Mastering Multi-Scene Creations in Blender: Chapter 6

1. Intro: M Welcome to C hapter six of my Blender master class. In this class, you will learn step by step how to create this exact scene from scratch. But why stop there when you can create multiple scenes from that same environment for a better and more compelling visual storytelling? If you don't know who I am, my name is Kwan Shavon, and I have a decade of experience in photography, cinematography, and blender. I have worked with top clients like Apple, Adobe, and quite recently, Jaguar, in which I have applied the same principle of visual storytelling. One environment, multiple scenes. You want to enhance your portfolio, contribute to film projects, or simply just bring your imaginative world to life. You are in the right place. And I would like to mention that this class is not entirely beginner friendly, so please watch earlier chapters or other foundational resources if you're just starting. We will start by understanding visual storytelling. Following that, we will break down some of my work that I created for Jaguar. I will talk about the importance of having set of references and storyboard. Then we will get into the practical application of the whole project, such as building the desert terrain from scratch, adding elements like fog, character, and a car for more depth and narrative. After that, we will get into how to add multiple camera angles to capture the environment from various perspectives for telling a compelling story. Finally, we have the post production phase, which is refining our scenes in light room and photoshop to ensure a polished cinematic finish. Of this class, you will know how to set up a scene from multiple angles and manipulate focal lengths, composition, and depth to make each shot unique. Quick disclaimer. I will use some paid add ons for efficiency, but most assets that I will be using are free, and the paid ones are affordable. Don't forget to post your projects in the project gallery. I would love to see your creations, and don't be afraid to get creative and add your own touch to it. So if you're ready, grab your coffee, fire a blender, and let's create something together. 2. Visual Storytelling: What is visual storytelling? Visual storytelling is such a powerful tool. It lets us convey emotion, narratives, and theme through images. In a cinematic environment, every asset, camera angle, and lighting setup plays a crucial role in this storytelling process. Think about it. Effective visual storytelling can make a big impact, and it creates a very strong connection between the audience and the scene. Setting the tone and giving contextual clues about the narrative right away. For example, this dimly lit alloway artwork that I created a few years ago can evoke mystery, and tension. However, for this project, I wanted to create something bright and serene, like a desert and landscape to convey a sense of hope and freedom. And as I mentioned, light, color, location, characters, the body language of the characters, all of these plays a very crucial role in building this narrative. Storytelling also immerses the viewer, making them feel like a participant in those environment rather than just spectators. And this obviously is achieved by carefully arranging assets and meticulous composition, drawing the viewer attention to specific focal points while building a cohesive world. And this quickly reminded me of something I always mentioned to my friends whenever we talk about art. And that is every artist is a director, more like a film director. What I mean by that, a good artist will probably make you feel something, but a great artist will direct you to where the focus of the piece should be going. Like a good artist will manipulate in one way or another to make you focus on a specific part of the image. And that is all done by manipulating composition, the lighting, there's a lot of technicality aspect to it, but also concept and the idea. And finally, what are you're trying to tell? Ultimately, how we use visual storytelling affects how our audience looks at our work. So our choices in asset placement, lighting, and composition should always align with the story we want to tell. Ensuring that every visual elements that we add is making the whole scene complete. 3. Jaguar Collection Breakdowns: Oh. Welcome to this part of the class where I get to share something really exciting. The Jaguar collections I created. I might sound like a fanboy right now, but this is one of the proudest moments of my entire career. I worked on not only one but three different collections, and they perfectly illustrate what we've been discussing so far, which is applying design principle to real world projects. And due to privacy reasons, I cannot show you the actual project files, but we will be able to break down each collection to see how my choices has enhanced the visual storytelling. Now, before we get into each collection individually, I want to share some common elements in these three Jaguar sets. The first common thing would be brand identity. Each set shows Jaguar as a symbol of luxury and power. And this is a crucial point I'm mentioning here because if you're an artist and you want to work with brands, you have to understand their vision. Like not only think about your creative choices, but also think about from the brands vision perspective, like, what do they want to achieve with this project? What is their goal? And trust me when I say this, once you understand that as an artist, you will be unstoppable because you will be able to find yourself working and being interested and finding a middle ground between your creative choices and also aligned with the brands vision, which is the whole point of any brand working for you. Other common thing would be lighting and atmosphere. What you see here, obviously, is a strategic lighting highlights the cars features and sets different moods, especially as you here, we have three different sorts of lighting for each set. For example, for this collection, we have this emitted sphere that is creating this illusion of light, and also that creates this very beautiful color harmony. Between the deep purple and deep blue. And this create contrast, and there's a lot of layers that goes to separating the actual vehicle and the character from the background, which is and lighting can become really handy when it comes to object separation. Another point would be the dynamic composition. So you might have noticed right away that we have a variety of different angles and different composition. And the goal of that obviously is to keep things exciting and engaging and highlight close up features of the car as well. And this works super well for let's say an Instagram feat, or you want to showcase a portfolio. Variety in composition definitely helps you with that. There's obviously a lot of commonality, but the last common thing I want to mention would be the mysterious characters. Something I do in most of my artworks, which I always try to never expose the characters I'm using. And it creates this very mysterious vibe that also aligns very well with the brand. Jaguar also emphasized on the fact that that the pieces must not give away too much, and this aligns with the type of artworks I do. And this is one of the reason I reached out. So these were some of the commonalities that I wanted to mention. But really, when you look at all the three sets, you can tell that there is a dotted connection between all of them. For example, the first two projects I did, I wanted to create this piece for the male character and the female character, which resonates very well together, and they are in two different world, two different. Like you can go as far as bringing metaphors in these And this obviously needs some creative push from your side as an artist. But I don't want to I can rent about this as much as I can, but I think I want to get into the pieces a little bit and briefly talk about each set here. So this mountain sunset collection. Let's call it that. The theme here is pretty much the nature and serenity with this mountain here. Let me actually start drawing, even though you know I'm not good at it. Nature and serenity is the theme of this set, and I wanted to create this beautiful layer of mountains which creates depth. And speaking of depth Obviously, you also have this fog or haze. And the idea was this is coming from the exhaust of the car, which creates this very nice separation from the actual, you know, car and the background and the mountain as well. And obviously, lighting plays a major role in bringing the car's features. Like, lighting has to be soft and create this beautiful lines on the side. It was very important to have this creamy look. I Think that's the best way to describe it. So, yeah, this is pretty much it. I'm not going to go piece by piece, but I'll only mention the important things here. And one thing if you notice, like, there is this, how do you say, this line here, which in the beginning was not intentional, but then I tried to actually connect them for the instagram feet. It looks very good. And you can see on their Instagram page, the line are also connecting. So this is another way to get creative here. Alright, let's get into this one. So from this collection, this one is probably my favorite. I just love the simplicity side of things, like, you just have the ground floor with high detail texturing, and then you have the kelight from one side emitting the car here and creating this very beautiful line. So in this way, you create a very balanced contrast. One side is high light. The other side is shadow. The goal for this collection was to go for an urban setting with a city scape and moonlight, adding this mysterious look and elegancy, you would say. And It might not be as always realistic, like the moon rarely gets this big, but that's really not the point. The point it was to create an intriguing look that would also help to bring out the features of the car. As you see this moonlight is so powerful that it becomes the light motivation for this key light here. And it's a very soft light as well. And this is basically a feel light from the sight. And that's something you always have to think about. Like, where is my light motivation? And then you have to place your light according to where is your light motivation. Again, now, now we have for this pieces, the beautiful separation from this haze. And I did this through my brush pack, I think, one of the brush packs called fog. And I just sprayed around and drop the opacity, and this creates a very nice separation. And we have a silhouette character. And here, the pose is very, very important. L, the way you pose your characters. It depends on the story you want to tell, but in my case, I had to make the pose confident and powerful because body language is pretty much everything. If she looked sad or like her maybe head was tilted down and like towards, like this direction, it would have probably not gave the same vibe and feeling of, like, confident and power in her pose as it does now. So keep that in mind when you are creating and especially playing with character. Again, same thing here, and I intentionally made her out of focus to create and guide the audience to look at the main feature of the artwork, which is the brand and the car. Plus, it helps us to not expose the character. Alright, our final set here would be neon Futurism collection. Let's call it that. And the theme for this one, obviously is more or less futuristic. You can already tell. The goal was when I created this, I wanted to create something that you cannot simply replicate it in real world setting. Like, it's probably gonna cost at least half $1,000,000 to create a set like this in the real world. Not only the crazy lighting here, this whole line of lighting, but also all these column and, you know, whole set, the crew and this is the beauty about three D and creating environments in general. You can create something that it's almost impossible, or it will cost, like an insane amount of money to replicate the same setting. Anyway, if there's one thing you notice here is the composition. Leading lines are very important, and I actually utilize these columns to help and guide the viewer when they look at it to just directly look at the center of the image because that's where everything is kind of like pointing at. And this is the power of composition. As a photographer, it helps a lot to understand these things because these are, very unconscious things as an artist to understand, but once you get into the game, you will slowly realize the importance of composition, lighting. Again, here, we have close up highlighting some of the features of the car, and this all can be done with proper lighting. I was very difficult, I remember, it was very difficult to lit this part of the car without, you know, like, creating a harsh light because our light object was quite, you know, harsh. So I had to be very careful. I had to play around to create alternative light solution and still making the audience believe that this light is coming from the same light source. This is one of my favorite piece from the whole set, especially because of the light emitting here. The side of the light just creates this very elegant look with highlighting the Jaguar logo as well. And then we have this very soft light from here, and this color harmony, again, between deep blue and deep purple. And then we just have slight reflection of the main, you know, source light. Just creating the illusion of the source light coming from this side. Finally, we have this piece, again, one of my favorite, I wanted to create a very beautiful, kind of reflective column among these. And that wage would just kind of like mirror the vehicle here, and we still have the light source coming from here. Again, the pose is very important. If she looked sad, if her body language would be like, I I don't know, I don't want to go on, and I don't feel the day. You can tell, but this is a powerful pose, which very much aligns with the brand. Again, I'm talking about the brand, and I'm emphasizing a lot on this point because I think it's a crucial point for artists to understand brands because, like this creative freedom is there. L Brands gives you full creative freedom, but it has to align with their vision. If you come up with something completely different and unique and it doesn't align with their vision, then they most likely might not go with you. So, that's pretty much a I wouldn't say a full breakdown of jaguar collection, but I think there's a lot of hints and there's a lot of things you can pick up and you can utilize it in your own workflow. So I hope you learn something. And would that be said, let's jump to the next video. 4. Refrence: Before we start placing assets or adjusting camera angles, I think there's a very crucial step that can break or make the success of your cinematic environment, which is preparation and exploration. And what I mean by that is basically a metaphor for it would be sharpening your axe before cutting the tree. I honestly don't know if that's the right way of saying, but you get the point. Especially the initial idea and gathering the right references, which this video is As you can see, for this concept, the initial idea is pretty much to create aesthetic Arizona kind of vibes, Desert. Here's some references from one of my favorite movies of all time, which is Paris, Texas, directed by the German director, Vin ender, is truly one of the most iconic films. And this one, the infamous Mad Max for So you already know what's up with this. And then a bunch of these I got from Pinterest. I think I really like this look here. I might lean towards this look, and I know exactly how to approach it. Generally, these are just for inspiration. This is not to say, you have to have everything figured out. Not at all. There are times I completely changed the direction of my artworks and like in the middle of creating, something sparks. And time to time, these tend to be some of the best decisions. Just remember, you're not bound to always follow your initial idea. Barbaros would always call these happy mistakes. So enjoy the process and let your flow take you wherever it feels. That all being said, I think it does help a lot to have an initial concept in mind that way you will not get too lost and spend too much time not knowing what you are creating and also get bored in the process and even get discouraged creating. That has happened to me many times in the past. So I try to always have an initial idea, initial concept in mind. And then if along the way, I change my mind, I can. And just so you know here, you know, all these references I collected, Inspiration doesn't always mean creating the exact scene, but to be able to mix it with some of your own creativity and your own interest. And gathering these references definitely help you to think outside of your, limited imagination. They do provide a visual guideline and help maintain the consistency and realism in your work, if that's what you're looking for So, I mainly use Pinterest, as I mentioned. There's also other platforms like shot Deck and film grab for collecting these film references, but it can be pretty much anything, artworks, even physical objects that resonate with the theme of your project. Just remember, the goal is to extract essential elements that will help you evoke the right feelings and stories through the environment. With all of that being said, I'm going to see where the flow takes me, but so far, I'm feeling this one. But yeah, we'll see how it goes. Moving on to the next video, which I will talk about the importance of having a storyboard. So with that for ado, see you on the next one. 5. Storyboard: Storyboards. Let's talk about that for a bit. Now that we have our initial concept and references lined up. The next step in our workflow would be creating a storyboard. I know what you might think at the moment, be like, Well, you're probably saying K one, I have no idea how to draw. Well, I'm a really good example of that. I generally don't know how to draw. And the good news is you don't really need to. You just need some simple drawing like a kid would draw, literally. So basically, a storyboard is a good visualizer for your scenes before you fully commit to building them in blender. It's like a blueprint for your cinematic environment. So right off the bat, I'm using a very cheap Wacom tablet. You don't really have to use that. You can also use your mouse or you can use an iPad and a pen if you have one, or simply use a paper and pen. So I'll also drop this PSD template for you to download and just, you know, have these three boxes and come up with your own scenes. I have something like this in mind for this concept. Let's say these are the mountains. All right. Very good. Let's say we have desert, kind of like texture on the ground. Let's say this is our guy. Oh, my God. What is it? This is our Okay. And this is our car. Oh, no, no. I don't know. This doesn't look like a car, but think you will get the Alright. Well, yeah, so this is pretty much the ratio that I have in mind, you know? I think you get the point. And for the second scene, I'm thinking for something more close up. Maybe I would go with I don't know, like, just I say, this is the guy. I already have the model, so I know how the model looks like. This hat is not true. He doesn't wear any hats. He just wears a bean Okay, so let's say this is him. This is him. This is the desert and so on. And then we have mountains again. And I'm thinking to add, like, maybe a moon or something here. But yeah, you get the point. This is more of a close up look. And finally, I want to create a kind of like a high top angle. I want to go a little bit higher, so I'll just This is the car. And all And this is the guy. And obviously, this is that certain stuff. You get the point. Here, there will be no mountains. I kind of want to just go towards a simplistic feeling for this one. And if you want to erase some of this, which I just make sure the capacity in the flows 100. All right. Okay, so yeah, that pretty much sums it up with my drawing skills. It's hard even for me to look at this. I don't know how you can handle this, but you get the point. This storyboard will be very useful when you want to set up your camera angles, and then you can come back and take a look. So you can know how to position your cameras and come up with the right composition and focal length. You can go as far as writing down details such as, you know, what would be the focal length of this one? Like, maybe I would go with 85 millimeter for this one. I don't know. Maybe this one, just a 35 would be good. So, you get the point. It's really about how far you can go. And if you are good at drawing, then God bless That needs another year or two for me to even get to the basics. Anyway, in the next video, I will run blender and get you guys up to speed with my customized default start up and finally get to the action and building the environment. 6. Default Startup: All right. So here we are. Finally, in Blender. As you can see, I'm using the latest version of Blender. As a moment, this is the latest version, which is 4.1. And first thing first, let me go ahead and click on, you know, new file General. First thing first, you might have noticed like this is a completely different user interface than the standard default cube, the one you always delete, by the way. More so, this is a customized layout based on my liking and my workflow, and it's set as a default start up, so I don't have to redo it every time I launch blender, meaning that all the setting here, everything, the layout has been customized based on my workflow. For example, the MAC samples here, the viewpoord, all of my adjustment here has been customized. And here, you probably notice we have a funny looking model named Bob. It's a very bad version of a real life scale of a human being, so you can compare it to other objects to see if they, you know, kind of represent the realistic and accurate size in real world. Basically, this is a great way to correct your proportions and bring more realism into your scenes. Now, I know you want to follow along, so I have put the blender file of this exact default startup in the project file, so you can go ahead and simply download and run it and blender, and then all you have to do is go to file, and then you have default and then save this file that you've opened as startup file. And once you do that, that's it. Every time you open Blender, it will give you this exact look. And if you go to the Render viewport. I've also used the basic default sky texture from Blender as, you know, like the main sky and texture. So you don't also have to do the step adding light, but obviously, you can always change it if you want. You can just delete it and do other things and add your own HDRI. But I'm definitely going to be using sky texture for this project as well. All right. Now I'm going to do some quick adjustment. First of all, I'm going to go to render and then change the feature set to experimental. Because we will create a terrain from scratch, a detailed train, this feature will unlock the advanced tools that we need for the creations of this terrain. And so far, this is the best method for creating realistic terrain in Blender. Down here, we have the render max samples. I'm going to downgrade it 512-5 to two, five, six, almost half of that. Mainly doing this, so I don't run into any issues when I'm rendering a high detail terrain, and it won't really impact the overall quality. It's almost no noticeable. Here, we will come to light, and then we have advanced, and down here we will come to light path. And I'm going to also downgrade that 12-4, and I'm going to come to the second option, which is output, and I'm going to change the resolution 1080-1920. And then I'm going to change the Y resolution to one to 1080. This way, we have a wider ratio for our scene. It's not only more cinematic, but it fits exactly with the narrative we are going to tell when all the scenes are finished together. And here I'm going to downgrade the resolution 300-200. I suggest you for resolution scale, you don't go lower than 100 for a decent quality on your renders. Only go lower if you're out of RAM or you cannot simply render. And it's also a good way to experiment because every PC comes with different specs and also laptops. All right, so I think that's pretty much it. You should be good to go. We are ready to start. In the next video, we will create our terrain or we can say mountains. Very excited. Let's get to it. 7. Creating the Terrain: Now, before I do anything, I just want you guys to save your file. So I've already did that. All you have to just go to save S and then name your scene scene number one because that's the first scene we're going to be working on. And then later on, I'm going to tell you guys a bit about my file organization and how I save my files when it comes to multiple scenes. So yeah, just make sure every now and then when you do something heavy or like, when you do some steps, every few minutes, just press Control S on your keyboard to save the project, and that way you will not lose the progress you've made. Usually like to start with the base ground, but this time, we will start by creating the terrain first, and then later on at our ground that will match with the terrain as well. Again, make sure that over here, you have your feature set to experimental. Otherwise, it will not work, and you have GPU instead of CPU. For those who have, you know, you use laptop, CPU can work, but there's definitely a limitation. Yeah, but GPU is definitely required. First of all, let's go ahead and delete the plane, the plane that we already have. Even though we're just going to create another one, but I want you guys to just follow along. So creating a plane, shift a plane, and then make sure the size is 20. I've already done this. Now, it's 20 here. And obviously, we're going to scale this up, but for now, this is good enough. And then we will go to modifier and then add modifier, and then in generator, you have subdivision surface. And then make sure to click on simple, then turn on adaptive subdivision. Subdivision basically increases the numbers of vertices allowing for more detail shaping. And adaptive subdivision basically keeps the shape simple, but adds detail based on the camera distance. Then over here, we have material and then just create a new material. Now, if you see some extra stuff here, that's just my add ons, like, material full. Don't really get confused by it. I'm not going to use any of these in this whole project. So just quickly down here, you should have a setting. And then down here, you have surface and change the displacement from bump only to displacement and bump. Setting allows the material to change the actual shape of the plane, which leads us to create a realistic bumps and textures. And now, all we have to do is just go to our shader tab here, change the plane to something kind of like a brown brownish mountainy, earthy look, we can say. Then here, we're going to add shift A, we're going to add a noise texture, and then we will bring it here and connect it to displacement. And here, I'll just change from render viewport to just viewpoar shading, and I will change this to render. So we can see like an above angle to see what's really happening here. And press on it. And then here, obviously, we're going to add some scale for more details, and then go all the way up with details. You can see. I'll keep the scale at five for now, and then add a displacement between the noise texture and the actual displacement. But make sure the fact is connected to height. And obviously, now you can scale the height for more realism shaping. I'll keep the scale around somewhere around 4-5. I think it's pretty good here. And then between the noise texture and displacement, obviously, make sure the details all the way there. And roughness is also something you can play around. But I think I'll keep it 0.5 and this one, I'm not going to touch it. And now we will add a color ramp between our noise texture. And displacement. Basically, a color ramp allows us to remap the values of noise texture, and this way, it provides more control over the height variation in the train. The color ramp is an amazing tool, and in this case, it helped us, as you can see, it helps us to remap the values of the noise texture. And this provides more control over the height variation in the train. By adjusting the ramp, we can pretty much fine tune the look of our mountains. And you can go as far as, you know, extending the height of the mountains here. But I'm going to go for a more settle look and just bring down these. Yeah. This is pretty good. Let me just take Rob away for a second. And focus here. If you notice here, we have a little bit of kind of like a glossy look to our material, so going to go ahead press on it and go to our principal BSDF, and I'll just add more roughness to it. This way, that shiny look is gone, and our train just looks more natural in general. Let's go ahead just hide these for seeing more details. Now, obviously, so far, this looks great, but I want to add more variation to it and not be able to only add variation to it, but also control those variation. And we can simply do that by Duplicating the noise texture and the color rab and creating, you know, a mixed RGB, and I'm going to do all of that. But before doing that, I'm just going to do two things. First, I'm going to add more roughness to our terrain to remove pretty much any shiny element. This gives us a more realistic look. And then down over here, and render tab. You should have subdivision and then make sure to downgrade the viewpoint from eight px to four. I'm going to get a little bit nerdy, but the reason we're doing this is basically the setting controls the density of the manch in the viewpoart, which means a higher density equal to smaller px value allows us for having more detailed geometry, which is a crucial step for accurately displaying the displacement effect. Alright, now, that's out of the way. Let's go ahead and create variation. Now, we have our first noise texture. All we have to do is just duplicate it by holding shift and just bringing it here. And then I'm going to be adding a mix RGB between the two noise texture to this color ram. And I believe the name has changed to mix color. So don't get confused. If you have an older version, you'll probably have mixed or GB. So now we have mixed color. They are pretty much the same thing. And then I'm just going to connect it to this first noise texture, and I'm also going to connect this to the B noise texture. Now, if I go and change the slide here of the factor, we will not see any changes. And that's because the value of these noise texture are the same, and it only can work when you go ahead and change, let's say, the scale of the second noise texture. And I'm just going to bring down the scale for this one. This will allow us to create more complex variation, which leads to a more interesting and complex look. I'll stay around 2.5 somewhere around here for now. Yeah. And then what I'm going to be doing, I'm going to also duplicate this color ramp again and then just bring it here and connect this noise texture to this fact and also create another mix color and connect the two color ramps from A to B and connect the result to height. All right, so now we're talking. Now we have an empire of these nodes that will give us so much control in terms of creating different variation from the same terrain. So I'm just going to go ahead and play around with these lighters here from the color ramp. Obviously, you can always come back to it. If you don't like the result, you can always adjust it the way you want. I think I'll be changing the scale from the displacement. So I'll just go down a little bit. Yeah, like this. And obviously, I'm going to add more scale here from the noise texture and change up the fact a bit. Yeah, I think I'm going to go for something like this. I'm going to pretty much play around until I get to something that I'm happy with. And honestly, the most exciting aspect of this project for me is that each one of you will have a slightly different terrain because of the inaccuracy of the color ramp slider and all these variation that you've created. And this gives me as a teacher an opportunity to see your unique results and encourage you as artist to think creatively and develop a unique perspective. Of the terrain. So I'm just eager to see what you will create. It's ironic. I just lost my key light from this site, but I have another one from this site. So no worries. Anyway, I must give credit where credit is due. I learned how to create this terrain from Chuck CG on YouTube. So feel free to check his videos out. Alright. Now I'm just going to play around with the variation tools and get to a place where I'm kind of happy, and then we can get going. So I'm just going to speed this up. And quickly, also get back to the base color. Maybe I can bring down Yeah, the color to something. I think this works. Again, you can always come back and change the color. But yeah, this doesn't have to be the final result because I can always come back to the shader tap and switch up things along the way. So yeah, don't feel that you have to figure your terrain out yet. We can just go with the flow at the moment. And yeah, this is pretty much how you can create a realistic terrain. And for the next video, we will create our main ground. So we can match it with the terrain and have an overall realistic look. 8. Creating the Ground: In this video, we will be creating our base ground. First of all, the reason we're creating a ground because if you look at this, this is not a ground. This is just nothing. It's just a plane. So we have to create a ground that will match exactly with our terrain. And before we do that, I want to just make the terrain look a bit darker, just slightly darker here. And now there's just a slight problem. So when I place my camera here, I have to go under just changes solid to and just changes to to go under this plane to actually see the ground to get close to the ground of this terrain. So to fix that, we're just going to go ahead and bring our camera up above the ground, right? And we're going to go to this placement here and just scale this down. And I know we're losing all the terrain, but we'll fix that. We'll bring back the terrain now, just to fix the placement of the plane. And here, we'll just bring up the mountains here again and add more maybe scale here. Just playing around is pretty much the key for for getting realistic result. Also adding the factor a bit. And finally, we can also bring down the mid level further. So 0.1 is fine. All right, now it's time to bring Bob to compare it to our scene and where our terrains proportions are at the moment. As you can see, this is just not realistic. So this is the human scale size, and this is all of our train. So I'm just going to go ahead and push it as as I can until it makes sense. And now you don't see anything, but maybe scale X, this should be fine. Les go up. Now, I'm just going to bring down the plane a bit further. All right. So I guess this now makes a lot more sense. You don't have to go too big, but I want to get as realistic as possible. So let's go ahead and push it. Push it down a bit. Yeah, I think. Yeah, scale it down a bit less. Yeah, and then push it up. Super. So, something like that. Now when you see it from above, it's pretty much the same terrain, but by the way, this is clipping, so just press n and go to view and add more to the end. Go with ten. Now you can see, it's pretty much the same terrain, but now it's mid level, and it's aligns with our camera, and now you can see everything here as well. And I'm just going to make the camera a little bit bigger as well. So when I'm just moving around in my scene, I can see it, but pretty much it's the right scale proportion at the moment. And this is why Bob is very helpful or any mesh that you have that has the same real size of a human, it can be very helpful to compare it to your actual scene. When I move around this terrain right now, you can get different result in seconds. You can get completely different result. And this is the unique thing about creating a terrain. You can literally create full variations because every movement could end up getting you a different result, even rotation here. You see? And you can go crazy with this to be honest. So I actually really like this already. And again, mentioning what I said in the last video, the beauty of this project is that every one of you will have a different result. At the moment, this is how my setting looks like if you if you want to replicate I don't know if that's even possible, but this is my noise texture number one. This is noise texture number two, color ramp, color ramp mix factors here, and then displacement. So you can take a screenshot and try to imulate as much as possible here. But good luck, doing that. Alright, now it's time to create our ground. So we have our camera here, and I want to try to add a cursor here. So whenever I create something new, it just goes near the camera. It just like ends up showing in our render viewpoard. So I'm going to add a plane here. Oh, my God. It is such a small plane. Two, what we have. And I'm just going to make it a little bit higher so you can see it in the scene. And here where the fund begins, because I'm going to be using a add on called Blender Kit. Many of you already know about this amazing add on, but if you don't, Blender Kit basically has a library of over 24,000 free models materials and HDRI, which allows you to quickly drag and drop your assets without leaving Blender, which is incredibly convenient. So if you want to access to all the assets, I think it's almost above like 50,000 in total. Can sign up for their subscription, which is very affordable. I think it's like $10 a month or $6 if you pay annually. I should mention. Also, I'm part of their affiliate program. So if you're interested in getting full excess, just follow the link on the screen for a 10% discount. Anyway, generally, this is what I do for most of my artworks. I use pre made assets if they're available, and I've saved the textures that I'm going to use for the ground. So if you go ahead, these are the two texture I'm going to be using. So desert sand and dry sand. And I believe desert sand is a procedural texture. So when I drag it here, it will automatically detect and create a nice look already. It doesn't matter how big it is. But let's get a closer look to our texture, and then I'm going to mix it with another texture so we have more variation. Actually, I'm going to bring Bob back closer to the camera and just push him down Yeah. All right. Maybe the camera is very low, so I'm just going to push it up a bit. And obviously, you can play around with the sun intensity and the size and the rotations. I'm just going to rotate it a bit to just create a more interesting look and to have a better view, you see for our out, it's showing more for our material here. So as I told you, this material here is procedural, and it gives us already a very nice look here. But I want to make it I want to go further and make it even bigger. But to not confuse you with these two planes because the terrain is also a plane. The ground is also a plane. So I'm just going to go over here, and in color, we have random. I'm just going to separate the colors. So now we have this green color as a terrain, and this is as our base ground. This is just a very good way to separate and know what your click At the moment, we only have one material, which is this one, it's called, by the way, I want to just quickly show you, which one is this? So this is called this Desert Sand by Blender Kit Community. This one is called Dry Sand by Ninja Wizard 180. So make sure you have these two as unsaved. So and it's very simple to save. For example, if you go to sand and search it in texture, just, you know, that's nap. So if you go here and if you want to save this, all you have to do is just click on this icon here, and you can save it. And then every time you go to material, you just click on this one, you have all your saved ma here. Anyway, it's very convenient, and for models, obviously, you can do the same thing. You can just search up any models, and you have it. For example, all of my saved model here will show up. And we're going to be using this model later on. I'm going to add the element. These are pretty much what I like, what I've saved, and you can go obviously do the same thing. So, let's finish our creation, the ground here. And there's a really nice way of like mixing with another shader for realism, which is basically creating another plane. And this one, you're not going to show it in the camera. This is just for the purpose of dropping this dry sand on it. And then when we're going to go ahead and select all of this, control C to copy it, and then go back to our main sand layer, and just go ahead and control V to paste all of this, and then just bring it down so they don't get mixed up. And mix these two, but before I do that, I want to change the color ramp of this material. Now, we have this terrain here, but the colors don't really match with this desert looking material. So to change that, all we have to just come here and then just make the color a bit darker. And then simply bring down to add more darkness to the color and do the same thing on this side here. Click on it. Now, it just just makes a little bit more sense. Maybe it was too much. Yeah. So yeah, that's pretty much it. And then I'm going to create a mix shader between this and this. And now you can control which one you want to show more. As I said, this fact is like the balancer between the two. But to make it more interesting, let's just go ahead and have a close up view of the material. If you go full like this, still a nice look, all the way here. Also a nice look. Something in between would be nice, but I'm going to go a little bit further by adding a color ramp to create more variation. And I will link it to FAC and just, you know, bring this here. So it's not as noticeable as you might think, but it creates this nice overlap between the two shader, and you can come here if you have any adjustment to make, or if you want to let's say change the scale value of this. If you think this is too big or too small, you can just, for example, add another change it 2-3, and then all of a sudden, you have, let's say, smaller lines and smaller shapes. So, I think I'm very happy with it so far, and I'm just going to make it a little bit bigger, so it's almost not noticeable here, but this will not be as obvious, especially when we add elements like fog. So that's how you create a ground material. It's a very simple process, and all you have to do is just download blender kit. And if you don't like this particular look of this material, you can obviously search for your own and look for your own material, but make sure it's like a procedural material. Definitely, it helps to scale it up and kind of not get repetition. So, so far, we have this result, and I'm very happy with it. In the next video, we will be adding elements. I'll see you guys there. 9. Adding Elements: No. In this video, we will be adding our elements, such as Fok character, car. We will see how things go, but I have saved a few assets in Blender kit. And the first one we will drop would be our human character. And this one I really like. I think it resonates very well with our environment, which is a guy in a bomber jacket by anistra Studio. So all I have to do is just drag and drop, it's as easy as that, and make sure it's near or it's close to where our camera is. I think our camera is way too big for the scene. So I'll just, you know, bring down, bring down this Yeah. And we can finally get rid of bomb because we can compare the proportions to this guy from now on. I'll just have to rotate his position a bit. Something like that would be pretty good. We push down the camera a bit even further. So we can see some of that texture on the ground. And the cool thing is like once you have this color enabled, anything you add, it will come with a different color that way, you have a very good separation in terms of your viewport. Now I'm going to go ahead and add the car, which is a free car that I downloaded from Sketch FAP. You can also easily download it. I'm also going to drop the link in the project file, so you can go ahead and download it for yourself. I download most of my models pretty much as GLT F format. They are pretty much the best way to for me, at least, the best way to import them because they come in handy and they also take less space in your blender project. So make sure you download this one, and I'm going to go ahead and import it. All I have to do is go to import G LTF two. Here, I have downloaded it there, and all you have to do is just import the scene, and it should be somewhere here soon. All right. So the scale and proportion is also correct. Sometimes you don't always get that, so you have to fix it up, and just go to drop it. Drop it somewhere here and make sure to delete this floor that comes with it. And now we can just press on this and move it around the way we want. Now, I think positioning it like this is pretty cool. Something like this, actually. For now, it looks really nice. But I also kind of want to change the color of the car, to be honest. So I've already saved another material here. It's called car paint, and I've saved it. It's car paint by Stephan and I've saved it here. So all I have to just drag and drop the car paint onto the car. Boom. And you can also adjust the color right over here, if you want, maybe we can go all the way white, but also make sure that it's covered fully. So here, this part is not fully covered. So let's go back to black, and now simply press on the same material again. And now you should be having a match color paint of the car. As you can see, it's all good now. And I just really love black because it creates this beautiful contrast between the ground material and the color. So, right now, the fact that we added our car and the characters. I already looks very good in my opinion. So make it more interesting, I'm going to add a fog. And to do that, all you have to do is just go to, by the way, before that, before any of that, make sure you save your file by hitting control S. And to create the fog, all you have to do is just go shift A at a cube, and then just scale it up as much as possible. As much as you can. Like, This one is going to be our right. I think this is good enough, and then all you have to is just create new and delete principle BSDF. And then make sure you add principle volume and connect it to volume here. And here just bring down the density as low as possible. Make sure you also lower the cube as much as you can. And now we have a more interesting look. You can obviously make it even more interesting by adding more anastropy. This will just kind of like add that glow to our sun and still be able to see the mountains behind the terrain. Just going to bring down the intensity even further to maybe something like one. Yeah. This is good. Let me go ahead and quickly save our projects so we don't lose anything. **** add it. And this cube can be annoying because you constantly have to go and through out. So if you want to avoid that, just go to object here and then go to viewport. And then from viewport, you have texture, change it to wire. And now you can just go through in and you wouldn't have any issue. And the best way to get back to where the action is happening is to click the Toggle view camera, and then you're back, and then you can just go around here again. So now I think it's a matter of positioning this well. So I'm just going to play around until I'm happy with the look that I'm trying to get. So the car maybe here, composition is very important as well, and also the focal link which we will get to in a bit. So I think if I push this guy here. Yeah, kind of like this right now. And obviously, we can play with our sun rotation here and see what kind of look we can get. We can also add a little bit of that orange stone by adding more air, maybe dust, maybe too much, but sun rotation, as you can see, with every movement of the sun, it can give you a different variation. Incredible, just like the terrain as well. I think something on the side might be nice, something like this, and you can go a little bit higher as well. And you can obviously rotate the terrain if you think you need to. Maybe add more dust here. I can also bring down the sun intensity. I think I'll change the position of Yeah, this is pretty cool so far. I also have another object that I think might be a good fit here, which is City of winds. So if I just dropped this, and it might not be the best representation because it's a desert and sand, it's probably hot, but the position might be cooler. Yeah. Yeah, I actually like this more. Again, by Cistra, obviously, they're all scanned, but they've done a really incredible job with that. So that's how it's looking so far. I'm actually very happy with it. When I quickly take a look at the composition. Maybe I can push this a bit on the side, you know, Rule of third and also push the car a bit maybe further near change a position. Yeah, something like this, I think, more symmetrical or. Yeah, I can just create a distance between the two and have something like this. But now, I'm just going to I think this looks good. This looks better in general. Just slightly tilted side Then I can also play around with the camera a bit, maybe pushed the focal link a bit from the subject, and then change the rotation a bit to the center, the sun rotation, obviously, or even here, which creates a very interesting shadow here. The sun looks too big here. I'm just going to bring down the sun size and make it a little bit sharper. We also have a sharper shadow here, which is a more accurate representation of the sun. So, yeah, I am very happy with the results so far. I'm so excited what you guys have made until this point. But we are pretty much there. The next video, I'm going to finalize my scene, and I'm going to add multiple cameras so we can create a compelling visual story from this one environment. 10. Adding Multiple Cameras: I believe I have finalized my first scene. I like the angle. I like the composition. There's, you know, rule of third, and everything is looking good. But before we do that, I want to create variation from this scene as we've promised in the beginning of the course, which is adding multiple cameras. And to do that, all you have to do is just duplicate the current one. So make sure you select your camera and shift D on your keyboard and then just duplicate it again. So you can go as far as adding, I don't know, 12 cameras, if you like. Maybe actually, they just duplicate two more just for the experiment. So maybe we can do two, like extreme close ups. I don't know, but this one is pretty good. So far, you know, this will be considered our first scenes. And I want to save this as it is before we make any adjustment to the other scene. So if I go ahead and control shift S, which is going to be save S, it's already saved here as C number one. So I'm just going to hit control S again, and this is saved right now. Now I'm going to control shift S again and save this as C number two because we're going to play with another angle. So let's go ahead and quickly click on the second camera and then change this asset browser to timeline here. And here we're going to add a marker to it. So you can also just press M. Once we add the marker, we can bind this marker to the current camera that is selected. So now this zero, as you can see, we have a line here, this frame is literally connected to this first camera. And then let's go to frame ten. It doesn't really matter or 15. All we have to do is just do the same thing for the second camera. So let's go to any other frame and then simply select the second camera, add a marker, and then bind that marker to camera. And now when you go from this frame to this frame, the camera switches. And this is a great way to visualize your scene, to just go and explore without interfering with the same camera angle all the time. So let's just go ahead and have fun with this one. So we can go as crazy as we want because now if we want to go back to the first frame or first camera, we can always go back. We want to play with the second one, We can also do that. Remember when we did the storyboard, obviously, it's here. And I'm sorry that you have to see this again, but I believe we already have something close to our first shot. So I'm going to aim for something medium shot close up. More or so just kind of like showcasing the out of focused look of our character. Maybe the car can be here as well for more aesthetic look. But let's see what we can get. And you don't have to keep the same position, actually. You may maybe when he is looking front, it looks better for this particular scene. So I think this is fine. We want to try to aim the camera to a background that has more detail, and I think this side definitely gives that vibe. And we can simply move the car Yeah, I think I really like this one. And then we can simply go ahead, save it as the second scene. And now when I go back and see our project files, we have this scene with this angle, and then we have second scene with this angle. And simply, if you want to get back to your original scene, you can just open this scene and render. And pretty much is the same process for creating multiple scenes and having each project saved the way it is without interfering with the other composition. This is also a great way to organize your blender file projects when it comes to creating multiple scenes. All right, let's get back to this one. And I think I would like to have the characters a bit ad of focus. And then here, I'm just going to go to camera camera selected and add depth of field. And the reason I'm doing that is to add more realism to our scene. So if I go ahead and just select where the focus point should be, I'm just going to go ahead and choose the car. And this exactly aligns with the position and the placement of the characters, which he's looking at the car. And we obviously have the terrain as well. And the beautiful part about this right now, because we're on the second scene, I can also move around our terrain and look at this as a form of experimentation to see if this is what I really like, right? I think I'm going to go back. Maybe just rotate it this way a bit. You have to be very careful with the movement here. Yeah, I think this looks very good. And I also can push it down a bit. Maybe it's a bit too high here. And we won't see anything going on because of the fog. So it's just amazing. This looks pretty good, in my opinion. If I go back to the camera, maybe I'll just push it back, just go higher a bit. And then here in shift and Y X, I might just play with the y x is just slightly bring the lens down, you can also play around with F stop, but obviously, we don't want to go that far. 224, 2.2 is good and change the ratio to all the way up to two for a more anamorphic look. And that's pretty much it. For the second scene, I'm going to go ahead to save it and then go to save S again and just add this another number, C number three here, and just save S. Now, We can add another camera here. We can select it and add another marker, and then just bind that to this camera. Now you see this camera is in control, and then we can just move around. So now we can do this angle, this higher angle that we want. And I think the idea would be to follow the shadow of the character here. So the sun is coming from this side, and I want to focus on the character shadows that will be kind of like a long shadow coming from the character from this side. So let's just see what we can do with that. Now that we have this angle, obviously, we can again, simply go around and do a many adjustment in terms of the terrain in terms of the position of the car in terms of pretty much anything, so I can go as high as I want. Remember, we've already saved the other two scenes, so we can always come back to them and make more adjustment if we want. Now, I'm just going to rotate the car position. Maybe have it something like this. So we can already see that shadow, but I think I'm going to play around with the sun for this one, see sun rotation. Yeah, I want something like that, like the sun coming from this side. I also want to position the camera a bit further. So if I go to data and then just bringing the camera down a bit, I think the only way for the sun to hit our elements is to rotate our terrain a bit. Let's see. Yeah, something like that. It's also creating this very nice shadow from the ground texture like this so far. We can go back to the world and even make the sun size a little bit smaller, so we have a sharper shadow here. And bring down maybe the sun elevation. Slightly. You can also just slightly change the angle. Make a subtle adjustment. I'm just going to bring down the terrain a bit. I feel like, yeah. I really like it from here and all the way to the right, but I don't like this high terrain here. So maybe I can just play around with the color ramp a bit. I hope I don't ruin it, but let's see. Maybe I can just bring down this. Yeah. Okay. Maybe not too Yeah, I think something like that. Yes. Perfect. So pretty much, as you guys can see, it's all about controlling the variation, and trying to get what you have in mind. Like trying to see what works, what doesn't, and with a lot of adjustment, you can get to a place where you're happy with. Now, I am very happy with this third scene. And again, if you want to create even more scenes, you do the same thing. Now if I can go ahead and switch in between, obviously, the first two scene will be ruined because we've changed the position and everything. But right now I'm very happy with the third scene, and all I have to do is just go ahead and control to save it. And now when we go to our project files, we have all these three scenes ready to be rendered. And then I'll jump to Light room and photoshop and do my final post production, and we should have all the scenes ready. When it comes to rendering, which is the final step, if you run into any issues or you just run out of, you know, RAM or space, you can always downgrade the MC sample or the resolution here, but don't go lower than 100. It's just in case. And if your computer or laptop cannot really handle this terrain with all these information in detail, then I highly suggest you just go to Blender Kit and just search terrain. And I'm pretty sure you will find many alternative. You see? They might not be the exact same result, but when the object is that far and you have this fog, it will definitely still look good. So make sure you utilize this tool and take advantage of it. You see you have a lot of options here. And I'm just mentioning this in case you really want to follow along and still do it. This is a way to do it. So in the next video, we will be doing the final phase of this chapter, which is post production, Light room and photoshop. 11. Lightroom: In this video, we're going to be editing these renders. So now, as you can see, I already have my first scene. This is the second one, and this is the third one. I am very much happy with these results. But why stop here when you can make them even look better. And that is by adjusting it intrum. This has been my workflow since the very beginning of my blender journey, and I've always loved the fact that I can utilize my renders in this post production phase of using Ltruum. Sometime photoshop if needed. So let's go ahead and start with the first one. And the beautiful thing about Lightroom. Once you have done one edit, you can copy that same style and apply it to the rest of your images. In this case, it's just going to save us time, and we have pretty much the same feeling to all the other scenes. So let's go ahead and add contrast somewhere about around 60, and then I'm going to bring down some of the highlight. I'm going to bring down some of the shadows to just bring out some of the details far away, and then add a little bit of whites. Bring down some of the Blacks and I'm not very much happy with the colors. So I'm just going to go down over here and play around with the temperature, maybe add a little bit more temperature here, and then also add a little bit of magenta tint. You know, kind of like getting the Dunes vibe, Mad Max vibe, which I really like. I think I can stop around 16 here. And then this could be 28. And now the fun part, which is the color mixer. Obviously, I'm not very much happy with this color. I want to lean towards a little bit more orange. So I'm just going to select this yellow slide and change the hue a little bit, add a little bit of saturation and come over here and bring down the hue more towards magenta. But I must say it might be at a little bit saturated. So just minus ten, something like that. So so far this is before, this is after, and I'm quite happy with the result to be honest. I'm just going to go ahead and add a linear gradient slide it from the bottom of the image and create this gradient and just slightly bring down the exposure. Not too much. Also the contrast, just slightly. These subtle details that creates an overall interesting look. So what I'm going to be doing right now is I'm going to copy the exact. Let's see if there's anything else before Yeah, I can play around with color grading a bit. So like Yeah. I like to go towards a bit green tint with my shadows. Highlights are interesting, but I think I like the highlight the way they are, and you can also play with midtone. You can also bring down the contrast the shadow and highlight of these of each element. So I think this is good so far. Now I'm going to copy this style. So all have to do is just control C on my keyboard, and I'm also going to copy the masking because I've already done one. We'll see if we don't like it on the other one, we'll just remove it, so make sure copy, and then all you have to do is go to the next scene and then control V. Now, this might be a little bit too contrasty, so I'm just going to bring back the contrast a bit here, and the rest should be good. And same goes for this one. This one I like. So the only thing I want to add actually on top of all of these is a little bit of grain. And I want to add grain individually for each scene because when you have different composition, it's better to do it individually. And I like this one. This one, I'm just going to go a little bit higher with the size. Yeah. And then this one, just a slight grain as well. Maybe I add a little bit of roughness. So this is it. If there's anything else I want to do, obviously, for example, if I want to maybe, I don't like this terrain here or I don't like the shape of it, I will just simply go to photoshop, use healing brush tool or anything that can easily remove that with no problems. But overall, I'm very happy with the result, and I think it's good to go. Now I'm going to export all of these, so I'll make sure you select all of them and just go ahead and custom setting. And what I do for my exports, I again, select all of them. I export them through Ti, full size, 16 bits and the color space as adobe RGB. But in photoshop, I actually change it to S RGB because that's the best color space for social media. So I do this just mainly if I need them for print or any other purposes. So I go ahead and export, create a folder, and then export. In the next video, we will use photoshop if needed and create a collage out of all the final results. 12. Photoshop: In this video, I will be doing some final adjustment to all the three scenes that we have, and then create a compelling collage out of it, so you can, for example, post it on social media or just make a print out of it. Whatever you feel like doing. So, first thing, first, what I do in photosip, I always duplicate my backgrounds, and then I can pretty much do anything from this moment. Thing that's kind of bothering me is this shadow here. I know it just makes sense because of these side mirrors, but I'm just going to go ahead and remove that or just make it a little bit shorter. Yeah, I think that's just better. And I'm nitpicking here, but it's all about these small details. Maybe the shape of this mountain here is not as, you know, pleasing. So what I will do, I'll just push it down a little bit with a liquefy tool. Yeah, and simply press k. And think I'm pretty happy with it so far. Do also do some dodge and burning like shift back space, and then I can fill this with 50% gray, and then change a normal blend to overlay. I can use Dodge and Burn tool. Dodge is for brightening the bright areas and burn is for darkening the dark areas. For example, this helps us to bring more contrast and create more separation. Within our elements. So you can see a simple brush can create a subtle impact that will help us to create a better and more interesting look. So I'm just going to bring down the capacity of this and then go a little bit further and then make the brush just bigger and just paint over on the bottom of our This creates a very, how do you say? It brings the attention to the center of your image, which is the most important element. This is where we have the character and the subject, which is the car. So this is before and after. Again, the capacity might be too much, so I'm just going to bring it down to around 25. And so far, this is before after. Again, subtle adjustment, but very happy with the result. Try to see what I can do for this one. I think I'm going to do the same thing here, liquefy tool for this side of the mountain. I'll just push it down a bit. Yeah, this one. I'll just push it down. And then see the previous yeah. I think just creates better alignment and then press k. And maybe I can do a little bit of more camera filter adjustment. I think it just needs a little bit a push from highlight. Yeah. Definitely. And here, maybe I can pinch a little bit of shadows to bring out more of these details. So I think this is Yeah. Better. And finally, we have this scene. Again, I'm probably going to just go over the side of the image and then just go to liquefy. Kind of just push it down a bit, kind of taking the attention away from the center of the image, and then press ka, go back up. And then I can go to brush healing tool. Just shorten this shadow. Then I think I'm going to do some dodge and burning. I'm just going to go ahead, shift back space again, 50%, gray, and then change the normal blend to overlay. And here, I'm just going to use burn tool and slightly, I think, around this area. Makes sense. Make sure not to overdo it. It just creates this very interesting gradient. So I'm just going to bring down the capacity, and the rest should be good. Yeah, this is before, after. Very subtle adjustment, but makes the overall scene just better. Now I can export these. And then finally, I can create a collage out of it and show you guys the official final result, all combined. I'm just so glad that during this whole process, I kind of went with what I felt good in the moment, and the whole workflow felt very genuine and authentic, and I ended up with the result that I'm very happy with. So to export, all I have to do is go to file, export, export as. And then I usually export as JPE and here I make sure it's converted to SRGB. And then simply go ahead. If you want to scale the size up, you can also do that. Go ahead with 200, but I'm fine with this size, and I'm just going to go and export it. All right. 13. Creating a collage: Now that we have all of the pieces done, I can create a collage out of them. All I have to do is just bring the second piece and just drag it and drop it in the first one, resize it a bit, presenter, create a duplicate from the first one, and then just drag and drop this one here. And then I'm going to do the same thing. You're not going to see it yet, but duplicate copy and then control V to paste it. And then I'm going to also bring this down here. Now I'm just going to go to Crop Tool and make sure here you don't select generative expand, default transparent because we don't want to generate anything here. It's already too good. Oh, my God. This looks amazing. So look, this is final result. Alright, it's official. Here we are. This is probably one of the most exciting projects I've done so far, and this is how you can tell a very compelling story through different angles and composition in all using one environment. This is obviously just one way to create the collage. It's going to be a great way to post for your stories. And if you want to post as a post, you can also just go to crop and do a four by five. But, ah, guys, this is it. I'm very excited to see what you guys will create and looking forward to see all of your results. 14. Outro: Have finally reached the end of this chapter, and I hope you enjoyed it as much as I did creating it. I'm actually very excited to see what you guys will create out of everything I showed you. So don't forget to share your work in the class project. Throughout this class, we have covered key techniques and essential tips to enhance your workflow, maybe hopefully spark your creativity and help you create fully unique pieces. I truly hope you found these insights useful. Now it's time to experiment with everything you've learned. Try different concepts and element to craft your own unique artwork. I'll see you guys in the next one.