Mastering Layers, Scenes & Compositing in Blender

1. INTRODUCTION: Hello. Many bladder courses cover the basic things like modeling, texturing, lighting, or in general scene creation, and I've made a few of them myself. But not many courses go deep into scene organization. When working on small or simple scenes, this might not seem very important. But as more details are added to the scene, it becomes large and complex. Without a proper organization, your blender file can quickly become heavier, slower and harder to manage. That's where understanding how to break a scene into layers becomes important. Not just to keep things organized, but to keep your viewpoint and render fast, stay flexible and gain much more control later in the compositor. For example, we can re render only the layer that we changed, saving massive amount of time. So this is a course about layers, scenes, passes, toggles, open, EXR, and how they all work together in a blender compositor. Here is another example. With a proper setup, you can completely transform the look of your render without re rendering from realistic to stylized, even pain style looks all done directly in the compositor with just a few sliders. Along the way, we will also cover topics such as light linking, groups, the difference between import methods, library overrides, and more. We will also talk about how to move your renders into other compositing software like After Effects or Lavin resolve and how to set up color management correctly. This part is optional because we are using Blender compositor as the main tool. If you already know the basics of Blender, this might be the next step that completely changed the way you work. This course includes 15 lessons in about 4 hours of step by step content. But the course is not everything you get. Since we add more details to the scene with my Goode modifier setup super scatter on surface, I decided to include it in this pack. Scatter on surface is a new modifier that becomes Brander primary scattering tool since Brander five. However, it comes with one drawback it is empty by default. But super scatter on surface, my version of the modifier fix is that you get the same modifier but fully populated with high quality PhotoScan assets covering over 20 categories. See more information about super scatter on surface in the following video. In addition, you will also receive ten details trees as gifts that you can save in the asset browser for your future projects. Of course, the project files needed to follow the tutorial are also included. 2. DEEPER INTRODUCTION: Come to first part of tutorial. In this part, we will talk about how I organize this tutorial and how I imagine this tutorial. This is file I made, and this is what you can expect from this tutorial, I think we will have about 14 chapters. So first one is organizing object into collection. This looks like not so important thing and very easy, but it is very important. In this example, you can see how this looks. So we have all objects inside, seeing collection, and later this is how this look when we organize things. It is not only about keeping our outliner more clean and nicer. It is about layering or organizing things to make our job easier later into compositor. Collections are also necessary for creating layers and toggling groups later, you can see here how these layers looks like, and toggling is all these options here. So we can turn on all these options here, and you can see that we have different checkboxes in different collections. Collections are also important for clicking and like groups later. You can maybe understand better what I'm talking if I show you my open XR file. So we have here all layers, and then I separate these two background, and we have background paint here. So another layer. For example, I have castle as, so we have castle here and we have castle paint. And with this slider, I can later decide maybe I want more realistic type of render or maybe I want this paint to look and I can with just one slider, choose at the end, what I want. So we have for ground. Then for ground paint, we have separated HDRI. I also separate these trees. Then we have separated only volumetric, so we can later decide how much we want this volumetric effect. This is one of my final results. You can see that I created a lot of these final results because it is when we organize things, it is very easy to just move some of these sliders and get completely different result like this one or Okay, I have too much on this, but you will see later. If you go to these vendors for which I didn't use any of these paint effect, it should be more realistic result. Chapter two will be toggles and what are toggles? These are check boxes which enable or disable a specific behavior or visibility or function in blender. And we will talk about this in one of these chapters. Next one is layers. Later, we will create different layers. I will go to layout here. You can see how this look. We have here only cliff. Then we have maybe only castle paint layer. This is only cast layer. And you can see how this work, we basically just with toggles, tell Brander what will be visible in each of these layers. The layers, we basically split one big render into smaller parts, and later we can back and combine everything together into compositor. And with this, we have more control. Under individual parts. Next is Blender compositor basic. We will spend a lot of time in this tutorial to compositor because this is compositing tutorial. So what is compositors place where we can combine layers into final image, and we can also adjust or play with individual layers. We can also relight our scene with help of groups or linking. And what else we can do in compositor, we can also add, of course, color correction effects and similar things here, but we will also talk about this in different chapters. Let's see what is next next is compositor render layers and file output or open XR. I will show you how we can save all this data into one file, which looks like this. So this is one XR file, and we have all this data inside this file. We can very easy access to this data. And we don't need re rendering everything, for example, if we just need change this, for example, castle paint effect, I can find this here and I can just click here and I can render only this layer here. You can think of scenes like a separate project inside the same blender file. So we can composite or later extract data from that scene, and we can use that data into our main scene here. I will show you later in one practical example, what are difference between sins and layers. So I will not go deep for now. Next is passes and what are passes. Basically, our final render is also called combined render. You can see here combined why combined because this final render is actually combined of individual pieces which Blender calculate separately during rendering process. And when we combined, all these pieces we get combined render or final render. I will show you how this look. For example, we can access ambient Ocluson Shad of catcher background, which is actually HDRI. And we have a lot of this. So glossy, indirect glossy, color, we have also. For example, miss pass here, we can access these different pieces into compositor. And we can use these pieces to manipulate our final result. Next part is adding details with super scatter on surface. So this is external addon this is my addon, and I think depend where you get this tutorial may be included in your project files. Before you buy this tutorial, you can read I this is included or not? And what is super scattered on surface? I will share this project file with you, so we will work with this. But you can say this is without details. In blender, main tool for scattering is scattered on surface modifier, so we can access this here. But this scatter on surface is actually empty. We just get empty cubes. But I created different version if I access I can access this here, so super scatter on surface. With this, I basically get scattered on surface but not empty. I will reduce this number 2.1. I will just quickly show you how we can add trees here. So if I spread this window, this is actually Asset library to which I access with this modifier. For example, I know that we have trees here. We have a lot of assets here. You can see how these assets look, but I know that I also have down trees. Trees are actually 71, and I can now just type here 71 and I will get trees. If I go to render preview, we can see that we get trees. I need click here Align rotation. I think to rotate these two world Z axis. And now I will pin this here. So I don't lose this. If I now change this to 72, I get different tags, different trees, type of trees. These are glob pool background trees. I also have trees for closer to camera, which are this one here, and I think I will also share this with you. But we will talk about this later. I just want to quickly show you what we have here. So 73 is different collection. This one more with snow we have different collection here, and then we can play with all these numbers. If you want more trees, we can also randomize this to make this bigger or smaller. And you can see on left, we basically quickly add more details in background. And let's see what are next. So light linking and groups. So what are light linking and like group? Usually every light affect everything. But because this is three software and this is art, we can tell Blender, Okay, I just want light salam to affect this castle here, and we can set this with light linking and groups and we can access this data into Blender compositor. And next is light paint add on, which is optional. To get this painterly effect, we can also use something which come free with blender, which is this guahara effect. You can see how this cook. Okay, I play with these colors here, which is maybe too much. So this is if we sell this to zero, this is basically final result. We have this sharp filter which I add here. So it looks a little weird. But with this, we can get this painter, a side blender. But then I explore a little and we have this live paint filter addon, which is not my add on. And it is not so expensive. I pay this, I think, $10 or something, and this is optional. I will show you how I work with this. And if you want to buy this, you can use this as optional addon. I decided to make one chapter about this addon. If you want, you can watch this part or you can also skip this part. So this is actually optional. Let's see what is next from blender to other compositing software. So I will show you how we can combine all these layers not only in Blender compositor. We will do mostly this here, but later, I will also show you how we can combine this in after effects. So you can done compositing blender, but you can also do this in another software like after effects, DavencRsolve or Nuk. Let's see what is next upend link pack library overwrites and edit link libraries. So when you import objects into blender, you need to know that there is different import options. And this is important for optimization. You don't need upend everything into your blender file because your blender file can become very huge, very quickly. So we can use different import options, and I will show you what are benefits. And then you can use different these important options and how you can control your objects. For example, when you just link your objects into scene and not just a pen. Okay, I think we go through all of these chapters, and this is all for the first part. In next part, I next part, we should start with organizing objects into collections. 3. ORGANIZING OBJECTS INTO COLLECTIONS: Let's now start with Chapter one organizing objects into collections. For this, I prepare this blender file. So this is Castle CN and this is how this look. This is a simplified version of my blender file because I don't want to make heavy scene for you because some of you don't have a stroke computer, and this is my system. If I go to every preferences system, I have this GPU. And I have problem little when I recording this. Sometimes when I hit render my obvious start, I go to chat GPT, and I ask what can be problem, and hat GPT suggests me to say this to. Basically, I said this to Blender, less priority. So I hope my obvious not lagging anymore, but hopefully Blender will work also correctly. We will see later. Okay, so this is simplified version, so we don't have any details. This cliff here is basically just cubes. If you go to edit mode, you can see we have basically just stretch cubes. This is not completely beginner tutorial. So in this tutorial, I will not set the scene step by step, but this is very simple scene. So we have here foreground. Okay, I have enabled this measure tool, which I don't know how to remove now, but I think this is annotation. So if I go with N view, annotation, so I think it should be. I enabled this before because I want to show you measurement here. So when you do big scale scenes like this, I think most important thing is to use real world proportions, which in this case, are big. For example, we have here camera, and we have this thing in foreground, which is basically some kind of cliff with snow. And here we have 1 meter. So this part is 1 meter, and then we have next three here, maybe 3 meters from camera. And let's measure now this. So we have to this castle or cliff about 200 meters, and then we have this cliff in background, which is this one here, 300 meters and this one here, which is maybe 400 meters. This is actually how my final result looks. This scene here is without details, so later we will also add details. And for this, we will use mice, super scatter on surface. Later I try to get painterly look. This is only with Kuvahara effect, which is available for free in blender compositor. And he made more and more test. Maybe this one is maybe less worse than other because we can clearly separate this castle from background. All these here are a little too messy for me. But I think this is not so important. We are not here to make most beautiful render ever. I think it is a good example for what we want practicing here. We want practicing here, everything I mentioned before. Let's see what else I prepare for you. So we have here eight free trees. This is from Smart Tree ASA PEC. This is ASAPC in which you can build trees which are intended to be close to camera. I basically create eight trees and share this with you if you want, replace these trees in foreground or maybe use for your next projects, and how you can use this, you can just copy this address of this folder. You can go with Control C. And we can do this new vendor file. So I will close this one. I will open a new blender file, and now we can go to add preferences, five pads, click here plus, past this folder here. And now, okay, I do this before, I think. So I will remove this one. I can now rename this. Now we can sell these two. I think Puck is worst option here. You can use Link or append. We will talk about this later, but I think for this purpose, we can just set this important method to append. Now we can go to save references, and now we can close this blender file. And what you will get if you open next time when you open Blender file, you can find this in your ASL browser. So AL browser eight freers. And I created version, main version and low poly version. So let's see difference. You can now just maybe create play And if you, for example, import this version here and this one, if you now go to edit mode, this one have 11,000 vertices. This one have maybe 33,000. So it is a little heavier. It has more details. For example, if you now go to render preview, I will switch this to cycle GPU. I will now create better lighting here, but because we are in cycles, you can also find this option, we can now load this new high texture, multiple scattering, which is available only in Blender five. Okay? Now we can maybe make this sun lower, maybe strength a little down and we can play with sun rotation. You can see then things here. We have more details here on these trees. We have more leaves on this high quality version. Let's maybe bring this one here. So depend. This is too close to your camera, you can choose high quality, but in other cases, just choose low poly because you want to save some memory and render time. Let's see this one. Let's bring all these different trees inside our scene, so you can see what you get. We can maybe bring this in background because they are huge. We have here how much ten different trees. And all of them have snow, but I will show you if you don't need snow, how you can remove this. For example, you can select one of these trees with Numpad slash Q, you can isolate this object. So this is one tree and how we can remove snow. There is a few options. First is to go to Edit mode. You can select here material and just click Snow material and select. Now you select only Snow and just press Delete vertices. Now you have Tree without snow. This is first option. Second is just to go to object data properties, and you can select different part of trees, for example, snow, go to Edit mode. Select and delete. You can also select, for example, leaves, select delete. Now you have only this. You can also select branches. And now you have only this trunk. But if you want to get much more trees and much more functionality, you can search for my Smart res asetPeg. This is just very simplified version, then quick trees. Okay, I'm not sure why here we have ten, so I need to rename this to ten. But let's now talk about what we are here. This is this castle C. So I will close this vendor file, and let's open this one. First, if you want create backup of this, you can go with Control C, Control, we duplicate this. But you can also create increment of this. So file, say incremental. This is very good option. I use this a lot because when you click this, you actually stay in this blend file, this new blender file, but you also always create backup of old one of fold version. Okay. So we are now here and we can now switch to cycles. So I said this to cycles. This is port render 22, the render is 100. We have this camera here. Now, we need to put this in collections, and these collections will later be render layers. So we need to think how we can organize this. I think this is pretty easy. We don't think too much. We have here foreground. So this should be our foreground. I want this select box. I'm not sure when I move this to B. So hold your mouse and you can select this box. But I will enable these screencast keys. So I think I have this here show screen cast keys, and I will make this very small. But you can always stop video and you can find what I'm typing. For example, when I type A, you can see here. Okay, so we have the foreground things in which I will include this tree here, and I can now press to create new collection, I will press M, which is shortcut for creating new collection. Another way is to click here two plus, and you can here create new collection, which is a little annoying because you don't know where you create this collection. It is here. One thing I forget I will go Control Z to undo this. One thing I forget to tell you only difference in your Blender file is that you will not find this. I put this in startup Brander file, and this is my super scatter on surface modified. This is something you will not find in your Blender file, but this is not important. Let's now start creating collections. So first, I will select these two objects, press and new collection, and I will call this foreground. Foreground. Okay, now we have these two objects inside this collection, and I will also add this object. You can just select Object M and now select for ground. Now we move this object in for ground. Camera will stay, I think inside scene collection. Let's see what next. So we have castle and this cliff. Let's go with cliff. And let's see. We have also these trees. I think I will include this in cliff collection. So I will set both objects and I will create a new collection I will call this Clif. And if you want to simplify your job now, you can just disable this in viewport. Now, you will be able only to select objects, which we didn't assign to any collection. So now this will be castle, so I will call this Castle and now I will hide this, and we have these lights inside Castle. So I have a bunch of point flames here, and for now, assign this to new collection. I will call the lights inside castle. Maybe we can put this with castle collection, but let's make it like this for now. And let's see what we have here. Here we have things for background. So we can here, you can see this healing. Background, this cliff here and cheese which we don't have for now, but we will add them later. So and bagram. We can now also hide this collection. Let's see what we have what is rest. And we only have these two cubes, which are basically volumetric cubes. If you go to shade the editor, this one is just emission, very small amount of emission. And this one is actually real volumetric created with principle volume with all these values here, we have a little emission strength here. And now we can select both of these and we can now create new collection, I will call this volumetric. Okay, now we can also hide this and now only camera is visible in our sea. 4. TOGGLES: Let's now go with next chapter which should be toggles. For now, I will make this in viewport. So this is actually Okay, this is now team of next chapter, so toggles. So what are toggles? Toggles are actually check boxes that enables or disables specific behavior, visibility or function in side blnder. Now we will go through all of this one by one. First, I will enable all these toggles. You can see them here. Let's see what is first. One is exclude from view layer. This is actually most important for this tutorial because we will work with layers. So when we have multiple layers here, we can exclude or make this visible inside of separate layers. For example, we have here view layer and we can call this everything. So this will be one layer in which I will include everything. And this layer will be actually just for test. So later when we combine all these separate pieces I want, check is this same when we have everything included. So in this everything we want, keep all these checkboxes. But just for test, I will show you how this work. For example, if you disable for ground, we will now exclude this from render in this layer here. For example, if we click here, we now exclude clip from rendering in this layer. But we will practice with this later, so I will not talk too much about this. Next one is selectable. This is just for viewport. For example, if you click here, we disable foreground for selectable. This is now what we get. We cannot select anymore these objects here. If you now back this, we can now select this. For example, let's say we want to select all these lights here, and it is very hard to select these lights. But what if we now remove castle from selectable. We can now just jug this and ok, let's now also remove this volumetric background. Now we can and also cliff. Now we can very easily select all these slides because we disable everything else from selectable. You can see if I now go with G, you can see all these lights. Okay, so this is selectable. Let's now back all this. And let's see what is next one. We have now hide in VUPort and disable in VUPort. If we now select this cliff and if we now click Hyde in UPort and disable in VUPort, visually we get same. But in background, it's not same. I think only difference is what blender calculates. For example, if we just hide this in UPorblender still calculates everything, but it is just not visible for us. But if we disable this in UPO blender save this object from any calculation. My English is not best. I asked check GPT. Hiding UPort hides the object only visually, objects still exists and works in the scene. Modifier still calculate, physics, still calculate, constraints still calculate. So you can think of this don't show me this right now. Next is disable in UPort but it does completely disable object in VUPort. Evaluation, modifier, do not calculate, physics do not simulate constraints do not update. So all this is not important for us. So all this is not important for us, but just know. So only port I think is that affect performance. This hide in viewport is minimal, and disable is a big improvement. Let's now see next one. So just to know if you disable any of these icons here and if you press F 12, you will see that in render, basically nothing happened. So we will calculate everything here. I think my blender is now very, very slow because limited blender here. But not so important. For now, we will see in render preview everything because we have enabled this render preview. So this is only important for render. And let's see. Okay, so I get my render, and you can see that everything is visible in render. So we now get to this render icon. Let's now back this visibility in VUPort and this render visibility. So this affect only render. For example, if we disable castle. I render, we will be able to see this castle here in Viewport, but if you now press F 12, you can now see that we exclude this castle from render. Let's see what is next toggle next is hold out. For example, if we select this castle and okay, we need to select this collection. And if you click here, we will actually make mask these objects with objects inside this collection, which is this castle object. So basically with this mask, and we will later see for what is this useful. And next one is indirect. What is the purpose of this? Let's say, let's make one practice. For example, let's say we want islet only castle here. So I will remove for ground leaf. I will actually remove everything. I will just leave castle. So remove this background volume meta. And let's see, we now have castle, but this is not the same castle like we had before. We don't have any lights here. You can maybe not that this castle is less bluish and it is more clear than before. That's because before we have the volume metrics which indirectly affect this castle. So you can see that if we, for example, enable this volumetrics, you can see how this affect the coals of this castle and lighting and everything. But we don't want these volumetrics to be enabled in this collection here. In this layer here, we want only two because you can see that this affect everything else, not just castle. We have different color in sky and background. So what we can do here, we can enable this here and we can now click only affect this object only indirectly. So if I click here, you can see now, this is before, this is after. You can see that now this still affect this castle. You can see how we change this color of castle. But this now don't affect anything else. We don't have physically these volumetric cubes inside our seal. If you disable this, you can see that we have these volumetric tubes inside our seal, and this now affect everything. But we just want to affect our castor. So I will enable this and I will click here indirect only. Okay, what else affect our castle? We have lights here, but this is emissive tubes which are part of this object. But we have these lights inside castle. We can also set this as indirect. We can basically use this without this because these point lamps are not physical objects. They are not mesh. So basically, it's the same if we click here or without this. But for example, if we enable this cliff indirect, only let's see, maybe this clip affect this castle. Let's see what happens if we enable this indirect only for clip. Okay, we can ignore this part because this will not be later visible when we put this clip collection in front of castle. But let's see if this affect this castle. If I look this part, maybe we will get some ambient occlusion or something. Let's see here. Probably we get some small ambient occlusion here from this cliff. But I think this is not so important. We can ignore this because I make this I want simplify these things a little. This is very subtle. So we now go through all these togal options, but we will later practice more with these togal options. Basically, you will see how we can work this in practice in next chapters. 5. LAYERS: Chapter is layer. So we already have one layer, which is called everything. So we want here this layer enable everything. So I want everything make visible here because we want compare later when we put all layers into one layers with this one in which we have everything. So what are layers? With layers, we can separate big scene into smaller parts and later back all layers together into composite. So with layers, we can get more control, and we can get more options later in compositor. And we can also speed up Port and render performance significantly because we can later because we can later re render only layer in which we made changes. So we don't re render everything. We can later. Only for example, if we make changes to this cliff here, we can re render only that layer there. We don't re render everything. But you will see all benefits later. So we can start with creating another layers. Let's now create first layer. So we already have first one, but let's now create second one. So I will call this for ground. Okay, we have a few options here, new copy and blank. If we go with copy settings, we will basically copy all these settings here. If we go with new one, I think everything will be enabled like we have now. For example, if I have disabled these things and if I go with copy settings, I will basically get a new layer with copied, all these settings. So this is, I think, all the difference. I can call this foreground For ground and I will back to everything. So I want back all this. And I will now go to foreground. So what we want, enabling for ground, accidentally, I already create what I want. But let's say, what we have something like before, we don't need cliff. Cliff don't affect this indirectly castle also light castle also, background, also. And let's see. The volumetrics, I think also don't affect. Only reason is that this part is outside this volumetric cube. So this also don't affect. We can disable this also. Now we have only this trees and this part here in foreground. This was very easy for ground. Is just for ground. We can now go with new one. I will go with copy settings, and I will call this cliff. So for cliff, I will disable this foreground enable cliff Let's see Castle. Let's see is this effect indirectly. So this before this effect because we have this ambient occlusion. So I will keep this as indirect only before, after. Lights inside castle. Let's see. If you enable this and click Indirect only. So maybe we get some very small lights here. Not sure. A wrong button, C. Okay, so I will remove this. This is not so visible background. This don't affect this. So I will remove this and volumetrics of course, affect. I talked about this before. This is before, this is after. You can see how this change this color. In this point, we get where this hold out is important. For example, you can see all these trees. If you think cital this is not possible. For example, we have this scene here and only these trees are visible. This here. Trees behind castle are not visible. So we need click for enable this castle here, also as mask or hold out. And you can see what this creates. You can see that we actually mask some trees which are behind this castle. We don't have too much of this because I mostly put these trees here, but we actually hide some of these trees. And without this button, we will actually later when we combine this, these trees will be in front of this castle which is not case in our sea. So this is very important. In this case, we want to fight some of these trees because they are behind this castle here behind this wall, actually. So without this hold out, these trees which are behind this wall will actually be in front of this wall, which is not the case. So this is where this holdout is very useful. You can see this tree here, this small tree is almost completely behind this wall, and without this button, it will be in front of this wall. Okay. And we can move to next one, which is so we have foreground cliff next this castle. So we can I will go with new one. I don't want copy the setting, so we can call this castle. Okay, for castle, foreground doesn't affect this castle. So forgot. Disabled cliff, let's see. Let's first disable this so we can later check this hold out and indirect only background. Background affect. So volumetrics affect indirectly. So we will enable this. So this is before. This is after you can see clearly here before and after this color of this castle, let's see what else affect. So we have this cliff. If we enable this and send this to indirect tolling, let's see. So this affect indirectly. If we look this wall here, you can see clearly before and after we get this ambient occlusion, especially in this area. So we can keep this and lights inside castle. We can just enable this. We can also click indirect. Only in this case, it's same because these lights are basically transparent objects that are not real mesh. So we have lights inside castle. For this will not create layer because this is not visible background. So next one is background. One, background. Let's see for background, foreground doesn't affect in any way, cliff castle also lights inside Castle background is visible and volumetrics affect indirect. So before and after. Basically, we now set all layers, and we can now check them. So this is everything. This is how our render should look like when we combine everything. And let's check the next one. Foreground, cliff Castle Bground I forget one volumetric. You also want create layer or volumetric. So I will go with new one. I will call the volumetrics and now I can basically disable everything. So only volumetrics will be visible, and you will see later when we re render this how this will look like. Okay, I need to disable this collection because I have this no here. Now, when we set all ys, we can now render this and in next part, we will go to compositor. So you can go with renderimage. And you can also know that now blender render each of these passes separately. So first blender render everything, and now this foreground, now we have this cliff. And you can access all these layers also here. 6. BLENDER COMPOSITOR BASIC: Hello, it is a new day here, and let's continue with Tutorial. So yesterday, we stopped to this Chapter four Blender compositor basic. After rendering or F 12, we should get some images here and we can now go to compositing. So here we have compositing tab, and now we can click New. And we get new compositor. Okay, I get this 001 because last time I already cal here, so maybe I can just close this one and load this one here. And my first recommendation is to go here under option and set this to GPU because this should be much faster than CPU. We don't see now anything because we don't have this backdrop. But even when we enable this backdrop, we still don't see anything because we need viewer node. You can go with viewer node, then you can plug this here. But you can also just go with Control Shift and left click to get this viewer node. And this will be shortcut. We will lose f. So if this don't work for you, that means that you have no Wrangler, you need to go to preferences, add ons and just search for Node Wrangler, and just be sure to enable this here. This checkbox. Maybe you need to get extension first time because like they move these dons to extensions, but this is from old version, and they keep both for now, but must be somewhere here. But I think, you know, this if you are not completely blender beginner. So with, we can open and close this tab. And you can now work like this. But my recommendation is to split this window because we want have clear preview of these nodes and also clear preview of this viewer node here or this render. So when you see this small cross, you can just split this to middle and now we can resend here. Now, this is composite node. We can just switch to not here to viewer node. Okay, we need switch to image editor here, and now we can load here viewer Node. Now, we don't need this backdrop here, so we can now work on right and review on left. And how we can access to all these layers. We can just go here. So this is for ground, cliff, castle, background and volo matrix. We cannot sell this to everything, but we have one problem. If we now close this blender file, we render this again. So we don't save these renders anywhere. So they are just inside this Blender file, and if we just close this, we will render this again. So we need prevent this, how we can prevent this, how we can store this data outside this blender file. We need to save this in open XR file format. 7. COMPOSITOR RENDER LAYERS AND FILE OUTPUT (OpenEXR): We'll make space somewhere where I want to save this. We can create maybe render folder. And I will copy this address so we can now back to our Blender file and we can now go with file output file output. And now, let's see where groups. Okay, I think here under nodes. We can now create new file output. So by default, said this to multi level EXR, which is good, but I think we need float because this will be too much information and too much data, but not too much benefit. And we want sent this to DW AA, because this file format will not lose too much information, but it will be significantly smaller. If you want deep explanation about all this, this is do I recommend. So you can watch this video. But this is I think best setup for us for now. Now we can start plugging outputs. So we have here, everything. So this is lay everything. We can now plug this here and we can now rename this. So this will be everything. I like the upper case. So everything. And let's see what is next. Next is to get next, we actually need to duplicate this CD, and we are inside scene. Here, for now, we don't have another scene. So we have this default one and next is foreground. What we can do now we can click here two plus. You can click here to plus and call this for ground. We can now plug this here. And we can do this for all these layers. So for cliff, we can actually plug this here and then we can rename this to Cliff. Next one is castle. And next one is background. And last one is volume matrix. Okay. And just to be clear, now we will save this in somewhere on our computer to save this from re rendering. But of course, you can always start your compositing here so you can go with alfo. You can skip this part, but just to show you, you can now maybe plug this For ground, this is not visible because we said this to one. And let's see. This is foreground. This should go to foreground, and then we have cliffs. We can set cliffs. But you don't get what you expect. And the reason for this is very simple, because we don't have transparent background. So in all of these layers, you can see. When I preview this, in all of these layers, we actually have this HDRI here. Which is not correct. We actually want transparent background. So we need to fix this problem. You can skip this part this just for preview, but I will show you what we need to do. It is very simple. We can go inside any of these layers and we need to enable under film here transparency. I will go to render preview so you can see before and after. You can maybe be confused because we mostly see these volumetric, so I will disable this for now. This is So this is before we have this HDRI background. This is after without HDRI, and we can now back this volume metrics. And now we come to one part which you need to understand when you work with layers. Only this checkbox here, this row here actually is inter pedded to other layers. So only this checkbox here, is not connected to all of these layers. For example, if you disable all these layers here, you will see that you do same in the renders here, which is not what you want. So only this row here actually is different in all these layers. So for example, if you click in layer, this checkbox, this will not affect other layers. So you can see it still how we said before. To explain this better, for example, if you know in this everything layer, add, for example, one massive cube. Which is somewhere here, you can see that in all these layers, we actually add this queue. So everything else, except these check boxes are connected to other layers, and you need to be careful about this. So because in this everything layer, disable this or enable this transparency, we also do in all these layers here. So to repeat everything, each of these settings you change on any of these layers, you will affect other layers except this row here, which is independent to other layers. And because we change this transparency now to all these layers, we need to go to render image, so we need to render all images again. But if you want, you can make test, for example, if you click here, you will render only this layer. Let's see what will happen if you just click here. Okay, we now render only this layer, and let's see. We have this transparency background here, but we still didn't fix this part here. So you can click all this one by one. But in this case, it's much better to re render all these layers again. And you can see that with this, we actually fix this. So we have here cliff and we have this foreground here. For example, if we switch this we get what we don't want. So we basically put these trees behind these cliffs. Okay, you can skip this part because we will do after moving this to EXR, but I will just quickly show you in another example. So we put these trees foreground or this foreground on placent we have cliff Background. Next should be. So this should be foreground and we have castle. Was castle is here. This should go in background. Okay. And you understand point. Now we just need layering. All these layers we render separately. But I will stop here because we want to save this in open XR file because we don't want to re render everything. Every time when we close our blender file, we want to save this and we want just render layers on which we made changes. Okay, so now I can delete all this. We have our file output. We also delete our viewer node. If you want back, you can click on any of these layers. And now we just need to set folder where you save all these or just one XR file, but all these layers. We can click here, Enter, and that's basically all. You can now play with render settings. I set this by default to 100. You can also play with all these settings if you think you need to change this. But now I think I just need press F 12 to render this. 8. COMPOSITOR COMPOSITE LAYERS TO FINAL SETUP: Okay, we are done with rendering, and I didn't do this last time. I work in this blender file. So what I do, let's see. I just move this inside this blender file. And let's just quickly check this. Okay, see this work but if I think a little, my recommendation is to move to completely new blender file because this blender file will become heavier later when we add all these things, and it can be a little laggy. So I think we can try with just completely new blender file. So we can go with click click here. This is basically the same you move this XR file and all these data to new software, for example, After Effects or DawncRsolt. So you can think about this like we are opening new software and new compositing software. So if you click here, we have new compositing software and we are independent with these projects here. We don't need this timeline because we don't do any animation and all this one is here. And we can now bring this open xR five format here into new Brander five. Okay, we need a quick new here, and we can first save this. So we can call this just composite. Okay. Now we can bring our EXR file format here. And you can see that we basically get same. We get in this blender file, but we have completely clear and new blender file. I don't think this affect anything, but I will say this to GPU, but this part here affect But this thing here affect a lot, so be sure to set this to GPU. Okay. Now I will do same I do before I will split this window to half image editor, and you will no. So we can preview on left what we are doing, and here I will disable this bound And we now switch to this Chapter five or six. So compositor and layers to file out put open XR, compositor composite layers to final setup. We will now start with this part. So we now need just layering this to make all the sense. Okay, this is what we get by default. Actually, I think we don't need this for now. Let's place this here and let's now start layering this. So we have background. Okay, I have different order, so we now get this alphabetic order here, but it is not a big problem. So we can start with any of these actually. I think we can maybe start with foreground. This have made more sense. Alpha over. So this is foreground should go in foreground. And next layer here actually should be cliff. So cliff should go in background. Okay. Now we need to duplicate this with CD. This workflow is new for me also. So sometimes I need 1 second to think about little but everything is logical here. So we have now this layer here. If you just up and you don't know what you do here, you can always go with Control Shift and click to preview this. Okay. And now you know, we have the foreground cliffs and next should be castle. So here we need castle. So castle should go to background, and this should be in foreground of castle. And we don't see anything now because we are previewing this note here. We preview this one. And next one should be background. So this should be foreground and background should be in background. And the last one is volumetrics. Let's see what we have with volumetrics. Volumetric should go in foreground, I think. Now, we should compare this with everything layer. So I can duplicate this here. You can duplicate this if you want. This is everything layer. And let's see this same like this one. This should be now same it is not safe. I think something is volumetrics. So actually, it looks like we have one over over all these. But with volumetrics, we actually have we should have steps which affect these objects here. I will show you in my last project how this should look. This is volumetrics should look, and we actually have I will show you here. I will again duplicate this. This is how our volumetric looks. And I think we mess something here under. Okay, this is a new Blender file or just compositing bunderFle. So now we need to fix this to our main blender file where we actually work with this project. Let's see. So we have this volumetric layer here, and we actually enable all these layers, and we need set this to hold out. For example, if I set this for ground and if I set this to hold out, you can see that this layer actually affect differently the volume metrics. So we need to enable all these layers, and we need all these to hold up. What we need to do now, we need to go to compositor and re render this volume metric. Just click this button here. So I will close this here and let's now see if this updates here. Not for now, let's see where is problem. I will reload this blender five. Maybe this is problem. So first time we go with Save and revert. So actually, reload this blender five. Okay, and you can see that we get live update. So if you don't change in real time, just be sure to save this and revert. Okay. Let's see this now looks better? I think this now should look better. We'll just brief this volumetrics here. Okay, now we can compare. This is everything and this here. We get very small change. I think this is let's see. So this is this is everything. And Okay, we get very small change, but maybe we need to set something to indirect only. Maybe these cliffs in background affect this object here, but I think this is not so important for us. It is very subtle change. So again, this is everything all airs enabled, and this is after we composite. You can see change here three to one. We have very subtle change on lighting on this. I think some of these lights indirectly affect this thing here, and we should fix somewhere here. Maybe on cliff stuff, we need to enable these lights inside castle. Us indirect. Okay, I will try with this, but this is not so important for now, just to know where is problem. So we have very subtle change here. So we are now into compositing Blender five, and we miss one thing. You can see that we miss this cgDRI, how we can enable this. This is little tricky, so it is not so easy as you expect because we are now here. And if you think, Okay, you can skip this part. You can think, Okay, I will get new layer. I will call this HDRI. And this is what I do last time when I first think about this. And I can now disable everything, and I can just go to render properties. And remember, our HDRI is actually disabled here under film transparent. Okay, I will enable this layer here and I can now go to compositing tab and I can go with Chip D, send this to HDRI, and I can render this layer. This is from HDRI Hen, and I will just show quickly you can find this here under world setting this one. But let's back to our compositor. Okay, now we have our HDRI and we can composite this. But let's see what happened. Now we Okay, because I didn't re render this, we still don't see this KGRI, but next time when you render this, you will see this KG. So we actually go one step back. Before we fix this to set all these to transparent and with this we make HGRI to all these layers, not just this one where we want. So this is not solution, so I will remove this layer. I don't need this. I need back to transparent. We need another solution, and searching for this problem, I found that a lot of other users have same problem. To prove this, I will go to YouTube. This is Ryan King art, do about layering in a few of these comments, I found that people have same problem. So for example, this one, if I want to say, here is the RI visibility of the image and nobody replay, I think I replay this comment. I also search for maybe three or four videos, and in all of these videos, I found same problem. People ask how to save HDRI for background. You can see in this video, Ryan just put this blue collar on background, but he lose HDRI here. And I found two solutions, actually. First one is sins. So we now comes to these scenes. 9. SCENES: I said before that all these things you do in one layer actually affect all these layers except this row here. We cannot just disable transparent from one layer do not affect all layers. We will affect all layers, but we can do this in scenes. So now we come to the scenes and we can now click Plus. We can now create completely new scene. If I now click here, we actually get completely new blender CN. It is the same like you go with new Blender five. This is not useful for us because we want to copy all these settings from last scene. So I will close this scene here, and let's see what we have next copy settings. With this, we actually get empty blender file, but all these settings are copied from last blender file. So you can see all these values are copied. But we don't need this. We have now linked copy. Let's now first talk about full copy. So with this, we actually get full copy of this. But there is one problem. For example, if I change this number to 120 and if I now go to my first scene, you can see that this number is different. So every time we change something in our main scene, we need to go to this scene 01 and change same number. So now comes to okay, I will remove this for now, delete this. We now come to this most useful thing, in my opinion. So we have now linked Copy. So we basically link to scenes. For example, if I now change here, number of 100, 20, and if I go to first scene, Okay, there is one thing this scene actually is copy of this scene. So if I, for example, here, go with 130, and if I now go to this scene, Okay, I know what is problem. When we work with linked object, not all data are linked. So this data are independent with this data, but some of the data are linked. So I think everything we do on this area and shader are linked. And we can now check this. For example, if I go to this scene, we have this world tab and this HGRI. We have this number, I will copy this because I want this. If I for now, set this maybe to ten. And you can see that this affect lighting in our scene. If I now go to n01, you can see that this value here is linked. So for example, we can set this to 50, and we can now go to SN here and we have here 50, which is great. So I will back this number. Here, and we know now that these values here are actually linked, and this is actually what we want. What we can do. Now, this data are not linked, which is great. So we can basically, okay, control the undo. Sorry for this. We need to go to another scene, which I will call HDRI, HDRI, and we can call this layer HDRI. And now, what I want to do I want. I also have all these layers in this HDRI, which I don't want. I just want one layer in which I will say my HDRI. So I will remove volumetrics, remove everything here DRI. I don't want touch. I will remove background. I will remove cliff Castle and Cliff. Okay, now I have only HDRI layer here, and I don't need see anything. I just want see my HDRI. And now in this HDRI scene, I can disable this film transparent, and I should get this, but we changed this number. And now you can see this is independent with my original scene. So we didn't affect this layer here, and we still have all these I didn't affect this scene here and we still have all these layers. But when I switch to DRI scene, I have only this HDRI layer with disable this transparent. This is what we want. And what we need to do now, we need back to our main scene. And we need to go to compositing. So we have completely different scene, which is called HDRI, but we can still because this is in same Bndle this BnderFle, we can still access to this data from this main scene here. So we can go to compositor, we can create new one or you can duplicate This one, we can now set this to HDRI. So we switch from scene to HDRI, C, and we can set this to HDRI. And let's see what happens if we now render this. Okay, and control shift left click to preview, and you can see what we have. We can for test just render one of these layers, so we have this background, and now nothing should change, and you can see that this works. So you see that we don't have our HGRI here, which is good. This is actually what we want. Now we can save this data here, file output we can plug this here and under we should select this here and we can rename this to HDRI. And if we now go to our composite Brander file, let's see if I go with Save and revert. Okay, I didn't get this KGRI. I think in this case, when we change this file output, we need maybe re render everything again. But this is case only when we change this file output, when we add new outputs here, we should re render everything again to update our open xR. But for example, if you just change render some of these scenes, you don't do this. Render image, let's see what happened now. After re rendering and reopening, this can go with file revert. But okay, I will go revert. But what you can do, you can also go with file, save incremental. We now create another version of this composite. One, because if you want back to this step, you can always open. Open this blender file. So we actually make backup here. And you can see that we don't see anything here, but we don't lose any of this information. We actually just need to refresh this with Control Shift thanly here. And now we get this HDRI, which looks like this. Looks how it should look. Now we need to composite this at the end of this chain. What you can do, you can go with Shift and right click on mouse, you can just drag this and create this re wrote node. Okay. Now we need one more Alpha O. Just to check is this recording correctly. And what we need now. This should be foreground and here's DRI is actually background. It should be last one. Now we get this. Let's see how we can now get benefits of this workflow. Now this look a little messy, but let's make more space. And let's start with first one. So we have here cliff and foreground. Now it is a little hard to tell which node, which one, so we can maybe put this in frames. I think a shortcut is F. If you so this not frame, this is label. You can call this. So first one is cliff. You can see Clif, Cliff and for ground. Now, we know that this input here is actually cliff. We can check this if, for example, go with simple node like hue, saturation value. And if we now change this hue, you can see that we affect now only Clif. Okay, I will delete this. I think if I go with text, I will delete this, but also remove this connection with maybe shift x. Let's see. Control X. Yes, Control X, keep connection, but delete this. We can now maybe try play with simple Kubahara effect which comes with blender. This effect should cover this image to painter Look, let's try. This, for example, if this actually size is most important. Here. If you say this bigger number, you will get this effect here. This is little you can see that. This little slow down. I'll see. So it is not so simple effect. If you go with bigger number, this should be even slower. Now it's fast. But if you go with value of 100, this take a second to calculate. So it is not so light effect. It is pretty hard for calculation just to keep this in mind. But I watch a few videos about this effect, and this guy recommend this setup to get even more painterly effect. If you want, you can watch this video, but I remember what this guy do, and we can try now replicate this to get maybe even better look here. So he put this first one to value of eight. And before this, he put this diamond sharpen effect and also after, and then he mixed this with bigger value of this quara effect. We can create this if you go with filter and if you said this to diamond harter, he put this to 0.3. You can preview this how this effect. For example, with value of ten, we actually get this sharpen effect. But let's back to 0.3. If you want to back our view, we can just click here to let us know. After that, he put this to one. So value one. And now I will make more space as to scale this, then he mix this with bigger value here with Kubacaraffc bigger value. But now is this one effect is floating. We need to plug something here. So we want cliff to affect this so just make this cliff here and now go with Mix mixed color. Now we plug value A with value B. So this is actually value A, and this is Value B, only this effect here. But he mix this alve so you can see here. Let's try do same. 0.5. Okay, but now we have big notes three here and if you want, for example, put this effect to four ground, we need to duplicate this and put this here, which is not practical. So I will put this in group. To do this, you need to go to Control G. And now we put this in group and with tab, you can go inside group or outside, or you can just click here. And I will rename this to CV for uvahara. Okay, but I still maybe sometimes want change some of this value and I don't want to go inside this group. So I can expose some of this value. I think it can be useful. We can expose this slider here. And this size of Kubacara is most important. So I will expose this one, but we also mix with this one. So I will expose both of these. And now we can easy see. So this is before I don't like this look, I want to maybe go more on this right size, maybe 27. And we can also try with smaller numbers. So if I go with two and ten, let's see, this look or if I go with bigger numbers like 12, 60. We get this effect. So let's back to numbers like before, maybe eight and 30. Okay. So this is before and after. And what we can do now, we can now maybe put this in this layer. So very easy. Chief D duplicate this here, and now we get same effect on these trees here. Maybe we can go here bigger numbers. This is obviously too much or maybe smaller numbers to display here. You now start, see benefits of this workflow. But let's now just frame all of this and rename to make this little easier to understand. So this one is actually cliff for ground. And this one is castle. So I will maybe for now, just call this castle. So we know that we have castle here. If you want to rename this, you can press F two now, not F F two. Castle first input. So I know that this castle is like this first input, I don't need L where these lines go. We can maybe rename all this. So this one, let's see. So Castle is now second input, and now this go to background. So this is first input is now background. Background, first input. Okay, let's see. But we have next background first input and second input is HDRI. This one is volumetric, second input. So volumetric, second input. Let's see if we now play this value. You can see what we get. We actually choose how much we want this volumetric effect here. Okay, what I do I put all the inside this label. So I will call this volumetric second input, and this one is here DRI. If you are right, first thing. Okay, now we can a little better understand all this. 10. ADDING DETAILS WITH SUPER SCATTER ON SURFACE part 1: Now start playing with another chapter here, adding. So we go through scenes passes, adding details with Super scatter on surface Modifier. I have a complete guide for Super scatter on surface Modifier. If you go to my website. You can find here all my tutorials. But if you type here slash SSS for Superscatter on surface, you can find all these instructional videos. You can watch them for free. But it is very easy. So when you download my Super scatter on surface, you get this folder, this Zip file. You need to extract this Zip file, and I do this here. And now you can just copy address of this folder Control C. For this, I will open new Blunder file. Then you need to go edit preferences. File Pat, click here plus, past this address here. I already do this and you need to set this to link and say preferences. Click, say preferences, I will not say these preferences because I already do this. And then you get this. I will show you in second, under your Russell browser, you get this folder, super scatter on surface. And to install this ad on, you need just drag this here. So this is plain scatter, we will just use plain scatter. Okay, I think this is I say important method to append. So that's why this is slow. So you need to set this to link, but by default, you set this to link, so you just need drag this here. Okay. And then when you have, for example, when you select this object, you can search here for super scatter on surface. So you don't have only scatter on surface. You have super scatter on surface. But when I made one mistake, I said default value to 20. For example, when we have this big object, I just search for super scatter on surface. This can be heavy for your computer. My computer can handle this because this density value is in correlation with size of this object. It is not problem when I will remove this. I will show you now. For example, if I have one small cube, which is this one. If I go with super scatter on surface, it is not heavy because small object will have a small value of these objects because this is density. This is not number. For example, we don't have 20 of these assets here or these instances here, and I will go now with Control Z. This is just for test. Because this object is very big, we have too much of these instances. And how you can prevent this, you can go with geometry nodes. You can go with Geometri nodes because this super scatteral surface is actually geometric nodes, and you can for now disable this please disable this for second and we can outlod this super scatteral surface and set this value to maybe 0.1 for now. Now we can enable this. And now we get assets here. But first assets is actually the soil, and by default, this is asset zero. And by default, we get this soil, which is very tiny because this object is very large. The scale is one which is good. We actually want scattered trees so you can see we have all these assets. For example, if you set this to six, this asset here to six, we get tiny grass here, you can see here. But this is huge object. This is big, like 100 meters and more. So only huge objects will be visible here. And for example, if you need the bag trash or something, you can type here S 55. This should be a little bigger. But we actually want trees. So 71 is first these are low polar trees, actually. And you can see that we cutter trees, but the follow normal of this plane here. So we want little adjust these values. So you can adjust all these values. I set some of these values as default. For example, you don't want to change this scale too much because we will get massive trees. These trees are already about dimensions. So you can play this a little. We also have this. I also put this scale offset. Scale randomness here. So some of these will be bigger, some of these smaller. If you play with this value, maybe 0.6 is good value for randomness. I also said this rotation. 360 must be always, but this X and value can play with these values. But let's now this aligned rotation. So when we check this, it will follow world Z axis, it will not follow normal of this plane here. So this is before now this follow this normal of this plane, but trees should follow like world axis. And we also have this rotation, X and Y. If we send this to zero, we will line up all these trees maybe for trees, five or something. Now we can play with acts. So this is we have here Act 71, which is the CD spring. Maybe want snow. So 73 is snow variation. So these are super low poli trees intended for these purposes, background trees. You can see all of the cave just four vertices and multiply with few rotation. So all of these c maybe I don't know. 64 vertices one tree. So this is Asset 73, which is this one. Let's see how this look. I think this is good. Maybe we can set this to. We can combine multiple of these. For example, if I said this to 05 and if I now duplicate this, be sure to change seed because now they are in same places. They overlap. Now, if we change seed, we get another seed and we can maybe add this 176. We can say these two. Maybe 0.1. These are more like pine trees. Maybe more this 0.2. Okay, now we add much more details. And this is now only on display. What happened? Let's see what happened if I select all these objects and this one last object. So we will basically join these two object to this one. Control J. Okay, now apply all these two. Okay? This is not what I want. I will go with CZ. I will join these two objects. So these two should be one object. But I will not join this one. I want here maybe only few of these trees. So what I can do, I can go to Edit mode, and I can maybe select only a few of these phases. Maybe like this. I will go with S D, Save DZ, and P separate by selection. Now, this is completely separate object. I can make origin to center of this geometry. Now I can go with super catteron surface and set this 2.1 because trees are massive and 76 this pine trees. And again, align rotation. We have a few trees on this cliff here. Maybe we can make these trees a little bigger 0.5, 1.5, like this. And now you can play with this number. If you want more trees here, we can increase this number maybe 0.15. We can hide always this in Wuport. I think we have too much trees maybe on this area which don't have too much sense. What we can do, we can just maybe delete these phases. Okay, now we should get less trees here. Maybe 0.1. And I will bring this little down. We see this edge here. We don't want to see this GZ shift to move this slightly. 11. ADDING DETAILS WITH SUPER SCATTER ON SURFACE part 2: See what we need to do now. We now need to go to compositor, and we need re render, but only this foreground layer because we play only with foreground. Not foreground, but I'm saying background. So we need rerender only background here. After re rendering this, we are now in compositing one bender file. You may need to reopen this source file, save revert, and you should control shift than click here and you should get this update here. Okay. Let's now continue with adding details. I will add more details on this cliff and also foreground. I will just do same so I will open working Blender file. This is compositing Blender file and this one is working Blender file. I will switch to layout, and let's now select cliff layer. I will select this cliff. And again, I will go with super scatter on surface. My recommendation is to go with geometry nodes and then disable this and then add scatter on surface. Because this is a big object and it is little heavy. I need to spit this up, I need set this to one. Now I can add cliff assets here, which I also have. I have stone assets. It will still look good if, for example, add big stones. Let's try this so we can add asset 21, which are these stones, and this will not help too much because we want to make this bigger. I can maybe just isolate this here. Transform and if I said, for example, this to ten, this is what we will get.This obviously not good, so we can go with cliff assets, which is just for these purposes. So I have here 67 to seven, I think. So asset 67 should be this cliff. But because this is very huge, I want to make big offset between small assets and huge one. So I will set this to 20, and you can see what we get. But I will now go with randomized scale, and I will go with this all to 0.9. 20 too much maybe 12 or something. So this is before, this is after. I think this is too much of this maybe 0.2. Or even 0.1 density. This is still too big, maybe six or eight. We can, of course, combine multiple assets I will increase number. Here, we can maybe send this to we can shy maybe another asset. 68, let's see how this one look. This one is smaller, obviously, so we can maybe increase this Okay, maybe this one is not bad. So let's say this to Turkey, and we can play with this density. This is before, this is after we obviously get much more details. I will also try 70. This one is much bigger, so let's go with Maybe this one. We can maybe keep this one. So this is before and this is after. You know what we need to do. I will say this and under compositing, we have here cliff I will render only this layer. You can see that this is very fast, only 10 seconds. If we need re render whole scene, it will be much slower, maybe, I don't know, 30 seconds. And later when we add even more and more assets, it will difference between these two methods will be very big. So I will now go to my compositing tab, and we didn't get update here, so we need again, file, say file, the we and now you get our update here. Okay, so this is now clip assets. Obviously, we need to separate this cliff with background. Now, this is a big mess, but we will play with this later. Let's now add some assets for ground. So I will open for ground layer. I will select this object. This is small objects, so I can directly with super scatter on surface here. We can bring this here. So we now import Act zero, which is this soil. I will show you how this look, for example, if I increase this to 200, I have this soil. We can go with 600 maybe. And now I can, for example, duplicate this. I will change here seed. And for example, if I need grass, I can go with acid number seven. And basically, I combine this grass and this soil here. This grass here is not high quality assets until we click to high quality. Then we get grass with even more details and with better shader. But this first one is much faster than this one. So depend of your purpose, you can always switch from low poly to high quality with just one checkbox. But we are not here to put grass here. We want to put snow here, so I will remove this one. I will go with maybe ten. I just want to add some details here. Maybe we can add let's see what we have here. Some leaves or I think I have ivy or something here, 29. Maybe some ivy over leaves. This have more sense. Something like this. We can also use this masking option to paint over this. I talk about this more detail in instructional window. I will not use this for now, or even better solution is to use this curve scatter, so we can basically draw with this curve properties, you have this curve drawing tool, you can basically draw. Okay, here, scatter curve we can maybe quickly so this is how this curve Scutter actually looks. So this is curve Scutter. And we have all these options. Okay, not so important. For now, you can watch this video on this link. Let's back to our scene. So we had these details here with the super scattern surface, I will duplicate this change seed. Let's see what else I can add. I don't know. We can add anything. We can add a few stones. So I will go as 20. This is too much stones or rocks. Um, maybe 21. Maybe this one. I will try blend this better with ground so I can go with I have here surface offset or something. Okay, I can move this down. And there is one option if we click realize instances we can put over this, and then we will get also these leaves over these stones. Okay. But I will go with maybe 0.5. Now, you basically get more details here. One thing I forget include this tutorial is how we can add snow. So we have one free addon, which you call real snow. You can enable them to edit preferences. But I will talk about this later. So I will just add here. Real Snow, so I will not forget to talk about this later. Now we are more details, and you know, but we will do we will say this compositing and foreground, which is here. Really under this, this should be very fast. Maybe just 10 seconds. You know that we have in film enabled here. You can change this if you select camera, under that field, you can also play with these values here, and I put Castle Object as focus object. Of course, you can change any of these values. So we now need to go to compositing one save revert and we should get all these details here. 12. PASSES AND MORE: Not so happy with the volumetric, so we can maybe play with this little more. So we have this volumetric here and this slider. And let's see, I don't want to remove this. I want keep this but maybe add another layer of this. So what we can do? We can go maybe with mixed color here. Let's see. I think this should be layer one, and we can grab again these volumetrics and this should be maybe layer two. Okay. And now I will go with RAM here. M and let's preview this control sheet, left click. Maybe I want to add even more of this missing background. You can change this value here to bigger number, for example, three to make this more intense. And what I need to do now, if you go all to one, you can see we basically get black and white image. This is not what we want. So we need different blending mode. Here, we need this to lighten or screen blending mode. I think T screen. Let's see actually what we get Now, this is factor for this miss one. This is factor for this miss two. And also, this affect a lot where miss will appear. So we can basically isolate castle. So this is volumetric pass. This is not miss pass. Just don't be confused. We will later play with miss pass and we will see what we can get with miss pass. So this is just volumetric pass. But we can still try, use this. So this is before after. You can note one bug here or problem, you can see this line here. You can note that this doesn't include our trees. And I think you know where is problem. We need back here. We render this volumetric pass. We basically re render this background pass, but we didn't this volumetric, so we need go to compositor and render this volumetric pass. After reading, you can see that this mispassed work correctly. So now this includes these trees. We basically now get one more controller. It is not perfect, but if you want, separate more of this background with this, you can use this and we also have this slider here. We also have this slider. We can basically add as much layers we want, so we can basically maybe add another layer which should be so we will combine this one with maybe another one. Okay, so I will add subtle volumetric effect or this castle to do this. I need something like this. And we can now plug this here. We can sell this to screen. It is already screen, and we can add subtle volumetric effect on this area also. Actually, I want to include this part here. So control shift, and we can play with this slider here. Okay. Now we can just rename this a little or put in frames or label this. So this is volumetric. This will be volumetric ground volumetric ground. It will be easier for us when we rename this. So this will be volumetric for ground. Volumetric class. Okay, now we have three sliders, so how much we can always to the sliders later adjust all settings. This is point of this tutorial action. We can now include passes here. So let's see how we can do that. We can back to working bender file. And in this step, everything, I will enable these passes. I think these options are not connected with other layers. We can check this quickly. For example, if I go to foreground, you can see that this is disabled. This option here is not connected with different layers. But we need this only on one layer. We don't need this on every of these layers, so we need to enable this just once. Okay, now we can go here on the combined. We can, for example, select miss pass to see how the miss pass look. This miss pass depend on this number. And you can see that I changed this number by default is 5-25 meters, but we have much deeper seams. So I said this to zero to 1,000. Let's see what else we will need. Basically any of this can be useful for you, but I will maybe select just a few ones which I usually use. So most of this I will not use for now, now, we have light tab, we have glossy direction. You can use this to increase glossiness. I usually play with this option, but I think in this case, it is not so useful. So you have diffuse. So this is basically color. If you want just affect color. I will actually suggest one tutorial if you want, go more deep with these passes. No. This one from Jacob. If you're interested, how to use Blender and for VFX, you can follow this guy. He have a lot of good videos. But this is about multi passes, so you can see how this look. But I think basically he followed this form. So this is actually Blender get this composite or final result, how blender get this final result. The blender basically, I said before the blender basically combine all these passes into one combined. And if you want, break this, you make this formula. So you basically need to add diffuse direct plus indirect, and then you get color. But you can also go in opposite direction. You can separate all these passes, and then you can affect only maybe diffuse indirect without this, or you can maybe affect only this color passes without affecting any of these passes. In this example here, you can see how he basically extract all these passes and then make all these passes to get basically this combined node. But then you have access between all these layers. For example, if he want to just change color without affecting glossiness and other things, he can just place algeB curves here, and then a I think now he will affect only base color. He will just make this kitchen more brighten or darker. But I think this is too deep for you, especially when we work on artworks like this. We don't need to be super precise with all this, if you want, change color of this cliff. You can always just go with hue saturation value, and you can just change this here. In this line here. So the point is that I will not go too deep. With this, I will just enable what I think it can be useful for us. We can maybe drive with this glossy direction. Volume. I'm not sure. We have principal volume in this subject. Let's see. Okay. This is all how I structure this scene. This object here is not volume. This is if I go to shade the relator, this is object. This is emission pass. So we can access this cube only with emission pass. This one is volume. So if you select this object, we have reciple volume. So basically, if I enable this volume, direct or indirect, I will just see this cube, which is not super useful, so I will skip this Now we have emission. With emission, we will get emission from this cube and maybe this light here because I have emission cube. So again, not useful for us environment. Okay, I will show you what we can get with this Before when we create this HDRI scene, I say that we have two way to get access to this background, and this is second way, maybe more easier way than we create before, but I also want to show you how we can work with scenes. So ambient occlusion can be useful. Shadow catcher, we don't need for this scene and cryptomat we can basically select or isolate any of these objects separately. But for this, we don't need in this case, we don't need this because we already separate all these layers, and I don't see any of this object I want to separate. So I will just go with mist, glossy direction, environment, tab inocluson. Okay, and what we need to do now, I will say this and I will go to compositor, and this is you can see difference. So this is on this layer, everything, and you can see that we get these four passes here, but we didn't get on these other layers. So we just need to render this layer here. After rendering, we actually do this. We need to plug this into our open XR here. So we need closer direction, environment, ambient occlusion. And I think one pass, I forget which is the noise theta. Okay? We can find somewhere here, the noise data. Okay, this one. I think I will not use noise albedo, actually normal and the noise depth, I will just use this albedo. I think I need to render this again because I add new passes, so I will render this again. After rendering, let's see what we have, I will close this render and we are now in compositing tab. Let's see what if I revert this. We still didn't get all these things, but let's see where is problem. Because we had new inputs, probably we need port this Again, here. And here we have, actually, we get this inputs here now. So maybe you just need slide this inside, blender and then we get this inputs here or these passes. Let's see. So this is amblentoclusion, environment. Glossy direction, denoising albedo is down. Blender arrange this by alphabetic names. So that's the reason we have Albedo denoising albedo down. Okay, let's see what we can do now. One thing you can do, I think we can just duplicate this and move this here. You don't need always move these sliders here because we can put this here. Let's see what can be useful here. With ambient occlusion, we can basically extract this ambient occlusion and we can basically highlight ambient occlusion here. So we can go with mixed color. And if we said this to one, let's plug this here. For this, usually in after effects, I use soft light blending mode. Let's see how this look here. Okay, maybe this will be more useful when we add the paint filter later. For now, is not so useful. If you like this look, you can always play with this. And of course, you can put this in any in separate layers because we separate all these layers. I will skip this for now, let's see, glossy direction. We can with this increase glossiness, but for this, I usually use screen bending mode. In this example, this is also not so useful. Let's now plug this environment. So with environment, we basically get this with environment, we basically get this HDRI here, but we extract this here, so we don't need this now. Here we extract this HDRI with another scene. This is probably easier way to get this environment here, but for now, we don't need this. Okay. I see that I forget Miss pass, so I will re render this again, and I will back and I will back to this in mit. So we don't need this environment here. I will plug this here and this took over. But I don't see this miss here, so I will again, just obviously we need to slide this to refresh this blender file. So you can see after sliding this here, we get this missed pass. Let's see how this pass look. It looks similar like volumetric pass because it is in this case, similar because we have this emission cube which cover all these layers here. With this missed pass, we can do a lot. We have this very noisy image, so we can use the noise image here. Let's see. I think just the noise if you plug this here. Okay, this already works. I'm not sure why this is not black because we have these trees use Alpha value. We have plain with Alpha value, and this is little annoying, but it is how it is. Okay, and now we can go with ramp again and we can play with this slider here. I will show you example where this mispas is used later. I will maybe show you paint filter effect. But with you, I will also share this pain sky. This is what I create with this paint filter addon. If you don't want to buy this addon, I will also share with you a few overlays which I created with this addon. For example, we can now start playing if I now bring this image here. So you can inside blender composite or bring any files from outside. So you can bring any images here, and we can now maybe use this for e BRI. Okay. And let's see why why this is faded. That's because of these sliders here. This volumetric here is probably what effect to make this faded. If you want this and make this volumetric effect doesn't affect this guy, we should just set this in first place. This HDRI is actually in background. So we can just put this in foreground. How we can do this, we can go with mixed color. This will be like input A and this will be input B. So now we have what we have before, we have what we have after or this input, second input is this sky, and we can factor use miss pass, and you can see what we get. So we don't want any area between. We just want isolate this completely. But maybe for this, we can use environment pass. Let's see how this will look. So this is how this environment pass look. And if we go through color ramp, we basically get sky in background and we get everything else. Now, if I bag this, you can see effect we get we basically put this now in foreground. So this is now in foreground, but we tell blended with this mask, Okay, make this foreground layer, make this foreground layer transparent. Where is this black color. And we get this effect. Now we can maybe change to this one or what you can do. You can combine these two. What if I go with this is sky two. What if I go with sky one, and I don't know. I can maybe multiply this or I don't know. You can do everything you want. We can maybe just use one of these for factor. For example, if I plug this here, if I go with Trump I can basically make mask which will tell, where this black color, use this first input or second input, where is white color, use this first input. And you can basically review how this look when we play with this sliders here. Okay, and then you can go further, you can go with Shift click to make reroute here and you can go with hue, saturation value no, then you can change color with this Then you come back to these sliders and you can play basically whole day. If I start playing with this tutorial will take too long. So I just want to show you technical aspect of this, how this works, and then you can spend more time playing with this. So basically, you can do whatever you want. But I think after a few tests, I think we don't make this too saturated because then we get complete mess here. And we want to put maybe focus on this castle. And to put focus on this castle, I will show you another technique like linking and groups. So we basically want to put focus on this castle with sun lamp, but without affecting all these layers here. You can just press F you can call this sky. Sky textures. We can scale this. Just to show you, you don't need this paint filter. You can basically any sky texture for this, I have a lot of these sky clouds textures which I download before. And let's see, just for test, what look, we will get if we just port here real sky texture. And you will get one problem. This image is big. You can go with scale. So scale node, and you can set this to render size. You can basically stretch this to render size. Okay, I know there is problem because we open new blender file, this doesn't match with our render size. I need copy these values here. Now, this will fit to render size. Okay, this look so bad, so I will maybe play with another one. I don't know. You can play a whole day with this. I will just now make this here. 13. LIGHT LINKING AND LIGHT GROUPS: Now put this castle more in focus with Sun lamp, which affect only this castle. We can now go to lay everything, and we cannot go with Shifte and add light Sun lamp. Okay, we don't see too much because maybe this is not strong enough. So I will send this to maybe, now we see some effect, I will use the heat. And now I will location of this sun is actually not so important because sun is infinitely far away from the scene, even if you put this close to castle. So rotation is only important with sun. And I want to make this part in shadow, but I want to highlight this part here. So I will go with maybe numbe seven, so we can look at this point here. Maybe Y. Eric and you can play with Eric and Hermar. And, of course, RZ. I like some of these shadows here, so maybe something like this. Okay, I should bring this down. And now I can play with Z. Something like this, and maybe we can increase this even more. Okay, now, I want this sun affect only castle, how we can make this. So we have sun in this collection, and this affect all these layers. For example, if you go to Clif, you can know that this also affect cliff. Now we can select the sun lump. And let's see. In some properties, we can just find here. I think in some properties, let's see. Under shading, we have this light linking. We can create new one, and we can now add basically just castle in this light group. And with this, we basically tell this lamp this lamp that this can affect only this castle, nothing more. But with this, we will not get new pass inside blender compositor. We can add like this, but I want overlay, so I can later control how much I want this effect. So for this, we need great light groups. And let's see how we can create light groups. I think this is under layers. So under layers, we have light groups heat. We can create new one and we can call this sun. Okay. And now we select this sun here back to properties and somewhere here, like linking group. We can basically assign this to this light group. Okay? Now, this should be enough. Let's see what we get if we go to composite intel. Yes, we get this overlay here, and we now need to re render this I didn't get what I expect. You can see that this affect also other objects, which is not what we want. So what we need to do we need basically change to castle collection. We cannot do this in this collection. So we can go to Castle now, we have s here. Now, what we need to do we need this object and under light linking. We need to put this castle here. This is now not visible, so it is like before. Reason. The reason for this is that we only have this castle, so we don't see that this doesn't affect other objects. And now what we need to do next, we need to go to layers here. View layers and light groups. So this is what I create before. So we need click Plus. You can call this, Castle sun or something. Now, we need to select this sun again, and sun properties, object properties, we need to find here light groups. And we can load this light group here. Now, we need to go to compositor, and we now need rerender this castle. And you already can see that we get this layer here, but we just need to re render this because we need to load new data here. We need just overlay not cast. And this is already done in 9 seconds. Now we can check what we have here and we get what we expect. Okay, but now we just need to plug this here. And now we can go to I will this and now we can go to compositor, and we can extract this data here. But let's see, first we need load this here to refresh this XL fa. Unfortunately, it doesn't work how I expected. I will show you why. Let's see. We have here this combined castle sum which work how we expected this is what we want. But there is one problem we also affect this castle here. I don't want affect this castle here. So we need to tweak a little this. We actually put this in one collection. So I will put this sun in sun collection. Now, I will disable this on this castle layer. So this now doesn't affect this, but we also get this in all these layers because everything is connected. So we can disable this sun in all these layers. This doesn't affect these objects because we put this sun in light group, which affect only castle, so it is not visible here. But for any case, I want just disable this sun in all layers and also volume metrics. Okay. Now what I will do now, I will go with Castle and I will duplicate this collection. With copy settings. Castle Sun. So we will basically create new collection. And here I will enable this sun. Okay, now I can render only this layer here. So I will go with compositor and we can basically just duplicate this Shiv deal. This is HDR ICM, so we need main scene, and I need Castle Sun. Now, after rendering, hopefully we will get what we want. So I will render this. Let's see. We will extract only this pass here. This now works. Now, I will plug this here. Okay. I will, for any case just rename this combined Castle Sun new one because I want to sure that we will not get old version. Let's see. What if I now go to compositing tab. I need let's see, five S five revert. This is not new version. Let's see. What if I for this here. Composite cluster sun. It is not new version. Let's see. Maybe I need to render everything. I I will be sure if I re render everything again. So I will do this now. Now finally, after I reload this file here, we can delete this. We get this new combined castle Sanu. Now we can check all these layers. So Castle is okay. We don't have Sun lamp here. Let's now check combine Castle sun. You have only this sun overlay here. And let's see how we can use this. I will delete this and we have here cliff castle first input. Let's see how we can use this. So we can go with mixed color mixed color here, and this first will be casi. Let's see why this is not visible. We should move this to left because we have this white overlay here. Now, instead of this white overlay, we actually want to bring our XR here. And now we want to plug this combined castle sun here. And now we should get overlay here, but we increase factor here. But we should not mix this. I think we should add this because this is overlay. Basically, you can choose what you like. But I think mix is not correct here. Yes, because this part will become darker, so we need to add this overlay here. We also lighten this because this is part of this castle, but we can maybe fix this with mask later. Okay, let's see what we now add the uvahara filter here. This is effect we get. And we can always. We actually just get one more controller here. We can now play with this slider here. Maybe we don't like this effect, maybe we like, but it is all about having control over all these composition. And because of this uakara this is a little slow. This effect is pretty slow. If you disable this with M, we can work much faster practically in real time. Some effects in vendor are heavy for calculation, and that's how it is. Okay. But it looks better with these effects. We don't have this effect on background. Let's add this here we have background on first place. And now we have this effect also on background. But because we want to keep more details on Castle, which should be in focus, I will play with this number maybe 322. So we can keep more details on cast with this light. And maybe we can keep less detail on this foreground to bring this out of focus. This is foreground. So Cliff is first input foreground. The second input, you can maybe here with a big number like something like this. 14. LIVE PAINT FILTER ADDON: In this point, we can maybe start playing with live paint filter addon. So this is not my add on. This is external addon and I will share link with you. So if you want to buy this addon, I will not give you full instruction on how to use this addon because this is not my addon, but I will share. But I will show you a video in which you can find all information about this don. My recommendation is to watch that video, but you can skip that video because it is not so complicated. I think even if you follow my instructions, you can get good result. This part is optional. I think with this add on, we can get better better paint look with this uvahara effect. But this is optional. So first, when you download that add on, you just need install. This is like classic installation. For add on, you need to go to install. From this, then you need maybe I have this here. Okay, you will get file and you just need I will try. Search here. Okay, I don't have this add on here. I moved this in another folder, but just inst that add on and you will get this live paint filtereda. You just need enable this here. And when you press N, you get this add on here. But let's just for test testing this in new blender file. So I just need Select Object and we can switch to material or render preview. Maybe we can go to cycles just quickly. And here I will load the sky texture. I need to go to GPU. And now I have this light paint filter don. And when I select this, I can just make new and we will get And I think we need to be in camera preview. So now you can see this effect here, and then all this later is just playing with settings. So this is basically resolution. I think I will try change material here to make this more visible. I'm not sure why this is not visible here. Okay, let's try play with settings here. We have this bomb strength. You can see this effect here. Clearly, we can maybe shift this hue saturation and value to see this brush stroke better. And we have a lot of other options here. You can feel background. This will also use HDRI and paint over this HGRI. For didn't load any HGRI, but by default, you have this scene preview. I'm not sure where is this now. Okay, this is in material preview. It looks a little better. So we have this in weld. I think when we change this, this also follow this. And maybe one of important option is this brush stroke length. So if you want smaller brush strokes, you can just make this value smaller, bigger. Okay, for example, if you add new object here, we need to apply to new object here. We can call this monkey, and this should also work. Okay, now we get new settings here. We can play now with these settings. And this also react with light. For example, if you go with Slim, this should also create some shadows. Maybe we have some settings here. I'm not sure. Cast shadow but we don't have any plane. Okay, I will not continue playing with this because we will practice in our main file here. So we are in Castle S one, and let's now add this maybe on this cliff here. So I will open Clif flare. And for this, I will create new one. I will click here and copy settings. Let's go with cliff paint. Let's see what I need for now. I think I need to do one thing. This will not work with this debt field. So I can disable this for now. And let's see if I just go with Li paint filter and if I click here, I want okay, I need to do one thing before. I play with this. I apply my modifiers. So we have this super scatter on surface. So I apply this. So I need to realize instances and apply this modifier. Because this will not work with modifiers. And let's see if I now, I will call this cliff. And we get this paint effect. Now we can just play with settings. So I will select this and here I have settings. I always put this bump strength to one I will say this to one. I will go with 0.3 here. If I said this to hold out, this should remove this background, so we will see. Okay, this hold out actually remove this castle. So we just have this filter over and everything else is transparent. So this holdout is basically this button. We talked about this before. And we have here viewport and render dest. This is actually most important thing. If you increase this number, we will make this more dense, but this will be even heavier for calculation. This looks good for me. So por density is 11 render densities. So when we hit render, we will get even more details. And let's now go to compositing and let's save this layer. So what we need to do Shiv D, this is seen, which is okay. We need cliff paint. And now we need to render this layer. Okay, let's see what we get. This is good. So we can save this later. But you need remember what I talk before. When we create new layers or folders, it will appear in all collections. For example, if we go to collection everything, this is not problem because we have here everything, but I will disable this for now, and it will be in all these collections. So we need to go in all these collections and disable this. I will disable this clip collection. In foreground collection. In castle collection. I dissemble this paint filter in collection. I keep only in this paint collection. Now we can render this. This is how this look. This is good, and we can call this we can plug this here. Now we have this image name, which is not what we want. We call this cliff paint filter. And now we need to re render this and we can then jump to this composite blender five. Okay, I forget recording my voice, so I will remove this for now. So basically, nothing happened after re rendering. Let's check my voice. After re rendering, I just move this into this composite to refresh this file, and I get this cliff paint filter, which looks like this. So looks like how we expect. And now I will back all these layers. Because this is a cliff paint filter, this first input is cliff. We can mix this here. So mix color, and we can put this to second input. Now, we basically have this overlay. So this is before, this is after. And I'm not so happy with this result. I think we have too big brushes and too much of this. So I'm trying to play with these settings. I reduce this brush stroke to maybe 1.4 to make this smaller. And I will decrease resolution. So we have resolution to 12, which is maybe too much. So ten should look like this, so we can maybe just keep this more subtle. Okay, now I need to go to compositing and I need just re render this layer. I'm not sure why now this become not more transparent. This we now get this black background. But I think if we send this to screen, we should still keep this paint brush here or lighten these strokes here, but we will remove these black colors. Okay. So this is before these strokes here. So before and after. I think I will not continue with adding like this become a little slow. I can now spend 1 hour and add this paint filter to all of this layer. So this is cliff paint. Now I need like duplicate this and create castle paint layer and then add this effect to castle play with settings. I think I will do this maybe without recording, and I will save all these overlays. And then I will share these overlays with you. So instead of saving this in open EXR, I will share the separate images like I do with this overlay here. So point of tutorial is just to show you new techniques, and what I use, it is not point to repeat the same actions over and over because this tutorial will take too long. But I think we get a lot with this overlay. It looks much more like paint, artwork than before. So with M, we can mute. This is before, and this is after. One thing we can maybe practice now is masking in blender. For that, I will disable all the uvahara effect because I see that this slowed down my compositor, and let's now open a new tab here. Horizontal split, and we can open here. I think image editor and under image editor, we have mask option here. First, I want maybe highlight this castle here so we can make another mask over this castle here. One thing you can do, you can maybe load here, er node. And we can create new mask. So I will call this castle mask. I know that there is shortcut to create mask I don't know, control, right click or something so you can drap your mask. But I forget how to do that. So we can maybe just create circle mask, which is down, and we can go with G, place this mask here. Now, of course, you can play with these candles here. But I think this is already okay. And we also have here feather. If I resf now. I don't use this feather because we have blue uption in compositor, which is basically feather. So we can use this here. And now we have this castle mask, how we can use this. Let's see. We have this sky and I want to highlight this area here even more. What we can do. We can basically duplicate this one more time, CD, and we can plug this also here. Now, let's say, this bottom one will be even brighter. So if I said this to three, let's preview, actually this. So if I said this to one, it is less bright, but I will know. So these 23 let's see if we can maybe make more saturated and maybe more reddish. Maybe something like this. You can always go even further here with mixed color mixed color and maybe add I don't know, reddish color here and sell this to color blending mode. So only color affect this. And now we can maybe go closer to color we want here and what we can do now. I will now back this last node, and we can select this mask. Search for mask and we can select this castle mask which looks like this. And what we can do, we can now mix these two with G, we can move this mix color node here. And now we can use this mask as factor to tell Brenda where we want this effect and where we want this effect. Okay. But we need feather this or smooth this. We can do this with blur effect. We can all we need very big number here, for example, 300 or even more like 600. Maybe if we invert this, let's see if I want reddish sky but I want. So this one is reddish. I want this to be brighter. So I want highlight this tassel. So if I said this to five, you can see this logging effect. Or maybe we want, like what we have before. So I want say this to one and this one to five or something. And I don't like this color, maybe yellowish color or something. Okay. This is, again, about playing with all these options. It is about what you like. So we can maybe now make this darken this sky darken and this even more bright. But this is too much. Or we can maybe just make this white. Let's say if we said this here, maybe we can paint this guy, maybe to bluish color. But this will not affect too much because we need more saturation here. And we also shift this hue. 0.5 with default or actually this color. But we need more saturation to see this color here. And now what we get if we now play with this mask here, you actually update this in real time. Okay. Now, we basically put more focus on this castle. This is what we have before. Okay, not this is what we have before. And this is after. So this is too bright. You can also go with SX to scale this mask on Xaxis and I will desaturate this Okay. Let's now back our Kuahar effect. So we have one here. I unmute all these effects. Now we have one more thing to control. I want to keep this subtle. Let's see if we paint now these two red. No, I think I want keep saturation to zero and maybe increase her light. We can also shift hue on this light on castle. I have one Lahara effect here. This is for this background. So it is very easy. We have castle and castle effect should be here. There is castle. Okay, here is actually castle, and this sun effect on castle should be also. There is this castle effect. Let's see. So this is basically input B. We can increase this even more, and let's see if we change hue. Actually, I think better ways mixed color. Mixed color, and then we can set this to color rending mode. And now we can basically paint this sun tint here. We can shift this even two or to one Okay. But I think this color of background should match, maybe this color, so we can go with Control C, and now we can pay this here. Now should this color match this one. But I don't like this effect, so we can bring saturation closer to more to left. And let's see this factor is also too intense. 15. PLAYING WITH EFFECTS, COLOR CORRECTIONS, AND MORE IN THE BLENDER COMPOSITOR: Hello, it is new day here, and I prepare something for you. So yesterday, we stopped with this light paint filter. But because all the setup to get all these overlays takes some time. I decided to make them without recording. So I actually just rendered these overlays, and we can now put these overlays over this composition here. So we have here background paint. I actually make two versions. So this one is less dense with smaller brush, this one is bigger. Next one is castle paint, and this one is cliff paint. I think actually, we create this cliff paint in tutorial yesterday and this one is foreground paint. We can now try import this in our scene. So how we can do this. Let's see first one. So background paint This should be very easy. So we have we need fine background layer here. Okay, here is background first. So we need to put this overlay here. We can maybe go with this one. And we can now go with mixed color, actually. So okay, not mix, mixed color. Mixed color and we need to plug this here. So this will be this is now input A. This white color is our input B, so you can see that we get this gray overlay. So we need just plug this here, and now we get this overlay. So if I go to left, this is without. If I go to right, we get this okay, I'm not sure why, but this have black background. Okay, we mix this actually, because we have this transparent background, we should just go with Alpha over. So I will go with Shift X to remove this but keep connection, I think, for Control X. Okay, Control X. Let's preview this. So we should go with Alpha over because this is transparent. Alpha over, and I'm not sure why I delete this overlay, so I will bring this in our scene again. So this is background, so this should go in foreground because we want to see this here. Okay. So you can now see this paint effect. Let's see this first version with bigger brush strokes. So this one. Okay, maybe we can keep this one or first one. Of course, I will share this over with you if you want to play with this. Let's see what I prepare next. Next one is castle paint. So we can put this over Castle. And of course, let me show you here. I'm not sure how to remove this preview here. This Kuvakar effect still affect this background, so we can remove this with M. This is before. This is after. We can just play with numbers so we can bring this to about to some lower values. Let's found now castle. So there is castle. Okay, this castle here, I'm not sure. I think this is castle, but we didn't add any name here. Let's preview this. Okay, here we have castle, but I forget to add this label so we can it castle. Okay, now we have this castle with this Cubajara effect. So we can maybe mix this here. Okay, this is castle plus. Yes, of course, this is castle plus this cliff. So we need to plug this overlay here. And let's see. So we have this castle paint. This is very easy, so Alpha and we should plug this in foreground. Okay. Now we have this paint effect. This doesn't match too much with this sun overlay. So let's see where we put this sun overlay. I think this thing here is our sun overlay, yes. Maybe we should put this sun overlay after this, or maybe no. I'm not sure, but let's see how this looked before and after. Okay. Let's see what is next. Next is clip paint. I think we are ready to add this. So let's see where Clif is here and we plug this cliff paint filter here. So we build this inside this open XR file. In this case, I actually render this in PNG, but practically same. So we have this cliff overlay and let's see what next for ground. Let's see where is foreground. Cliff is first overlay and foreground, this second overlay. So here, we can go with Alpha over, plug this here and now this should go in foreground here. So this is if I press M, we can see before and now is after. And of course, we can choose how much we want of this opacity of this foreground layer. Okay, and we can now see everything together. One thing I think is important here. We need to separate these foreground elements from these cliffs here. I think we can do best with miss pass here. So we actually need to make more depth here in this sa. Now, this is a big mess. We don't know that this is tree. We don't know that this is cliff in background because everything is connected. We can put something between these two layers somewhere here, but I will not do that. I think we can maybe do this with miss pass or something. So I will go with shift right click, so we can make one reroute here. And let's see what we can do. We have here this open XR, and we have here a lot of this layers. So this is miss past, and this should be good enough, but because of these leaves which have transparent shader, this mispas doesn't work, how we should expect. But let's see what we can do. Now with Trump, we can twig this. Yes. But I always get this transparent part here. Let's try to go with the noise. Okay, now this look good. Let's see if I move this here. Let's see what I actually want to do. Let's move this here. I think I want go with mixed color mixed color. And if I said this to input B, this to input A, and now what we should get, we should get this white color here is actually overlay. So everything, what is black, it will not be visible and everything, what is bright will be visible. So this part will be more visible. This part will not be visible. So we actually get what we want. We separate this for from background here, but I don't want to affect this castle. I want to keep this castle in focus. So we need mask here. I just want maybe this area. And we can create new mask to create new mask, we need click here, and I will call this maybe after maybe after cheese. So just to know what you're selecting, it is not important and now we don't have any mask, we can go with art Nu and I will now scale this mask. We can shape now this mask. I want maybe this area. I want cover this area here. So with G, you can move this And let's now load this mask here so we can go with mask. And now I will select this after cheese mask. And let's plug this as factor here. Now, we should get okay, let's see where is problem. Problem is that this is black and white image, and we should set this to screen blending mode. So we should tell Blender, Okay, ignore blacks. So black color is value of zero and white color is value of one. So we need to set this to screen, maybe ten or some of these blending modes from this part. Let's see, ten. No, screen. So just set this to screen blending mode, and we just need now blue this. We can label this miss after trees. So we know, what is this? Let's go with Blur. So Blur effect, and let's now say this to maybe 600. So we need a very big number here, and this is before. This is after. I need pressm on right side, not on left. So before, after. And how we can now control this. I think if we now remove these white colors, this effect will fade. So basically, we can control with this slider here, but I think this is not practical. Like later, I will forget that this is controller for this. So we can always go with another week color. And this will be input B and this before this effect. So this one will be input A. And now we have this slider here. Again, this, we can label this with F miss after. Now we have this controller here. And of course, you can always in real time, play with mask. So you can see that this update when we play this mask And this blue also affect a lot. If we reduce this to maybe not 20, or maybe 200. We will get more sharp edge here. So maybe 400 is good. Okay. Let's increase this effect, and let's cover maybe hold this tree. Something like this. Now, you can see that it is much easier to read this composition. So now we know that this is foreground. We have here Cliff and we have also background here. I don't like this guy, but we play with this a lot. Let's see what we can do. We can maybe start again. So first time, we just go with this overlay here, which I share with you, second time, we go with this one. Maybe we can use this one. But for this, let's move this a little. We can just use two hue saturation. Hue saturation value. We can plug one here. We can duplicate this one, and we can bring saturation down. Maybe this one not. And I want this second one more bright. And now we can let's see. I need to plug this here. We can mix these two. So let's go with a control shift and right click and we can set this to. No, we don't need to set anything. We just need to use this mask. So this castle mask, you can see this mask here as a factor. Okay, this is now result. So if we now brighten this even more, we should get more bright parts over this castle. Or we can maybe make this more dark. And this saturation is also important. So when we have a lot of saturation, we can play with hue. So if we want yellowish tint, we can maybe copy here this yellowish tint. Maybe this one more to reddish color. No. Or what we can also do, all the mix with mixed color, and we can maybe put some color here, for example, blue. So now everything should be more blue, and we can now set this to color blending mode because we just want affect this color. So now we control both of these with this overlay here. But again, this is all up to you. We are not here to spend whole day tweaking settings, we are here to learn how things work in compositor. Okay, we can choose this baby blue collar, and I think this musk is maybe too big, but we don't have too much offset here. Maybe we can make more offset. To put this castle in focus. So you can play here with aX, a Y. If I just mute this, you can see before, and this is after. Okay. But again, more sense that we have this sunset color on sky because we put this overlay here. But if we make this part like golden hour, but this part bluish. We can also do that maybe with new mask. So I will maybe call the sky and let's add square mask. Let's see what we can do now. If I place this here, there's the scale. And what we can do now, we can go with we can just duplicate this CD. What if not where I put this I need disconnect this, and we have now new mask. Okay, we need to select this. Sky mask and we get this. Now, we now we need blue this, of course. We now get this maybe 400. And let's see what we can do now. So we can duplicate this with Shift D, and we can now make this maybe blue. And now I will plug this here. Now we can mix these two together with shift right click Control Shift, right click. And what if we now plug this mask here? Okay, now we get this effect. Let's see. I think if we go over, this will not work. Maybe we need to go 900 or something. No. 500. Now we get this effect, which is nice effect. But let's see. What if I copy this color, pace this color here. And if you know, just darken this and make less saturated. Okay, why? Nothing is visible. When we go closer to this color, it is less visible. Okay, we can actually create this effect. I will bring saturation. When we play with this, yes, actually, when I move saturation closer to zero, we actually fade this effect. This is probably because of this color branding mode or something, but not so important. Let's just choose some different color. Okay, I think this is nice effect. With this mask here cast a mask, we can still put this we can put this more in focus, so I will bring this up a little. Not too much. Let's again see what if we go with blue tint. I think I will now stop with Blender compositor. I will try to get the best result, and I think I will share my final result with you, but we can now continue with next part, which should be from Blender to other compositing software. 16. FROM BLENDER TO OTHER COMPOSITING SOFTWARE: Should be from Blender to other compositing software. In this part, I will show you how I use after effects to do similar what we do here. So instead of Blender compositor, another software. So instead of Blender compositor another software and my software of choice is after effects. But of course, you can also use DaVinci Resolve or any other software. I think process is similar. You can find on maybe on YouTube. How to transform color management from blender to another software which you use. So we can open blender and after effects sorry. And let's see how we can do that. I will go with new project, new composition from footage, and I will load this say XR use in our a blender compositor. You can now see that everything is black because we have this XR file here. But in this file, we have a lot of layers. How after effects we know what we want extract here. So keyword is extract you can search for extractor. So now we need this here. Here is EffexPanel, so I will bring this here. Now we have all these layers here, and I will choose this main layer, which is all layers. And you can note one thing here that color don't match. Here is why this happen. Blender, by default uses filmic, you transform, linear workflow, open color OCO. After effect doesn't support filmic, use different gamma handling as XR files linear, but without blenders, you transform. So basically, we need transform our color management. Here is how we can do this. So I select the all layers and we have these layers, but we can basically select any of these. For example, you can see that we have all these layers we have in Blender. Okay, let's select this background, and I will select this layer also in Blender so we can compare or see difference. Let's see background. Colors from after effects should match these colors. Let's see what I do last time. This is extractor, but we need one plugin which is called open Color IO, and I will create new layers. So I need to put this layer over. So this layer will affect everything which is under. I will rename this open IO, and I will now load this plug in here. This plugin is not by default. In after effects, you need to download this from Internet, and this is free. You can just search for Open Color IO, and you will find this on first result on Google. But if you have any problem, you can always go to YouTube and you will find instructional window. It is very easy. You just need a few clicks and you can install this for free. Now, I will bring this here and let's see what I do last time. Next thing we need to do we need load Blender OCO in after effects. So how to do this, you need to go to your PC, RC and program files. You need find Blender here. So Brander Foundation and logically is to go to Blender five. But there is one problem I will show you later. So here we have a under co management. So you need to open all these folders and under Color management. You will find this OCO file. But there is one problem. I load this and it doesn't work. So I ask AI, what is problem. And here is answer. So when loading lender five OCO file in the open Color IO plug in for Aftereffx the following error appears I get this error by this cup and Blender five uses a new OCO configuration that includes built in transform features and new ACS out transform. However, the OCO plugin for Aftereffects does not fully support these new OCO features. So I understand that because Blender five changed color management and Aftereffects does not support that new color management. And then I ask what I can do to fix this and I get answer that I can just load OCO from older blender version. So I will go with Blender 4.5 and I will load this one here. Now we just need display this from LinaRg 709, which is somewhere here to this SRGB. And now we can also change this view transform like we can change here in Blender. Okay, I think I use standard or filmic. There is no big difference. I think you can choose any of these you like. And now this should match what we have in Blender. Okay, I close this composite tab, this one here. So I think this now match pretty good or perfectly, but I change the tree, so we have different trees here. I need I need to re render this. But because I apply this modifier, I get different trees here, but this is not important. I think this should be standard, and now this should match perfectly. Okay. Now we can start compositing in after effects. We can call this. Let's start from the beginning. Let's see. We should first import maybe foreground here, and I will rename this to foreground. Foreground, now I will duplicate this and this should be cliff because Clif is next layer, and we should now choose here Clif. Cups look to refresh this, but we change order. Actually, this should be foreground, should be on top, which have sends. Next should be castle. So castle and let's now select Castle. I need to always refresh this. I'm not sure why. So castle should be under cliff here. And next should be background. Background should be lost, and we also need HDRI here. So we can call this HDRI. And we do here everything we do in Blender compositor. You can see that this is a little easier. So we have all these mess with these nodes because this is node based. This is layer based. This have also some advantages, but I think I'm a little faster in after effects. Let's see what we can do now. Of course, we can choose this. So here's the RI. We can choose maybe this paint layer or we can make this to here's the RI and maybe here, we can choose this paint layer. Now we can just with T, choose opacity. We can blend these together. We can of course, use different bending modes. And each of these will add different results. I know that there is one shortcut to quickly skip between these blending modes, but I don't know which one is. I think I should Google. I will show you how masking works in after effects, it is little easier than in blender. We can just grab this tool. And for example, I can select this part here. Okay, I know why this don't work. This masking don't work because of this extractor. After effect see this as not as one layer, but as many layers. You can see all these layers here. I think we need to precompose this or just put this in folder. And now we can mask this folder with all these layers inside. For example, if I want Mask this part, I can just do this, and now with MM, I can open the properties and I can feather this. We do this with blue effects in blender, but here is with this feather. Of course, in blender, we also have feather option, but I didn't found that option because I usually do this in after effects. Okay, we can also maybe load this paint filters. So background should go over background. We have here background, so we can put this over this background, and we can also play with this here. We can set maybe these two different blending modes so we can see what we will get. Okay, I will give this to normal and we can now do all things we do in Blender compositor. So cliff paint. Let's set this over Cliff. For ground paint. This should go here. Let's now try make this mist effect after this foreground. I need to duplicate this XR because we have here mis Mist caps to refresh this and let's miss pass here, which looks like this. I will now isolate this by clicking here and we can after effects in blender, we usually use color m, but we have here levels. Now with levels, I will push this a little. Something like this, but we have same problem with this transparent part here, but this is not important. For now, I can now just say this to screen blending mode. And we get this effect. Now I can just create mask here over this area. And with twice, I can create feather here. Basically, same process but in another program. Let's now bring opacity all down, maybe just a little. And of course, we can change color. In all these layers, let's try paint this cliff. We here, we can go with you can search maybe for cue saturation. Actually, we have this here, but lumaar color is main tool in after effects for color grading. So we can basically play with all these values. We have all these curves here, so we can affect any of these channels. We can basically play whole day with all these tours. Let's see how we can highlight this castle, same as we do in Brander. We need to put this on this HDRI, but we have two HDRIs here, so I will precompose this or I will put these two in one layer. So we can call HDRI, and we can now duplicate this HRI too, but I will rename this DRI more bright. And now I will go with lumetri color on this layer and I will basically bring exposure up, something like this, or we can play with all these options. Now, I just need mask, which is very simple. I can just bring this here and I have this mask and I can increase feather here. This is before and this is after we do similar in Blender. I will stop here because this is not after effect, Tutorial. This should be blender Tutorial. I just want to show you how we can bring color palette from blender to after effects if you use, for example, after effects for compositing. And we have maybe just one chapter which I additionally add here actually too. So we can go with append link, pack library overwrites, edit link libraries. 17. APPEND, LINK, PACK, LIBRARY OVERRIDES, EDIT LINKED LIBRARIES: Let's now open completely new blender five. And now I will delete all this and I will just load plane here. So this will be our ground. Maybe I will switch to GPU and I will load this sky texture here with my below sun. So we have a little better preview here. Now, I will open as a browser and I will load these eight fridges. This should be ten. But for now it's eight. And let's see what is the difference between link, a paint and pack. So by default, this is set to follow preferences. And what is follow preferences, that's what we set when we add this collection in Asset browser. So if you go to edit preferences, five parts, you can see when we select this import method is this is what we set. We said this to append. So the follow preferences is actually in our case, a pend and how you know that this is a pen. If you jrag this and move this here, you get this yellow cube. So you basically get option to put this object where you want and why you get this option because this object is now physically in this Blender file. So this file is not saved. So let's save this one desktop, and we will see that this tree is actually physically here because these have 12 megabytes. But let's now do different. I will now go with Link. I will open completely new Bender file. And I will do same. We don't need this HDRI. We just want to do this quickly. So as a browser, H import method set to link. Okay, I will delete all this and create same plane as before. And now, when we link this inside this blender file, you can see that we don't have this yellow cube. So basically, we cannot choose where to put this object. And we put this object here and why we put this object here. Every time for example, every time we put this object, it will always be here. Why? Because this is just linked from another brander file. And in that blender file, this object is in this position and we cannot move this change position. We cannot do anything here. We cannot go to edit mode. And if you go to Blender file, you can see that this is just link to this blender file, which is this one. So in this blender file, this object is stored. Let's see what will happen when we save this on dest save I will call this link. You can see that this blender five is actually big 1 megabyte, which is default blender five. Even if you save empty blender five, it will always be 1 megabyte because this is how big is default blender five. Let's see difference. So with this append object, we can basically do everything. We can edit this. We can rotate, move, scale. We can edit materials, modifiers because this object is physically here. But with this, we cannot do anything. We cannot even move this. You may ask what is purpose of this because we cannot do anything. We actually can do with library overwrites. If you now go with right click Library over make selected content. Now we get permission from Blender to overwrite some data from original bender file. For example, if I press N, you can see that if I move this, we can overwrite this data from original bender file. And how we can move. We can do some. We can do limited things, but we can do main things we usually do in object mode. We cannot go to edit mode, but we can do a lot of things we can do in object mode. For example, we can even edit modifiers. For example, we can play with modifiers is this object modifiers, we will be able to play with modifiers. And we can also duplicate this with D. So this is advantage of this link option. Even if we have millions of these trees, for example, I can go with D Y, shift let's see, shift to duplicate this. We can link another tree here, for example, this one. Now we can override this one. Library overt make selected and content all D Y. Shift, we can create millions of these trees. We can basically load all these trees here. And if I now save this, let's see what happens. We still have vendor file of 1 megabyte. It is a little bigger because vendor store this data here, this blue data, this one. So it will always be a little bigger for maybe a few kilobytes but nothing more. But if, for example, append here, a lot of these trees. So this method is set to append, if we do this you will see what will happen. So if I go with save this blender file will very fast become very big. You can imagine if we create whole forest with these trees, it will become very heavy, very quickly. With this link option, if you don't need to go to Edit mode, change mesh this tree or change shader, you can do everything. You can usually do in object mode. And you can have whole forest for 0 megabytes. So you can save a lot of data. But what if you need, for example, change shader of this object or change mesh of this object. You can do in original Blender file, and here is one shortcut. So we have these edit link libraries. So this is one small addon which comes with blender, so you need to go to edit preferences and search here. Edit link libraries or maybe here under get extensions. And now what we can do, we can select this object, and this add on will be here, under item. When you press under item, now, if I one disclaimer, you need to save this blender file. For example, if this blender file is not save, you will not get this option. Now, we can with one click, go to original Blender file where this is stored. So one click, we are now in original Blender file, which is this His. And now we can select this object, for example, if I go with EX extrude this. Now what I need to do I need to be in object mode. Now I can just with one click return to original Blender file. We have check this out of save. Blender will save these changes and we can with one click back to this working Blender file and we get these changes here. I will now undo this. I will back here and let's go with GX to undo this. Now I will return to original vendor file. Actually, this should be working blender file, and this is where this tree is saved. Okay, that's basically all. We have one important option, which is pack, which is worse option here because if you use this, you actually append this object here, and then you pack all shaders in this blender file, which will make this blended file even more heavy than with a pen. So if you go to Shader, I think Blender will pack all these textures. Okay, this is no shader, but let's see. Yes, you can see what Blender does. Blender actually pack all these shaders inside this blender file, which is crazy. This is same, like you go with file. External data and pack all resources in this blender file. If you don't know what you are doing, just don't use this PAC option. So basically, this is different between link append and PAC. This PAC is new option in Blender file before we have link append and append reuse data. We are almost done with this tutorial. Last thing is this real snow addon because we work with snow scene, I will show you how this addon works. Basically, you just need enable this in it preferences. Under add ons, you can search for real snow real snow or get an extension and you can enable this for free. Now, what we need to do, I will create here a few objects, maybe Suzanne and maybe these tours. Okay, what we can do now, I will go to maybe render preview cycles to see this effect better. And switch this to GPO. Okay, how we can add Snow. Just select this object, press and and there is real snow. Okay here. Now, this coverage is actually how much of this area we will cover with this. If I said this to 100, this should cover whole this area, but not this one because this use like normal this object, it will always add snow on top. I get these errors, but this just work. I'm not sure why I get these errors. Let's just paint this to black to see this effect better. Okay. But be very careful with this addon with this add on, we actually get two modifiers. First one is subdivision. If you go to this mesh, you can see that this is already very dense, and plus we have this subdivision here. So just remove this. You don't need more measure than we get. And we also have this decimate modifier. This is actually good modifier because with this, we actually remove some of the mesh. If you go crazy, you will get this effect. You can basically choose how much you want these vertices. If I if I apply this now, we get this mesh here. So let's now add snow here. Coverage, if I bring this down, I will now get less coverage here. We basically few of these snow balls's now maybe add more height. So this is how this is actually height of the snow. If I go crazy, I will get big snow but if I go with lower value, I will get small snow here. Let's now maybe go with coverage about 20%, and let's see what we will get. Select Object. Okay. This is barely visible, so we can add more snow here. Okay, and last one is this Zan. I will show you how we can import this to our scene. Let's say we want add snow to this scene. You need to be careful. This object is very big and if you apply this modifier to this big scene, you will actually create millions of polygons. What you can do, you can also maybe copy this object here, and I will close this one. And I will open blender file. We can basically just paste this object here. And you can try with apply this to this very big object. I will try and do this now. Let's see what will happen now. Real Snow. I will go with smaller number here and let's click here. You can see that this is not so easy for my computer. This take too long, so this is my recommendation. You can just go to Edit mode. I C, and phase selection, you can just select some of these phases. Or areas where you want this snow, we can now go with Shiv D, and I will go a little with just to make easier to select this object later. So P separate by selection. Now we can add this snow on this area here. Now, this should be much faster. We get the snow here, but let's remove this modifier. You can use this decimate modifier, but we can also remove this. You can remove the snow with mesh cleanup decimate geometry. And we can keep only 10% of this with value 0.1. Even 0.05. Now you can see how much vertices we have here. This is massive. This addon can be very heavy, but you need to be careful with this. This addon also can be very useful. What we can do now because this is on the same position, like in this Blender file, we can just copy object and we can bring this optimized object here. And if you go to Rando preview, this will look nice. Okay, we need to bring this little down because we bring this plane, little up JZ. And I overkill with this coverage. So I said this 2.9 or something. So this doesn't look so good, but this is how this works. Okay, this is all for this tutorial, thank you for watching and thank you for your support and see you in next one.