Mastering KeyShot : Product Visualization - 3D Rendering

1. Introduction - Mastering Keyshot: Hi there, My name is texture man, an IMC, GRPs, and free freelance designer. In this course, I'm going to teach you how you can create product visualization like this. I'm going to show you all the secrets behind creating realistic 3D renders in Quito. I had experienced in product rendering and automotive rendering. Also, how to create animations. This class is designed for everyone who is passionate about 3D rendering. And one step up the level of reality product visualization. In this mastering Kishore class, you will learn everything to create your own renders. You will learn how to set up seeing from scratch, how to create camera, how to create lightning, how to create materials. I will give you introduction to Photoshop retouching with useful tips and tricks and much more like depth of field and close up rendering. If you are ready to become mass in Kisho, let's render. 2. KeyShot Overview - Import 3D model: So this is the key shot. And I'm going to show you my workflow, how I'm going to create these product visualization. And I will be giving you an explanation how these tools are actually working. And I'm not going to talk in about every tool in the key shot because I don't really believe you have to know every tool in the Kisho to create stunning product visualization. And I just don't want to overwhelm you with lots of information at the beginning. So first step, as always, is to import our freely model. Right now doesn't really matter if we are going to import are open. So I'm just going click on this open and I'm going to choose my FBX file type. And the reason why I'm going to choose this one is because I save a little bit more color information into this format. So double-click on this and I'm going to stick with the default settings, and I'm just going to click on the Import. It will take just a couple of seconds to import this 3D model. These freely model is really simple. If you've got something with too much polygons, it will take much more, longer. But this is really simple 3D objects, so it will take just a couple of seconds. This is how it looks in the Kishore. And the first, what I'm going to show you is the basic navigation tools. When you click and hold your left mouse button, you can rotate around this object. If you're going to hold your middle mouse button, which is the Scroll button, you can pan around. And if you're going to scroll with these middle mouse button, you can zoom out or zoom in. 3. KeyShot Overview - User Interface: He showed that gets really simple user interface and you've got workflow from left to right. So that means a routine, but you are going to add to the scene is on your left side into these libraries window and everything, what you are going to adjust or edit on your right side in this project window, e.g. we can add to the scene new materials, color, texture, environment, deck plates, even new freedom models. So let's start with these materials. I'm just going to drag and drop these hard plastic material. Something to like this. If I'm, if I'm going to adjust these material, I'm just going to double-click on this. And now I can adjust these material. I can also adjust cine, camera view, environment, lightning, and image. This is like postproduction in T-Shirt. So I'm going back to these material and now I'm going to adjust this material a little bit. So in this first, I can change the main color. I can create these controller invite color red or black, but I'm going to choose the black color. I can also change the reflectivity color. I can make these color red, but I'm going to stick with divide. And these sliders, the file, the overall look of this material. So this first sliders, if I'm going to push the slider to the left, I'm going to create much more shiny material. As you can see, if I'm going to pull the slider more to the right side and create these value much more higher. I'm going to create rough material. So I'm going back to 0.1. And the second slide define metabolic of these material. So if I'm going to push this slightly more to the left side, I'm going to create much more plastic material. And if I'm going to push the slider to the right side, I can create much more metallic material, e.g. if I'm going to bring this value much, much more up, I'm going to create something like aluminum or Chrome. And if I'm going to push the slider back to the shiny position, I can create something like polished aluminum or polished chrome. As you can see. This is the end of the basic overview, and now let's focus on creating actual render. 4. KeyShot Camera - Move Object Tool and Camera View: Alright, so we need to move this 3D model and we also need to create brand new camera. I'm going to show you two options, how you can move these 3D model. You can go to the scene, select this 3D model, and you are going to the position and click on the Move tool. And now you can move these 3D model in the scene. Or there's the second option, you can just point with your cursor on your 3D model. Creek, right mouse. Click the right button on your mouse and just hit this new model. And now we are going to bring this 3D model a little bit more up, just a little bit about the ground, like this. And also I'm going to use this rotate tool. And I'm just going to rotate this object little bit. Alright, This is good. Now I'm going to create camera view. So I'm going to the camera tab, click on this button, which is our new camera. We are going to call this camera main camera front. Now, we are just going to match our reference image so we can move around like this, or we can use these sliders, e.g. this is simple, the distance, this is the rotation. This is the inclination, and this is the twist. So I'm going to rotate like this. Alright? Maybe little bit like this. I'm also going to use this inclination to create something like a hero Look. This is really good. And I'm also going to use these. And actually I'm going to write number like this. I'm going to turn on this grid to make sure this is exactly in the middle. I can make it by my hand or I can right-click on my mouse and just center and fit models. And it will be exactly in the middle. So I'm going to turn off these quarters grid and we can choose the perspective or orthographic view. But I'm going to choose the perspective and I'm going to adjust the focal and by myself. And we can, we can move the slider to the left side and the right side. And basically, if you're going to bring this value more to the left, it's much more in the perspective. If you're going to bring this to the right side in much more like orthographic view, you can use the lower values for buildings, buildings or car, e.g. 45 mm or 50. But if you're going to render small object like this, you want to use maybe 60, 70, 80, maybe even more like 90 or 100. But I'm going to use the hundred hundred millimeters as the focal length. And this is actually look exactly like from the reference image. So that's really good. So if I'm really happy with my camera view, I'm going to click on the save and load the camera position. That means you can't really move around this object right now. So you need to go back to your free camera and now you can rotate and do the basic stuff. And if you want to go back to your camera view, you just click on the main camera from and you are back in business. So this is pretty handy and you can set up much more camera views and you can just switch between them. So this is how we can set up the camera view. 5. KeyShot Lighting - Physical Light vs HDR Image Light: Now we need to create the light pink. There is basically two options how to create lightning in key shot. We got option number one, which is the physical light in Riga. Option number two, which is the HDRI image light, we are going to choose HDR image lightening, but I'm also going to demonstrate the physical light so you can see the difference. So I'm going to the free camera and I'm going to be the rotate in the scene. I'm going to edit our geometry to plain. Alright, I'm going to the scene and I need to scale this plan. So I'm going to select this plane and I'm going to make it much more bigger, something to like this. And I'm going to bring this plane up about the 3D model. And I need to change the type of this material. So I'm going to double-click on this material. And I don't want to diffuse color. I need something like the light sources and I need to choose air Allied. I need to fight color. And also I'm going to change the intensity, the changes from the lumen to what you can see now displaying illuminated 3D object. So I can also make it much more lower, even more brighter. Alright, I can also change these types. Two years light or point light, or even the spotlight. Spotlights got lots of options. So I'm going to demonstrate this one a little bit more. You can see how this is illuminated right here. You can use the beam angle to make it much more bigger. You can use the fall. I'm actually going to bring this value a little bit more up so you can see what's going on. Even more up. Maybe like this. Alright, so you can see what's going on. You can see how it's changing the spotlight angle. I can also make the fall off. You can see it's much more softer now. Then you can also change the radius. Alright? So this is how it looks, the soft light or spotlight. But I'm not going to use these physical light pink. So I'm going through the scene on the plane, right-click on my right right button off my mouse. And I'm just going to be displaying, Yes, I'm going back to my main camera front. And now I'm going to create my HDRI image lightening. 6. KeyShot Lighting - Environment Settings: First step is to change the background color. So I'm going to the environment and I'm going to use these color, not the lightning environment options. So click on the color and we can change the red or the blue or green, whatever we like. But I'm going to choose the black, almost black. So I'm going to bring this value little bit more up to create something like gray color, something like this. And I'll say I'm going back to my free camera because I want to show you something. And you can see these ground shadow. We need to turn this off. So we need to go to the environment and we need to turn these ground shadow. Or you can also see there is couple of different options. So I'm going to show you what is going on. You can use the occlusion ground. You can use the ground reflection, which is reflection on the ground from these 3D object. And you can use the flattened ground because the environment is the circle. And when you turn this on, it kind of like the sphere with a flat bottom. Alright? And the lighting is a little bit different on this bottom part as you can see. Right? But I'm not going to use any of these options. Alright? And I'm going back to my Camera, Main Camera from just click and now we can set up the lightning. 7. KeyShot Lighting - HDR Image Map Overview: So we need to go to the Environment tab. We're going click on this button which is art or create new environment map. We are going call this main environment fraud. Alright? And now we're going to edit this canvas, which is the lightning map. We are going to the HDRI editor. We are going to use highest resolution. We are going to change these. We can also use the white. And now this whole HDRI map is one big light, but we don't want to use it this way. We want to turn these completely off so low lights are reasonable in the scene, there is no light linking these HDRI map. I'm going click on, Okay, and now I can create the lightning. I'm going to click on this button which is add new pin. And this is our first slide. And you can see there is the light coming from the left side. And it's basically these light on this map. I'm going to move this light around. You can see it's also changing in this viewport. So there is two options, how we can position in the lightning. We can use, we can move these light just like this. Or we can click on this, which is the set highlight. And now we can click on the part where we need to have the lightning, e.g. we won't highlight these right-side of these controller. Just click on this right side. And now the light is positioning exactly on this point. Or we can light up this front, maybe just this edge right here. And you can see we got just this edge. This is like really easy how we can move these lightning. And now there is couple more options. We can change the type of these light pink. We can change it from circle or a rectangle. We can also use just half of the size. We can also increase the size or decrease. We can change the brightness or intensity. This is not the watts or Romans. This is just the value for the spleen. We can make it much more brighter or even like really satellite. Alright? And we can also change the angle, which is the rotate delight. We can create something like around the corner curves because nothing in the real life is complex and sharp. So we can create these Philip on the edges. We can also make these light soft. So that means there's not going to be these hard edges. You can see now they are soft and also these light in the viewport, It's completely change from hard to soft. We can also move the slide with these values right here. You can see how it's moving up and down, left than the right. Alright, we can also change the types. I'm going to point this light on the front and we can change the type blend Alpha or screen. But we are going to use the simple for now. Alright, and this is like the basic overview about these HDRI map. I'm going to delete these light. 8. KeyShot Lighting - Create HDR Image Light: Now we need to check our reference image to see where is delighting and from which direction is coming onto these objects. You can already see there's couple of light. So let's reread, reproduce this in the key shot. I'm going click on this button again, add new pin. And I'm going to use these rectangular value or rectangular type. And I'm going to make these much more bigger, something to like 50. I also need bigger brightness. Something to like five. And I'm going to use these from edge fall off. And I'm going to bring these to one. I'm just going to move around just like this to find where I need to put the slide. Okay, I'm going to use these set highlights. Now I'm just going to drag it to the side. Write something like this. We are just using basic material. This is not our final material. We just need to set up the lightning because lightening is a really important thing. And when you got the bed light pink, you can try so much hardworking and materials in the never going to look really good. Light pink define materials. If you've got bid lightening, your materials, never going to look real. So again, I'm going to move this pin. Alright, I'm going to use this slider to match it from the reference image. I really like using these sliders because they are really sensitive and you can use really impressive. And I would say, so I'm going more to the left side or actually maybe more to the right side. And I'm going a little bit more up. Alright? I'm going down. Okay, This is really good. I'm going to duplicate this slide. And I need to make these light little bit smaller. So maybe like 35, but I need a little bit more intensity. Alright? And I'm just going to move this light right here. And again, I'm going to use this slider to match exact position from reference image. Alright? Maybe like this. And a little bit more down. Alright, this is looking really good. So I'm going to duplicate this slide again. Duplicate, and I'm just trying to highlight these bottom part. I'm going something like this. And I need these light to be much more bigger but with the less brightness or less intensity. So just like this. And I'm going to again use these sliders, something like this. And alright, this is really nice. Is just the salt lightening from bag or from behind. I'm going to duplicate these light again, bring it up, and I'm going to highlight this part on the top. So I'm going to click on this tool set, highlight and highlight these top part right here. And I'm going to move it a little bit more like this. I need to, I need to have these light, much more smaller, much more bigger brightness. And I'm going to again use these sliders. So maybe like this. Actually good. And a little bit more down. Alright, This looks really good. 9. KeyShot Lighting - Lighting Presets: Now we need to turn off the set Highlight Tool. So I'm going click on this Done button. Because we are done with editing these AGI map. We also need to render these AGI map in higher resolution. So I'm going click on this button and it's already rendered. It was really fast. And before we start creating our materials, we need to create or setup the lightning preset. So I'm going to delight new tab and we got a couple of presets right here. And I'm going to explain it a bit more. So you got the performance mode. This mode is going to turn off completely shadows and a reflection. So it's really good when you've got loads of 3D objects and you want to move them around, you got the speed. And if you are going to use the basic, this is like the step-up, the quality, and you've got really nice results in fast time. So this is really good and you can actually really good rendering with these basic mode, urine if you got really slow computer. And these products, interior and jewelry, these are the photorealistic lighting presets. When you got turn of the turn on these products, you've got full shadows for our reflection and the light bounces are more directed into these 3D object or subject of the scene. Using the interior. The light bounces are more spread across the environment. If you are using the jewelry, this is like the best of the best phone in the key shot. It using the full power, but it's really slow. I'm not really using these one. The best. The goal for me is this product. You can actually really good rendering with these product mode. You can also render with these mode interior. And you've got a really nice results when it comes to quality and the speed. So for me personally, this is the best of the best. And now we can start working on our materials. 10. KeyShot Materials - Main Plastic Material: When you look at the reference image, you can already see the main material is some kind of hard plastic with some kind of sparkles or noisiness in it. So we are trying to create something very similar. So go back to the key shot and we're going to start with some kind of plastic or pain material. So I'm going to use this paint, rough paint made blade material, just drag and drop. And as before, if we are going to edit this material, just double-click on it and we are going to change the color. We want something completely black or almost completely black, something like this. Dark gray color, very, very dark. And we also need to make these material a little bit more shiny. Alright? And I'm going to stick with refractive index 1.5. And now we are going to create the noisiness and bumpiness. So we are going to the texture and you can already see the slot Bump. And we're going to click on it. And we are going to use the texture which is built in, in the Kishore. And we are going to use noisy texture. And I'm going to my free camera to make it much more closer. Again, double-click on this material texture and you can see these noisiness before and after. But we need to scale this texture a little bit. So I'm going to use something like this volume. So it's much more smaller, more subtle. And I also need to change these bump height. Something for like this. This is alright. And now we are going to create the noisiness, we created the bump, bumpiness, and now we are going to create noisy. So go to the material graph. And this is our noisy texture into the bumps load. This is the main paint color, and I'm just going to drag and drop this texture. So hold Alt, drag and drop. And we are copied this texture. And we are going to use this texture as this roughness number. Alright, so I'm just going to drag and drop and use it as a roughness. You can see is not looking really good, is completely rough. So we need something like the converter into this line. So click on this line, right-click on your mouse. Utilities colored the number. I'm going to clean my graph. Alright? And you can see we get our texture, we get the converter, color to number and the scholar to number. Basically convert the color, the number values. If I'm going to double-click on this, you can see the zero is the bug and one represents the white color. So we need to change this output right here. And I'm going to make it much more shiny. So I'm going to use something for like this 0.2. And I'm going to bring this value almost completely down. I'm going to show you what's happening when I'm going to bring, these are zero. Alright, you can see it's tiny, but I'm going to use something like this. Alright? And you can see we get some kind of noisiness or sparkles in this material and it's really nice effect. I'm also going to use this texture, same texture as refractive index. So just drag and drop refractive index. And I'm again going to use this color to number converter. So click on this line. Utilities colored the number. We are going to clean this graph. As you can see, it's nice and clean. Double-click on this and we are going to use something similar as before. But we're going to bring this value much more up, something like this. And you can see it's completely black because this value is one. And we are going to use something like 1.7. You can see these particles are much more visible and that's really, really nice effect. So this is how we can create easily these Material. I'm going back to my camera and you can see it looks much more realistic and looks much more to the closer to the reference image. So I'm going to my free camera and I'm going to show you the details. We are going to wait a little bit for the samples and you can see we got the noisiness and the bumpiness across the whole controller. You can see these in these highlight is really nice effect. So this is how you can create the main material. 11. KeyShot Materials - Joystick Material: Now we are going to create materials for these joysticks. So we are going to the scene. We're going click on this left joystick. We are going to hold Control on our keyboard. Make multiple selection. Click on this. And now we got the double selection. And I'm just going to find these paint, shiny material. Just drag-and-drop to our selection. And you can see these material is applied. So we need to edit these Material. Double-click on this joystick. We are going to bring these value almost completely down to create something like soft rubber material. And I'm going to bring a little bit more roughness to it. And I'm also going to bring these values a little bit more down to create soft plastic material. Just a little bit. And you can see how it looks. It's really nice. 12. KeyShot Materials – LED Button Material: Our next material is going to be these LED. So I'm going to my camera free camera and I'm going to make it much more closer. When you look at the reference image, these two materials are combined. So I'm going click on this controller, hold my control on the keyboard and click on this. And we are going to link these material together. So we're going click on this link button. You can see these two materials are linked together. Now I'm going to click on this part right here. And I'm just going to find something like the light material. I'm going to the MAC and I'm going to choose one of those. So just drag and drop. Alright, double-click on this material. And we're going to use completely white color. We are also going to use less intensity, something like this. And we are also going to make this visible and shadows. Now you can see how it looks. We can also change this color to whatever we like, or even the intensity. Alright, maybe a little bit more so you can actually see what's going on. Alright. And I'm just going to bring this back to the one. This is our LED. 13. KeyShot Materials – Transparent Plastic Buttons: Now we're going to create materials for these four transparent buttons. So let's go to the free camera, make it much more closer. Go to the scene for selection. And we are going select these four materials and we need something like clear plastic materials. So I'm going to the plastic folder. I'm going to open this clear folder and I'm going to find Shiny, shiny plastic. Just drag and drop. Now. I'm going to make sure this is completely black and this is completely white color. Alright, I'm just going to hide these four transparent materials. Right-click on my mouse and I'm going to make the height selection. And now I'm going to apply this color materials for these leather. So I'm going to the plastic and the rough, and we're just going to apply this material. So we are going to use the yellow for this one. We're also going to use blue for this x. This will be the green, and this will be the red. Alright? And I'm also going to address this roughness for all of these materials to make it a little bit more shiny. Alright? What I'm going to do, I'm going to bring these values a little bit more up on every letter to make it more yellow, magnitude, more bluish, and also make it more green, just like this. And this bottom material will be something like shiny plastic. We are again going select this part, just drag and drop these plastic shiny material. Alright, I'm going to make sure this is almost completely black. And now I'm going to right-click on my mouse and show all parts. And you can see this is the transparent buttons. And I can also show you what else you can change. So double-click on these transparent material. You can change the refractive or reflectivity color to make it like a red plastic. We are not going to use that. And you can also change these roughness value to make it looks more like a first material. We also not going to use this view on completely transparent material. So this is how you can create the transparent buttons. 14. KeyShot Materials – Material Label: Now we are going to create materials for these three buttons. So I'm going to the scene and I'm going to make it much more closer, just like this. And I'm going to select these three buttons. But I'm not going to drag and drop the new material. I'm going to use these exactly material has got the rest of the controller. I'm just going to adjust these material a little bit more. So I need to unlink these material from the rest of the controller. And I need to link just only these three buttons. So lean material together. Now, if I'm going to edit this material, as you can see, I'm just editing these three buttons. So I'm going to double-click on this material. I'm going to do texture material graph. And I'm going to make these noisy texture a little bit smaller. Just like this. I'm going to make this bump map a little bit smaller, exactly like this. And now I'm going to create the label for the icons of these buttons. So I'm going to bring the new material. So I'm going to find the rubber, rubber material, just drag-and-drop to these material graph. I'm going to clean this graph. And as you can see, we got our new rubber material right here. So I'm going to bring these rubber material down. And I'm going to delete these noisy texture because I don't really need it right now. And I'm going to bring these, bring these rubber material as the new level. So bring it, bring it to this material at as the label. And now we can see the whole button. It's changed completely as rubber. And we need to define what will be the base material and what will be the label. So I'm going click on this rubber material and I'm going to make it completely white so we can see what's going on. And I'm going to the texture and I'm going to bring my opacity texture. So I'm going to open my folder and I'm going to bring these texture to my opacity. Alright? And I'm going to change the mapping type because this model is completely UV unwrap. And I'm going to choose the UV. And you can see we got these buttons. And I'm going to turn off these repeat. And this is alright, actually, the only thing I really need to change is the change the color of this rubbery texture. So I'm going to change these diffuse to make it a little bit more darker, something like this. And I'm going to change this reflection color to make it a little bit more brighter. Just like this. Alright. Maybe I'm going to bring these a little bit more up. Alright, This is good. I'm going to the texture and I'm going to create the bump, some kind of outline of these icons. So I'm going to bring these exactly same texture. So I'm going to hold my Alt on my keyboard and just drag and drop these texture to my bump. As you can see, we already changed these material graph. Now we got one texture as opacity and second bump map. And you can see what's happening right here. But I'm going to double-click on this bump. And I'm just going to make it a little bit more, less visible. And I'm also going to invert it. So maybe like this. Alright, or I'm going to try it like this. And I'm going to invert it just like this. This is look really good. Maybe a little bit more. Alright, This looks really good. And we got some kind of outline on these buttons. So this is how you can create these buttons. 15. KeyShot Materials – Soft Plastic Buttons: Now we are going to create material for this button right here. So let's make it closer. Go to the scene, click on this. And again, we are just going to adjust existing texture or existing materials. So we're going to unlink this button, double-click, and we are going to make it a little bit bluish. So I'm going to click here on the blue color. And just lightly blue to make it looks more like a soft plastic with different ends of the color. So this will be like 28 and this will be like dirty. And you can see it's a little bit more bluish. And I'm going to myometrial graph the edges, these material a little bit more and I'm going to scale the bump map a little bit more. So something to like this. I'm also going to scale these noisy texture, make it much more smaller. Alright? As you can see, this texture is really, really small. Just a subtle, alright? Actually, maybe I'm going to bring these values a little bit more up these bump. So maybe just like this. Alright, this is good. And now I'm going to edit. These are roughness value. Make it a little bit more soft. Alright, this is good. And also I'm going to change the refractive index. So maybe like this, and this will be also like really small volume to make. It looks more like a plastic. Now, it looks much more different than the rest of the controller. Let's add a little bit more. So let's create a couple of more materials. But before that, I'm just going to my scene and I'm going click on this button. These upper triggers are the same material, so I'm just going click on this and I'm going to link them together. Also this. Now you can see they are a little bit different. And that's really nice. 16. KeyShot Materials - Trigger Button - Combine Two Bump Maps: I'm going to add some more details to these triggered top part. So I'm just going to click on my scene, select all those materials, and I'm going to unlink and link them together so I can just work with these top part. Alright, and I'm going to double-click on this material. And I'm going to open my material graph. And I'm going to look at these textures. Alright, they are good. So I'm going to bring one more texture, and I'm going to combine two textures together. So I'm going to open my material folder and I'm going to bring these great texture into this material graph. And I'm going to combine these two texture together. So I'm going to call this line, right-click on my mouse, utilities, bump it. And now we got like two slots. And I'm going to bring these new texture to the bumps, lot number two. Alright, and double-click on this texture. We are going to use a mapping type UV. Alright? We need to invert this texture and make it much more subtle. Maybe like this. And you can see how it looks. Maybe even more like this. This is really nice. And this is how we can create these group effect on these remote Xbox controller. Alright, That's really nice. Now we're just going to continue to create materials for these big side. 17. KeyShot Materials – USB Type C Materials: Let's create the materials for these USB type C ports. So I'm going to my environment and I'm going to add a little bit rotate these environments so I can see a little bit more on these big side. Alright? And I'm going closer. I'm going click on this, and this will be like Chrome raw materials. So I'm going to the metal. I'm going to open the Chrome basic, and I'm just going to drag and drop these material. Alright? This will be like the plastic material. So I'm going to my plastic folder, basic. And I'm going to use the shiny, not the clear about the basic hard, shiny drag-and-drop. Double-click on this material. I'm going to make it more like the Blake and a little bit rough. Even more just like this. I'm also going to click on this pin. Alright? Again, I'm going to select these pins, sorry. Alright, these are the pins in. I'm going to apply something like the gold texture. So I'm going to my metal, precious gold, and I'm going to use this, polish it. Double-click on this, and I'm going to make it much more off just like this. Alright, This is good. I'm going to make sure I don't forget to edit these all materials. So I'm going click on this bottom part. Alright, this is the Chrome, this is the plastic, and this is the gold. So this is our USB Type C. 18. KeyShot Materials – Split Surface for Materials: Now we are going to separate the small faces because these needs, need to be in their shiny plastic material. So I'm going to the scene, I'm going to click on this part. I'm going to the tools split object surfaces. Alright? And as you can see, I'm going a little bit closer. And I'm going to make this splitting angle less, so something to like five. And I'm going to show you what's happening when I'm going to increase this value right here. So I'm going click on this, this, and this and this. Now, I'm going to increase this value. And you can see I'm increasing the selection. And if I'm going to increase it too much more, I completely lose the control. So I'm going to choose something like 20 or maybe just 50. This is good for me. I'm also going to select these letters right here. Alright? And I'm going to increase this a little bit more. 35. 35, looks good to me. Maybe even less. There are t. Alright. And I'm going to click on these buttons pretty sure faces. Now it's completely separated. I'm going hit Apply. And now I'm going to apply the new material. So I'm going to the plastic or actually I'm going to paint. And I'm going to choose these paints shiny. Just drag-and-drop, double-click on this and I'm going to make it much more darker. Just like this. Alright. Yeah. It looks like a shiny, it's completely separated. Yeah, it looks really good. 19. KeyShot Materials – Finishing Materials: Now we're going to finish all these materials. So I'm going back and I'm going also to my environment and bringing it back to zero, my front view. Alright, this is a little bit more darker, so I'm going to rotate these again. Bring more light into this position down there. Alright, something like this. And I'm going to edit this material down there a little bit. So I'm going click on this. And this will be the plastic basic. Again, I'm going to use these hard, shiny double-click on this, bring it down and make it more rough. Ride. And I'm also going to click on these pins. All right? Right, they, they are, these are the pins. And I'm going for my gold color again. And I'm going to use this one. Just drag and drop, double-click on this and make it more rough. Right? So I'm going back to my main camera. I'm going to the environment, and I'm going to bring it back to zero. So we are back in business and I'm going to my free camera and I'm just going to finish this, a grip on the backside. So go to the scene, select these material. And I'm going to double-click on this material, and I'm going to my material graph. I'm going to bring my texture. So I'm going to use this texture. Alright? And we are just going to do the same as before. We are going to combine these two textures together. So I'm going click on this bump, and I'm going to click on this line, right-click on my mouse, utility bump ED. Alright. And I'm going to bring this new texture to my bumps load number two, there's like this, double-click on this. We are going to choose the UV, alright? And we can already see this texture, but we're going to invert this texture and make it much more smaller. So something like this. Alright, maybe even more smaller. And I'm going to invert it again, then be sure how it's facing. I'm going to decide, alright. And I tried these negative value. Alright? It will be just like this. All right, This looks really good. And yeah, this is our final final material. So I'm going back to my camera. And these are the all materials. 20. KeyShot Tips and Tricks – Light and Materials: Before we start creating the final adjustments and rendering the scene, I'm just going to show you some tips and tricks. If you think you've got too much dark the scene, you can go to the environment and increase the brightness of this HDRI map, e.g. free. And you can see there is more light. You can also increase the contrast, create different look. You can also rotate this HDRI map just like this. But I'm going to stick with the zero because we set up exactly lightning for this scene and this angle. So we are going to stick with the zero. You can also change the materials. You can go e.g. to these plastic tab or the plastic folder and you can choose the basics. And you can apply either know e.g. these red plastic material. And you can create your own style just like these. Or you can go step away or step up these rendering. And you can go to the gold folder. And you can apply these gold rough material. And you can play with these textures, colors, and materials little bit more to achieve your own style. And let me know down in the comments section, which would you prefer the most? 21. KeyShot Rendering – Final Adjustments: Right now I'm going to create the final adjustments. So the first step is to change the aspect ratio of this image. Go to the camera analog, this camera go to the image. We are going to the resolution presets landscape and 1920 by 1080. Alright? And I'm going to use this distance slider to make it look. From a little bit bigger distance. I'm going to save the camera, lock the position. And now we set up the new camera with a new aspect ratio. Now we are going to the image tab to create a final adjustments right here. We are not going to use the basic. We are going to use the photographic style. And you can already see how it's changed. We can use the liner low contrast or high contrast response curve value. But I'm going to use the liner and I'm going to use the sliders instead. So I can make these render or this image more darker or much more brighter. But I'm going to introduce just a little bit of brightness. I can also use the slider to make this image more warmer or cooler. But I'm not going to use this right now. And I can also adjust contrast by myself completely. I would say flatten the image and make Total high contrast. But I'm going to use this to just a little bit, something like this. I can also use this curve. It's similar from the Photoshop. It works with the same principle, but I'm not going to use this right now. And we can also use the color. We can saturate this imagery a little bit more. You can see these colorful others, how they are going to change when you are going to change it. So we can also see these bluish trigger and this bluish controller right here. But I'm not going to use this as well. And we can use the noise. This is really handy tool. If you are rendering noisy image and you've got steel noisiness and noisiness. Even when you got like 400, 400 samples, you can use the noise in your image will be completely smooth. But I'm not recommended using one value. It's good to use value something like 0.50, 0.4 and less. Because when you are going to work like material like these, we got loads of noisiness in these plastic. And you are going to use this as well. You can see it's completely smooth and we can't see anymore these noises and bumpiness. So we're not going to use these for this scene. I'm going out like this. And we can also use the bloom. This is also really cool. We can use the bloom intensity, e.g. we can use the pixel size 20. We can see the whole image is completely blue. And if we are going to play with this threshold, we can just bloom these MSU light, which is really nice effect. But again, we're not going to use this right now. We can also use the written yet. This is really familiar. You can see we got a little bit darker these edges, as you can see. But again, we're not going to use this. We can ask is the background color which we all were using. And we can use also from plate color or texture. We're not going to use this as well. So these are our final adjustments. And now we can focus on rendering this image. 22. KeyShot Rendering – Render Settings Explanation: This is our final scene and we need to render it. So go to the Render, click on the render. And we got a couple of options here, so we can render a still image or animation. We can change the name of our final render. We can change the file location where we are going to save our images. We can choose the format. I'm going for the PNG, which is loosely, so we're not going to lose any kind of quality. We can also save in this PNG format our transparency channel or alpha channel. And we are going to render these in higher resolution, which is for K. You can also try to render these eight K, but I'm going to stick with the four K. I'm also going to select the layers, and I'm going to select the layers, the cloud. And this layer is really useful. You can use it in the retouching. So I'm going to cover this a little bit later in the Adobe Photoshop, how we can write out the whole image with these ground layer. And we got your options. Now, we can select if you want to render these default. So that means when we are going to render the image, we can't edit the scene. We can't change the materials. We can change the textures or angles. If we are going to render these in the background, which is the pro mode, you can actually edit everything in the scene. You can change the materials, you can work on your angles. You can also change the 3D model if you want. So this is the background. And if you want to render these scene with multiple computers, you can send these to the network, but you have to get the special license for this. You can also change the core count, how many you want to use for the rendering. I'm going with the full power as always. Now we got free controls right here. First control is the custom control, and this is the most precise control, what you can use in the key shot. These custom control will provide the best images with smooth, soft edges. And you can also control everything right here. If you're going to use the maximum time or maximum samples he showed will use these settings right here from the Light tab and the Lightroom presets. And you can't really edit too much in it. So you have to make adjustments right here. And what it means 256 samples. It means your image, final image. We're going to be refined 256 times with these settings. You can see I'm rendering these image 28 min. I get almost, sorry, over 7,000 samples. So it's rendering pretty fast because we got simple materials and simple 3D model. So it's going really fast and we can also use the maximum time. This is really good when you got deadline or something similar. So we set up this e.g. to render 6 h. It will be rendering 6 h and then it will stop. Now, we can also use the query or the query. And if you got like multiple, I don't know, multiple scenes, multiple variations and you want to render them overnight or I don't know in the specific time, you can click on this job and it will add these job to your rendering. You can see I got much more seen into this query and I don't know in the moment where I got time for the rendering, I will process the, I will hit this button process query, and it will render all of these images. So you don't have to use it. You can just simply go to the option and render it right now. So these are the simple overview of the rendering settings. 23. KeyShot Rendering – Final Render Settings: I'm going to show you two renders, one with the maximum samples, a second one with the custom control. If you are going to use the custom control, I recommend that the settings 256 samples because your image will be really clean without the noise. And you can use 14 or 16 or imbalances. If you've got like really sharp edges and it looks really ugly, really computerized. You can use internalizing free. And these will not increase your rendering time. If you've got like really bad shadow with lots of noisiness, you can use the one, you can use the two or three. This is the basic setting, but I always using two or three. And if you've got like really noisy texture in the corners and in some kind of error like that, you can use. These tools are free. This is the basic one, but if you are going to use two or three, this will diorama typically increase your rendering time. So I recommend using the slider very carefully. And if you get still really ugly edges, sharp edges, you can use the pixel bureau lower, but you have to get like really highest resolution. Increase these because when you are, when you are working with less resolution or low resolution and you increase this, your imagery lose the quality. So I recommended to use maybe two pixel bluer. If you want a sharp shadows, of course you're going to check on this one. We want a sharper texture filtering when you are looking for from the angles, you've got the bump map like we regard. And when you turn this on, it's more refined, it, it's more visible. So these settings is really good. If you want to decrease the quality of global illumination cage, you are going to turn all these one, but I'm going to turn this off. So this is the settings for the custom control. And we are going to render these with maximum samples and B are going to stick with these rendering settings. And I'm just going to make adjustments right here. I'm going to use the 16 over imbalances and free global illumination. So this will be the settings for maximum samples. And we are going to compare these two vendors. 24. KeyShot Rendering – Custom Controls vs Maximum Samples: These are the final renderings. On the left side, this is the Render with the custom control setting. And on the right side, these render is with the maximum samples. And you can already see the difference when you zoom into this image, we add much more smooth rendering on the left side, especially the edges. They are really smooth. If you're going to compare this against these maximum sample settings. And when you look at these buttons, they are looking really good. But on the custom control, we got a little bit more softer these letters. And if you look at the yellow, blue, green, and red color, you can see there is no noise on the maximum samples regardless of the noise. But the good thing is we render this image just under 10 min. And when you look at the custom control settings, we render this image almost 2 h. So what's the difference? We get smoother image on the custom control, but we pay with the time. And my recommendation is to use the maximum samples and you can bring up e.g. 512 samples, not 256. And you will have a little bit more cleaner image. And we can also render these right image in higher resolution. And still we render this image much more faster. And then in the custom control settings, I can also see the bump map is really subtle. So I'm going to increase the bump height value and I'm going to scale these Bump Map. And I'm also going to increase the maximum samples value from 256 samples of 512. I can also increase the resolution, but I will still render these final renders in for K resolution. So let's re-render the image. 25. KeyShot Rendering – Final Correction: Welcome back to the key shot, and now we are going to create these adjustments. So I'm going click on this bump map. I'm also going to my free camera. Zoom it a little bit more. Alright? It just like this. And I'm going to my material graph. And this is my bump map for the noisy. I'm going to increase it just a little bit. Alright? And I'm going to make it much more visible. Just like this. I'm also going to increase this bump map. Alright, sorry, I'm going to increase these noisy texture so it will be corresponding with this one. It looks much more better. I'm going to also change these buttons because they are almost the same. So just like this, I'll say I'm going to bring up this value. Alright, this is good. And also these buttons right here, so make it a little bit bigger, just like this. And these also going to be a little bit bigger. Alright, I'm going back to my camera. I'm going to render this image again. So go to the render tab, make sure it's already set up correctly with the four K resolution and cloud layer. I'm going to do option. And I'm going to use 512 samples, just like this. And I'm going to render this image one more time. 26. KeyShot Rendering – Final Renders Comparison: This is the random number free and you can already see we get much more cleaner this button with less noise. So 512 samples was enough to clean these buttons. And as you can see, we got a little bit more visible. This bump map, which is really nice effect. And it takes only 20 min, which is double the time, but double the sample. So it looks really good. 27. Photoshop Retouching – Introduction to Retouching: This is our final render and this is our cloud layer. I'm also going to show you how this cloud layer works in the Photoshop. So we need to go to the Adobe Photoshop. And I'm going to show you this layer, clown layer. Alright? And if you are going to select these magic waiting till, you can now easily select these individual parts by color. E.g. if you are going click on this green button, you are just selecting these green button and you don't really need to create another layer mask by hand into Adobe Photoshop. So this is pretty handy. Now we are going to retouch this image. So I'm going to hide this layer. And I'm also going to convert this layer to a smart object. Right-click on our mouse, Convert to Smart Object. Now we are going to the filter. We're going to use the Camera Raw Filter. Alright, I'm going to make these much more bigger so I can see what's happening. And I'm just going to edit this image a little bit more. So temporary true. If we are going to create a cooler image or image, I'm just going to make it a little bit more color just like this. And maybe a little bit like this. And if you don't know what these sliders are actually doing, you can just move them to the left and right and you exactly know what's happening in your image. So this is good about the Photoshop. And this is really good. I'm also going to bring a little bit more contrast to this image. Alright. These highlights are looking really good. So I'm going to bring them a little bit more. All right, a little bit more shadow. Also. I'm going to increase a little bit more these white, which is the white color of this image. Alright. And I will also increase these black color just a little bit. Now, we are going to work with this texture. And you can see what's happening now. It's completely not visible this bump map. And if I'm going to bring this texture up, you can see this bump map is too much visible. So you need to be really careful with this slider. Maybe like this. Alright. And also the haze. Alright, This looks really good. I'm going to show you how this looks before and after the change, before, after, before and after. I'm going to bring up this image a little bit more closer. And the reason why we convert these layer to smart doorbell trick is because right now we got history in this layer and we can go back for these Camera Raw Filter and we can edit these again if we want. But I'm not going to edit this again. And I'm going to edit these buttons a little bit more. So I'm going click on this cloud layer. I'm going to select my major grain tool. I can have hidden these layer or selection and I'm going to click on these buttons, and I'm going to bring these curves. I'm going to make it even more closer, or actually maybe even more just like this. And I'm going to play with these slider or this curve. So I'm going to bring a little bit more contrast and the destroy these noise even more. Or hide these noise a little bit more. So just like this. And it's also much more nicer. Maybe this highlight a little bit more in these black, little bit more. It looks for me much more better. And I'm also going to edit this button right here. So curves, bring these just a little bit down. And these just a little bit more up. Just like this. This looks for me better. Maybe I'm going to decrease these blood volume and increase these highlight while value. Alright. And I'm also going to edit these whole base plastic material. So I'm going to click on this controller curves and I'm just going to play with these values. Just a really loves the beat. So just a slightly, we don't want to destroy these nice render. Alright, so this is looking really good. So this is our final render. 28. Photoshop Retouching – Tips and Tricks: I'm just going to give you some tips and tricks. How you can edit this image a little bit more. E.g. you can edit individual colors. You can click on these parts, e.g. these joysticks. And you can go to this button right here and you can bring up something what is called Color Balance. And you can, you can completely change the color of this part. So maybe I'm going for the red color. Alright, something for like this. And I'm also going to edit these a little bit more so it will look much more realistic. Maybe a little bit more down. And I'm going back to these color balance. Alright? Just like this. And now you can see you can change the individual parts and the colors. You can also create something like the monochromatic versions of these buttons. E.g. you can go to the hue saturation. You can completely change these buttons. You can make them like the stealth, something like this. Alright, if you want. But I'm not going to use this this way. And I'm going to edit these buttons a little bit more. Maybe like this. All right, This looks really cool. So before and after. So this is how you can create your own style. So maybe this is not the perfect. We can edit it a little bit more. So maybe I'm going to destroy these levels. And I'm actually going to bring up the curves, these curves in maybe just like this here. Increase this value. Megan, going back to this color balance and I'm going to play with these little more. Alright, this actually looks really good. So this is how you can create your own style. 29. Bonus Content – Second Camera Angle Overview: We create the stunning visualization in the key shot. We create all these realistic materials and this camera view. But why stop right now? So in this bonus content, I'm going to show you how you can keep up working on this 3D model. In the key shot, we can create more camera angles, are more camera views. And we can also create more lightning, which due to the different work. And I'm also going to show you how you can use depth of field to create even more realistic images. Let's start with this top view. So go back to the key shot and we're just going to our camera view and we're going to add new camera. And I'm going to call this Main Camera top. Just like this. And I'm going to rotate this camera and I'm going to hit zero to these twists. So I will straight this image a little bit more. And also right here. So it's now completely straight. And I'm going to use inclination something to like 65, which is really nice. I'm also going to turn on these quarters grid and I'm going to make sure it's completely in the middle. So maybe like this. Alright, This looks really good. Maybe a little bit more up. Alright, I'm going to turn off this grid. Now. I'm going to address these focal and make it much more in orthographic view, something like this. And I'm going to make it much more closer. So maybe like this even more. Alright, I'm going to use these sliders. So maybe like this. And I'm going to type here 675, and these will be alright. So I'm going to save this camera and log this camera. 30. Bonus Content – Second HDR Image Lighting: Now we are going to work on these light pink. So I'm going to environment and I'm going to add new environment. I'm going for the highest resolution. And also I'm going to change this color. I'm not going to use completely black. I'm going to make this color a little bit more bluish, something to like this, e.g. alright. And maybe even more down like this. Alright, this is looking really good. So let's create an atropine lights. So add new pin. I'm going for the rectangular design. And I'm going to make sure this is much more higher is brightness or intensity. I also need the fall off. Alright, I'm going to use the set Highlight Tool as before, and I'm going to highlight these top part, right? Just like, just like this. And I'm going to make sure this is complete but in the middle. And I'm going to use the slider to see what's happening. So maybe like this, this is also really nice, but I'm going much more for this top area. Alright, This looks really good. I'm going to duplicate this light. And I'm going to make these light much more bigger. So I'm going to scale just one of the side. One of the sides. So just like this and I'm going for a t, I'm going to decrease these intensity brightness. Alright? And I'm going down just like this. So maybe like this. And I'm trying to highlight these sides of these controller. So again, I want these to be completely in the middle. And I'm going to use this slider for down and up to see what's happening. So maybe like this. Alright, I'm going to duplicate this slide and just drag these light, light again. So maybe like this, 90 and I'm again going to use this slider. This is actually really nice. Alright, I'm going much more down. Just like this. I'm going to duplicate this layer again. And I'm going up, I'm going to make sure it's completely in the middle. And again, I'm going to use this slider. So maybe like this. All right, just a little bit more. Just a little bit more. So this is looking really good. I'm going to duplicate this light. And I'm going to make sure it's again, complicit in the middle. I'm going to increase the size. And also the brightness, e.g. something to like double like this. And I'm going to use this slider. Maybe like this. Alright. This looks really nice. I'm going to create another light. So click on this button. Color or light. I'm going to make it smaller. Also, I need these fall off and I'm going to increase the brightness to ten. And I'm going to bring these completely to the -180 or you can bring it to the hundred and 80 is the same. So it doesn't really matter. I'm going to highlight, Alright, I'm going to highlight this part right here, so it will be the zero. Yeah, it looks really good. I'm going to hide it. Sorry. This is highlighted. Alright, and I'm going to duplicate this slide. I'm going to move it just right here, does zero. And this will be also zero. And this is the final, final lightning. So I'm going click on this button, which is going to render these HDRI again in high resolution. 31. Bonus Content – Final Adjustments and Render Settings: I'm going to my image tab right here, and I'm going to create the final adjustments. So I'm going to increase the brightness a little bit more. Just like this. And alzheimer going to increase this contrast value. Goes like this. Sorry. Just like this. I'm not going to use boom the noise or anything else. I'm just going to stick with these settings and I'm going to render, I'm going to, I'm going to render this image as a PNG. I need the cloud layer. I'm going to the options maximum samples and I'm going to use 512 samples. I'm going to delight knee tap. And I'm going to make sure this is exactly in the products settings. But I'm going to increase this rate bounces and also these shadow right here. So now we can render this image. 32. Bonus Content – Depth of Field Introduction: When you look at the reference image, you can already see there is the difference in the focus and in the bluer. So what is the depth of field? Depth of field is the value between the camera and the objects. And we can define this value. We can define which kind of part of this controller will be in the focus and which part is going to be bluer. So let's go to the key shot and let's render. 33. Bonus Content – Depth of Field Camera and Render Settings: First step is to create the new camera. So we are going to our camera top as before, we're going to add new camera and we're going to call this camera depth of field is like this, and we're just going to create the Antarctic camera angle. So I'm going to move around this object just like this. I'm going to turn on these waters grid. And I'm going to use these sliders to match it from the reference image. Maybe twist a little bit. Alright. I'm also going to increase my focal length to make it much more in orthographic view. So maybe like double 200. Alright. And I'm going to use this slider for the distance. So maybe even more closer, just like this. Hundred and 65. Alright, I'm going to rotate it a little bit more. Looks really good. So maybe like this. Alright. And also I'm going to use this inclination. So maybe like this. This is looking really good. I'm going to move this controller just a little bit. So maybe like this. Alright. This looks really nice. This is exactly what we are looking for. So I'm going to turn this off and I'm going to save the camera and look the position. So we get like 50, 50 look or the camera. So we get like 50 per cent of the background and the 50 per cent of the controller in this view. And I'm going to unlock these camera. And now I'm going to, now I'm going to edit these depth of field. So I'm going to turn this on and you can see it's completely boorish. So we're going to click on this focus distance. And this is exactly the same as the set highlight in the lightning. And now I'm going to click on the part which I need to be in the focus. So e.g. this button, and you can see this button is in the focus. So I'm going to click on this controller right here. And I'm going to play with these f-stop value. So if I'm going to bring this to two, you can see I'm giving much more focus to this object. So I'm going to bring this set or something to like three or even more, five. And you can see now it's like they're large area of focus. But we are going to use something like 2.53. And I'm going to wait a little bit for the preview, how it looks. I really liked this free number. So we jot these joystick in focus and the rest of the controller is bluer. And that's really nice effect. It looks even more realistic. It looks like you are create the real photograph he didn't render. So it's a really good, I'm going to save this camera and looked at position again. Now I'm going to create a little adjustments to the scene. And I'm just going to a little bit increase the brightness to something like this. And I'm going to play with these, sorry, these contrast value, but I'm going to stick with this. This is actually really nice. So we're going to render this image as before. So go to the render. We are going for the PNG for K resolution cloud layer. And we're going to use 512 samples. We are going to our Lightroom presets right here. We're going to make sure it's in the product and we are going to increase rainbow sees and also global illumination. And now we can render this image. 34. Bonus Content – New Depth of Field Camera View: Now when we know how to use depth of field, we can create copper, couple more angles, and we can create more close-ups. So let's go to our camera or new camera, and we're going to call this close buttons. Alright, and now I'm just going to move this camera just like this. I'm going to make it a little bit more straight. So I'm going to use also inclination zero. I'm going to rotate this the front. And I'm just going to use maybe more of these focal lens. So 125, I'm going to use this inclination. Just like this. I'm going to turn on these quarters grid and I'm going to make it much more closer. Alright, Just like this. Maybe a little bit more. So, maybe like this, this inclination, little bit more closer. Alright. Just like this and distance. Maybe like this, or actually maybe just like this. This looks really good. So a little bit more down. Yeah, this looks really nice. Let's turn these grid off. The camera. 35. Bonus Content – New HDR Image Lighting: So go to the environment, new environment. We are going for the highest resolution. We need, the black color. We are going to add new PIN. As before, It's the same, same workflow. And we are going to increase this brightness to ten. We're also going to use the soft edges, so we need to turn these on. And I'm going to click on the set Highlight Tool and I'm going to set highlight. So I need to come into the light from the side. And I'll say I'm going to use this slider to move it a little bit more precise. Maybe like this. This is actually really nice. Yeah, This is good. I'm also going to duplicate this light. And I'm going to move it something like this. Or even more up just like this. But I'm going to decrease this light pink because this is our main line. So we don't want to destroy it. And I'm going to use this slider. So maybe like this and a little bit more up. Just like this. This is really nice. Going to duplicate this light one more time. And I'm going to bring it somewhere around here. Maybe more like this. I'm going to create the highlight on this edge. So set highlight and click on this edge. Alright, I'm going to increase the brightness to ten. And I'm going to click on this edge right here, something like this. And I'm going to use this slider to move it a little bit more to the left side, alright, and little bit more up. So this is our light pink click on Done and render this HDRI in full resolution. 36. Bonus Content – Finishing Depth of Field and Render Settings: Now we are going back to our camera close up buttons and we are going to turn on this function, the depth of field. I'm going to use this focus distance tool. So I'm going to click on this button and I'm going to play with this value little bit more. So I'm going to use more of the free. Alright, this is really nice. You can see the effect. Maybe I'm going to increase it to something like four. I'm going to wait a little bit for the preview. Alright, This looks really good. So I'm going to save the camera, the camera position, and I'm going to render this image again. So Render makes sure it's in the PNG for K resolution cloud layer options 512 samples. And again, lightning presets, product 16 Re imbalances and free global illumination. Now we can render this image. 37. Bonus Content – Bump Map vs Displacement Map: In this video, I'm going to talk about the bump map and displacement map. And bump. Bump is the fake geometry displacement map, It's the real. And what I mean with this, if you are going to create a really close up images of this controller, e.g. something like this. You can see this bump map, this group, it's completely fake. It's got no geometry. Just the fake effect is really good for either no shoots with the long distance when you are not too much close to these free model. So you spend less time to render the whole image. If you are going to use displacement map is much more heavy and you will spend a lot more time to render image like this. If you are going to check these three angles, volume, this is like the basic because we got everything set up. The basic without the displacement map. So if you are going to double-click on this material, we are going to material graph. And we are going to turn off this bump map of this group right here. We're going to delete this line. And we're going to bring the real displacement map. So we're going to right-click on our mouse. We're going to do a utility, sorry, we are going to the geometry displays. We are going to bring this texture to the displacement map. And we are going to displacement Bob, bring to these material. Now we got this button right here, just the pop-up. And we are going to click on this. And you can see how these value three angles are going to change. They are going increase. So click on this. And now he showed with calculate the geometry based on this group texture. And you can already see it looks completely agree and this value is completely beak. So we're going to play with this a little bit. So we need just a little bit of these height. So we are going to decrease this height, as you can see. Alright, maybe we are going to create it a little bit more bigger, just like this. Alright, this is too much, so we're going to stick with this. This looks really nice. And you can see it's in the low resolution. So what we can do, we can decrease these triangles size, so it will be much more precise. And we can also increase these three angles size, e.g. 12th. We're going to execute the geometry. And you can see how it looks. It's much more softer, smoother, and this value is even much more higher because we bring up a little bit more resolution to this. So I'm going to clean this graph and you can see how it looks. Alright, is looking much more realistic. And now we can create the close-up image from this side. So let's work on this. 38. Bonus Content – New Close up Camera View: We are going to our camera at new camera, I'm going to turn on these quarters grid as before. And I'm just going to match the reference image. So maybe like this, or actually just like this. Alright? And I'm going to use these inclinations are these azimuth value right here. So maybe like this. Inclination, just like this. Also, I'm going to use these a little bit, maybe like this. And I'm going to play with this distance value. So maybe like this, alright, even more. Just like this. And I'm going to make sure it's in defocus. So maybe like this. Alright, This looks really nice. This is all really good. We just like this. Alright. Now I'm going to turn off these quarters grid. And I'm going to save this camera and the look, the position. And now we're going to work on the lightning. 39. Bonus Content – New Close up HDR Image Lighting: Click on environment, and we're going to add new environment. We are going to choose this highest resolution and black canvas so no lights in the scene. Now we're just going to add new pin. We are going to use the circular design. Much more bigger brightness. And of course we are going to make soft edges. Now I'm just going to click on this side right here. So maybe like this, this looks really good. And I'm going to use these sliders and make it a little bit more from the reference image. So maybe like this also goes like this. This looks really nice. I'm going to duplicate this light. And I'm going to click on this side right here. I'm going to make it less bright. So I'm going to move it a little bit more. Alright, again, I'm going to use these sliders. So maybe like this and this will be more. Already looks good, but I'm going to duplicate this light again. I'm just going to bring these light little bit more. This side right here. So click on this. Alright, maybe just like this. Make it less bright. And again, you use these sliders, these even more the spot. So it looks really good. Little bit more up in yet, this is really nice. I'm going to create the final adjustments. So I'm going to image, I'm going to increase my brightness or the exposure of the image. I'm going to increase my contrast. Now. I'm going to play with the depth of field. 40. Bonus Content – Finishing Depth of Field Camera View: Bec, the camera. And we're going to unlock this camera so we can edit this camera. And I'm going to use the depth of field. I'm going to click on this, the focus distance. And I'm going to click on this button right here, just like this. And again, I am going to play with these value little bit more. So maybe like five or I, this is too much. So I'm going to try the fall. May be free to free. And you can see how it looks. This is actually really nice, but I'm doing 4.5. Click on Done. And we're also going to render these environment in HDRI map in high resolution. I'm going to wait a little bit for the samples so I can be sure it looks really good. And yeah, it looks really nice. So we are going to the render. And again, we're going to render this image as a PNG for K resolution clown layer options, 512 samples. And we are going to our lightning preset and we are going to make sure it's in the product with the 16 rain biases and free global illumination. Now we can render this image. 41. Outro - Final Renders: So this is the ending and these are the final renders. I'm just going to say big thank you to all the students who watched this course. And if you've got any questions, let me know down in the comments section and I hope I will see you in the next course. Have a nice day and have a nice render. Bye-bye.