select them first. But before doing that, I'd like to proceed by making the gap in between. Let me just press one to go to the front, can select Thank these two phases. We can press to create an inset. So let's press, and we can can press each extrude right collect to cancel that movement, and we can simply drag it way back. All right. Next, we can try S y and press zero to have it flat, and we can just delete this phase, x and deleted. That is nice. Next, let me just mark the seams. We can press all here. Shift, can press, go to item and increase the mecrease to one. Samething here for the bottom, press old. Shift old have this section selected. Shift old here. Nice. Increase the mean increase to one. Lastly, this part right here. This one. Increase the met to one. Same thing for these edges on the outside. So we have to increase the meat to one, and we can keep checking the subdivision surface modifier. So now you can see we're having a perfect shape. We can try, for example, to do the same thing for these edges. Increase that here. Let me just hide the subdivision, so that you can see it better, increase out of these edges crease to one. Let's bring pack the subdivision. Here, it's a little bit tricky, so let's increase it also here, there we go. Now it looks much better. What it actually do we need to drag this part down and move it to the right side. Same thing here. Let's move it down. Something like that seems to be accurate. You can also press three to check it from the side and basically that's it. It's almost. Let me just move this one up and basically that's it. All right, so what we can do, on the edit mode. I'd like to expand press. Let's take this part all the way to the back til it reaches this level right here. Also we can press three to check We can scalt S and let's move it down here. That is nice. After that, we can select the body of our cheat and let me just find out the start. We have to start from here all the way to this location. We can insert in group here on the back, and here on the front. Let's mark it by this vertex. We can select the press double G to slide this over somewhere like that. After that, we can press control arc to insert an edge loop. Actually just check from the side. I think this is only to do that. I'm going to select these phases and ex the outside. You can press one, go to the side. Yeah, it seems to be fine. You can try to bring the bottom Let me just put the bottom. Z, let's move it up. Okay. So the last move to do is to let me just go to the top. I can make the top go well. You can move this one or actually these two versus, let's move them back. Okay. The last movie is going to be to add make these edges a little bit sharper, so let's select. These edges, we can press, increase the increase to one. Okay, now we're having a perfect geom tree. 6. Modeling the F15 Jet Engine Socket: In this orio we'd be modeling the engine for chat. Then we will connect it to the front section of the airplane. All right, so let's get down to it. So on the mode, I'd like to press shift and right click to put a cursor way from the center to avoid any problems with the lipin, and we can press Shift A and let's bring a cylinder shape. So we can reduce the number of vertices to something round 16. You can add the slash divided two to get the 16 vertices. And after that, we can bring it to the left side, and let's try to spin it so x and we can type 90 degree. After that, we can try to move it upward until it matches with reference image, and we can try S saved z so that we can scale it while extruding the z axis, and let's it can move it to the right side, place it on top of the reference image. After that, we can delete the front phase and the back face of that cylinder mesh. Next, we can press seven to go to the top and let me select that unit by pressing L and we can drag it to the left side. I'd like to put it on top of the reference image engine, something like that. All right. Let's put it over there. We can press old Switch to the frame can extrude Here press to scale down. Shift D two duplicates. You can scale this part down, extrude it on the y. We can scale this part a little bit down and last we can extrude for the last time on the y axis to form that last part of the engine. That is nice. We can do right click. Sheet smooth. Here control, let's increase the increase to one make that completely sharp. A on the inside. Okay. I want you to delete these in our faces, X delete them can select this x ode to the side. So this is our engine. We must keep an eye on the reference images. So this is for the top. We can bring that reference here so that you can keep an eye on it. I'm going to split this window from the bottom, can switch to the image editor and let's bring the second reference image. You're going to find all these references in the resources to download. All right, so this is what we got on the top. Okay. So the engines, start from here and the end at the start of the wings here. If you press seven, you can determine where should those engines stop. I think something around here. She is about here or a little bit smaller, this line here. All right, so we can press all here. Spread seven, can drag it all the way to this location, so we have to kill or to smooth the engine here. Okay, so on the side, I'm going to also delete. These phases, x delete, can go to the top. First, we have to insert two edge loops here. Here on the bottom, we can let's select these vertices. Try z and price zero. We have to flatten them. After that, I wanted to activate the snaptal so that we can drag these points and make them all aligned on the same level. All right after that. I'm going to start taking these vertices upward without the snap, stick them here. Same thing here. Okay. Something like that. So now we're having that nice curvature. Here, I'm going to bring them back to this level. There is nice, same thing here. Now we have to mix between the body and this section. So the way to the weight, I'm going to just tie the subdivision surface multifi for just now. So we can select this part or actually just select this vertex, try x and extrude it to this level. After that, we can select these two edges press F to fill that gap. Let's do the same thing here. We can select this vertex E x, drag it to the left side, and let's select these two edges, press f to fill. All right, so here, I'm going to select these two edges, press F to fill. Continue like this. Okay. So here we can select these edges, and we can exclude them on the x, so we can press E x, exclude them outside, and we can select this vertex, shift select this vertex, we can press, merge at the last. So we merge that section. Also, we can try to bring. These up slightly upward. There we go. Right click Set to smooth, can also increase the level view port. Actually, we didn't, let's bring back the subdivision modifier. Now it looks much more better. We can try if you want. Let's see if it's going to be better or not. Press Shift. Shift select this entire edge line, can increase the increase to one, and let's see if it's going to be better. Yeah. What about 0.5. 0.5 seems messy. Let's just increase it 21, can leave it like this. You can also press seven to go to the top and let's investigate the engines. We have to inflate the engine size. For example, here, here, let's select the contry Sx and exude them or scale them on the x. Same thing here, can select, x, inflate the verses. Okay. Do you make the engine look flat or big a little bit. There we go. Looks pretty much decent. All right, so we have to fix the bottom two. For the bottom it likes to bring another reference. It's going to focus on the bottom. The first reference is great. I'm going to simply drag it and drop it here. Let's zoom in. This is what we got. Let's go ahead and connect. We can select this edge, try x, drag it to the right, we can move it up. Let me hide the subdivision, can insert an extra edge loop and drag it up. Bring back subdivision nice. I'm going to select this. I'm going to press slash on the keyboard, slash is next to the shift so that we can focus only on this section without the reference images of the bottom. All right, so here, what we need to do? We can expand the shape of the engine. S x, something like this. Same thing here. All right. In here, I'm going to just fill this just press F. Continue pressing F here. Might want to increase or to add an tra edge loop. So we can add two. This one goes here, second and the third. Okay, then we got the engines, spring back the subdivision surface five. In the next came of lecture, we can continue our work, so. 7. Modeling the F15 Jet Main Wings: In this stole, we're going to be working on the wings. But before doing that, I'd like to finish this gap. We have to work on it a little bit. I'm going to press seven to go to the top and on the mode. I'm going to use switch the vertex mode. We can press control R here to add a new edge loop, can drag it to the side here, and we can take this vertex and de up here. Exude all the way to the top again, and we can select these two press F to fill. After that, let's select these four verses and we can press F. This one you can drag it to the side. That's nice. This one to Something like this. After that, let's investigate the side. We have to delete or to get rid of these two phases. Is going to need them because you can see it's continuous. Let's press x and let's delete those x phases. Here, I'd like to check, I'm going to press all of you. I don't think we're going to need this edge line. I just get rid of it. S select these edges while present shifts and we can exclude them. Here and another time on the top. That's good. After that, I'm going to select these two again. Or just this one, exclude it up and another time. After that, we can select these edges and strive to fill that space in between. Now we need to remove the doubles because for example, if you select this vertex without the snap, it's going to be doubled, not this one. Let me this one here. We having two verses. We can select everything, press and verse by distance. Four verses are removed. Let me check the subdivision surface multifi to see the bottom. I'm going to press again the slash to focus only on this particular object and we can compare it to the bottom here. It seems pretty much straightforward. I'm going to just continue extruding or these edges. I'm going to just activate the snpsle Press, extrude like this, without the sub division multifi applied. Extrude one more time. Select this vertex Z and let's move it down without again the snap. After that, we can grab these three edges, activate the snap, extrude here. All right. Let's select evidence, press merged by distance. Three verses are removed. Excellence. You can select this phase shift the duplicated, and we can snap it here. After that, we can just hide Those vertices snap that one to the bottom. Select these two press f Press F like that. Press here. We're actually just two press F. After that, select everything, press merged by distance. All right. Let's activate the subdivision. Let's mphstigate the bottom. The bottom seems to be accurate. Okay. All right, let's go ahead and start building two wings. But also here, I'd like to sharpen. Before we can do that. I'd like to sharpen these edges. Okay. Can select the mall. Press, increase the increase to just one. Also here, we have to check the normals. Let's everything, press shift to make sure that the normals are well set. All right, let's go ahead and start designing the wing. I'm going to press seven to go to the top. Also here we forgot to sharpen this edge like that. On the is mode, I'm going to select this vertect but so let me just go back to the objects mode, can press the slash to bring back all those objects. Press seven. We need to see the reference images. On that this mode, you can select this verse x. I'm going to exclude, x to the right side. Let's activate the snapsole and we can keep doing like this. Td here because we're going to be rigging this section here. Exclude one more time. Let's make that turn this. We can stop here. Also, I'd like to do something. I'd like to reduce the opacity of this reference image. You can select our reference image and we can switch to the object that properties. I want you to check this opacity and we can reduce it down to something like 0.2 sprec. Now we can see the vertices even better. I'm going to extrude this vertex here. This is going to go aligned with the top vertex, and as a last time, it's extrude it one more time here. Now I'm going to select this part, press F to fill that space. C press control r here, double G to slide it upward. Exclude one more time here. Without that, we don't need it, can connect it later. But actually, this one should belong to this section, I'm going to press double G two slide it upward here. Now it's good. E x draggage to the left side. There we go. Let's select these four versus press F one, two, three, four, and let's press f again. That is nice, and we can continue this way. PF. Okay. Let's select this part by pressing L. We can press shift to flip the normals. That's nice. I'm going to just disconnect this part for just now. Let me just can select this part press P separate selection. This part, I'm going to select it by pressing a extruded down. Can hide the subdivision surface modifier, select this wing, shift to flip the normals again. On this mode, I'm going to press control R. Horizontally, and we can try or actually as to skate it outside in an even way. Something like this. On the inside, I'd like to get rid of these faces. Let me just select everything, move it upward. You can delete these phases, x, and I just delete them. Nice. We can activate the subdivision surface modifier, press one. Select the wing, can try and move it down here and y to spin it sideways. All right, so that is perfect. Now all we have to do is to mix it with the jet body. I'm going to switch the tag mode here. Actually, before we doing that, we have to merge between these. I'm going to select this wing first, shift select airplane, control J, to merge them, right click, she smooth, and let's figure out a way to merge between these. I'm going to select these two vertices, G Z to move them down, move them to the left side. You can select this one first shift, select the last one, press M, merge at last. Okay. Let's this one here, shifts like the second vertex, press M and merge at the last. Also here, we have to fix or to fill this space. I'm going to hide the subdisn to see this geometry even better. Press F. I'm going to try to fill the space, it's like these two edges, and we can press F to fill that gap. All right here on the top let's carry on. This one first, shift select or actually, it looks a little bit. We can bring another reference. The seventh reference, it's going to show us the top of the wings. I think we have, we have to move these down like this. All right, so we can select these two verses per merge at the last. All right. That seems right. These two merge at the last. Here we can increase the new edge loop. S one first one, merge at the last. We have to fill some faces can select these two press F, and that actually seems a little bit tricky. Some, we need to select four of these edges, one, two, three, four, we can press F. Now looks much more better. All right so here let's carry on. We can insert a new edge loop, drag it down. Like this. This vertex shifts the last vertex p m and merge at last. Let's bring back the subdivision surface modifier to see. Looks nice. Let's just fill this space here. You can press control or again, strike it down. This one first shift select the last one per merge at the last. Here we can simply drag this vertex down, GZ move it down. Let's activate the subdivision surface modifier Let's see. Okay. So it looks decent. All we have to do right now is to sharpen the rest of these edges. We have to sharpen them, press N, increase the increase to one. Also, we can activate the subdivision, but we can check this on cage. Now we can edit these versus live. For example, this increase the increase to one. Same thing here. That is nice, can press alt here. Press al again or actually just, let's press alt. Increase that. Press al again here. Stretch those edges. Yeah, but I don't think the front should be like this. So we can just reduce the Merse on the front here. Make it smooth. All right, so let me check the front. This section here needs some care, so we can press old stretching that edge up. Press here. Stow it here. Nice. See that on the top. All right, you can press also here. Okay. Yeah, that's it. It looks pretty much decent. So here for the top, what I would like to do, press seven switch to the y frame. Can drag this sideways. All right, so it looks nice. We have a problem here at this location. On this moment, we can select this edge, and let me just increase decrease to one. So it looks completely fine. Here on the back, we have two solutions, whether to smooth out these edges or to get rid of the increase. I prefer this approach. I can even drag them double g. Can drag them all the way to that location. Here, let me just select this vertex, Z, can move it down to make it smooth. 8. Modeling the F15 Jet Back & Vertical Wings : This al, we're going to be adding two additional wings to jet. We're having these on the back, the small wings, and we' rehving the vertical wings that they are standing like this. We have to add them. I'd like to start with this wing that we get on the back of our jet. We can select our mesh. I'm going to press step to switch mode and we can start with a single vertex. Let's select this vertex chip the duplicated and let's place it here. I just start our wing from this location, so we can extrude Here, trade down. I prefer to hide subdivision service modifies as we can see our progress even better. Trade the can here. We can make some kind of a turn. We can stop here so that we can fill this cap so we can press F to fill it and the scale. Basically, we're going to be rigging this section here, this part of the wing. We have to model it. I'm pressing control to delete to raise that line. All right from here, I'm going to extrude all the way to the pa. Here, I'd like to press control to add the next vertex. We can select it. And we can press double G two slide it over, slide it here. Next, we can also extrude it all the way to this location, and let's select these four press f to fail them. A here, we have to continue. I'm going to extrude this one up here. Press control again, select that versuG to slide it can select these four phases for pre f to form that phase, and we can continue like this, this versax here. Select four and press F. Here I prefer to connect because it's not connected, so we can press control R again, and we can take this vertex, shift this vertex, we can press to merge them, and we can merge them at the last selected vertex. That is nice. Now we have to continue on the middle, so we can press control R to insert an edge group, drag it sideways, select press F. And continue like this. Press F also here. The next step is going to be to extrude this phase. But before doing that, we need to check the normals. You can see this part here is dark, so we can press L to select this unit and press shift to flip all the normals. Next, we can switch to the phase mode. I prefer I'm going to try to extude it down so we can press to extude it down just a bit, something like this. I'm keeping an eye on this side. All right. Something like this seems to be fine. Can select the entire unit by pressing L, shift to flip the normals. After that, we can press control R. Click. I'm going to press old as to scale this outside. Not that much, d S, just a bit like this. All right. Now the next move, it's going to be to connect this shape with the body of our chat. I'm going to select it using L. We can drag it to the left side here and we can delete. We can get rid of these faces. I'm holding shift while selecting these faces. Press X and delete those extra phases. After that, let's slaxfy pressing L, and we can drag it here. We can keep it here until we make the connection and after that, we can bring it back. I'm going to select this vertex, shift this vertex, press M, merge at the last. Okay. Same thing here, we can add an extra rage loop like this, and we can delete these inner faces, x delete. Same thing here, can press X deletes, this vertex shift this one, press merge at last and continue like this. Merge at last. Same thing here. Okay so here on the bottom, need to add an ex rage loop here. It's like these two press merge at last. Same thing here. So at this location, we have to add an extra edge loop. This two merged the last like the top one, do it this way. And here we can just move it. We have to find a way to mix this part. Since we're going to be rigging this part, so I can just connect it by pressing F to fill it on the inside, and we can do the same thing here, press. Now they are separated. Next, I would like to press seven to go to the top and let's make sure to align this part. I'm going to try press G, and let's move it here. Can try. Move it like this. Okay. All right. You can check these backward, just a bit. Samin here, can select these vertices, move them backward to have them better aligned with the shape of our *****. Same in here. Okay, something like this, seems to be accurate. Here on the back. Yeah, we can check it upward. This one, push them inside. Okay, now we're good. So we can bring back the subdivision surface modifier and we can try to sharpen these edges. C press here, shift old Okay. And we can press N, and we can increase the increase to one A here. Okay, select this 12. There we go. Press all tog There we go. Press increase that increase to one, We also have to check from the bottom. You can select these two, increase the increase to one. That is nice. Here on the top, what I'd like to do. I'm going to press seven, I'd let's press all here, increase the increase to sharpen that edge. Same thing here and we can select these two, and we can double G, slide the way forward. Let's start by one by one. Let's select this double G move forward here because we're going to be rigging this section here. Here we can move it back here. Select again this part, increase the increase. There we go. That seems right. Press akin, sharpen that end. Just take your time with it. Track this one to the left side, G to move it dell. On the object mode, you can do right click and she smooth. Now it looks much more better. Now the next step is going to be to add the vertical wings that we got here. On the this mode, I'm going to press tree, to go to the side. We can select one vertex. Let's use for example, this one, if t, and we can exude it upward. It reaches the top here. Go sideways, and Z to go do. Let's place it here. Okay. Okay, so let's select this porch. C press seven to go to the top, so it should it frame. This is where it should be long. So let's move it to the left side here. That is nice. All control to select the rest, invert the selection, and we can, for example, here, try to fill these gaps. Press f to fail. We can increase the increase to one, two is completely sharp. Can press one, which go to the front. Yeah, it's at the right place. Next, I'm going to try to extrude it. Press extrude it sideways, selects everything again, increase the increase to one. For example, at the top, I'm going to select this edge and drag it to the left side like this to make it really tiny at the top, really sharp. And also on the side, can switch to the frame, control ar to add an extra ridge loop. Again, this is the area we're going to be rigging it. Now I'm going to select these two, and we can try S x and scale them real down to make them completely sharp at the end. Add age to bring back everything, and let's investigate the shape. Later, when we're going to be creating the rockets, we're going to be adding the small rocket on the top. So here right click shape to smooth and basically that. Final tweak in to the wings, I would like to reduce that increase of these two parts, these two edges. Let me show you it's going to look even more better. So you can press and decrease the increase to something like 0.4. It's good to have it a little bit rounded instead of just cubicle, even 0.25, let's see. This way, it looks much more better. It's rounded at the top. 9. Modeling the F15 Jet Core Engine: In this new start going to be developing or creating the core of our jet engine, this section right here. We need to make it look like this. I do have a reference image that we can see. Let me show you this one right here. This shape might seem to be complex, but don't worry about that. We're going to break it down tough this simple object. Once we create this, we can turn it into this engine. Let me just go straight through my blender scene. This one and let's get down to it. I'd like to bring this reference image both can just put the scene like this. The top reference, let me just bring this engine modeling. To just put it here. On the bottom, we can bring the second reference. You're going to find them both in the resources. Then I'd like to do is suppress A and H to select and hide everything. Here, I'd like to start with the single cylinder. Shift A can go to mesh and let's start with the cylinder. On this mode, I'd like to spin this cynder on the x, x spin it by 90 degrees on the top. I'm going to just keep these two faces. Control, x, and delete those faces, the rest. All right, so next, I'm going to add an x edge loop, Control R, move it here and I'd like to drag it down. The next step is going to be to add some gap in between. On the edit mode, I'm going to select this part, try control B, to p val, just a bit, can press x in the let gap. Also, I prefer to use the mirror modifier to achieve a good result. I'm going to just select this part, x delist and here on the modifiers, we can add the mirror. Now, everything seems cool. The next step it's going to be to add this middle object that we got here. On this mode, press shift to duplicate this object, we can drag it sideways here, can try x, and let's move it to the left side. Also you can check the lepian under the mirror, so we can stop right at the middle. After that, we can select this part, try shift to flip the normals, and we can extrude it upward. Let me just drag it up, can press to extrude it. Sething for other objects, that's this object and we can press. To exude it down, select it, and try shift to flip the normals. The next step, let me show you we need to create this kind of a shape. On this mode, I want you to grab this top edge, can move it back and drag it on the inside, create that interesting shape. Something like this. Next, I'd like to add this side supporting column that we got side bar. On this mode, we can press control R here, strike it here to the middle, Control B to bivalent after that, we can grab shifts like these two phases and we can extrude them upward. There we go. I like the current shape. Now here at the end, I'd like to create something that looks like this. Parts that. Control out here, move it forward over there, and we can select this edge, can move it backward, G to move it down. So it's completely flat, nice. The next step is to add these kind of objects here at the end. So let's do that. I'm going to select these two edges, shift the duplicate, control, to extort them. Select, extort upward. Can try zp0rx, spend it sideways. So. After that, we can select this part, shifty to duplicate, can move one here, shift can. So that seems accurate. At the end, You can grab these edges, drag them down, move forward. S like that. To smooth that end. The next step it's going to be to form the top or the beginning, this section here. On that this mode, we can press t or actually, let me just select these three edges, shift to duplicate them, can move them a little bit sideways. After that, we can press, and co. Here at the middle, can just connect this part. Also, here we can try something like this. Let's move this one up. Try to get that rounded shape. Here we can press control, click and drag all the way to the top, and we can drag it down just to get the same shape that we got on the top. Here we can press de faces and we can press here and drag it down. Okay. All right, press again, try y and extrude, for example, here, as, go up again, not that much, something like that, and YG inside, easy, go down. After that, we can press shift control and bridge edge loops to connect that section. Also here we can make it interesting. We can add this edge loop controlled to pivalent can extrude it outside just to create something interesting. Okay. So here on this section, I'd like to hide or to connect these phases. Okay. Something like that seems to be fine. It's time to add this middle part that we got in the middle. To add that. Let me wrap this face, can press period on the numpad to them, shift two duplicates, can scale it down, drag it to the left side. We can exclude it outside like this. Lude one more time, scale it down. S this object. Shift T two duplicates and let's move it all the way here. Or, I can just spin it on the x axis like this. I can drag it up. Okay. After that, we can grab this face, shifts like this face, and we can press control and click on bridge loop so now it's going to be connected. I'd like to sca it a little bit up. What we can do can grab these faces here, shifts like these faces and we can move them to the right side. Just a bit. Next on that this mode, I'm going to grab this entire section. Shift to duplicate it, and let's move it Rx can press three. Let me place it here. You can switch to the white frame. Select this section, and let's move it up. Something like that. X then. After that, we can select one of these phases. Shift D. Let me select these two, shift to duplicate, smooth them down here. We can ex to this location, can select this part shifts to flip the normals. Okay. The next step is going to be to make this object to orbit around the center. We're going to duplicate it and make it orbit around the center. To do that, we need first to add plane axis. Shift A can go to T, and let's bring this plane axis. After that, we can select this object and we need to add the modifier. Since this plane axis, it's an object, so we need to check the relative offsets and use this object to offset. We can click here, and I the object tab, you can click and select that T. Right now, if we select the MT and we try to spin it on the y. It's going to be spinning our object in a perfect way. I think something between 25, it's going to be accurate. All all we have to do right now is to increase the count of the array. Let me just increase it to something around. Let's see. 15 seems to be fine, but we have to spin it just a bit we can press shift. Okay. Should not be having any alpin here. There we go. It seems excellent right now. Looks expression much similar to this. Now all we have to do is to bring back the rest. I'm going to press Alt H to bring back everything. Let's select the MT and the engine. Press seven to go to the top RZ and it's sinish by 180 degree and we can place it place here and we can scale it down until it fits that shape. Just hide the reference images. Here, I'd like to delete. This part we can press L x and the lest. Press control one. Let's move it up, try to scale it to make it fit inside that engine socket. Shift to duplicate, can move it here. All right, then, we got our engine and it looks fabulous. We can continue our work in the next of lecture. See you soon. 10. Modeling the F15 Jet Rockets: The next step is going to be to design the rockets that we've got under the wings of our jet. Let me show you the reference image. We have the big rockets on the side and also we have one on the middle. This one. Let's go ahead and create them. I'd like to bring this forge reference. Let me just drag it forge reference, strag it here. This is the shape. It looks straightforward, not a big deal. On this mode. Or actually, I'm going to just go straight. I'm going to just shift A, you can go to mash and we can bring a cynder keep the vertices down to something like it's divided by two, 16 is fine. Drag this one sideways on this model can try Rx spanish by 90 degree. Let's see. Since this shape is symmetrical, I'm going to just design this health here and duplicate on the other side. Let's that's on this mode I'm going to press control R. To add that edge, press shift X delete this part. Can take this part move it for example here. What I'd like to do, I'm going to increase add some edge loops. For edge loops, we can press enter, and I'd like to select this phase, and you can skate it down. But I prefer to use I'm going to be using this proportion indual let's use a sharp type of this. Proportion intent is going to be the sharp. Right now, if we try to scale it down, it's going to perfectly like this. Let me just press one actually three to go to the side. Skate like this. Also you can try shift shift to y. So this also let me just go sideways, S shift to y. So like this looks perfect. Click. **** as smooth on the s mode. Cry that's fine. Let's select everything. Shift to duplicate this port, contry S y. But actually has to do this without the proportion in the enabled. S p minus one. Let's move here, shift to flip the normals. And we can activate the snap tool and let's snap. This part here. After that, we can press A to select everything, press M and remove by distance. Basically, we need to merge between these verses because we're having some doubles. Let's select everything, press, merge by distance. 16 verses are removed, perfect. The next step is going to be to add this kind of a hook that we got on the end. Let's do that. I'm going to select these two faces. Phi d two duplicates. Hide the snap tool, can extrude this one upward, charge a scale on the x. Can bring the select them both bringing the mescalsis possible, select the Z, can scale them down, nice, and what we can do so we have to I'm press Control R. Spring select this vertex can select this tree, try to move them down. SX Okay. All right. So like that. Here on the back. Movies stretching up that edge. Right click sheet to smooth. So here, it looks a little bit funny. Let me try. Yeah. Can move that to move it down. Keep it sharp like that. That is nice. We might want to straighten up this part, check it up. Move it forward or x, something like that. Okay, so the next step. It's going to be to scale it down. And we can make a part of our chat. Shift select the chats, control. Okay. Why it's not, we have it on the other side. All you have to do right now is to add the hook that's going to connect it with the top. I'm going to select these phases here. Let me check the hook. You can put shift the scale on the x. X. I can select this porch Press and let's increase the me grease to one. All right. For these sides, let me select. These edges, we can decrease T increase to zero, to have it smooth sharp. Next thing to do. I'm going to select this object can press one, shift and spotge on the bottom. But as you can see, we have to divide this part into the health, so this can merge with the other side. I'm going to switch the frame, switch the vertex mode. Here we can select this part, the to, I'd like to do the same thing here. X delete ose verses and we can select this part and we can drag it here. Intellect merged with the other side. Next, let me press. We have to move it forward. And the little bit up. As a final step, I'd like to add these additional rockets. I'm not sure if they are just for design decoration. This one on the top, we can add this design here. Let's do that. Can I select this on this mode, you can press L to make sure that only this objects selected, shift the two duplicates, and let's move it to the top. Can move it back here. I'd like to delete. Press all delete that section, can press L x deletes Can press alter try, e on the y. Something like this, you can press F. After that, we can increase the crease of that to one. You can press, create inset and let's push it outside. After that, we can press L to select this unit can try to skate down. Let's push it on the top of this wing here. You can press street go to the side, Skate real down shift to. And you can press this frame can select the front on front of the rocket. Try to make it a little bit point. Let's move it up. Something like that seems to be accurate. As a final move, I'd like to add two additional rockets here. Let's make them small. Shift, let's move the additional one here. Okay. Something like that. 11. Modeling the F15 Jet Missiles: The next step is going to be to design some missile. We got the rockets, but we need to add the missiles, we're going to be launching later. I have the reference image. This reference image is going to show us. This is the missile that I would like to create. I'm going to just drag it and drop it here in the image editor. You can zoom on it. And let's go ahead and start working on it. Also, I'd like to hide these reference image. We won't going to need them because we're down with the plane. Let me just press A to select everything, can press H to hide shift put cursor to the word origin. Shift A, you can go to mash and let's start with a cylinder. I'd like to spin the cylinder on the mode, x, let's spinish by 90 degrees, can press tree, to go to the side, and let's start create this shape. Shift to y real down, something like this. All right. I'm going to insert an edge loops so control R. Let me just drag it to this level. Can switch to the frame, select the front, and we can scale it down. But also here, I'd like to so here, I'd like to add, for example, one extra edge loop, can select this part, charge scalt by zero. Actually zero is too much. I'm going to just scale it real down. So like this and take this part, also scale it down. Once we're going to add the subdivision surface motif, it's going to be really smooth. Here on the back. I'm going to select this part, press and increase the increase, we can increase it 21. Switch back to the solid c shade to smooth. Okay. We can try control r. But actually, we can try this. I'm going to press here. T's try to sharpen this edge, so we can increase the increase to one. Here for the back. I'm going to select this face, extrude it, can skate it down. We can move it outside just a bit. We don't need this increase, I'm going to just decrease it to zero. Seems to be fine. Now let's add these side shields that we got here. I'm on this mode, I'm going to select the top edge line, this one, Shift to duplicate it and we can scale it down. Let's move it forward. Okay. Something like that, and we can exclude it upward by pressing z to fix to fix it on the z axis. Let me just zoom. I'm going to try to scale it down. S this part by persing L and let's increase the increase to one. After that, we can push it inside the rockets. After that, I'd like to extrude it. Select it again, increase the increase to one can select the top, try or S x, and let's sharpen that top. Something like that seems accurate. Here on the bottom, I'm going to try control r, takes you all the way to the top. We press double g to slide it over and try S x and make it tiny, like that. Select it to click and shade to smold. So time to duplicate this shield all over our missile. To do that, we have to put the cursor, we need to make sure that cursor is at the center of the circle. So we can press, for example, here, shift, cursor to selected. I guess we're having four of these shields. If we do seven per calculations, a circle has 360 degrees divided by four, it's going to be 90 degrees. I'd like to switch the pivot point from the medium point to the tree dcursor On that age mode, we can press all H to make sure that everything it selects it. Let's select the top, that shield and shift d two duplicates, right click and we can spend it on the y, so our y let's spend it it by 90 degree. Can select again this, and we have to spend them by 180. Shift D. Shift D to duplicate and R y. You can type 180 degree. Do you have them on the other side. There we go. Let me select these two phases, this phase here, Shift select this phase, can switch to the mediate point, the p point. From here, we can press shift to duplicate this part, and let's move it here. We can try R z and spend by 180 degree. Next, we can extrude it on the y, y. So it like this. You can make it straight. S y p zero. To have it completely flat. Let's move its way back, select that edge, and we can move it, increase the increase to one. No that's too much. You can just move it backward. A on that mode. I'm going to select this edge again. Let me just move it forward here and increase the increase to one. Okay. Also here on the top. I'm going to grab these two edges, Z, and let's expand them in the air. Also this old can bring this part up. Now, I think that's so much. Let's select this entire part, S Z move it down. So duplicate canopeat the same nuit with these four shields. Let's put cursor to the p is point to the tt shift y 90 degree. Y nine degree, select them both Shift T and R y, 180 degree. Also, we can select them all and make sure that the normals says correctly. Shift to flip the normals. There we go, we got our missile and it looks interesting. For example, here we can expand the front, can switch y frame and let's select this part, and you can move it forward. A e bring back everything, and let me select this missile and let's put it at the right place. I press seven. I'd like to have one here. To move it up. We can have, for example, as many as we want, but also, I'd like to do something, let me just. I'd like to spend this missile on the waxes, our wit spend it by 45 degrees. We need to add the hook that's going to connect it to the jet from here from the top. On the s mode, you can select this part here. A to make sure that everything is selected, can select this part, shift d to duplicate it, and that's move it here. You can press one to face it scale way down. S, something like that. We can press three, go to the side, and let's move it here. There we go we got it. I'm going to just disconnect this part, press separate selection. I'm going to join it with this piece. Control, to make them one piece. Now we can press one, to go to the top and we can press Shift. I'd actually have four of these, Shift another one here. Let's see. That seems accurate. Actually, I'm going to just hide these references and put this one here. G, move it down. Something like that. After that, I'm going to grab all of those shifts like the airplane, press control, to have them duplicated on the other side. There we go. Now our jet looks aggressive and I like it. We can continue our work in the next time of lecture, S. 12. Apply Final Tweaking's to Jet Fighter: Stole, I'd like to apply some final tweakins to our jet. First of all, I'd like to make the wings movable. Right now, they are merged, just one piece, so we have to separate them. To do that, I'd like to select my jet, switch it a mode. We can switch the pace mode here, and we can select one part of the wink at a time. As you can see the win are separated, we have the first part and the second part. I'm going to grab these three phases, press P separate selection. This is the same thing here. Select the three press P and separate selection. After that, we can select them both, switch the mode, and we can scale them down. But I don't want to scale them like this. I want to switch the page point to the individual origins, and we can scale each one on its own like this. You can try 0.989 85, 985. So like this. We got some distance in between. Let's do the same thing to the back here, select these two, press separate selection. Same thing here. Okay. Press P in separate selection. Seth for this part, can select this one first, Control this one because we're having one on the middle, this phase. Let's press P separate selection. The next step is going to be to fill these phases. We can press the slash to focus only on this object and moment fill the top and fill the edges by simply selecting them and pressing after fail. Let's select this edge, shift select this edge, and you can fail. Next, I'd like to straighten up these edges, so we can go to this me increase and increase it to one let's press slash to bring back the press and we can select the second object, and let's repeat the same process. First, let's fix or let's fill those gaps, press f, same the pres and F. Can select everything, increase the me increase to one. Press. Next, we need to hide both of those by percent H, and we need to fill this space. Continue present f. Like this. Also here let's fail that's gap. Next, I'd like to grab these edges and increase the me increase to one. Same thing here. This one, for example, let's try this. There we go, Alt H. We're good. Also, we can let me check this angle here. Can I select this? There we go, hold H. Letges side the reference images. All right, so we're good. Let's do the sthing here. First, I'm going to select them both. Select everything scale by 1.0 0.985. Let's select these objects, press slash on the edge mode, fill the front, fill the side, and fill the other side. Select everything, increase the increase to one. Press slash again, select the second part, and continue like this. Okay. All right, so we got the wings, they are operating right now perfectly, so they're ready for the rigging. The next thing that I'd like to do, I'd like to develop a little bit this intake. If we check, for example, the reference image, so it's a little bit different, let me show you. This one here. This one shows the intake clearly. Let's bring the seventh reference and let's work on it. This reference right here. A it's what we go. First, I'd like to add this extra layer. I'm going to select this select these two phases, can press to extra them upward. After that, we can select this edge, double G, just slide this backward. Same thing here, double G, and let's slide this face here. After that, you can grab these edges, press and increase the mecrease to one. There we go. Can just get rid of the crease here. And we can select this middle edge, check it up here, and we can make it sharp. I think that's too much. Let's move it down. Sub like that seems accurate. I'm going to move it down. Nice. Also here, we can try to sharpen these two edges. Let me just select them. I'm going to just hide the subdivision surface, this one first, this 1 second, and we can increase the increase to one. Let's see. I it looks even better. The third move that I'd add this kind of holes that we got here. Let's add them to the intake. For example, here, I'm going to press g inset just hide the subdivision surface. Down, drag it to the side. We can check at the bottom edge, double G to slide it upward here. Can you grab this face and exude inside. Also, we have to select all of these edges and increase the mean to one. Otherwise, you're going to see this problem.'s increase that one. Nice. Let me try this. We have to add that as well. For the second step, we need to add this second hole. Let's add it here. Got press I create that inside again. Skate it down. Select this double G, slide it to the middle. For example, double G, there we go. We can select this face, exude this inside. Let's sharpen all of those edges. No. Something like that. Same thing here, we have to select these edges to. Increase them increase to one. There we go. I like these holes on the top, that are similar to this. The last move that I like to do I actually add these strip lines that we got on the glass of the cockpits also for this cockpit I scaling this part on the push it outside, press again. To make it a little bit fat. Let's press P in press to separate selection. So this one selected, can press old here, shift old, control B to pavel those edges, and we can extrude them outside. Just like that. Next, let me just hide the subdivision surface multifier and we can grab all these edges. Let's try to sharpen them. Press here and desharpen these edges, much more better. Here, I'm going to just get rid of these phases, x the lit after that, we can bring them down a little bit. I should not be popping up this high. So, something like this. Then we can try to merge this obvious shift select the airplane, control J. On the mode, we can select everything, press merge by distance. Now it's all connected, and our plane is ready, we finished modeling our airplane. Basically that's we finished modeling our jet in the next coming section, we can start rigging it to make it ready for the animations. If you have any questions, let me know. So can you in the next coming section. Take care. 13. Unwrapping Jet Fighter Model: New section, we're going to be texturing our jet. The first step to texture our jet is to unwrap all these parts that you can see here. To do that, first, I'm going to select my chat and let's apply these modifiers, so it's time to apply them. On the mirror, I'm going to just collect here and apply symptm for the subdivision. But for the subdivision levels, I'd like to just stick to one. Is fine. There is no big difference 1-2. I'm going to just stick to one left. Let's apply the subdivision, and now we're good to go. The next step we can divide this window from the bottom here, let's stick it up. Actually, let me just right click to cancel last movement. We have to go up like this. Let's switch this menu to the UV editor. Next, let's select our chat and we can switch edit mode. We can press A to select everything, and let's press U, and I want you to click on the SmartV project. Click on it. I'm going to just keep it as default and let's press okay. Now if you press control space, you're going to see that blender. It's going to be unwrapping all the components for chart for us. Now it's ready to be textured. The next step is going to be to add the materials. I'm going to add one single material for our charts let's go here to the material properties, and we can add a new material. Let's call it chat. All right. In this manu, I'd like to duplicate or to divide this manu to two parts, so we can click again and drag horizontally like this. This man, I'd like to switch to the shader editor. You can press to high d panel. This is the principal PSDF in blender four. We can press z here in the tree d view port and switch to the mature preview. Now any change we do to this base color, let me show you. If you make it red, so that color is going to be emitted here on the body fur To achieve this result that we got on the right side, we need to add a new age texto that we're going to allow us to control these bottles. We can paint anything that we want. To do that, let me just take this one to the side. I'm going to press shift A here, and let's add an image text, this node right here, can drag it to the left side and it can connect the color to the base color. Next I want you to click on, and for the name we can call it jet text. For these dimensions, our image texter is just one k in size. I'm going to select them both, left click and drag and we can we can add the multiply sign, that's multiplied by four or even by six. You can just click on, and I'm going to have a black image assigned to our texture. We can take a look at it from here, so we can click here and let's search for image for jet text, this one right here. It's completely black. In the next on lecture, we're going to start painting on this image texor. Son 14. Brush Jet Color Paint: Now, I'm just start brushing the paint of our chat. I'm going to be using referring to this reference here. To create something like this. Let's get down to it. I'm going to just go back to the object mode and we need to switch to the texture paint. The next step is going to be to paint our chat. I'm going to give it one main color. I'd like to switch to the field so that you can fill the entire pen because if we use the draws going to take some time. If we try to brush everything, it's going to take a while. I'm going to just control z verte back. Let's switch to the fill for the color of the fill. Let's click here. I like to switch to the x code, and we can write this color. Five F, 68 and six F, can press enter, can have this nice bluish color, and we can just click here. This is the starch. I don't want to include the windows, the **** page window. On the mode, I'm going to press seven switch to the face mode, and we can select let me just reduce the size of this. We can select everything, we can press and let's select. This part, we can exit at this moment by present tab and we can check this mask so that we can only paint in this area. Right now, if we try, for example, to paint here, one is going to affect the rest of our cheat. The color to give here is completely plaque, so let's take it to plaque here and we can start drawing like this. Also, we can use the fill tool, use the plaque. Click. Let's just get rid of the mask here. The next step is going to be to brush some puddles here. I'm going to go back to the raw and let's pick a new color, so we can click here, and I want you to write this new x code. 48, four b, and 50. Press. Now we're going to have this new color, this one. Control to verge back. You can press seven to go to the top and let's operate on it from here. Let me just bring back my reference. Let's create something like this here on the side. Okay. We' having a problem that we need to fix. If we zoom in here, can I see that the edge of our brush is smooth? We want a sharp end just like this. To fix this problem, let me just press control z to revert back here. We need to go to the stroke or actually the fall off, click on the fall off. This is the kind of brush to treat the curve of it. You switch it to this line, this preset, last one. Right now, it's going to be completely sharp. You can see that. But we have another issue again, you can see that this edge is not perfect. It's wobbling a little bit because I'm only human, so we have to find the better way to do this. The better way is to use the stabilize. Let me just control z to reverse back. We can go to stroke and we can activate the stabilized here. That's the factor to just 0.5. Now it's going to be really smooth when we're going to be brushing. Something like that. Also another thing to do. Let me just increase this factor 2.85 S again. There we go. That is perfect. Also another thing, it's going to be true. Since our jet is symmetrical, we want to have the same effect on the left side. Let me just scroll here. We can activate the x mirame on the x axis. Let's do what you can. Something like this. So here, we can add some waves, control space to maximize this window. You can start, for example, from here, make some turns and stop here. Also let's add more. Okay. Something like that, seems reasonable. We can go all the way to the top here. Go up. That is nice. Samthing here on the back. You can include this part, control zeal. Let me just find a better way. Something like that seems perfect. We got the idea, so you can be creative and create your own touch. For example, here at the front. Let me just take it a little bit forward like this. Let's fill the middle. And basically that sits. That seems cool. I'm going to press seven, to go to the top, control seven, go to the bottom, and we can do the same thing here. To see things better, we can go to the shading tools here, and we can increase the strength to two. You can press F to increase the brush size, and we can try something like this. Same thing here. Let's press seven and I'd like to add additional stuff. I would like to use the whites completely white, and I'd like to draw some lines. In order to draw lines, first we have to go to stroke and we need to change the stroke method from space to line. Let me just zoo in a little bit and we can draw a line like this. We're going to have it on the other side too. Perfect. I'd like to press F to reduce the scale of that brush, and we can add two additional lines here. It's going to look like the Air Force. Something like that. You can press the tree, go to the side, and I'd like you to do it samething here. But first, I'd like to give them some color too. Control space to verge back, and I'd like to go here to my textujt I'd like to pick this color. I'd like to pick this color. You can click here on our color, and let's use this eye dropper to pick this median color. There's no need to case we can press switch go to the side. Let's go back for the stroke method. Let's go back to space can press F to increase the brush size. We can try to brush something here. Let me check, something like that. It's going to do it. Next, let's go back to the completely white color, press reduce scale down, go back to the line, and we can brush some vertical line horizontal lines like this. Probably that's too much. CpressF to reduce sits down and we can draw from left to right. C so CpressF to scale three down, and let's add two additional lines here. Okay. There we go. This one is not perfect. Let me just make it straight like this. That is perfect. On the front, I'd like to paint this section here with the second color. Let's switch to the fill, and we can click on the color, and let's pick this color here. On the edde I'm going to press shift to select only the part that I want to paint, it edits mode. Check the mask on the top here, and we can click and basically going to have that color only at that section. Nice. Here we're having some problems. We don't want to have this mess here, we can do. I'm going to go back to the brush here. Let's pick the main color. Press F, and we can just fix the problem here. Can keep drawing those lines. I can zoom in. Something like that, even though we touched a little bit here, but that's fine. Not a big deal. Again, feel free to add as many adjustment that you'd like. For these holes, I'd like to make them dark. Let's select them first, press, press period on the numpad, shift old 'select all of these holes that we got you. Sething on the other side, we can exit activate the mask, and we can go back to the fill, and let's paint that just like this. 15. Paint Brush Images onto Jet: Story, I'd like to show you how can we paint images onto our objects in Blender, for example, if you want to paint some logo or some text. How can you do that? I do have this texture here. It contains a logo, an Air Force logo, and some text, Blender army, and some number. We're going to try to paint this here into our chat. Let's go ahead and do that. First, I'd like to scroll down here to this texture properties, and let's click on a. If we scroll a little bit down, you're going to see that you have the possibility to open a new image. Let's click on open. We can pick any image that you'd like. I'm going to pick this air force. You find it in the result if you want it. Next, in the shaded make sure that you are selecting this text jet texter let's go to the texter paint here. Let me just scroll down here a little bit. We need to be first on the draw. After that, we can go to texture and we can pick this text that we got and I'd like to switch the mapping from child to stencil the bottom one. Immediately, you're going to see that image popping up here. I'm going to do right click click on its right click, so we can drag it sideways. I'm going to press one or actually three. Let me just zoom in here a little bit we can start painting here. We can press shift and right click, if you want to skate it up or down. Let's put it here and we can start painting also for the stroke, doesn't need to be aligned, so let me just make it space. We can start painting. I don't want to have the stabilized stroke activated. Also for the color. It's dark here. We don't want that, so let's make it completely white. Go back to the RGB, increase it to white, otherwise, it's going to be affected. Let's just go ahead and start painting with that brush. Let's make sure that we are using the mirror. We're having that airforce logo, perfect. We can press seven to go to the top and that's also painted at the middle. Okay. We don't need the mirror in here. Let's do it like this. Now for the second, we need to paint that color, that number. Let's press tree, to go to the side. You can zoom in here a little bit, drag it up, and we can paint blender arm here. For the number, if you want to scale it up, we can press shift and right click and let's paint it down below. You can center here a little bit. Something like that. Let me just go to the other side. Three control three, and we can repeat the same thing. Shift reduce the scale. You can also press control if you want to spin it sideways. Something like this, and let's paint that text shift click and add the number. Basically, that's it. You've got some decorations over there. We can also add that number at the front. Let me just in here. Can paint that here. Here for the wings, we can also paint that number. Can press control, coli drag it or actually let's paint the blender army. That is great. Let's check it seems cool. Also we have to do it on the other side. I don't want to use here the mirror because I'm going to show you the problem with the mirror. Let me just paint here. If you use the mirror, you're going to have this problem that we got you. The text is going to be inverted. The airforce is inverted. That's why you should not rely on the metering here. After that, make sure to save your image, otherwise, all these changes are going to be saved, so let's just save image. 16. Add Material Imperfections - Grunges: Next step it's going to be to add some imperfections to the paint of our jet. F it just flat, this is just a color. I don't want to. We have to add some imperfections to make it look more realistic. Something like this Zoom, you're going to find this perfect like this. To do that, we're going to rely on this image texture, the grange, it's seamless. What I want you to do is to simply drag it and drop it in the shader editor. Control space to maximize this and let's scroll back. So here what we need to do. We have to mix between these two M textures. Shift A, and let's search for a mixed color. Second node here. I'd like to put it on top of this line, and we can I'd make the grange on the top. Let's make the grange connected to a and the jet texts going to be connected to B. Let's go back to our scenes control space to go back and you can see the grange is dominating the textor. We have to reduce Actually we have to increase that up. But it's not well set, so I advise you to do. We can change the color type from mix to multiply. And after that, we can just reduce this value down. Let's just see. Yeah, actually we have to do the reverse. A must be B and B must be a. Let's do it here. Let's connect the bottom, the jet to A, and this one to B. Sorry about that. Control space, let's go back and slim going to decrease that amount. Something like 0.5. We're having those crunches. Next, what I'd like to do is to increase the scale of this image text right now. It looks really low quality. What we need to do, you can scale up the grunge. To do that, I'm going to press control T to add the mapping and the texture coordinates. But this shortcuts can work unless you have the node wgar enabled. You can go to edit preferences, and enter the add on, search for wgular make sure that this node regular is checked this box. Once you do that, you're going to have access to this control T shortcuts. Here for the scale, I'm going to select both left and drag down, and let's increase the scale to five. You can see that. Now it's much more better. Basically increase the scale of that texture five times. This is the first step in the next step we can try to add mainly some granges to define these edges even better. 17. Add Material Imperfections - Paint Dirt: And I'd like to paint some imperfections manually on top of our airplane. To do that, we can be the same thing with it with these flags and numbers. Let's first switch back to the texter paint here let's scroll down to the texture properties and we can add a new image texter. Let's call it dirt. Here, I'm going to open, and let's pick this dirt brush. Double click on it. And we need to be on the draw here, can go to the tools, and so for the color. Let me just paint. We don't want to be stencil I'm going to just go to the texter properties and let's switch it from stencil to just view plane. An important thing to do, you need to make sure that you are selecting this, the text, this one. After that, we can just press F to increase the brush scale, and we can start brushing, but we have to reduce that amount, the strength can reduce it down to just 0.25. But you can press F to increase that scale, and you can start brushing. But as you can see the brushing, it's consistent. We don't want that. We have to have some randomness. I'm going to press control z. B here, I want you to check this random. You can randomize that. Keep it. Let me just set the angle to zero. I'm going to just reduce the strength to even lower, something like 0.1, and let's try this. Now it seems better. So we can keep painting like this, some darkness in the spots where there is no light. You can also press F to increase the brush size. You can do some painting here randomly up. Okay. So it's going to take a while to finish this, but I promise you that the results are going to be staggering. Let's do the same thing here. I can darken those edges. Also make sure that you are enabling the metering on the x. I made the mistake of not having it enabled. So I have to repeat the same steps I did back we can just paint some random Press to increase the scale and have those nice and imperfections. Let me just reduce the scale of the brush and we can repeat the same thing here. Also on these edges, it's going to be really nice to have them painted. Control Z, let's make it better. Same thing here. All right, can see that's how it looks really nice. Let's carry on to do the same thing here. We can press control space to maximize this window. A little bit here on the front. Let's increase that 0.15 can work a little bit on this nose, make it dark. Same thing here for the edges. That is nice. For these corners going to be better if we can add some by reducing the pacity to something like just 0.05. Press F and brushing a little bit darker here. A little bit in between. Unlike the current setup, example here we can add some large puddles. Then we finished adding imperfections, so it's going to look really good once we finit this. I'm going to show you last thing to do, control space, we have to save again this. Let's go ahead and save our progress. We can add the name for it, text dt. Let's save it in case you want to revert back to the original one. In the next lecture, we're going to work on the other channels, roughness and the metallic. 18. Adding Jet Paint Seams - Bolts & Nuts: The next step that elect to do is to add some seams and cuts to our jet. Let me show you. Our jet, it's not just one single object, it's a combination of multiple pieces together. You can see here some bolts. We need to add these cuts. They're going to be adding much more realism to the final result. For example, this main cut that we got here, those edges. Let's go ahead and start doing that. We're going to be using a new reference image. This one, the brush has two bolts and this line here. Let's use it. I'm going to score again to the texter properties, and I'm going to click on this new text. Let's call it seams. And we can just collect here and let's pick this brush. Next, in the two review ports, I'd like to switch from obstrac mode to the text of paint. Let's try to paint. I'm going to select what this node selected and let me try to paint to see what's happening here. We have it, but it's messed up. It's not like we want it to be. What you need to do? I'm going to scroll up to the settings, all the way to the top of the tool and C. First, I don't want to have it random. I'm going to and check the random, and I want to check the rack. Basically, the rack is going to make the brush follows our hand. For example if you are painting, let me just show you. If you make a turn, the texter, it's going to be turning with our hand. That's good. I'm going to press control z to revert back. Also, I'd like to increase the strength. Also, I'd like to increase the strength to one can press seven to go to the top and check. The other problem that we got is the space in between this. We have to reduce increase the space in between those notes and balls. Control Z, Sverge back. We can do that from the stroke, so we can click on stroke and we can increase the space in here. For example, 75. Let's strike again. There we go. That seems perfect. 785 is a little bit too much. We can make it 85, just to make it seamless. But that's fine. This one is going to work. But you know what? Let's give it 85. Stroke. Let's give it 85. This one is perfect. Control Z, serverg can zoom back here. To make it easy, I like to use the line instead of the brush. Here on the stroke, so you can change the stroke method from space to just line. This way, we're going to be able to draw along the line from here to here. I'm going to press f to reduce the scale of the brush to 30, and we can paint something like this. That's even big. Control, server can press F to reduce it even down. Start painting. Yeah, that something is good. Also here for the strength, let's say it's 0.5. Something like that. Make sure you do not zoom back until you're done. Here it's not set correctly. Let's fix that. We can continue like this till the end. Just be creative here. Try to make some cuts that make sense. For example, one over there, here at the middle, can take this edge. Okay. Let me go ahead and connect this part together. This one, two is going to go hand in hand, or we can take it for example from here. That is perfect. Also let's add some imperfections seams here. I don't like this cut here. Let me just re back and start over again. Okay. That is nice. Also here for the wing, it's the same thing, just like that. Same thing here. I can add one single edge line here. There we go. That seems to be nice. Also here we can try to drag it down and connect it to at the middle. Also here, let's divide this into three parts. One, two, three. Here, let's take this one like this. So we have to adjust the scale. Let's increase the scale a little bit up. We can connect the top to the bottom like this. Also here on the front. Let me just improve that a little bit, press F. Can take it from here. Why's not starting from the end. Let's do it reversely. Something like that. Take the points all the way to here. Okay, you can take this some in a little bit. You can continue forward Connect this vertically, zoom in a little bit. Also connect this just like that. Just take your time with it until you are satisfied with the results. Also here, I'd like to add that seem like this. And basically, that's so we get all those cuts. And it seems perfect. We can also add some cuts on top of the engine. Okay. At the bottom here. There we go. That seems accurate. Press three, and that's a sees here. Press to reduce scale that brush. All right, so we got those cuts and seams. All we have to do is to save control spaces, go back and let's save our se texture again, can save it. Let's call it again dirch and we can call it seams Let me just go ahead and save it. In the next lecture, we're going to work on the other channels like the roughness and the metallic and the normal map, see. 19. Create Realistic PBR Material - Add Metallic Roughness & Normal Maps: This is oral, I'd like to work on the other channels. So far, we only worked on the base color. We have to work on the metallic, the roughness and the normal map. Let's work first on the roughness. Basically the roughness is how glossy our object is. For example, if we set it to zero, it's going to be just like a mirror. On the other hand, if we take it to one, it's going to be purely rough. We need to create some interestin map to control the roughness. To do that, I'm going to press control space to revert back, so there is nothing better than to use the multiply this node set up that we already created. Shift A, I'm going to search for calm second node, so it's going to help us to control how much glossy ins we want. I'm going to just connect the result to the factor here and on the right side, let's connect the color to the roughness. Control space, go back to the main scene. Let's see. Now it's completely glossy, so we need to improve this. The first thing I'd like to do is to reverse, I'd like to make the black on the right side and the white to the left side. Next, I would like to make it really close, so let's take the black, for example here. Now we can see those imperfections. This is the map that I elect to create, and I to reduce this value. Let's make it not that black, something like that. If we zoom in, you're going to see those nice imperfections popping up with the glossiness. That is exactly what I want. We can try to make this one not that white. The second channel is going to be the metallic. The metallic is going to control how much metallicnes we're going to be giving to the objects. As you know, our plane is completely metallic. I'm going to increase this value to something like 0.85. So you can see that touch, the metallic touch that we're adding to our jet, and it looks especially here. This logo looks like gold, nice. The last channel that we need to work on is the bumps. So far, we don't have any bumps or our surface is completely flat. You can see that from here on these bolts have to add that effect of bumpiness. I'm going to show you that control space in the shader editor, and we can add shift A. Let's add a bump node. I'd like to connect again, the multiply to the height, not to the normal to the height, and on the right side, the normal to the normal, just like this. It's a control space to revert back. Let me see. This is where we got. Our jet looks completely bumpy. We don't want that, let's decrease that amount of the strength. Let's set it to 0.1 compress engine. Now we'll reduce the amount of bumps. It's still bumpy from this side, so let's reduce it even down. Can I reduce the distance to 0.5 or even 0.1 as well. That seems right. We're having those bumps. Our jets much more better right now and well textured. 20. Texturing Jet Missile: Checks in the jet. The next step is going to be to tax the rockets. First, I would like to press old H to bring back these rockets. I don't want to text the ball, so I'm going to just keep one of a type. This type here can just duplicate it multiplies and the second type of the rockets. Let's select this. We can go to the multifiers. I'm going to just get rid of the mirror modifier. For the subdivision, I'm going to just stick to one level, so we can apply. Let's apply the subdivision multifier. The next step, it's going to be to select the rockets on the s mode, you can press switch frame, selects only this part, press P and separate selection. With this one selected, we can set the origin to the geometry so that we can grab its rate from the middle and we can press control to reverse the selection, we can press H. This way, we're going to be focusing only on this object. The first step, you can press switch material review. The first step is going to be to create a material. So here I am on the shader editor. You can also do that from the material output, material properties. Here we can click on and let's add a material, let's call it the style number one. This is what we got. We got the main color here, the base color. What I'd like to do on shift and let's search for image tax. Let's connect the color of this image textur to the base color. Here, I'd like to create a new image textur let's click on you and let's set the dimensions to four k. So you can multiply by four like this, add multiply sine and four. For the name, let's call it Msile one text. Let's proceed and press K. Now should be black. The next step, it's going to be to add let me just switch first from the objects mode to the text paint. We need to give our rocket the main color. I'm going to just pick this color that we got here. So we need to go to the fill tool, fill. But actually we forgot something really important. We forgot to unwrap our rocket because right now if we switch back to the objects, if you select everything. It's unwrapped, but it's not unwrapped correctly. What we need to do we need to press and Smart project and we can press. This is our unwrapping here. Let me. What we can do, we can maximize this space here. I don't want to keep it empty. Let's work on that. I'm going to press control, let me just delete. After that, let me press, so it should move. We can select everything that we got, we can try to sket on the X and let's move it to the right side. Something like that. Also, we can grab these, move them up, R Z or let's press R 90 degree to spin them around. Also, I'd like to switch to the non to the view node. Actually not the viewer node. The render results. Neither. Ms number one. Here we can switch the mess number one text so that we can create it just so that we can see things better. Move it up for these on the side. Let me select them first. Like I said, the goal here is to I'm going to press L. I'd like to maximize this space. Here, I'm going to try S x, can sketch it up, drag it here to the left side. Let me also take these elements. Put them here. For this, we can try S y, push it up, skirt even up. This part here, spot it here and continue like that. For example, these objects, we can press L to grab them all. Okay. And I'd like to scale them a little bit, move them up over there. Here. Let's do the same thing to these objects. I try to scale them up. Let's push them here to the side like this one. You can move it down, spin it sideways pre spin it. This one, we should not exceed or go beyond this edge. If we do that, it's going to be a problem. Something like this. For these objects, I'm going to try to scale them up. Okay. Can we put the first one over here. Second one. Can press spend it sideways, let me just put it here. Let's see. Now everything seems perfect and we are maximizing this space. That's fine. Control spaces go back and let's carry on. Here we created that image text. Next, I'd like to switch from the objects mount to the texto paint. The next step is going to be to give this missile a new color or main color. I'd like to give it the same color that we gave our jet Let me just bring back a jet texter from here. And we can pick any color that you want. I'm going to pick the brighter color. Let's click here on colors, eye dropper and click here, we can have that color. If we click using the fill, going to be failing the entire thing. That's nice. The next step is going to be to add some imperfections to our rockets. First, I'm going to switch back to the draw or actually, let me just go with the darker color. This one, dark color seems better. Here I'd like to go back to the draw. And I'm going to press three and I'd like to start by some lines. I'm going to switch the stroke method from space to line. Yeah. It's already set to line. That's good. Next, I'd like to keep it at white. The strength, we can increase it bumper up to one, and we can click left click and press old so that we can go down perfectly like this. We're still using this text. I don't want that control. Let go back to texture and here we can Let me just we're having two text. I'm going to just cut it. Here we' having some problems with the spacing. So let's go back to the spacing. Let's set it to zero. Actually, it's going to be one by default. We got that line. I'm going to just in a little bit. That's working. Also, we forgot to check the metering we should have the metering on the x. We can continue like this. Let's add this part can fail in the middle. That is nice. Also I'd like to add that same line on the back so you can grab this line here, press seven to go to the top. Control seven. There we go. That is perfect. Also, we can add a secondary line on the front, we can press F to scale down this little bit up, collect and press old and drag down. Or we can do it from here. Press seven, go to the top. Continue like that. Let's fix this problem that we got here. Let's fix this problem. Okay. All right. Next, I'd like to add some textures. Here on the textures, I'd like to bring this one. The type. Let's switch it from view plane to stencil, so now we can see it. I'm going to press three, I can zoom in or shift click. We can start by putting the main logo here. I'm going to keep the strength at one. For the stroke, let's switch it back to space. Press F to increase that brush size, and you can brush here. Like this. Same thing here. I'm going to press shift, and we can draw this army. Blender army. On the front, I'm going to add this kind of a number. We can do the same thing here. Let's add this number in this location. All right. The next step. Let's try this. I'm going to select these wings, and I'm going to give them a different color. Let's go back to the field, and we have to check this mask and we can pick some kind of bluish dark bluish color on the edge mode. That's the give them that bluish color. That is nice. We can roll with that, but it does not fit the overall shape. Let me just go back to the objects mode, can press H, and let's see. Okay. You know, that's fine. No big deal. Control A, H tress, and I'd like to save this image texture, so let's save it. I'm going to save it so that on is going to lose it again. The next step, it's going to be to add some imperfections. Shift A here, search for age text's open it. Texas and I'm going to bring this crunch. A to the next step, it's going to be to merge between the garnge and our texor. Shift A, let's search for a mix color can drop it on this line. I'm just repeating the same thing with it before, can connect the garnge to the bottom. Switch the type to multiply. P. That seems interesting. We can increase this to 0.65, and also we can try to increase the size of this grunge. Let's select the grunge map control T to add the mapping and text coordinates. Also make sure to have it working, make sure that the node regular is enabled. Here, this node so check it so that you can have access to the shortcut Control. Here let's increase the scale to three. That's even better. Here we can increase, for example, this value to 0.75 to crank up those details, even 0.1, but it looks really dirty. I'm going to stick to 0.85. So the last step that I like to do is to add some imperfections. I'm going to select make sure that you are selecting this texture missile ex one, and I'm going to switch to the texture paint here for the textures, Yeah, actually, we have to be on the draw mode. For the textures, we need to pick let me just add a new text here on the bottom. The sort's click on this one, call it dirt. Let's call it a little bit down and let's pick this one, the d brush. Typical on it. Now we can see it. I don't want it to be like this. Instead of having a stencil, just make it a view plane, and we can start painting like this. But that seems to be really strong control Z, and I'd like to increase spacing to 50%. S now. That's a little bit better. Let's increase the spacing to 75 and also for the For the texture, we need to make it random under 60. Let's click. You can even scale up. But also for the scale or the strength. Let's say this is down to 0.25, and we can start painting like this. Yeah, actually, the spacing is not set right, let's go back to the spacing, conside it to 25. I'm going to try to make this space here a little bit dark. Okay. So just take your time with it. It's kind of word it at the end. Also, if you have time, you can add it on all of these side side shields. Same thing here on the other side. Add that gng map, grnge but the dirt. T b here on the front. Can add some random dirt here. All right So control space also here on the front of this. Let's make it a little bit dark. At the end to on the other side on the top. That is perfect. So here we're having a glitch. So let's start in that spot. Okay. Control space, let's go back. The next step, I'm going to save this image again just so that we're going to lose it. Save it and control space here, and I'd like to add some work on the other maps. Shift let's search for color ramp. Second node, and let's connect this multiply node, connect to the factor and the color to the roughness. Control space, let's go back and let's take a look at the results. Now I'm going to just go back to the objects mode here. Let's see, we should not make it like this. I'm going to take this white handle direct you all the way here. Now we can see those kind of g, scratches. They make it really nice. Something like this is going to be accurate. Also for the metallic, so our rocket is purely metallic. I'm going to increase this value to 0.75. It seems a little bit dim. We can also try to aimplify Let me show. I'm going to press shift A, and let's search for hue saturation. This node, we can put it on between the multiply and the base color, and we can increase the value, for example, to 2.5 to make it or even three. Now it's not d anymore. This is our rocket, so we can continue our work in the next ament section. Take care, make sure also to save this image here. 21. Firing Missile 1 - Disconnect Missile from Jet Fighter: In this, we learn to make assimilation of a missile launch in Blender fall. T get down to it. Here we are. This is our jet. The first step is going to be to disconnect one of these missiles. I'm going to select my missiles here. They are all connected. I'd like first to apply the mirror modifier, so we can go to the modifiers and we can collect here and let's choose apply. After that, I'd like to disconnect this missile that we got on the extreme right. Let's select it can press tab to set mode, and I'd like to select it by person L. Let's select all these components can keep pressing L, can press period to reset the zoo. Let's see on the bottom here. Select the male. Here we go. Next we can press P and to separate selection. We can exit mode, we can select our missile. Now it's disconnected. We can reset the origin, the set of origin through the center of the geometry, so we can go to object, set origin toro the geometry. So we can easily change the location of our missile. Next, I'd like to press Alt B and let's clear parent, but keep transformation so that we can keep our missile right about here. Now it's disconnected. 22. Firing Missile 2 - Add Fire Simulation to Missile: So now it's time to start the simulation, the fire simulation. I'm going to select my missile right here. I'd like to press control to reverse selections that we can be able to select the rest and we can press H to hide everything. After that, I'd like to select my rocket or my missile, and we can switch dis mode I'd like to select the part that's going to be emitting the fire, which is the bottom. Let me just switch the face mode. I can press C, and we can click right here. After that, we can press shift d to duplicate this part and we can press to exuded outside. We can select the entire object by pressing L and we can press P to separate selection. Now this part is disconnected from the rest, so we can reset again the origin to the geometry, this. The next thing to do, we have to make this part of our missile. For example, if we move our missile, p this object needs to be moving with it. Let's select it first shift, selects our missile. We can press control P, and let's say parent two objects. Right now, if we try to move the missile, this object is going to be moving with it. Next, I want you to select this little object and we can go to objects, quick effects and click on quick smoke. We can press seven to go to the top and we can reset the location of this domain. This is where the simulation is going to occur inside this domain. I'm going to press tab and we can try S x to scale it down, can take it a little bit backward because it makes no sense to have it here. We won't have any simulation happening here. The simulation will start at the end of our missile. We can scale it a little bit on the x and also on the z, control z, skate real down. Let's move it down. You can press tree to make it centered. I think it's already centered. We can try scalt a little bit on the y. S y, let's expand it a little bit and move it to the right side. Perfect. You can also try to reset the origin again to the geometry. Next, what we can do, let me just I'm going to click here and drag up vertically. You can switch this menu to the timeline, and we can press space to start. Immediately going to see some rising smoke here. It's really low quality. We got to improve that. But first and first, so we don't want to have smoke instead we want to have fire. I want you to select this object here and we can go to the physics properties. Let me just expand it here. This is the physics properties. Here in the settings, I'd like to change the flow type from smoke to fire. Right now if you press shift and right click to drag the frames to zero. If you press space, we can be seen that fire. Nice. I'd like to increase the resolution just to have better fire simulation. Let's select our domain. Here for the resolution, let's set it for example, 75. A shift left a row on the keyboard and let's press space to C. There we go, so we've got some fire going up. As you can see, or as you know, the file should be horizontal, not vertical. What we need to do is to add some force field, that's going to push this fire this way. To do that, we're going to be using the width. Shift A, shift, let's put the cursor right, t press sift A, and let's go to force fields and we can bring the wind. The first step is going to be to spend the wind on the x. This is the direction of the wind so far. That, x, you can spend it by -90 degree. And for the strength, I'd like to set it to five. All right. Let's press shift and left a row, and we can press space to C. So we're pushing that fire this direction. We can also increase the strength to ten, for example, let's give it ten, shift left or row, and let's see. It's going up a little bit. I think I'm going to just stick to five, but instead of having that, I'd like to increase the fuel. Let's select our fire emitter and we can go to the settings, the physic settings. You can scroll down to the fuel amount, and let's give it ten, which is the max. Let's see we're going to be having a huge amount of fire. That seems to be awesome 23. Firing Missile 3 - Add Smoke Particles Simulation: All right. We got the fire. The next step is going to be to add the smoke. Our missile needs to be emitting both fire and smoke. But for the smoke, it's a to be turkey. Our missile right here, it's going to be moving in higher speed. It's going to be taking a large portion of the map. The problem with the fire and smoke simulation. For example, let me show you we can select this emor and we can go to the flow type in the physics. We can set it for example to fire and smoke. But if you do this, if you set it to fire and smoke, you will have to adjust the size of this domain because the simulation happens only inside this domain. For example, if the simulation starts from zero point A, let's say it starts from here and it's going to end for example here. This domain needs to be covering this entire section. It's going to be really huge, and we have to adjust this resolution. The resolution is going to be really high. Basically, I do have a better way to handle the smoke simulation. To do that, we're going to be relying on the particles. I'm going to select this object here that's going to emit fire. We can press F two, We can call it fire missile fire fire. Next, we can duplicate it. Shift D to duplicate this object. I'm going to move it a little bit on the y axis here, and we can press again F two, and let's call it missiles, here we can call it smoke. If this object selected, we can go again to the physics properties, and I want you to in check or to remove the fluid simulation, we can just collect here to remove it and instead, we need to add the particles. I'm going to go to the particle settings and I'd like to add a new particles, let's call it smoke. Okay. Let's test this out. We can move if we move our missile forward. Let me also try to make all these objects part of our missile. You can select them both. Shift select the missile control P, let parent two objects. Keeping transform. Same thing for, let me just try to move it. We'll get to go. Here, we don't have this 12 should be the particles. Shift select the missile control parent object. Now if we move the missile, everything's going to be moving with it. I'm going to just scroll with back. I'd like to press and go to item. Here we can set the x to zero. This is just for a test, the y. Let's set to zero, everything to zero. Next, I would like to insert this keyframe on the y. We're going to mark the key frame on the first frame, so here we can set it to zero. This is the start. At the starting point, we want to have our missile at 0 meters on the y x you can do c and insert single keyframe. We had this information saved so we can scroll it bit here and jump press shift and right click. We can jump for example to frame 60. And we can take our missile all the way forward by -50 meters forward, click insert key frame. Basically, within this range 0-60, our missile is going to be moving from the zero on the y all the way to -50. You can see that here. To make it loop, I'd like to start to stop right at 60. Here we don't have any stimulation. I just stop can set the end to 60 let's per space to see that simulation. It's going down. So we'll improve it in just a moment. This is it. All right so let's select so let's click here and select the fire or the missile smoke, the particles, and let's adjust them a little bit. The first step is going to be to increase the number of these particles, instead of having 1,000, I'd like to increase it to 10,000. You can add another zero. For the lifetime, it's set to 50. Let me explain what it means. I press shift left or row or right click, and if a press space, basically every frame that's going to be created, we have a lifetime of 50 frames. For example, the frame that we will be created at frame. For example five, these. This here, they will die once we reach 55. You can always add this number to your current key frames. For example, at 55, they will start dying. These, they are dying here. Basically, the smoke needs to stay longer in the sky. I'd like to increase this lifetime, for example, 250. It's per space, so nothing will be removed. Excellent. The next step is going to be to adjust the scale of these particles. Right now, they all have the same size. We don't want that, I'd like to have a different size. We can go to render physics here, render for the scale, we can increase the scale. Let as we won't be able to do that because we're rendering it as halo. We should be rendering it as an object. Let's add an object. I'm going to press shift and click to put the cursor right here, doesn't matter. You can put it at any place, shift A, and let's go to mesh and we can bring UV sphere. All right, so we're going to be using this sphere as to replace these hello objects. But before we can do that, since we are duplicating our portico 10,000 times, we have to optimize this object, this sphere. Right now, if you press space, you're going to see that this has 482 vertices. If you multiply that number by 10,000, its going to be a huge amount of vertices. I recommend doing. By the way, if you don't have this panel that show you the statistics, you can go to this overlays, and you can check the statistics, can be able to see each object, how much do we have in it. Here we're having 482. So what I'd like to do, I'm going to go to edge and we can click on subdivide. We'll reduce down the number of verses to 1103, so we can even increase that alterations to, for example, four. Actually, it doesn't matter that much. Right click shade smooth, and let's go ahead and use it to replace the hello objects. We can select our particle system. Can score a little bit down here to the render tab. For render as, I would like to switch to an object. After that, we can here down below, we're having this instance object. We're having this eye dropper, we can click and pick these. Now we replace those hello with our actual object object right here. Next I'll do I'd like to adjust a little bit the scale and the scale randomness. For the scale, I think 1.15 is going to be good. This one is going to be good. Next I'd like to do is to adjust the randomness. Right now, all these spheres, they have the same size. If you increase the randomness, for example, to the life randomness, but this one, the scale randomness. Let's increase it for example, 0.7. Now we're going to be having different sizes for these particles. They won't going to have the same size, and that is perfect. Now let's press space to start the animation to see. Another thing that we got, these particles they go down, they are affected by gravity. We have to get rid of that effect because smoke stand still. Let's select again the particles and I want you to scroll a little bit down here to refine this four field weights. You can click here. And this is the gravity. I'd like to reduce this amount down to zero. Let's press space again to C. We're going to wait for it. Now everything is going to remain in place. This is better, but it looks a little bit perfect. We want to have some chaos in this smoke in this simulation. I want to have some random particles going outside this line. To do that, we're going to be adding another force field. It's going to be the turbulence. We're going to be applying some turbulence to these particles. Let's do that. I'm going to press shifts selected right here. Shift A and we can go to force fields, and we can add the turbulence. We can take it a little bit backward. Here, and we can press shift the missile, select the missile left click and press control P, and let's set parent object. Basically, we need to have this turbulance connected to our missile. Now all we have to do is just increase the strength a little bit. Let's say 15. Shift left row, and we can press space. Let's Okay. So it's a little bit chaotic, so that is exactly what we are looking for. Let me press seven to go to the top to see it from the top. Yeah, it looks better. You can increase the number of strength to around 25. Shift left a row and let's start again and let's see. That looks promising. 24. Firing Missile 4 - Make Missile Follows a Specific Path: So the last step to do is to make this missile follow a specific path. Let's go ahead and do that. I'm going to press shift right click to go back to frame zero, and I'd like to select the missile and we can just remove these keyframes. We can press, go to the wire rice click and clear keyframe. This was just for testing. I'm going to press Shift S and put the cursor to selected shift A, and can go to curve and let's bring a path. After that, we can press tab to go to the its mode. I'd like to invert or suspend this curve R Z can type 90 degrees sk we can press S, set it by eight. To make it a little bit long. I'm going to just push it a little bit forward here. I'd like to take this vertex and I'd like to snap it to the center of the missile. So we can press shift and let's put or let's select selection to cursor. We can exit at this mode. Let's select our missile and we can go to the constraint properties, this one, and we can add the follow path constraint. Click on it. And here for the target, we can just use this eye dropper to select this path, the nerve path. If we zoom in, you're going to find it at the end. I'd like to check this fixed position and also let's check the follow curve. Right now, if you increase this offset factor, so our missile is going to be moving from here all the way to the end of the curve. All I'd like to do is to animate this. On the start on frame zero. You can set it from here. We can do click here, and we can insert key frames. We're inserting one for the value of the offset factor. And we can press shift and right click go all the way to frame 60, and we can set the offset factor to zero. This is going to reach the end, so we can do click and insert key frame. Let's press space to start the simulation again. We're going from here all the way till the end. That's nice. Right now, what we can do, so it's fast, the second simulation is fast. What we can do right now, we can twist a little bit this curve, so we can select it. Switch mode, can try, for example, to play a little bit with it. We can take this one down, or take it a little bit up. The start we can lift it a little bit up. Just twist it a little bit. All we can pre shift, lift a row, let's press space. As press space to see that simulation. Our missile is going to be following this curve that we got here, which is perfect. 25. Jet Flames - Making the Flame Shape: Before we start, I'd like to organize my scene. I'm going to select all these components of the missile launch, and we can press to put them into a new collection. You can click on new collection, and let's call it missile launch and press. If we collapse our current collection, we can see this new collection that we just created the missing. I'm going to just check it from here, so it's going to be excluded from our scene. Now I'd like to bring back my jets so we can press old H and the cut our jet. All we need is just engine. I'm going to select one of these engines, and also I'd like to select this empty because if we select on the engine, it's going to be next stop. Shift select the empty and we can press control to reverse the selection, and can press H to hide everything and only focus on the engine. So the next step is going to be to apply the modifiers of our engines. Let's select it and we can go to the modifier properties. We have all these modifiers. We can apply them. Also, there is a quick way to do this. We can go to object, and let's convert our object into a mesh. So we can apply everything. The next step it's going to be to add the engine flames. Let's get down to it. I'd like to put the cursor at the center. Shift cursor to select it. Let's go ahead and stock reaching our flames. I'm going to press T to hide this panel as pre seven to go to the top and we can press shift A and I'd like to start with a cylinder. For the number of verses, we can cut it down to just 24. All right. We can do right click, shade all the smooth. I'd like to spin it on the x axis. Is mode, can press R x, can type 90, can press enter, press three, can move it forward, scalts real down until it fits the shape of our engine. Scal a little bit up. Can move it to the right side, scale it up just a bit. You can hold shift to slow down that movement. We can press wire frame and I'd like to expand the shape here. We can scale it just a bit down. I extrudg scale down here, extrude and scale real down. It should not be 100% point at the end. Something like this to do it. Switch back to solid. This one selected, we can press shift to select our engine and let's press control J. Also here, if you are seeing these cuts, you can add, for example, more details than me insert. Two edge loops here, you can try to scan them up a little bit. Control R here. Something like that. Now we're having a better and smooth edge line here for these flames. 26. Jet Flames - Set Good Lighting: Now, let's create the flame material. But before we can do that, I'd like to work a little bit on the lighting. I'm going to expand this panel up like this and we can switch it from the timeline to the shader editor. After that, we can switch from object to the word. What I'd like to do is to add the sky texture. Shift A, search for sky texture, can put it here and we can connect the color to the color here. Also for the rendering settings, we need to be on the cycles. Let's go to the render settings, and I want you to switch the render engine from EV to cycles. Right now, if switch the render, you can have some good lighting in our scene. You can also add another two. I'd like to make the background transparent. We can score a little bit here down until you find the film, and you can check this transparent. 27. Jet Flames - Create Flame Material Gradient Effect: Next step is going to be to add a new material for this object. Let's go to the material properties and we can add a new material. Let's click on, let's call it Jet flames. On this mode, I'm going to press all to make sure that everything is de selected, and we can press L to select on this unit, and I'd like to assign to it this jet flames material. There we go. That looks nice. Back to the shader editor, I'd like to switch it again from the world, back to the object, and this is our material. We have the principle PSF. If you change any color, we're going to see that's updated here. I'm going to delete this principle PSF. We won't going to need it. Delete. Also, I'd like to press to hide this panel. What we need to do is to add an emission. Shift, let's search for emission. T node right here, and I'd like to connect it to the volume because we need to be targeting the volumetric shape of this object. Also an important step to do. You need to make sure that the scale and rotation are applied, so we can select this object. We can press on the item here. Let's scroll down. The scale is a little bit messed up. Same thing for the rotations. We can press control A. Let's apply the scale to s all to 11 and one, and control A and let's apply the rotations. The next step is going to be to give this emission some color, to control the color of this emission, I'd like to add the color. Shift, let's search for color, second node, and I'd like to connect the color to the color. Here we can adjust these handles as we want. For example, I'm going to turn the black into blue. Let's make it first completely white and you can pick for example, this color. Here we can drag these handles, can play with them. Te something like this can be fine, to keep it under the R here. The next step, I would like to give this flame some kind of ingredient. Right now, they have one color. I don't like that. I'd like to have some duplicates or some gradient effect. Shift A search for gradient text, this node right here. I'd like to connect it both to the factor and also to the strength. You can connect the color to the strength here. Right now, it's linear. If you try to spin round, you're going to see that we're having that gradient color. The white on the right side and the blue on the left side. It should not be linear instead, I'd like to switch it to spherical. In order to have better control over this gradient texture, I'd like to add two additional nodes. It's going to be the mapping and the texture coordinates. Shift A search for mapping. Can connect the vector to the vector and the second note is going to be the texture coordinates. Shift A, search for text coordinates. This one. Since we want to affect the object, I'd like to connect the object here to the vector. This is where we got. It looks a little bit weird. I'd like to adjust a little bit's start to adjust the location. It's spherical, just like what we did. Also, I'd like to apply or to play a little bit with the z scale. Let's increase that up to something like 2.5, sent it for the y, let's increase that up to 2.52, actually it's to the opposite. You can hold shift to play with this until we got some interesting shape. 0.0 0.5 is going to be fine. But I'd like to move this spherical sphere, I'd like to move it here. We can target again the y location. You can hold shift to go real slow. Something like this. Now we have that gradient effect in the middle, and it looks really nice. By the way, if you want to increase this emission strength, so we can add a math node a multiplier. It's going to be between this gradient and the emission strength. We can put a shift a let's search for a math node. Math going to put it here. We need to have a multiplier, not an add, switch to multiply, and we can multiply this strength by for example, five, can sit here five. That's a little bit too much. 2.5, I think it's going to do it or even 1.5. 28. Jet Flames - Randomize Flames Shape: Next step is going to be to add some noise, some randomness in this flame. Right now, you can see that this line here is completely perfect. We don't want that. Here we have some randomness. We need to add that, that randomness effect. Back here, I'm going to press shift A, and let's search for the noise. Tax this noise. I'm going to put it here. Let me just make some room. Drag the mapping and the textual record to the left. Can put this one right here. Let me try to put this noise text on top of the mapping between here. It's a little bit messed up. I don't like that. What I prefer doing, press control z verses back, I'd like to add vector math. Shift A search for vector math, we can multiply both values. Here set it to multiply. And I'm going to connect again the mapping to the vector to vector from the mapping, and let's connect the factor here to the bottom. For this noise actor, I'd like to reduce the scale down to two, sthing for the details. Let's say it to zero, should not be having any details, sthing for the roughness, I'd like to increase this distortion for example three. Even five looks fine. We have to adjust again the scale of our flames. Let's try this out. On the y, press shift. Let's go this way. I think one is going to be good here. It starts fading at the end, like that. Shift shift and let's work on the x. Actually, the x it's not doing much. Here for the top, we can press shift. So increase that, something like that. We can just bring it a little bit backward, so we can press shift. I'm going to set the y to zero here. Also, I'd like to increase the strength so we can go back to this multiplier. And I'd like to make it five. That's nice. You can try to increase this value to even to 15. That's nice. Also, I'd like to apply or let's try to work a little bit here on these. For example, when our engine is going to be shut down, we can set it here to 10 meters. After that, we can decrease this value so that we can have those flames going outside. Something like this. Right now, let's set it back to zero. We can control this value, this y value. Also we can try, let me try to control the y scale. I think the y scale looks better. We can set it back if the engine is shutting down, can set it to minus ten. If the engine is working at full capacity, we can give it minus one. 29. Jet Flames - Animate Flames Movement: The last st to do, it's going to be to animate these flames. I'd like to show you the way to do that. I'm going to press or let's add vector math. Shift A, let's search for vector math, and I'd like to drop it between the mapping and the noise sexor here. Basically we need to move the flames in this direction right here. Basically, this is the y axis, so we can adjust the y. There we go. It's moving. At the bottom here, I'd like to divide this panel into two parts, and we can switch this from the shade editor to the timeline. I'm going to jump to frame zero, and let me select my flames. Like I said, we need to be moving this second value, this one. We can do se ink frame, and we can jump for example to frame ten. And I'd like to decrease or increase this value, it's increases by five the cli ins Dak frame. 0-10, we're going to be moving the flames by five units. I'd like to switch to the graph editor so that we can make it cyclic. Let's select the jet flames. This node right this value can go to the modifiers, and let's add the cycles. So if you press space, our animations can be cyc. We can reduce the speed by simply taking this node and pressing G y and dragging it down. Now, it's going to be moving real slow. All right, so we've got the engine flames, so in the next torial we're going to be rigging of our engine. 30. Rigging Jet Engine with Flames: The next we need to do is to rig our engine. Let's go ahead and rig our engine. I'm going to select my engine here and I'd like to go to the da properties. We can collect here, we're going to be using the shape keys to reg our engine. The first step is going to be to add the basis shape keys. I'd like to add new. This is the basis. The next step is going to be to add the threshold. I'd like to move my engine this way, we're going to add adding two of these keys. The first one is going to control this whether we can contract or expand our engine. The second key is going to control this hole. This distance that we got here. Let's go ahead and do that. I'd like to select my engine. I'm going to add the new key. Let's call it Trash, hold, and we can call it vertical. Here, I want you to press tab so that you can switch the edge mode. After that, we can switch the frame and I want you to select only this part. Next, I would like to press shift y and we can scan it real down. S shift, increase it just a bit until we can see the Shift, something like that, is going to do it. Let this out. We can increase the value. We're going to increase that size up or down. Let me try to figure out the better way. I'm going to try as shift to y, set it even down like that. Let's increase that value. Perfect. Next, I'd like to add a new threshold. Let's add it just copy this name pieces here, but let's call it horizontal. A for this one, we can select it switch edit mode, and here let's switch it frame. I'm going to try to move it backward here. And let's press tree. We actually control tree, you go to the other side and we can select this part, can try to scale it down and move it forward a little bit. Just to make it a little bit interesting. All right so let's test the horizontal threshold, can increase that value. Let's see. Actually it doesn't look that good. I'm going to just bring this one backward here. Sc it a little bit up. All right let's play with the value to see. That seems to be cool. Can scale it a little bit up. Something like that looks fine. We can also play with both. Let's, for example, sit this one to one and here for the vertical, we can make it open as much as we want. Also here for the vertical. Let me try something here. I'm going to try to scale this one down because we have to see these details that we got here. Let's try that out. For the horizontal. That is good. This is the way to wreak our engine. We can switch here to the rendered and strain that out. Can make it narrow, can make it wide. Same thing here, can bring it back, can bring it forward. That is perfect. The last step to do is going to be to move the direction of our engine. I elect to add the bone, this can allow us to move it. It is to that. I'm going to press shift A. Make sure that you are in the center. Otherwise, you can select that empty, pre shift, go to select it. I'm going to pre shift A and I elect to bring an mature. All right, I'm going to bring this mature here to the center or to the start of our engine. We can put again cursory. Shift has cursor to select it. We can switch mode, select our bone, we can try Rx, let's spin it here. But we don't want to spin like this. I'm going to switch the pivot point to the tree de cursor, and we can try R x, let's spin it by -90 degrees. We can also move it a little bit backward here so that we can be able to grab it. Let's move it on the y axis. That is perfect. The next step is going to be to select our engine, shift select our bone, and you can press control P, and we can press control P, let's sits parent to object while keeping transform. Now if we move this, it's going to be moving with it. But if we switch to the post mode, one is going to be moving. What we need to do, let's select again our engine, shift select the bone, control P, and let's sit parent to bone. We have to do this first step, otherwise, we can lose the position of our engine. Right now, if we select our bone, and if we switch to the post mode, we're going to be able to control it from here. R. You can press double R to freely move that. That's nice. So all you have to do right now is to bring our jet. Let me just erase this the rose. I'm going to press old H to bring back the rest, and I'm going to just delete my other engine. Delete it select this engine, shift d duplicate let's move it here. You can hold shift to go real slow. That is perfect. I'm going to press to switch in the render let's take a look at our jet. You can press space if you want to see those flames going on. 31. Jet Firing Missile - Slide Maneuver Animation: The first step is going to be to print our video reference of the animations. I'd like to expand my scene, this panel here, and I'd like to split it vertically like this and we can switch it to this video sequencer. Make sure that you are on frame zero. You can set it from here, zero and press here, I'd like to switch from sequencer to preview. You can zoom back a little bit and let's prn our video. This one, the jet fire in the missile. I'm going to just press to hide these panels. Sideways. By the way here I'm on this timeline. I'd like to have an idea about the length for emission. It's around, let me just go all the way to the end. We're firing the missile here. Basically, the missions can end at frame 215, so we can set here to n to 215, can press enter. Perfect. All right, tonight's create our mission. Let's see the first part. I'm going to press shift and right click. First, we have the slide maneuver for dxi, it starts from zero, and it ends about 35. 35 year. I'd like to limit the start and the end to only 0-35, so we can set the end to 35. Just so that we can look only in this part, the first maneuver. All right. I'm going to select my jet can move it sideways. So you can see we have to these are disconnected from the jet engines, let select them both. Shift select the engine, the jet can press control Pp object, what keep the transform. Now if you move our jet, these engines are going to be moving with it. Perfect. So let me face it from the front. The first at first it needs to be can drag it a little bit. Here, can press check the x. Let's say it to -10 meters or even minus -15 meters. We can do right click and let's insert that key frame. After that, For example, at frame 20, it's going to reach zero. I can insert a key frame, so it's going to go from here all the way to here. But also, you have to adjust this y location. For example, at zero, I'm going to do right click insert a key frame, you can go for example, all the way to 2150 or even up here, 180, I text move my jets a little bit forward. Let's move it by -100 meters. We can do insert that single key frame. Basically our jets can be move in 100 meters forward. If you press space here, you're going to notice something. Our jet starts going forward slowly, then it's going to accelerate. We don't want that. We want to have some continuous movement. To fix the problem, we have to switch from the timeline to the graph editor. Basically, the access that we need to target is the y, this one right here. So here we have the object transform. I'm going to expand it, I'd like to select only the y, select the y, so I can hide the x location. Here we reflect press A and press period so that we can zoom on this curve. You can see that this curve it's not linear, so it starts slowly. It's speed in here and it's going to end slowly. What you need to do can select these points, can try to spin them a little bit like this. To make the start not smooth. Same thing here for the end. Okay. All right. So let's press space to C. There we go. That seems better. Can try also scale these down by pressing S. Let's press space again. That's nice. Okay. All we have to do right now is to work a little bit on the rotations. We have to spin our chart to make it look like this. At first, I'm on frame zero. Try for example to give it minus ten degrees. Insert a single key frame, and we can go for example to frame 15, and we can give it 30 25, can the red insert as key frame For example, at 25 frame, or even at 30. You can set it back to minus ten, ski frame, and at 40, can go back to 40 frame, we can give it zero. Rick frame.'s press space to see that. We're a little bit slow. We have to adjust this. I can press shift right click to see. I'm going to take this point. This is the y rotation. I'm going to press G to move it. I'm going to press G x and it's move it a little bit backward, and that's going to be better. That looks really nice. Also for the strength, we can take this curve, this point, we can press G, can trick it a little bit down. Just to have that smooth transition. Basically that's it, we got that first. 32. Animate Camera Movements: The next step is going to be to add the camera. Let me just go back to frame zero. You can press Shift A. Shift A, the search for a camera, to find it on the bottom here. We can let me just bring this one down. For the first frame, we need to have our camera around here. We can we can press control and zero. This way, we're going to be putting the camera in the viewport. Just move it a little bit forward. Also I'd like to go to the camera settings. Scroll here, and I to make sure that the focal length is set to 30, it's going to be 50 by default, make it 30 next. I insert this location. Right click insert key frames, both the location and the rosation A frame zero. So next, I'm going to press shift and right click and we can go for example to frame 35. Here I'm going to move it forward. Can I adjust it from here. Take it to the other side and we can spin it on the z axis. Can move it down, so we can do click. Let's insert these key frames. If you press space right now, can start from here and go all the way to that location. Also, we have to adjust this y movement, we need to make it linear. Let's select the y location, and I'm going to try to scale these points down. Just like this, let splay the animation. Now it's smooth. For example, let's frame 20, can try to go back just a bit and the rest in such key frames. Let's play that again. That's nice. I would like to expand my key frames. Let me just p again the timeline and I'd like to increase it from 35 all the way, for example to to here, 120. Let's set to 120. I'd like to move my camera forward, can move it to the side. Also, you can go to the view and we can check this camera view. Right now, we're going to be locking the view to our camera. Let me select my chat we can press period so that we can reset the zoom and we can put it here, for example. Let's select our camera, can go to item, and let's insert both the location and the position. Let's press space to see that. Okay. It's getting close the dot. We have to adjust the y movement of our camera. Let's select again the y. I'm going to select this point, can try r to spin it. That seems interesting. We have some sd movements at frame 40. Let me just check what's happening here. I'm going to try to scale up these two points, and we can try r to spin it sideways. At this out. Now it's completely smooth, perfect. At our camera movements, for example, at frame 100 or actually, let's go tell the end. This is the 100, 200. For 200 to move the camera forward. For example, here, can click insert both key frames and the cation and the location. Let me set the end. 215 press space to play the animation. Okay. 33. Animate Jet Leaving the Area: So I'd like to work on the last maneuver of jet. Basically, it's going to turn around and leave the area after firing the missile. Let's work on that. I'd like to limit the start to 180 and the end it's going to be 250. So we just need to focus on that part. Let's select the while location here. As you can see it's flat, that's why the jet is stopping, so what we need to do. We can select it and can bring it here, for example. But also, you must check the entire animation. That seems fine. Okay. But why the camera is stopping. That's fine. The camera is going to be stopping to check. Well actually, it's move the camera to. I'm going to select my camera to select this point to try to move it around here. You can also try to spin that point. Let's play this. That's nice. So now let's work on the last maneuver. Press shift left a row to start at 180. Let's select our jet. Okay. I'm going to do the right click on the y, it's insert a key frame, since we're going to be adjusting also the x sation. I'd like to insert them all. Right click insert all the key frames. I'd like to do the same thing to the x because we're going to be changing the x axis right now. It leads to the right click and I'd like to do the same thing for the location. Right click and it's insert this location. I'm going to just go slowly here. For example, at frame 200, we need to spin our cheat by -60 degree, for example, or -45. Can the real insertosky frames and I elect to move my chat on the x axis here. Probably it is up. A little bit forward, can do ic intake frames. Center for the rotation on the x, I'd like to left it a little bit. We can set it two -15 or -20, can do icy or replace key frames. Let's press space to see that. It's not good. Let me just fix the 215. The jet needs to be outside the frame, you can click frames. Here we can set x two -30 degree. Right click in frames so that you can have it pointing toward the sky. You can also go to view. Let me just check this camera view, press shift middle mouse, so that you can see that movement. That's nice. If you want to check the entire animation, we can set the start back to zero right here and then it's going to be 215. After that, we can just press space so that we can witness or check the entire animation. It's going to get under under the jet. Here we're going to have the jet fire in the missile and after that, the camera is going to go up and the jet is going to be doing the last maneuver. 34. Animate Jet Firing Missile: Now we have to bring back that missile launch that we created earlier. I'm going to check. I'm going to just check this box to be cut here and let's make sure to line that curve with our chats. The first step is going to be to determine when we should start firing the missile. Let's figure out that. Around 120, it's going to be great grads points to drop the missile. Let's go ahead and do that. I'm going to select my missile here. And I'd like to reset all the settings to 120. For the constraint, we're having this nerve path. I'm going to set it to one here, which is a start of this curve, can click ink frame. I'm going to just get rid of the previous key frames, can just delete them. The end, it's going to be around 200. Let's set it to zero ink frame. Our animation is going to start from 120 all the way to 200. Next, we have to adjust the simulation, fire simulation here. Like I said, we have to start from 120 Let me just select my domain. It's a little bit messy. Just follow me. We can go back to the physics, can score a little bit down into until we find the start of our animation. Here, the starting frame, it's one. I'd like to say it to 120. That is perfect. Now it's time to put this curve. We need to align it with our chants. 120. Let me just first, I'm going to press control space to maximize this window. On that mode, I'd like to make sure that the first line is completely flat, so we can press E Y double times. This way, we're going to have the first versus will be 100% flat. Next, I'd like to select this and I'm going to put it here. Let's put our missile. It needs to be under our wing, can press one to fix it. It's all set from this direction, you can press to reach go to the sign, and we have to make sure it's all set, something like this. Next, I'd like to select this curve, shift select my chat, and we can press control P and it set part to object while keep transfer. Now it's going to be connected with it. Our missile is going to be fired we can press zero to see that animation. Also, let me just fix the particle settings. I'm going to select the particles, and let's go to the particle settings, and I'd like to make the start at 120. Let's start our animation, and let's see where we go. Okay. Drop, nice. That is perfect. If you pay close attention, you're going to find that we have an issue with this method. Let me explain. For example, let's stop it here. The missile. This path is connected to the jet. If we move the jet, it's going to be moving with it. We don't want that. To fix this problem. Later in the rendering, once we're going to reach this point of 100, for example here before jet is going to be turning. Which is 180. What we're going to be doing, we're going to select this curve, and we're going to disconnect it. So we're going to press B, and it's clear parent, but keep the transformation, which is the location. This way, one's going to be affecting our rocket. We're going to do that later. For now, I'm going to just keep it stuck to the chat Control Z. Let me just revert back. That is nice. 35. Make Animation 2 - Making Jet Rolling Over Animation: Next animation that I'd like to create is the rollover. Basically we're going to take our jet and we're going to be spinning it like this in the air. It's going to be a really nice animation. I'd like to show you the final result that I was able to achieve. On this right panel, I'd like to split it vertically like this, and let's switch it to this video sequencer. Here instead of sequencer, I'd like to change it to preview. Next, I'm going to simply drag my video and let's drop it here in the preview. Now if we start press shift and right click, if we start Actually, we are not seeing it, but let me just check. We're stitching from 73. We can do something else. We can switch here to the sequencer, and we can select our video here, can do right click and remove gaps. Let me just click again, select again, remove gaps. No, it's not working. Let's just do it manually. Take it here, remove gaps. There we go. We got it right here. Let's go back to the preview. We're going to have the same starts from zero all the way to I think 60 frames. That's all. Let's limit the start to zero and the end to 60 and let's go ahead and start the animation. The first at first. Our chat is going to be around 30 degree on the y axis. Let's spin it. Here, let's give it 40 40 degree to start with. You can do red click, but I'd like to start from zero. You can do reclick and insert key frames. Next, I'd like to add the camera. Shift A, we can add the camera. Next, I'm going to press to hide this panel, we can go back a little bit here, and we can press control and zero so that we can point our camera on top so that you can make our camera focusing on our jet. Something like that, but even though it's pretty close, so we can press. To view and we can lock the camera to view, can check this. Now if we scroll, for example, back forward, can be moving the camera with it. I think something like this can press control, middle mouse, go back. This is a great start for the camera. We can press, go to item, right click on the locations key frames, and also since we are affecting the rotation two, so we have to add it to. Right click and let's insert the rotations. Ask the jets, we can increase first at first and frame zero. We have to also insert the location. Otherwise, we're not going to be marking our jet here. I'm going to just go back to the lock and just unlock the camera to view. Next, I'm going to just add press zero here to exit the camera view. I'd like to take my jet and we can move it forward. For example, -200 meters. R click should not be the win here on the zero. Press shift and go all the way to 60 and you can do -200 here. Re click in such key frame, same the ftzation zero at the camera, check. So let's assign that. I'm going to just spin around my camera. Let's select my camera here. Let's spin it around. Something like that. We can try to move over a little bit forward. Probably a little bit down closer. Right click in ser key frame center for the rotation. Let me select my chat and we can spin it to this level. I'm going to press R y, can spin it like this or like this. Okay. Let's do it this way. Let's insert that key frame replace it and let's press zero to check. Here we go. Our jets going from left to right, all you have to do right now is to make it flip. For example, here Let me just go back to the 60. Instead of 71, I'm going to add 360. Let's add a plus sign, and let's add 360. It's going to remain the same. But if we insert this keyframe, our jet is going to be rolling over. Let's press space and there we go. We got it. The last step to do, it's going to be to play a little bit of the camera. Let go back can press up a row to go forward and down a row, go down. Here at selects my camera and I actually spin it around. Something like this, 25 degree or even let's go with 30 degree. You can lift it up here. Something like that. Let me try 45. Can the right click or place key frames, and let's press up a row to jump to frame 60. I'd like to do read the reverse. Here we have a 45. On the end, let's make it -45 -45 degree, and we can take it upward like this, spin it. Something like that, can try to make it exit frame. Something like that. Let's key frames, and let's press space again to start. This way, it's going to be really nice. The last issue that I'd like to solve, let me show you. If you press space here, you're going to see that our chat stops at the end, and also the start. It slowly starts and goes here nice, but at the end it feels like it's stopping. We have to make that motion continuous. To fix this problem, we have to switch from the timeline. We have to switch to the graph editor here. The first problem that we have to fix is the positioning of our jet. Let's select our jet. We need to fix this problem here. The y start. Okay. So this start here is slow, so we have to figure it out. This is the curve for the y. If we select, you can go here to the jet fighter, click on the object transform. We need to jump to the location, so this y location. This curve right here. The reason why the jet start slowly because this curve here you can see it goes constant and it starts to go down slowly. What we need to do we can select this point, can try to scale it down, to make this, this start like cliff. We need to make it sharp. Co try to spin it, you can press R, spin it like this, to make it sharp. Now this start here, it's completely sharp. Do the same thing at the end. Let's let the end and you can scale it down. Let me show you the opposite. I'm going to try to scale it up to flatten it. The start is going to be sharp, at the end, it's going to slow down easily. Check this out. It's accelerating really fast because we're dropping this curve down. I'm going to just scale this one even down. Cress r to spin it just a bit. Stray that out. That's very nice. But the start, let me check the start here. It's accelerating. Now the camera, it's not sketching the jet at the right place. What we can do, we can select the camera. Basically, the axis that we need to effect is this one, the z. Let's go to object transform. You can select the arsation This one and we can make the start not that smooth. Can try to spin it around here and let's start again. There we go. Probably. Spin it down just a bit. Here at the end, we can try also to spin it down here, or actually led to the opposite. Skin it up. That's nice. It's going down. For example, at this frame at the frame 40, we can take the camera and we can drag and we can drag it a little bit down by -8 meters, right click and we can insert those key frames. Spread space you see. That is fantastic. 36. How to Make the Jet Follows Curve: Torio, we're going to be creating our right to the sky animation. Basically we're going to be having these two jets going up vertically, getting close to each other, and I'm going to have some slow down. I'd like to bring our video reference so that we can keep an eye on our animation. On the right panel here, we can drag forward or upward, vertically like this, and we can switch this panel to the video sequencer. Here, I'd like to make it not sequencer. Let's switch it preview, and we can bring this video, this final animation. It's not like that. We can You can also split our scene upward like this. We can switch this to the timeline that we can play with it. It's starting at 92, to fix that in just now, just a second. There we go. Let's make sure that we are on frame zero, so we can right here zero. This is the start of our animation. Here instead of having preview, we can switch sequencer little bit down, can do right collect here and let's remove caps. G to be removing that cap so that we can have the sequence at the start. Just get rid of the audio. We don't need it on just the video, and let's switch back to the preview instead of sequencer. All right. Now we'll go to go. This is the first position for cheat. Let's get to work on that. First, I'd like to do, I'd like to add a path. It's going to define the path of our cheat. We can select our jet shift cursor selected, and we can press shift A. Let's go to curve and we can bring a path. On the mode, I'd like to spin this curve on the z axis, so let's press R z and we can press 90 degree. You can press three, go to the side and we can scale this curve real up. Not like that, we can take this vertex press G. Move it up like this. Same thing here, we can try to align both of those. This is a good line. The two jets will meet each other here in this position here. The next step that we need to do we have to select our curve, our jet and make it follow this curve. To do that, make sure first that you are selecting the jet and you can go to the constraint, this one, the constraint, and you can add the follow path constraint, this one. Click on it. For the target, you can click on this eye dropper and you can pick this curve that we just created. Also, let me just go back. I'm going to just hide, click on that eye. Make sure that engine flames, they are part of the jet we can select in both shift, select. Our jet we can press control P. Let's set burn objects while keeping transform. Now if we move, the jet everything is going to be moving with it. Let's check again that follow path. We can press per it on the num path so we can see the position of that. It's a little bit far away from the curve. What we need to do we can press N, go to this y, we need to set the y to zero. Like the same thing for the x. All these locations must be set to zero. The next step that we need to do we have to make this jet follow this curve. To do that, we can go back to the constraint and we can check this follow curve. This way, the jet is going to be following the direction of these vertices. Also you can check fixed position so that we can set the officer to just one because right now we can exceed that like that, we can fix it to one. Let me just check fixed position. Zero is going to be the top and if we set it to one, one is going to be the starting position. We can animate this. Here in the timeline. At zero frame, you can animate this of factor to one. Let's do right click insert the key frame, and let's go all the way to the end of our animation. Let's see. I think it's around 100 under frame. Let's keep it as 100 to keep it clear. At 100, I'm going to set the x factor or the offset factor to zero. This way, it's going to be reaching the top. We can do right click and insert that key frame. Let's press space to check that out. It's going up. We have to make it a little bit fast because right now we're slowing down this. I think 85 for example at 85, you need to be reaching the top. At 85, I'm going to set the offset factor to just zero right click insert key frame. Here we can just delete this. Just press delete button to delete. 37. How to Adjust the Jet Speed: The next step to do it's going to be to fix the movement of our chat, let me show you. If you press shift and right click and play, the starts going to be slow. It's going to accelerate and at the end, it's going to slow down again. We don't want that. We want to have some continuous movement. To fix this problem, we have to go again, we have to switch this timeline to the graph editor. Basically we need to be adjusting this offset factor. Here, I'm going to click on this offset factor, can press A to select all these nodes, and we can press period so on it. This is a curve. It should not be smooth like this, should be linear, I want to have some constant speed. You can press t and switch to linear. Now, the speed is going to be continuous. But I don't like this method, and let me show you. For example, if you try to add in front to slow down the jet, for example here, you can check it down like this, 2.6, 65, you can give it for exam 0.65 and press enter. Let's inside this keyframe. It's going to be all sharp. Check this out. Here the change of speed, is going to be sudden. It's going to happen just momentarily. I don't like that, it should be always smooth. I'm going to press control z to verge back. Instead of setting this to linear, we can do which manly. Let's Let's select each one of these points and we can spin them around, so we can press to spin it like this. This way, it's going to be sharp. Same thing here, you can press R and track it up. This way, it's not linear, but the speed's going to have any issues with the speed. Let's press shift and left a row on the keyboard and let's press space to start this. You can see there is no slow down. Same thing at the top. Also, for example, if you want to speed up the top, so we can speed up for example, this part here, speed up the jet on this part, so we can select this point and we can try and let me try r to scale it down. What actually we have to do with this way? We have to press R and scale it or spin it to the other side. Let's see. It's going to be fast now. We can try to play with this. Okay. Basically, this is the way to do it. If you want to adjust the speed of your chat, you can just keep playing with these tune points. So I'm going to just skate it down and spin it to keep it a little bit linear. Check that out again. You can do the same thing here. Let's spin it a little bit. All right, so that's perfect. 38. Animation 3 - Jets Rising to Sky with Camera: Let's move on to the next step. Now we need to duplicate this jet. I'm going to select it. Press shift D to duplicate. We can do right click and I'd like to select this curve, and we can press and we can press R z, and we can spin it by -180 degree. Now it's perfectly matching on the top, this is exactly the fact that we want. Can try, for example, to give it some distance because it should not be that close. G something like this is going to be perfect. All right, so now it's to add the camera to track this animation. So I can press shift A and let the camera and let's see the position of our camera, so we can press shift and left a rose we go to the start. Right here, I'm going to put the camera, for example here, control and press zero. Okay. Also, I'd like to set the z set it to 90 degree and we can move our camera a little bit down here on the x axis move each backward. Also, I'd like to go to the camera settings and I'd like to decrease this focal length to just 30 30 millimeters. For the curve, I'd like to adjust them a little bit. Let's select them on the edge mode. I'd like to take the end and we can track them a little bit down like this. Same thing here, let's select these two points, contrag them down. That seems to be accurate. Well, let's press zero, and I want you to change the resolution of our camera so we can select the camera here, and we can score a little bit up until we find this output properties for this view, I want you to switch these. Let's right here, 1920, here 1080 press. This is the resolution of the short videos on YouTube. This is the start to start from here. Also, I'd like to let me just go back to zero. We can take our camera a little bit forward move it forward like this. Spin it even down or actually, something like this can be fine. I'd like to even take these. I'd like to scale them on the Z, like this, S to make them close to each other and we can drag them down. S y Something like that. Let's pre zero again to check. That's about it. We can try to reject these scale them to the side. This is where we got pretty much flows to the end goal. Also here for the camera, we can try to drag it a little bit down, something like that. With the camera selected, we can do right click on the location, sthing on the rotation R click and in sky frames. After that, we can press play to see the change. It's going up, the ets are going up. For example, at frame, let's see. A frame 65, you can try to face them. We can press zero to switch between the camera view and the perspective. Also with the camera selected, we can go to view and we can lock the camera to the movement. Click to this camera to view. Right now, if you move the camera, if you move your mouse, the camera is going to be moving with it. Here I'd like to bring my camera to this location. Something like this, and we can insert these key frames, inserzation and the location. Let's start again and see they're coming close. For example, here at 35. What we need to do, we can take scroll the camera a little bit down here, sir insert frames. Same thing here at 55, can take it a little bit down like this. Insert these key frames, and let's see. All right. So for example, at 75, can track the camera a little bit up here to 105 for rotation. All right. Let's play the animation again. And let's see It's getting closer. There we go. Going to slow down right here and it's going to continue all the way to the top. I'd like to adjust a little bit the speed of our jet right here. The need to be speed a little bit. Or what we can do, we can take our camera a little bit down. For example, it's frame 25. We can get down a little bit here. Through 60 meters, and you can insert these key frames. So let's start the animation again? No, I don't like that. It seems to be going down. What we can do, let me just go back to the zero frame, and we can take our camera a little bit down here to 80 meters. Let's see that. But 80, let me just press up a row so that we can jump between frames. Here we'll set it to 80 at the start. Next, it's going to go down to 60, should not be the case. I'm going to just do se click and let's delete key frames. Shift click and you can press space to see that again. They're going up. That's nice. I'm going to press down a row on the keyboard to go to the first frame, and here what I actually do. I'd like to position my camera between these two curves. Let's just take them here. You can do just 5 meters, right click, replace key frames, and let's press space to see. We have here 5 meters up to 22, 34 and 36. I think for example, 35, we can drag them a little bit up. Increase that to 12 meters and we can adjust The cations 25 or even 20. Can the right click and replace these key frames. Let's start again, shift and right click and start again. That seems to be cool. 39. Randomize Jet Movements: What I'd like to do right now is to apply some randomness. Here you can see that these two jets, they are not symmetrical, so you can see the trajectory of this one here. It's not the same as this. They don't have the same path. We have to do the same thing. I'm going to select this jet here. Let me just go to view and unlock and check this camera to view in here. For the initial position authorization, let me press switch item. But first, we have to make sure that the end is right. You can go for example to frame 65, and we can insert these rotations. You can insert this one here, rotation for the right chat we can do the same thing, right click and insert frame at frame 65. Ext let's go back to, for example, this frame here, the 15th frame, and you can make some adjustments. I'm going to select this chart and let's pend it on the y axis, something like this, 64 can insert the key frames, and for the other chat can try something different, can try -140 degree. All right. Let's see that. Okay. They are different, but they will match at the end, and that's a really good twist. They will match here. Also, I'd like to show you a cool trick. We need to add some randomss because as you can see, our jets are perfect. We need to add some wobble in just a little bit like this. It's going to look really nice. Let's go to the object transform while selecting our chats and basically to be affecting this axis, this y axis. We can click on the Vularcsion we can go here to modifiers, and we can add the noise modifier. Right now, if you press space, Our jet is going to be moving a lot. Let me show you. It's moving, but let me just go back to the constraint, just hide the path just so we can see the movement of our jet. Let me show you can see that. It's going to be wobbling. We have to adjust a little bit this strength. For the scale, I'm going to increase it to 15, and for the strength, let's 20.1. We just need the slight movement in our jet, something like this. I hope you can see that. Let me just so not here, for example, there is some wobbling. You can increase the strength, for example, 0.2 to see that better. That is cool. I'm going to just check back this follow path and we can pass zero so that we can see that effect in motion. Let's press space to see our animation. There we go. We've got some imperfections here, some wobbling. That's fine I can increase the strength to 0.25. I'd like to do the same thing to the other t. Let's select it and you can go to the algect transform and it'sel the Yul rotation, and you can add the noise. For the first one, we give it 15, here, I'd like to give it 25. Just to make it not the same, not giving it the same effect. Here I'm going to go with 0.4 for the strength. Let's see. They're approaching each other and going up to the top. Basically that's it for this rise to the sky animation. If you have any questions, let me know. I'm going to be seeing you in the next a lecture. 40. Simulate Jet Tail Smoke using Particles: Or to show you how can we add this smoke trail that's going to be following our jet. Let me just show you this one right here. This smoke tail adds much more realism to this jet rising to the sky and emission. Let's go ahead and create that control space. I'm going to just go back to my scene. First step, it's going to be to add that object, it's going to be emitting that those particles. Basically we're going to be using the particles to create that. I'm going to select my jet, shift as put cursor right here to the center of our jet. And we can press shift A and I'd like to bring mash, let's bring UV sphere. For the dimensions, I'd like to reduce them down to just 12 by eight. Or even by six. This object is minor, so we should not give it too much attention. After that, I'd like to press tab to switch that this mode, and we can and we can press S to scale it really down. Next, I'd like to drag it sideways, and I'd like to put it inside one of the wings here. I think this is the best spot. Drag it a little bit to the right side, can scale it even down to hide it, should not be visible. Can put it here. Scale down. Shift D, I'd like to duplicate this object, and let's move it to the other side because we need to have it on both wings. Can press spirit on the nampa to zoom on these objects on our sphere and let's put it inside. All the next step, I'm going to press step to exit mode. We need to make sure that this object is part of our jet. With it selected, I'm going to press shift and left select my jet and we can press control P let's say burn to object. Right now, if we press the left row on the keyboard to move the frames. As you can see this object is going to be connected to the jet. A now let's work on the particle system. Let's select this object. We can do shift all smooth Let me work. I'm going to just collapse this preview and the sequence are down and we can go to the particle settings. This one right here, we can add a new particle settings. We can call it smoke tail, and I'd like to reset or to work a little bit on these values. For the number, we can press space here to play the animation to see. We're having few elements of these particles. I'd like to do is to increase this number to 10,000 or even 15,000 to have more of those particles. Now if you press space, can I have more of that. Nice. Also, let me just I'm going to press shift and left a row to start from the beginning, and we can press space to start the animation. And let's see. It stops and it repeats itself again. Let's press shift and left a row so that we can start the animation, we can press space bar to play the animation. It stops right here. We have to adjust the lifetime this lifetime of the particles. I'm going to just increase it up, so let's set it to 500. Basically, this 500 means that these particles will die after 500 frames. It's a long time. Let's press space right now at C. Now, we're not going to be having any died particles, which is nice. But we have to check particles type. Here, I'd like to convert or to switch the type of these particles. Right now, they are in this shape. This is not an object, weren't going to be able to render it. I'd like to switch it to an actual object. We can press shift as cursor to selected. Shift can bring again UV sphere. Just move it sideways. Basically, the sphere to is going to be visible. We can just replace these little objects with our sphere. We can press F two to rename it and let's call it particles or tail particles. Let's select our particles and we can scroll a little bit down till we find render. For the render, should not be rendering it as a halo. These are the hell objects. I'm going to switch it to an actual object. And I can scroll a little bit down for this instance object. I'd like to choose the tail particle. Can just write it here, tail particles, this one right here. Now we are replacing those hello objects with our sphere. Can see that here. Next, I'd like to do it, let me just select my sphere, right click and shade smooth, not the shade out of smooth. Next, I'm going to scroll a little bit down here to the scale. Here for the scale, I'd like to increase the scale for example, 0.4, we need to have bigger Bigger smoke, something like that. It looks big, but once we're going to be adding the material, we're going to be fading the edges. Don't worry about that. Also, we have to adjust the scale randomness. Right now, all these objects, they have the same size. It's going to be a good idea if we increase the scale randomness so that we can have random scale. Something around 0.6, it's going to do it. Press space and let's see. You're going to notice something. These particles they go down because they are affected by gravity. What we can do, let's select our particles. We can scroll here all the way to the bottom till we find these field weights, and here we have the gravity. This is how much we want to have from gravity. I'm going to just reduce it down to just 0.25, just a quarter of that effect. Shift and left a row and compress space. Start the animation. Now, the gravity is really low. That's nice. Also, if you'd like to keep these particles together, I'm going to show you something. Right now here, they look a little bit big. So the entire shape looks a little bit big. To make them stick together, we can adjust the speed. Let me show you. I'm going to score up until I find this velocity and I'd like to reduce this normal value to something like 0.2. Shift and left a row and we can press space to play our animation, let's see. Now we're going to be having a narrow line, especially on the bottom here. Okay. Let me just reduce it down to 0.1. Shift left row space. There we go. It's pretty much narrower, and it looks even better. Next is to duplicate these particles and copy them into the door. Let's select them. We can switch mode. Let me press por to Zoom on this. I'm going to press A to make sure that everything is selected. Shift D to duplicate and we can move it to the other side. Also I'd like to press P to separate selection because each one of these planes of our charts, they move separately. I'm going to press or first, let's go to object. Let's set origin to the geometry, and we can try to spin it around. R. Also you can press seven to go to the top, and let's see what we can do. I'm going to press to move them, and let's move them around here. Shift select our jet and control P set parent object w keep transform. A now let's play the animation. Shift left row and can press space to play the animation. There we go. We can have two of these jet tails The nice. We do have a problem here. Let me show you I'm going to pre shift and left a row, and let's play the animation. We got the tail smoke here from the beginning, all the way to this part and it's going to stop and continue again. We don't want that. To fix this problem, we have to bake our particles. I'm going to scroll down here and I want you to in the cache, we can bake all dynamics. C on I just wait for it to finish. Send out the particles, they are baked. There is no need to worry about that. It's going to stick all the way till the end. That's nice. Also, let me just bring here the timeline. Let's switch the three D view port to the timeline, and let's press shift c. We can go for example here, C press zero to jump to the camera, and I'd like to show you this. All we have to do right now is to add the material for this smoke. Let's do it right now. First to see our material, we need to adjust a little bit the lighting right now if you pres z switch the rendered the lighting is a little bit bad. What we need to do, I'm going to bring this panel up and we can switch it to the shader editor. Next, we can switch the object to the word. We can press to hide that panel, and here, I'd like to add the sky texture. Shift A, let's search for sky texture. This slicing is just temporarily just so that we can see this tail. Now we can see it even better. Increase the value of the ozone. Let me just increase it up so that you can have that bluish light. Also here, I'd like to go to render properties. We can score a little bit down here t find this film, and I want you to check this transparent. Also for the strength, I think it's a little bit too strong. Let's reduce the strength of our lighting to something like 0.5. Now we can see our material. Let me just zoom on it a little bit here. I'd like to switch this shade ditory type from the word back to the object, and I'd like to select this tail particles. This sphere is the one that replace these particles. I'd like to add a new material and score it tail smoke can press enter, and I'd like you work on it. Instead of having the principal t f, I'm going to just remove it and set to use shift search for volumetric volume principle volume. Third node Let's connect the volume to the volume's just the settings. Just go back a little bit. For the density, I'm going to set it to just 0.3, or even downs set it to 0.15. Also I like to apply with this value. Actually reduce it a little bit down here. So it's less transparent and that's nice. For the emission, if you want to make it a little bit bright, you can adjust this emission. You can say, for example, 0.1. I'm going to just keep it at zero. I think I'm going to reduce the scale of the particles, the meselect them. We can go back to the particle settings, and here in the scale, let's say it to just 0.2. Okay. Have to reduce the scale a little bit. That seems accurate. Also here for the randomness, we can decrease it to just 0.4, go back to the solid, and I think we have to increase the number of particles. Here I'm going to just scroll a little bit up. I'm going to delete all the bake and so that we can have access to this number. I'm going to increase it to 2020 5,000 particles. Let's bake again all the dynamics. Right now, we don't have any gaps between these particles, which is good. I'm going to just bring this one down here and you can press switch back to the renderet's check our tail. Our tail looks much more better right now. This is the way to create the tail smoke in blender. 41. How to Add Slow Motion Effect: Story, I'd like to show you how can we achieve the slow motion effect that we got in our animation here, this slow motion effect starts here. How can we do that? I'm going to just collapse this right click join this area, and we need to write some values down. First, let's identify the animation. We need to start the slow motion, for example, at 115 or even before that. 110. This is a good start for the slow motion, all the way to 120. I think I'm going to start from 110 all the way to 170. I want you to write these values down because we're going to need them. Let me just bring this document, the note pad. We're going to start from 110, so slow motion. It's going to start from 110 all the way to 117. The rate of the slow motion, so it's going to depend on your needs. I'm going to reduce it down nine times, to make it slow nine times down. We're going to divide it or multiply it by nine. The results, it's going to be this. Let me just multiply these numbers by nine. I'm going to just print the calculator, 110, multiply by nine, going to be a 990, rise it down, 990, and at the end, it's going to be 170 multiplied by 9117 multiplied by nine, can be 1053. These are the new numbers. I'm going to just go back here to the output properties, this one right here, and I want you to scroll down to define this time stretching. Click on it and set the new value to 900. We're going to be multiplying this old value by nine times. It's going to be a 900. In order to find the right spot. All you have to do is just go back to these values. I have a 990. I'm going to just put it at the start. And we have in 1053, which is the end. I'm going to just do back here so that we can see that part, this one right here. This is where our slow motion is going to occur. If we press space, we're going to see that slow motion. We're having it right here, perfect. There we go. We got the slow motion, looks pretty much nicer. What I want you to do right now is to save this blender file as these sky dash at slow motion because we're going to be rendering this separately from the rest. 42. Rendering & Compositing - Add HDRI Map: Sorry, I'd like to show you how can we improve the lighting in our. Right now, if you press Z and switch rendered. This is what we got in form of lighting. The lighting is a little bit bad. Also, I'd like to change this frame so to have a better idea. For example, 50, is going to be fine, 50 frame. We're taking a look at our chat. I'd like to replace this background with this actual sky HD map. For that, I'd like to expand this panel right here, and we can switch it from timeline to the shader editor. Here, I'd like to switch from the object to the word. This is what we got from previous lectures. We created the sky Textor. I'm going to just remove it. Instead, I'd like to bring an environment textor Shift A, let's search for environment text T one and we can open it. Let me just go to open. Tax is sky h to map you can find this in the resource. Double click on it, and all we have to do is just connect the color to the color. In order to see it, I'm going to go to the rent properties and we can score a little bit down until you find fill. Here I want to check this transparent so that we can see our sky. Another thing to do, we can increase this background strength. Let's say 2.5. Now it's bright. Next to do is to turn it around. The way to turn it, we're going to need two nodes, shift added search for mapping. And we need the texter coordinate. Shift A, let's search for tax coordinate, this one. I'd like to connect the object to the word and this to the vector of our sky for HDR map. Right now, if we try to play with the Z, going to be able to rotate our HDR map. It's going to be really fast if we switch our engine from the cycles back to the EV. Just until we have a good idea about the rosation. I think something around here, it's going to be good. Let's just find the better way here. This one looks fine. 106. I'm going to just go back to the cycles and basically, that's it, so we learned how to add an HDR map to our scene. 43. Rendering & Compositing - Adjust Rendering Settings: Welcome to the rendering and compositing section. In this segment, we're going to dive into the art of creating stunning visual. We'll start by capturing our best jet shot and then we're going to enhance it further using some incredible rendering and compositing tricks. Let's jump right in. Here we are. This is our jet. The first step is going to be to find the best shot. I'm going to find. I think something after launch in the missile. So something around 226. This shot looks best. You can press Z and let's switch to the render mode just so that we can see what we got. Also, I'd like to spin around my HDR map. By the way, on the V render engine, so we can access that by the properties here. Like I said, the first set do is to change this map, HR map. Here I'd to switch this timeline to the shader editor. Down below here, let me switch it to the word and let's adjust this value. Let me just around. It's getting better. I think something like this is going to be great. 120. Let me just fix it as 120. This shot is best. I'd like to do right now is to work on the rendering settings. I'm going to just reverse back to the timeline. So we can press Z and switch back to the solid. First step is going to be to switch the render engine from EV to cycles to have maximum realism. Next, we can score a little bit down to refine the render tab. Let's click on it. I'd like to adjust the time limit. This is the time that our render is going to take to finish. I'm going to just reduce it down to just 20 seconds. We are just testing right now, so we want to have some fast feedback. Next, I want to check this D noise so that we can remove any noise from our render. We can also check the resolution. Let's go here to the output, and we can see the resolution that we got here. We're having 1920 pixels on the x here by 1080 this height of our image. That's the right aspect. I'm going to keep it here to 100. Now we are ready to start our render. Let's go ahead and render our scene. We can go to the top render and we can render image. The shortcut is the F 12. Let's click and let's switch for it. I just zoom in a little bit, and it's with that 20 seconds. We can see from the top the remaining time is 11 seconds. This is our render. 44. Rendering & Compositing - Give the Jet the Feeling of Speed - Motion Blur: So here we are, so this is our final render. I actually do right now is to add the motion. If you pay close attention to the surrender, you're going to find that the camera did a perfect job capturing every detail of the jet. There is no blurriness at all, and that's not realistic. Basically, the motion blur occurs when an object moves too quickly for the camera to capture it. Since our jet is moving, so I want to add that effect. Lily in blender, we can add this motion blur effect. Lily in blender, we can add this motion blur effect with just one click. Let's go back to my scene. Here in the render properties, we can score a little bit down to define the motion blur. You can check this and I'd like to reduce a little bit this shutter value to something like 0.25. Let's go ahead and give our scene a new render and let's see the change. Now you can see the motion blur in action, but I'd like to reduce its effect a little bit. I'm going to just use 0.15. Or 0.12, for example. Let's go ahead and render this. We've got the motion blur enabled. This effect is essential in creating a more realistic and natural look and emissions. 45. Rendering & Compositing - Adjust Camera Depth of Field: All right. The second trick I would like to add to my render is the depth of feel. We're going to be adjusting the camera settings. Let me just select it first. In the render tab under properties, I'd like to scroll I'd like to go back to the EV just so that you can make it easy to check. I'm going to p z and let's switch to the render mode. Also make sure that the camera is selected. We can go to the camera settings here. I want you to score a little bit down until you find this step of field. I want you to check it. First, we can play with this focus distance, let's reduce its value down, and you're going to see this effect. We're going to be having everything blurriness blurry. I'm going to just reduce this value down, let me just test this out. Res to zero. Everything is going to be blurry. If you increase that value, we're going to be increasing that distance. For example, at one point or at two point meters, we're going to be capturing the wings. Also, the good thing about this focus distance, you can animate it. If you want to have that effect at the start, you want to have everything in blurry, you can just animate this distance at zero in the intake frame, that whatever frame that you want. After that, you can make it focus on something. So we can choose an object to focus on. For example, let me choose my jet here, we can select it. Next, we can adjust this F stop. We can reduce it down. Now everything is blurred except this object, which is our jet. In my case, I want to be focusing on any object instead instead, I'd like to increase this focus distance. For example, to Something like this. 18 can be passed. Let's set it to 18. Also for this f stop, I'm going to increase it up to something like 0.25. Let's go ahead and render our new scene. I'm going to just press here, go back to the solid and for the rendered properties, we need to be on the cycles. Let's go ahead and let's render our new image. Okay. 46. Rendering & Compositing - Fix Brightness Issue in Your Render: The story otic to show you how can we fix the brightness in our render. We got the big parts of our render just completely white. This section right here. We don't want that. Let's go ahead and fix our render. I'm going to just go back to my scene here. In the render settings, I'd like to score all the way down till we find the color management. Also to see our render here, we can switch the treat view port to the image editor. Here we can choose the result. We can type result, render results. This is the trick. If we change this look from non to very low contrast, we're going to be completely changing the look of our render, making it more realistic while reducing the brightness in our render. 47. Rendering Compositing - Best Compositing Tips & Tricks to Make Your Render Stands Out: To we're going to be jumping into the composite. We need to improve our render even better. Here on the top you can scroll like this using your mouse, and we can switch to the composite. This window by default is going to be empty. I want you to check use nodes so that you can have the render layers and the composites. Basically, if you want to see our render in the background, we can add a new node. Shift A, so you can search for viewer, the first node here, and I'd like to connect the image to the image here. If you're not seeing anything in the back, you can check this backdrop. Now we can see our render. Let me just make some room here. You're going to need this dope sheet. Let me just join this area. We can press V if you want to zoom back or old V to zoom in. Also you can press old in middle mouse if you want to move this render. Let's just keep it this way. The first node that actually do to add some glare, so that we can make, for example, this slide, this flames brighter a little bit. Shift A, let's search for glare. This node right here, and we can put it on top of this line. Also, in order to see the glare, we have to connect also to the viewer. Let's connect the image to the image here to the viewer. We have some glare going on. I'd like to play play a little bit with the settings. First, I'd like to switch the streaks from streaks to fog glow. We can adjust a little bit the settings. For the medium, I'd like to change the quality to high, and for the size, let me increase it to nine. Also for this mix, I'd like to reduce this effect. Let's set it to -0.75. Press enter. Also, if you want to reduce further this glare effect, you can increase this threshold. Let me try for example to set it to 100. This way, we can reduce the effect of this glare node. Next, I'd like to add a new glare. Shift, let's add glare node. I'm going to put it again on top of this. I'd like to change its spe from streaks to ghost. It's going to give us some nice shading, some nice effect here. Let me play a little bit with the settings. For this color, we can increase it to one, and for the threshold, I'm going to increase it to 50. We've got some nice effect going on here. We can also try to reduce this mix to something like zero point or -0.9. Now we have just a slight effect here. I'd like to change the quality from medium to high. This is it for the glare. Next, I'd like to add the color balance. Let me just take these to the side. We can press shift A. Let's search for color balance. This node right here. We can clconate let's start it again between the glare and the composite node. Also, we need to make sure that it's connected to the viewer so that we can see the final result. This node here is really important in the compositing. It gives us the, we can change the feeling of our render. We can give it some warmth or we can make it cold. I'd like to give it this kind of bluish because we are in the sky. Let's give it some blue effect. Let's just wait for it. There we go. Now it looks like a film. We gave it that filmic shape or filmic feeling. Also, I'd like to reduce it to a little bit. I should not be bright like this. Sounds like that looks fine. Also, I'd like to crop a little bit the top and the bottom, give it that cinematic feeling, like if you are watching a movie. Let's press shift A and let's search for crop crop node. This one is just temporarily. You can skip it. I'm going to put it on the front here. We're going to lose everything. What you need to do is to check this relative, and for the left, I'll let you set it to one. For the up value, set it to 0.9. And for the down, let's say it to 0.1. We did it, we crop of render. We can see that here in this red image, render results. Now we have this crop, we have the top black. We have the top and bottom black bars. The last effect that I'd like to add, I'd like to add some blurness on these edges here. Let me show you it's going to add some nice effect. I'm going to press shift A and the search for lens distortion. This one right here, and we can connect next, we can connect this image here to the blur. Let's search for blur. This one right here. The first one. We can multiply it with this color balance. Let me just drag it a little bit to the right side. We can press shift A and let's search for color. Let's put it on top here, and we can also connect it to the viewer. I'm going to press old and middle mouth so that we can move my render to the left side, just to make this look better. So for the type, we need to make it multiply, and I want you to connect the image to the bottom image slot. So we can press and middle mouse to bring our render, can press V to scale it down, and we need to adjust some settings. First here for this lens distortion, I'd like to increase this distortion to 0.5. Presenter. We cut the effect, but we have to make it blurry. Should not make it strong like this. Let's bring the blur and we can affect it a little bit. First the type, I'd like to switch it from Gahen to ten. Next for this x and y value, I'd like to adjust them. Let's give them for example 300. Now we did that effect, we' having some blurs, blurriness here. To make this effect even stronger, we can decrease this amount, so let me just drag it like this and we can set it for example, 150. Now we can clearly see that black blurriness on the edges of our render. Can bring render results so that we can see it, and basically, that's it. Now we gave of render that cinematic touch. 48. Production of Jet Fighter Final 3 Animations: Torial let to show you how can we render our final animations. Right now, we have two animations. We're having this fired missile animation. Got it right here. Also, we have the sky animation. Basically for the sky, we're having two types, two animations. We're having this slow motion that starts from nine red and 90 all the way to 1053, and we're having the other animation that has the normal speed. This animation right here. And the last animation that we got, which is the roll over this animation. Let me just play it so that you can see it. By the way, if you want these project file, you can just contact me and I will send them to you. Now what we need to do is to render it. All these key frames that we got here not just one render. What I want you to do is to go to the outpost properties. Basically for the rendering, I'm going to keep it the same on the cycles, I'll keep it all the same. Same thing for the composite. I'm using this set up, same thing we did before. We're having to here the lens distortion connected to blur, we're having the glare color balance. A little bit of two weakens based on the scene. You got all the information from the previous section. Now, let me just go back to the layout. Here, I would like to switch output properties, and I want to scroll a little bit down until you find this output. For the output, I want you to choose here any folder that you like. I'm I'm creating a folder called Jet rollover. For the settings, I'm going to keep it as PNG file. Right now, all you have to do is to go to render and render animations. Once you start, blender is going to start from zero from this frame. Basically it's going to depend on the start all the way till the end. It's going to render every frame on its own. Once you are done with all the files, with all the animations, basically we have three emissions. Basically we're going to end up with this folder. We're going to have the emissions, the rollover, and the miss launch. Each folder is going to contain these key frames. It's going to have all those renders one by one. This is our animation. It's combination of frames one by one. Basically for the last one for these to sky, we're going to have two folders, we're going to have the animation with the normal speed. And we can have the slow motion. I want you to render them both. Now, I would like to show you how can we combine all these keyframes into a single video. To do that, I'd like to jump into a new blender scene. Let me just score a little bit up here and to refine this plus. Click on it and go to video editing and choose video editing. I'd like to set the start here to zero, and the end, it's going to depend on the animation. Here you can pre shift, can move this cursor to anywhere you want. I'd like now to click on add Let's go to image sequence. I want you to choose that folder where you saved all those animations. For example, let's choose the launch missile. Actually let's start with the c sky because it's a little bit tricky. I'm going to bring here the normal speed. Let's double click on it. We can press A, let's add image strip. I'm going to do click and we can remove the gaps. Or actually press shift click, take all the way, take the cursor to frame number zero. You can do right click and remove gaps, and now it's going to be snapped to the beginning. We can scroll a little bit up until we find this number 47. I'd like to set the end here to 47. Okay. All right. Now if we play this, can have our animation. But here, it's a little bit tricky because we need to add the slow motion, and let me show you. But before we can do that, I'd like to adjust a little bit the resolution. Here it's the reverse we're having here in 1920 by 1080. I'd like to select this clip, you can click on it left click and we can scale it up. Let me just press S and scale it up until it fits the borders. I think 1.8 is going to be enough. That's good. Now what we need to do we have to bring the slow motion and mission. Because right now if you press space, you can just have the normal speed. Let me just go all the way to until the end and we can add a new age sequence. I'd like here to go back. I'm going to just tiles normal speed. Let's go to the slow motion, press A and add Ma strip. We can match it with our keyframe. Let's see. I think water I got it exactly where it should be. I just play. There we go. Basically, just try to match it. Here I'm on 33. You can press G x so that you can move this strip until you got to match. For example, five pot one is going to be matching. Okay. We're a little bit late here. Let me just go back to 33 and I'm going to press g x. Let's move it backwards. So let me check here press shift and right click to go. We're having the slow motion. For example, here we have to continue with our normal speed. I'd like to go back to my animation, the bottom strip, can do right click and we can click on split. Basically, when we're going to be split in, we're going to be cutting this trip into two parts. We can press G x and just move it all the way to the back here. Let's make sure that everything is smooth. I think for example, here we can continue with the normal speed. Let me select the top strip, can the right click, split. I'm going to just delete this part, and let me select this G can move it back. Let me try this. There we go. That's the right spot. Now the end, it's going to be 86. Let's say the end here to 86. You can also press space to see the animation. There we go. That looks pretty good. All you have to do right now is to render it. To render it as a video. Let's go to the render output. You can score a little bit down to refine the output. Instead of having it as P and G, we need to switch to this FPG video. For the encoding, we have to switch it from this mastoca to this P G four. You can click. For the quality, I would like to increase a little bit to high quality. For the encoding spin, I'm going to keep it the same good for this key frame interval so that you can have low size of our video lecture increases to the max, which is 500. For the audio, we're going to deal with that in the next coming lecture. For now, let me just render this animation. We can choose any fold el you'd like. I'm going to pick my documents and we can call it rise to sky animation. I'm going to accept that. Let's go to let scroll here, using your mouse, go to render and render animation. I just switch for it to finish. So we're done. Let me just go to my documents. There we go, we're going to have this sky animation in a video format. Let's suck on it to play it and we got our animation. Basically, here we are mixing between both the slow motion and the normal speed of our sky. Basically now we want you to do the same thing to the other animations. Let me just go back. So the animation, we don't have any slow motion, so it's going to be easier to just delete all these strip files and shift right click so that we can go to the beginning. I can go add image sequence. Let go to the main folder. I'd like to pick the launch missile. Them click here, a press A and bring that strip, and I'm going to scroll a little bit down. Shift, right click until we reach the end, which is 215. It's right here. We have to adjust again the resolution. Let me just go to the top. So it's going to be 1920 by 1080 reverse. I'd like to select this strip and press S to scale it up. Let's fit the border. 1.8. All all we have to do is to go to the output, and let's score a little bit down until we find the output properties, and I'd like to change the name to firing missile animation. I'm going to keep the same settings, this FF MPG video. All I have to do is to go to render and render animation. Basically, that's it. Now we're going to have these three animations. We can have these sky animation, rolling over animation and the fire missile animation. If you have any questions, let me know. Thank you so much for watching and I hope to see you in future projects.