Poolrooms In Blender - Step By Step class (Beginner Friendly)

1. Introduction and promo video: Hello and welcome to the new tutorial. As you know, I previously recorded for our tutorial on how to create backroom symbol into a lot of people who are the tutorial and some of them asked me if I could make a tutorial on poor rooms. I did some searching on YouTube. And there aren't as many pogroms videos as there are bathrooms videos, but they are watched a lot and I haven't found any tutorials on how to create rooms. So this one, if it's not the first week, definitely be the most detailed. In this tutorial, we will create the animation you are watching. Step-by-step. Tutorial will be adopted for beginners, but we will also go in depth to get as many details as possible. I will show you how to model pool rooms, maze of different shapes non-destructively so that we can easily change the construction. Later. We will create an animated, realistic water and other materials. And I will show you how to get cost six without slowing down render time. We will create daylight lighting for open spaces between those and lighting for closest spaces. I will show you how to create realistic camera movements and how to add a lot of details and imperfections. Post-processing, you will get an authentic, we can just go with the new details silent for this tutorial. 2. 01 - Introduction to Blender (general): If you are completely new to blend there, I'm going to share with to our terminal window I made for a pass tutorial where you can learn the basic of Blender. If you have experience with Blender, you can skip this part. You can download Blender for free at blender.org. First, I will introduce you to Blender a bit. After that, we will start with this. See, this part is intended for Blender beginners. If you have experience, you can skip this part. Since blender is a large and complex program, I will try to show you only the basic in about 10 min before we start working on to see when you open Blender for the first time, we see a lot of options. The good news is that you don't need to know most of them to create a scene. We will spend most of our time on the Layout tab. And we will also use shading for creating materials, UV editor for projecting materials on 3D objects. And finally, a bit of composite determine. All these tabs above are actually made up of these tools here. E.g. layout consists of 3D view port and timeline because we will use them a lot. They are here by default when we opened Blender. We can create a workspace according to our wishes or needs. E.g. if we separate this window, we can add UV editor or shader editor, or another 3D view port. Here. In the 3D view port we have three objects by default, camera, object and point line pass light source. To create a render, we must have at least one camera in the scene. To switch to camera view. We can go to view cameras, active gamer, but all these options have shortcut keys. Searching for this option, for this menu is waste of time. If you use blender, you have to learn some shortcuts. We will cover the most common shortcuts in this tutorial. And with time later you can learn shortcuts for advanced options as well, e.g. to switch to camera view, the shortcut is not at zero. Then we have our select a camera in the Properties tab we can find option for this camera, e.g. focal length, which is actually zoom, Depth of Field and others. Each object in the scene can be deleted by Delete key or x. In Daniel, one can be created with shifting or by going to add menu. We will mostly use the options under Mesh that we have basic geometric shapes from which we can model anything we want in the edit mode. Once we have the camera and object, we can make the first render. Shortcuts horrendous, F to L, or you can go to Render, render image. We now see our object because we have a light source, which is this point lame. If we remove the point lamp and press theft, Well, we still see something. And the reason is because in the word Properties tab, you have a darker gray color, but not completely black. Which means that our ward or environment ME, sunlight. If we switch to black, we won't see anything. Lighting in Blender can be from three different types of sources. The first is worth or environment. They're in additional to call. Or we can also use an external file called HDRI. We can find many of them on the internet for free. And we can also use procedural our sky texture with comes with Blender. We create the second group or flight with Shift D that we have a point, sun, spots and area. Each of these source emit light differently. We can also turn any object into a light source if you k tan emission material for this subject in shaded in red there we have to render engines. The first is EV and the second is cycles. Evs less realistic but is much faster than cyclist. If we can be very realistic, similar to cyclists, but you need to know how to set some settings manually While cycle C3 realistic by default, because it's a physical base path tracer render engine. Speed depends on the computer power and seen optimization. In the Properties tab, we have our different options. One that we will use often is the Modified tab. There we have a large number of modifiers that speed up the modelling process. E.g. the array modifier enable us to quick can easily duplicate soldier. With the mirror modifier. We can easily mirror everything we do on one side to another side. With the Boolean modifier, we can cut one object, hit another. There are many other modifiers. These are just up to you that we use. Most of the tools on the left allows us to quickly transform the object. E.g. we will often use the move, rotate and scale tool, but we usually use them with shortcuts, g for gravity, therefore rotate and S for scale most often combine it with X, Y, or Z for X, Y or Z axis. E.g. if we press S for scale and then x for x axis, you can scale the object only along the x axis or y to rotate only on the y axis. Or G to move along the z-axis only. To edit an object, we need to go to Edit Mode, the shortcut for this system. Then we have three types of selection, vertex, edge, and face selection. We can jump between them with 12 or three on keyboard. Now we can grab vertex, edge and face and scale, rotate or grabbed S or G. There are a large number of portion that we use in edit mode. Some that we use often is Control R to add a loop cut, extrude, and control B2B. Shortcuts that we use often to navigate through the scene is numbered one for the front orthographic view. Number three for the right, paid nine for the left, and the non-bird, seven for the top. You can get the same by clicking on this gizmo. By pressing the Anki reopen additional tips. You can find all this in Properties tab and much more, but this is sore cough, or these views over the first three types can be blender and the rest is the add-ons that I personally style. We will mostly use the transform tab. We can see location, rotation, scale, and dimension. There we can see the dimensions of all selected object. 3. 02 - Start with the scene - Making walls and work with reference: The best way to start doing anything in Blender is to collect reference images. As the main reference, I will use images from this link, which is backroom. So Wikipedia. You can find link in the description screenshots from this video because I want to combine the backroom, send the pool rooms in one part. I would take this image as a reference. The best way to always give reference images at hand is the pre-program period. You can download it for free at pure ref.com. Simply slide images into it and at anytime you can open and zoom images or move or scale the window. If you don't want to use pure ref, you don't have to because I will open a reference images in the tutorial. I will share of dress images. You can make the maze according to your wishes. But for the purpose of this tutorial, I made the floor plan of the maze so that you can follow this tutorial and get a similar result to me if you want. If you haven't ever used vendor before, you need to go to blender.org. And you can click here to download and download Blender for free. And then install Blender. Next I will create pool rooms folder. You can create this on your desktop or where you want. So we can say Brent file here. And now I will copy this address and I will go to blend it and File. Save As. And I will call this four rooms, rooms tutorial. And now we have our file here. I prepared this ground plane image, and this will be a finance for our tutorial. And this is how I imagined All rooms last time. And I will now just quickly show you in 3D space how this look. This part here is rooms and this is all, this is pool rooms. And last time I started from here, and I look around this bedrooms and then I go with stairs down, and I enter in pool rooms. Then I go with this stays here and came down with these tails here. Look around this area here in the line to go with this zigzag maze than entering main pool room. This time we will get similar result by this because they will fall of this ground plane. But later when you learn how to make your whole room so you can make Maze about your wishes or e.g. you can always edit this file. I will show you just quickly how you can do this. We can add another room if you want here. And I will show later cows. So this is just example. We can extrude this part here and make another rooms. Okay, and now we have another room here and you can make another animation if we want to enable a little here. And we can quickly out there. So this is just an example how you can use this file and make weekly another rooms here. And I will show you in this tutorial how you can do all these. Now we can back to our blender file and I will select all these three objects we get by default. And I will press Delete on keyboard or x on people. And I will delete these three objects. And the next I will go with numbered seven to talk orthographic. And if you don't care, none paint on your keyboard, can go to View. Report. And now we are in top orthographic. It is very important to be in top orthographic, we'll run very important reference images, e.g. if I rotate scene like this and if I go with sheep, say an image reference. And you can see that this image is now on rotation. And this is not too useful. So I will delete this and I will press number seven, and I will go with sheep a. Image reference. And I will now import this ground plane here. This increment here is big 1 m. So if we go e.g. a. Cube and we can see here the scale of this cube is 2 m. So this much two of these increments here. And so we know that this reference image is about five meter on the x-axis, and this is too small. So for this purpose, I made this reference cube here, which is ten by 10 m. So what I will do here, I will go with Shift a cube. I will type here. Then you can type one-by-one or you can just drag here and type ten here. And now I will, I will scan this reference image to match this cube, this part here. So I will scale this more. Let's move this one, y and x-axis. And so I mentioned this here. We can go to x-ray mode or just via remote, and we can now see our cube here and I will scale this. So you can always use shortcuts. Shortcut for grub is G. And if you press X, we can move this on x-axis. So Gx, Gy. And scale this little more. Okay, this looks pretty good. And I can now make to viewport display, and I will now delete this. We are now sure that these match real world scale. We can now start creating roles here. But before we start, let me just bring this reference images to your rep. So just select all reference images and bring this here. And now when we are in Blender, we can always go here and right-click, we can move this. We want our scale. And we can zoom into our reference images. And you can see that I found reference for this part here. And this image here is reference for this part. You can see similar shapes here. And all these bevels we will add relate. This entrusts to pool room says reference for this part here. And this zigzag. Maize is referenced from these images. 4. 03 - Creating walls: I will first put a star here because we will start from this point. And I will go with Shift a and plane. And I will now back to the selection tool. And you can see that this plane is little under this reference image. And I will go with G and Z to bring this up. Okay? Now I will go to edit mode. With this vertex select, I would say at least three vertices. So select these two. And with holding Shift, select this one. And let's delete, delete vertices. Now we have only one vertices here. I will press E to extrude, and you can see various y-axis and also here. And I will press Y to stick on y-axis. And now I will press E again, and I will now go with x axis. So x for x sub c and e, and y for y axis and E for Extrude and X for X axis, the Y dx. Now I'll just go with the extrude and I will stop here. And we can see our zigzag line here. And I will not follow all these points here. I will just go with it to extrude them x for x axis. If you don't see this line, you can always press a to select all. Now I will make two point and I will start from here. So E and X for X axis. Again, and just try match this. And also here I haven't, doesn't go away. And we will later, this is exact effect. Now I will go with, I will select one vertex here and then we'll go, it should be move this, this point. And I will now go to extrude and I will place about, here, is let's be sure that these two lines are parallel. So I will move this slit here. Okay, this looks pretty good. And now I will extrude this one about here. And extrude and X4 X axis. Now we have only edges here. And if we now press E for Extrude and z for z axis and 64 6 m we get. But you can also, you don't need to do this, but you can also just press E and E z for z axis. And you can look here and just bring this to 6 m. But I will be more precise and I will press Z and six. Now we can create this zigzag effect here. So I will select this edge select and I will go to Edit mode and let me add, then. Loop cuts here. So it's Control R and scroll mouse plot them, look cuts here. And I will do same to another side. So Control R. And then this loop cut. And now I will select every other couple of Lucas here. So select first one and hold Shift. And just every other couple here. And we are now in global transfer orientation. And you can see that this match globals, x and y-axis. What if we change here to normal? This will be vertical to this face is here. So we can now move this on x-axis. Lethal. And I will now select other examples here of these edges. And I will move this again on the x-axis. And now I will do the same on this part here. So control are about ten loop cuts and Control R again. And now move this on y-axis, on the x-axis and select every other here. Move to opposite direction. Let's now get this back rooms, walls. So I will go here with Control R. And I will add one edge here, this part and I will, I will now lead to global orientation. And that will go with Extrude y or y axis, and those stick to this. And now I will add one. Look at here. With Control B, we can split this. And if you have more than one edge here, you can scroll mouse down. And try mentioned this part here. Now, I will press Delete and delete faces. To create this force. I will just go with select these two faces and Shift D and X for to move on x-axis and now extrude and x or x axis. If we now press L over this part, B, select a loose bar, L and L here. And I will ship them again. And x for x axis and move this to about here. Okay, I will press S and X to scale this petal on exoticism. Also this top part. Let's also select this edge, select annex to this part here. So I will now select this edge here, then p y and p y. 5. 04 - Non-destructive bevel: Now we will talk about bevels. And if you go with number seven, this reference, you can see that you have reference for bevels. And if you want, you can follow these lines later, but you can also create levels by your wishes. So I will now show you two ways to create bevel. First way is destructive level, so you don't need all of these steps. If you're selling this edge here, and if you go with Control V and it will scroll mouse up, you get this bevel. But the problem with this destructive bevel is that if you change your mind and if you want the smallest bevel here, you cannot go back and you need selected one-by-one this and delete it and try to fix this problem. This is called destructive bevel because change your mesh and you cannot undo this. You can undo This few minutes, but later, you cannot anymore undo this. So we will use non-destructive, which is bevel modifier. I will show it to common problems levels. If you set this e.g. to 1 m, you should get 1 m level here. But if you don't get this result, that's because probably you have double vertices and you can go to Edit mode and you can press a to select all and F3. And you can search here for merge. My distance. And you can click here, and this should fix your problem. Another common problem here, if you e.g. have to face is facing to another direction, e.g. if you go here to face orientation, you can see that we have blue color here and red color here. Rtp flip this normal orientation, you will get I will just print out of this bevel modifier. And if I go here with Control B, you get this problem. We always need to have blue colors, very K-map. So because camera is inside this object, I want to have blue colors inside and red colors outside. So I will just go to object mode. I will select all these red faces, which is inside. I will not press F3 and I will flip this and make this blue. This one. And this part here is not visible in camera, but I will also flip this. So just flip this normal send. Everything. What is visible in our camera must be true. Okay, Here's or row inside this look correct. Now just in this space orientation here. Now we can back out by the modifier. And to pay e.g. 1 m here we get 1 m level. And I have this problem. Let's, let's check this place orientation. Yes. We can see this program. So after the flip. And this works now and I can get this program here because when I extrude this base here, I get also this number here. So we have less disabled. Or secondly, you can always save money back. By clicking here. I will just delete basis with it. Okay, let's look now and also I will delete these faces here. Let's look better now. Now we have another problem. If we remove this, we can or cannot hear more segments to make this smooth. And if we change this value, e.g. the 0.2, we add the 20 cm, so bevel here, but also on all these edges. But I want to control this. So I want more level here. And lesbian up to this suggests maybe only 1 cm. And we can control this middle. If we change here. Limit method from angle too late. Now when we're in edit mode and then we select one of these edge, we get this input here. Okay, First, I will see these two angle per second and I want to see how much better that I want and reaches maximum value of one. If we increase this value from 0.2 to one, you can see that this level just stopped working. So we can hear e.g. 10 m. It will be same. And the reason for this is if you see this wall here, distance from this is about 1 m. Distance from, close it to edges is this one. And this one is about 1 m and difficult. More than one midterm level, these two vertices stick one to another end. We cannot go anymore with this level one. So this is a maximum level or it can heal and I will not go with more than 1 m is big because these have no sense. I will go to I was adjusting this one. And now I will make to wait method. And we can now have when we go to Edit mode and when we select one edge, we can see here level rate. And we can add here percentage of this value. So if you aren't given e.g. 0.1, we add 10 cm and Bevel here because this is ten per cent of this one. If we add here 0.5, 0.5 m. Okay? So I will now select, we know how this works. I will now select these edges here and I will now odd maybe here, going zero to maybe just two centimeter. So you can see called the slope. And I will, but here I will add a lot of bevel. It will look our reference, we have lots of levels here. So I can go to Edit Mode and select this, select all this. And I will go here all to one to add a lot of levels here. And also fear with this for second goal, maybe 0.1 to 10 cm. So 0.1 more level here. And I will add a lot, lot on levels here. So I will go with all these edges with a value of one, which means 1 m level. Okay, just increase this one and we get these levels. Let's add lethal level here. So 0.055 sentiment. And also here, maybe point line. And for this zigzag, we have a little problem because I want a lot of them are here more than 1 m. So if you want to deselect on one edge, you can hold Control and just drag over here. And I dislike this. If we increase this one, we get only 1 m and we cannot go more than one because we stick on 1 m and because of this war. But I can fix this quickly if I separate these 2 v from this one. So I will go here with Control R to add a loop cut. Then also here. I don't want to separate from this edge here because I want that bevel here. And I know that I don't need bevel on the spot. So that's the reason I add another loop cuts here. And I will loosen this part. Now I will go to base selection and I will call the Shift select all this recipe selection. Now UP ADH levels here, e.g. if I go to one, I can now increase this white. So I can go to, I can go to seven here, but I will go maybe 2 m. Now we can select all these edges here. And also on this side. And I will now include this all to one. And now we can control this. This bevel here only with this wire here. Let's say two meter is good and I will now increase this number of these segments here to make this motor. Okay, and let's increase this a little. We get this nice shape. And we can always make later and we can make test renders. You can always play with these values. And that's the reason we use this weight method. And now we have two separate objects. So this is one object and this is another. And this is not a big problem. Just be careful later when you add materials to add to both these objects. And the only problem here. 6. 05 - Modeling stairs: And now we can continue with modelling. Because background on forest floor and for Rome sits down and we have steps here. I need to eat ground floor or back rooms. And I will select this edge here. And I will go with Shift D to duplicate this and z to move this on z-axis. And now we can extrude this on the x-axis. And I will go to this line here. And we can now create steps. So I will go with Shift D and move this on x-axis, and I will press P and selections. And now we separate this selection, the selection. This edge here is another object. And I will go, I will go with the object set origin to geometry to move origin here. We can create staves from this edge here. I will now press numpad slash key to isolate only this object. And I can work only with this, only with staves. You can go to view, local view and toggle Local. And again with this option, you back to our scene and shortcut for this is numbered slash key. And we can now convert this edge to stage. So I will go to Edit mode and I will press a to select all. And now I will go with E for Extrude and X4 x-axis. And if for x2, again, the z, for z axis, I want just measure this monster is about 0.4 m. So I will make this cube four measures. So let's bring this here and let's, we can see that this data is too big. I want go to about 0.4 m one. So select this line. Of course I will just select this space here. Now let's move to about here. And this part look good. Okay, This T, Okay, and I will now go with another modified array modifier. And we need change this x value to minus one. So this now vote opposite direction. We want minus one. And also z-axis I want bring this down. Also minus one. Now if the ad level, so I will bring this back down and I will change this to n. And I will type here maybe 2 cm per level. And we have bevel, nice bevel here. And I will just bring these segments, maybe four. And we cannot add Bevel here because this is only one edge. And to fix this, we can always select this edge and we can next door this on z axis. And now we have level also here. Okay? And I accidentally turned on this proportional editing, just click here to disable this. Okay, and now we have our states and we can just come back to array modifier and we can increase this count. And I will now back to our scene with numbers less key. And I will increase this few more times. Let's now play this part here. So I will just, I will go with you and I will put here and go with sheep take cube. And I will skip this one z-axis. And it will go with number three. You can line up this precisely. I will go just with Sx and scale is on x-axis. I will now select, Face, Select and bring this to about here and this one here. And I will not go with this bevel modifier because I will not change this later. So I will get this problem. That's because your scale is not one. So Control a and apply scape. And now your bevel will work, correct? So Control P, two segments and this would be pretty okay. And I will also add Bevel modifier for this edge here. So I can move it 1 cm. Analytical level, maybe two centimeter and segments here. And if you want you can go right-click Shade Smooth. But when you say smooth, I usually use this. To auto smooth. You can see a little different on this shape. I will make this here to Other side. So I can, I can duplicate this phase, e.g. so shave the moon, the sun, y-axis. I will add one loop cut here with Control R. I will now move this edge here. Okay? And now I'm going to pose with a to select all know, because we select also this part. So you can go with L to select loose part. And I will go with E to extrude and y for y axis. And I will extrude this to about here. And I can just move this edge here. I will just move this to about here. So when we go to number seven, we don't see this box here. But we can fix this quickly if we select these rules. And if we add solidify modifier, I will type here 0.14, 10 cm. Okay, I disable this here. If we select this another part of horse and we can also solidify and we can also 0.1. And now when we go to with number seven, we can see this horse here. So it's little easier to work for us. And I will now stick this to about here. And I just want make this parallel. So let's move to about here. And I will now go hit Control V to bevel this part also. Let's now create this two staves here. And if I can do this, but if I copy this with Shift V. And the final thing, this Mozi axis, you can see that this don't worry, because if we add here solidify modifier, we get this real problem. Here. We get this intersection and we level. So this will not work for this part here, and I will just go with another object here. I didn't go with shift day and you and I will type here 0.4 m. And now we can scale this one x axis. I will now again go with the Nephites first key twice electron at this object. And that was good descriptor on z axis. And I will go with, are they modifying? Not on x-axis, I will go and y and z minus one. And now we can increase this. But here, -0.9. So it will just intersect. Click on this part, maybe point. Now we can go with level one. We need the Apply scale. You can see this level kids, so high price gate length, I will not hear centimeter. Can we come back to our scene and you can just place this top position and proud one more. Stay here and holding x and play this. 7. 06 - Floor, Water line, Ceiling: Now I will create floor, waterline, and ceiling. So I will disable this reference image. I don't need this for now. So I've been just creep enabling render. So we will not meet render this and I will disable this viewport. So we can always late at this if we want. Now I don't need this. Also disable this selection tool because we don't, we will not use this anymore. Now I will go with sheep. I will just keep playing. That will go with number three and just be sure that this is this much this line down. Integral. Now scale this. And this will be our floor. This will be typed on floor. And I will now cover all this with this Tice. So there is a way you can make types only on this part. Very old pool rooms. We can e.g. you don't need all of this. If we go with Shift D and move this on x-axis. And if we apply this body parts, if we go to x-ray mode and select this bottom line here, which is d and peace selection. We can get only this agent, e.g. manually connect this end. But this is too much work for this and I will not go with this method now because we don't see these extra parts in render late. So I will not most time with this method, so we can just make one big plane and I will go with those same with water line. So I want our waterline to be about 1.2 or 1.4 m from this ground because we will walk through this water and I don't want too much water here. So I'm gonna go again, 1.2 m. So this is just a reference. I will stick this to ground and now we can see how much we want water here. So I will go with Shift D and Z. I will scale is a little. So we can easily select these ground and this water. Now we can delete this cube. So now we have round and we have water line. Now because all this is great. It's a little hard to understand various water, various ceiling and various roof. Later when we create, I will create a weekly material for these objects here. So this all this will be dice, white, dice. I will be white. But I will not now, for now create shader. I will just go to Viewport display here. So you bought this place is visible only in our viewport in solid preview. But because we spent a lot of time in solid preview, I will just for now create color for these different materials. So this is white and this is why white material. I will just bring this and drag this to here. And now this is also y times material. And the next I will select this water and I will create another material and let me call this one. Will go all down to viewport display. And I will add here bluish color. And now we know where it is. Our water. And this ground is also white tiles. And now I will create a material for bathrooms. So because this is part of the same object, we just need to click here on new materials and I will call this dark rooms. I will go for display and I will change this to yellow. And you can see that nothing changed here because we need apply this material to our wars. So I will go to Edit Mode. I will for now disable this solid line. Because now we have double basis here and this little card to select this and see what's happened. Okay, Let's now disabled. We solidify and select all roles, which will be backroom wars. So select all this. Okay, and I will now go and select this bottom walls and assign this. Because this is one big part. I just need to add a loop cut here. I will select this again and just make this white thighs and assign. Now it's much easier to understand various bark from senator is why tides and we create another one materials and I will call this backroom scarp. I will add another yellow color, something like this. And I will now select this face here. And this will be carpet material. So select this material assignment. Just make a model Blake, too much. Now it's much easier to understand. Now, we will k ceiling. And for this ground and waterline, we don't need to care about this extra parts because it is not visible in the render. But with ceiling is little different because we will use some lump for lighting. And we will create windows here. And if we keep this extra parts, this will block out light. So I will go with shaving day and I will duplicate this ground and I will move this on z-axis. Let's make this solidify modifier. This object, because we don't see these slides. And I will now cut this with ignite. If you go to edit more than a few, select this vertex select. And we can now press cake work night. And we can just cut this extra parts. So I will just start clicking and I will now connect to this edge here. And then we press Enter. And we can e.g. just select this space and delete. Okay? And now I will go again with k. You don't need to be so precise, but just gotten this far. Okay, this part will not be visible in our render. So I will not lose too much time sheet and I would just go with K and just enter. We can now delete this part. Delete this face here. Now let's connect to this excuse. So K and stick here. And now we can continue. Okay, Control Z and now continue. Press Enter. And now we can delete this face and this one. And now we can rename this to ceiling. If we want to be more precise, you can always go to Edit mode. And if we select these two, and if we go to right-click and sub-divide, we can add another point here. And you can always be more precise, but I think this is not important for us. This is just one method you can make this more precise. This have this white tiles materials or the ceiling material and other strange viewport color to more complex. So this is our ceiling, and I will now find this in Newport. For now. 8. 07 - Rounded stairs and array modifier: Next I will create here is this rounded staves here. So I will now make this reference image in viewport. And that will go with not that seven to top orthographic view. And I will go with promote an x-ray mode to see how stays here. So I will now select this host of selection and I will put this course or in the middle of this stage. Now, I will make this select the box tool and I will go with Shift a, and I will go with cylinder. And let's scale this down. And now I will scale this z-axis, so S, z and scan this z-axis. Now I will deselect this object by clicking here. And I will go with number seven and we'd shipped a, I will add, I will scale these to match this line here. And if you go to Edit Mode, then press F. We can feel this. And now we can insert this width to about here. Now I will select these two objects and I will, let's not put slash key to isoelectronic these two objects. Next, I will select this circle here, and I will select this face selection and select only one space and press Control I to invert the selection and now press Delete and delete basis. And this will be one state here. I will now bring this down. And I will go to Edit mode. And I will raise a to select all n extrude, E for Extrude and z for z. Now, we need this and we can go with array modifier here. But with this relative offset, we can array this only on x, y, or z axis. Array this around this rounded object here. So I will use empty plane. And I'm going to bring this down. And I will play this around. Now, I will change from relative offset to Object Offset. I will select this empty object here. First thing we need here is scale to one. So I will select this object and control a and apply scale. This empty object. We can control this array modifier. So if we select this object properties or same options we have here, we can now rotate this empty object and we can control this state with this object. I will now select these steps here and I will just increase this account. Now with this empty object, we can control rotation of this staves. And we can control distance between two states. If we move this down, we also move this stays here. I will now scan little this stage. So I will go with S and scale this little on x-axis. And I'm going to also select this edge here. And I will move this little annex, Texas. I think we can intersect the salad on how this part okay. We can also separate them like this and I will stick this part in this column here. I would just move this on y-axis and maybe add a little more rotation here. Okay? And now I will select this object and I will also go to modify. And I will add two centimeter here. And you will segment scheme with the numpad slash key. I will make two. I'll see. Now I want to make this whole scene ceiling and ground rules. So there is few ways you can make holes in our plane. And I will show you quickly how you can make this three examples so you don't need to follow this. This is just e.g. so I will create a plane and I will move this here. And I will duplicate this three times with shift and move on x-axis. First way is with the Boolean modifier. So if I had a cylinder here, I can add more you on what the pyre. And I can use this circle, this cylinder to make a cut in this object. So if I apply this and delete this object, I have circled here. And then I can control with Edge Select and control. I can select all this slide. And I can extrude this one z axis. Next, if I go to Edit Preferences and add-ons, I can enable Loop tool, which come with Blender. So you just need to click here to enable this tool. And if we now go to Edit Mode and press I to insert this. And if we sub-divide this few times, we can go with right-click and we have few options here. And if I press Circle, we get this circular mesh here. And I can now go with E and x2, this z-axis. We'll go with Control R. And total costs here. We get one vertex here in the middle. And we can now bevel this with Control Shift V. And it's crawling mouse. We can add more mesh here. And if you press P, Now, we can change profile all this, so P. And we can make silicon here. And I will now go with right-click and circle this to get a perfect circle here. And I can now go with E and Z. We can now delete this. We can read number slash key back to our scene and I will use first method, which is a Boolean. So I will select this object and I will go with Shift D to duplicate this object. And I will press S to scale about this. And I will now select this plane. And I will go with Boolean and select this object and just apply deleting these objects here. And now I will select this select tool and with Control and clicking, holding Control and click, I will select all these lines here. I will press E to extrude and z for z axis. And if you press F, you can feel this. Let's make same with ceilings. So I will next ceiling in Newport and revolve. It will go to x-ray mode to see this line. So I will go with, now with Shift D and S and scale to this line here. Okay? Now we can select the ceiling and go with Boolean end, select this object and apply this modified. And now we can delete this and select ceiling again. And it's called him control. We can select this line. And now E to extrude and z for z axis and f. To fill this, we can now disable this reference image and you can see how this loop, I will now add Bevel here. So first, we need to apply this scale. And that will go with controlled a scale and edit mode. And with calling control, we can select this line here. And if you go Now with Control V, you can add them here. And over. Those same with this ground. So we can check scale here. So Control a and up by scale. And now select this line here and go with control V and then aunties. And we can go with right-click, Shade Smooth, and turn on auto smooth. And they will know, disabled the ceiling in viewport. 9. 08 - Non-destructive windows: Let's now add plus camera in scene and try first. And so I want to put camera 1.8 m from ground because this is a science of human. So I will add this cube and skeletal down to about 1.8. And now I will put cursor here and I will go with K-map. Now we can delete this cube. And I will set this x-axis to 90 degrees. Now we can rotate this on z OS. And to switch to camera view. You can go with numbered zero. You can go with view, camera. Set active object. And now we are, we are in camera prospect. So let's now make windows here. So I will go with tonight at 7.2 top orthographic view and I will make our empty our reference image. So I'll call this reference. I will now play this in viewport. We develop them and x-ray mode, I can see I mark where I, where I put windows last time. So you can follow this or you can make your own videos. But I would call this reference. For now. I will disable this. I will get q, which will be our Boolean objects here. So I will go with Shift a, and I will go with cube. And now we can back to our reference and we can match this. So I will go with this and scale this. Scale this on z-axis. I don't want two big windows here. Okay, something about this. Now, I can select this mole and I can add Boolean modifier here. I can select this cube if we now press F2, well, we can see that we still cannot see through this window. And the reason for this is because this Boolean is visible. I will, I will rename this cube and I will call this. These Boolean cube is visible in our render. If we click here and disable this in render, we can now press F2. And now we can see through this window. And we have our little lighting in our world properties by default, because this is not completely black. So we have some lighting. We can select this object and we can in object properties said this in viewport boundary. Now we can see inside this cube. And because we need a lot of windows here, I don't want, every time I need one window, another Boolean modifier. And there is solution for this. E.g. if I go with D and move this on x-axis. To warp this as Boolean, I need again go with another Boolean and select this object and disabled this invented, but there is metal solution for this. So we can disable this Boolean. And if you press, I will delete also this cube. And if you press M, we can add this in collection. I will call this collection. And now if we select this wall and we can change these Boolean from object to collection. And I will now select this Boolean collection here. And if you now go with D and duplicate this Boolean object and move this on x-axis. We can see that this object work as Boolean because it is set in Boolean collection. Every object which is in Boolean collection week now work as Boolean. So we can now press F2. And we can see that this works. Okay, so I will now move with numpad seven and go to x-ray mode. And I will. Just duplicate this. Okay, before I do this, I want to make one thing. I see on the reference, this nice windows scheme. So I want to make this part here. So I will delete this and I will go with Shift D and this one y axis. I will remove this object from this collection. Just derived. Can click here. And now I will call this window. And I will also select this row to this object properties and I will make this texture. Let's now delete this face. And this one. And I will now press Delete and delete faces. And we can move these two edges inside. Then I will move this one a little more. And we now have this frame. And now we can duplicate these two objects to get involved if numbered seven and back to x-ray more than promote and I will go with Shift D and move this on x-axis. And again, all the xs. Now we have five windows with this phrase. And I will make test render. Again. I haven't bringing these samples down maybe to keep because this is so slow. But now let's see how this looks. Okay, and the reason I don't see this render preview is because I forget enable this vendor bottom here so we can make another test. One thing I forgot to tell you, if you're hearing the noise of ticks, this will be much faster than this opening image. 10. 09 - Lighting and first render: I will now add more light to our world. So I will change to two so we can compare before and after. And I will go to shading tab. And here from objects change to work. And I will set this value to maybe ten. And I like this yellowish hue, yellow, this atmosphere, this rendered. So I will change this color to something more. And now we can make another render it. If a plus and j, we can skip before between this slot skin, smoked one, slot two. And I will now change this to slots T. And you can see that our sky, this should be sky is also yellow. And we can change this quickly. Back to them. We can duplicate this background note, and we can change these two little bluish color and light. But note, we can tell blender to use this only for lighting and this, this will be visible only in camera enabled. Node Wrangler. Here you go. You need to go to Edit Preferences. And don't send search for Node Wrangler and enable this not regular. We can hold Control Shift and right-click. We can this together and pour mix vector. I will use camera array. Now if we make another render, you can see that now this bluish color lender use this second input for something what is visible in camera and the lender use this first input for lighting. I can change this to blue to see better. Okay, this is too intense. I don't want to straighten these two colors to match. So I will bring this to about here, and I would also bring this to about here. I usually for this second input, use HDRI image. So e.g. if you love IT, environment texture here. You can select the HDRI and you can find a lot of this for free on the Internet. E.g. we can use any of this. Let's use this chilies here. And if we now plug this here, instead, this blue color, we will use this image in background. And let's see how this loop render. You can see this forest now in background. But because in our animation we don't look much through this window of maybe just one or 2 s. I will use only this blue color because this has DRI. We have slowed down our render time. So I don't mean this this animation. Let's now back to Layout. And now I will add some lump here. So I will split this window here. So when you see this little cross, you can move this right and left eye will go with the number zero to switch to camera view. And I will press N to remove this tab. And I will go this render preview here on left. And now I will enable ceiling in our viewport. Reason why this is completely black now is because this Boolean objects are not disabled in view port. Disabled this. We don't need click any of these one by one. We can disabled whole collection in render and also in viewport. And I will also disable this reference here. Okay, and now we can. With Shift a and we can add light. And now I will try to take n. So first I will increase this to maybe 50. And I will go here with yellowish color. And now I will play with this rotation of this. So I will go with f, x and rotate this on x-axis. And we can see this some shadows here. And I think I will rotate this little long z-axis. And on x, it'll be increased this angle here. We get this soft shadow here. And if we go down, we get this hard edge here, hard shadow. I will erase this Up to smooth this shadow here. This is okay for now, but we can always change this some settings or voltage settings and we can easily change color here if we want really atmosphere, you can add, change this to bluish color. Yellowish atmosphere like this. You can always change this color or bring this and maybe we can bring this down. So we will see later at the end when we finish the rest of this scene. Let's now join this and we can continue with adding windows here. So I will disable this syndrome and I will make this reference image. Select our Boolean. Boolean is now the same, the viewport. So we cannot see, but if we enable this, we can copy this Boolean object and I forget add this to our reference. But I also add big videos here and here. So I will go with D. And I will move this on x and y axis to about here. And we can rotate this one z axis by 90 degrees. And I will press S and I will make me big pin talks here. And I will go with D and Y to move this on y-axis. And the reason why this is so slow. So if we go with all the end mode, this, you can see that this is so slow. And the reason for this is because we have this level and so I get pi Boolean enabling viewport. Then we can for now disable this and now this is much faster. So I think initially this wall skews, so I will make this modifiers here, but I will disable the two modifier here. And I will go with Boolean because this is another object. So we have one row and second row. We need to add another Boolean here and set this to collection. And if we look our reference, you can see that the IARC also windows here, because without Windows, this will be completely black or completely dark. So we need also windows here. And I will go with shading dy or dy and x. On x axis. This is still a slope. So I'm going to also disable this now. Okay, and then now this is much faster. So I will now rotate this. Along z-axis and I think this Windows is too big, so I will scan this. I make small windows key. Let's now we can now change this to normal orientation and we can now go with D and move this annex. We can easily move this also on y-axis. Here. The x and I will add another one here. And all the y. And I will now add window here for the x and one here. Okay, I think this is enough, we will see later when we make test renders. So I will do same with this part here. So d y and put one window here, the x and one here. And let's add fuel to another side. So all d and y. And let's put one here and another. Okay, let's Malbec our modifiers. So select, install and enable this modified syndrome. Then the viewport review and also this backroom SEM pool rooms are located in early 19th and they are recorded with VHS camera. And I served for which I just came another solution and I found these values here. So I will type here 640, 408. Now, if not zero, We can see this four by three aspect ratio. And you can audit our render time is now much faster because we use this low resolution. And if you want, you can double the resolution. And now we get much more details, but render time will be about three or four times slower. And you can decide what resolution you want. But this time, I will go with this original resolution and we will get blue rent animation, but this is what I want achieve. This time. I will go with the original camera resolution. And now we can make few test renders because we create all these windows. I will duplicate this. I will, I will make these two global orientation and I will go with Shift D and I will duplicate this camera. And let's place one camera here. And if you press lamp at zero, you can see that this is still main camera. So we need to press control Z. And now we switch to this k manner. You can go with view cameras, set active object or skin. Now, I will obtain this slit along z axis. I will have to well, to make Testament. And let's for this test render with lumber resolution here. One thing which is important here, by default, camera focus instead on a focal length is set to 50 millimeter. And I went last time, go with 25 mm. So you can see the difference between this is actually a Zoom cameras on. If we bring this down, we can catch more of all seen this before with 50 millimeter zoom, and this is 25. And I will keep this. And I will also set 25 controller up at zero to switch to this camera. And let's make other tests. And I will now Shade Smooth. This Shade Smooth, right-click, Shade Smooth and enable auto smooth. And also within this box here, Shade Smooth. Smoke. 11. 10 - Modeling Backrooms windows: Let's now create this little window here. I will select this wall here, and I will go to Edit Mode and select I will go with Control R. And I will add one loop cuts to this state here and also to this war. Now, I will select these two edges and I will press f to fill this space. And I want to extrude this and add thickness to this mode. But be careful here because if you remember, I talked about this bevel modifier. So this level depends on how close are two vertices. And if we now x2, this wall index, you can see that we lose this bevel modifier. And we can fix this easy if I go with Control Z and I will join this again. So f, We can fix this API, just press P and selection, and now we separate this goal. This now don't affect to this bevel modifier and to this wall here. Now I will go to Modify tab and that will remove all this module here. And I will go to Edit Mode, select this face, and go to E to extrude and x for x. Now we can add windows here. You can see here, I will go isolate this object with the numpad slash key or you can go with you. Local view, toggle Local view. And we can now create windows. So I will go to Edit Mode, select, and I will go with Control R to add one loop cut here, but I will scroll mouse up and add another loop cut here. And if you press S and Y, we can scale these two edges. And now I will go with Control V to split this. And this will be space for our windows. Okay, something like this. And now I will go again with Control R and hard lung lobe cut here. And another. Next I will breach these phases, two phases here. But before I do this, I will duplicate this shape, the x because we will use this space for window frame. So now I can, I will press, select this and press P and selection to separate this object. I will go with objects set origin to geometry. And also here. And now I will go to Edit mode. Select these four faces with holding Shift and right-click and breach. And we can now create window with this plane here. So if we look to reference, you can see that we have one blue cat on z-axis and two on y axis. I will go with Control R and scroll mouse and add three loop cuts here. And now I will press a to select all. And if you press, I mean seventies. But we need to insert this on individual origins. So I will press by twice. So i, and now I will scale this down. And now I will press Control I to invert selection. Or we can go with the select and inverse. Now I will go with E to extrude and x for x. Next I will select again these windows here. And I will press I again. And E, extrude them X for X axis. And I will move this. Let's create materials now. So having both to Material tab and I will remove all these materials. This material and we'll be back on wards. So I will remove these two materials. So this will take one in this backward works material. And I will add here. Would material has changed, viewport color, brown, dark brown material. And I will also add here glass material. And now hit this glass selected. We can just click here and assign these glass material and I will change your color. Bluish color. We can add also been modified. And I will go with one sentence, maybe two. Okay. Let's now move it, shift D orbitals, the d and y for y axis and move this on y-axis. If you want, we can select these two objects and we can go with all the d and x. Move this on x-axis and z, 9,108 to rotate this on z-axis by 180 degrees. And I will now create this double window frames here. And we can now, it's not that slash key back to housing. 12. 11 - Modeling details: Now I will create this piece of wood or what material is this? I'm not sure, but I will go with non-fed slash key to isolate this object. And we can pay selection, select this face is down and I will go with Shift D to duplicate this object. And P selection. Select this object and set origin to geometry. Go to Edit Mode and press a to select all and Sx to scale this on x-axis and E and Z to extrude this on z. Now I will select these edges here. I will go with Control V to add Bevel. And I will change, remove this material and I will add this. Here, would frame. Let's now create this column here. So I will go with numpad slash key to isolate only this object. I will go to Edit mode. And with Face Selection, select this face and Shift D to duplicate this object and P selection. Now we separate this object and we can go to Edit mode and this a to select this object. I will go with Sx to scale this on x-axis and scale this get along y-axis also. Now, I will go with E extrude and z, z-axis. And I will press I to insert this. And we can move this little down. And I will press I again, e to extrude and z or z axis. Let's again insert this and move this down and E, z again. Instead this again, and move this down. And instead this one more time. I will now press E and Z for x0 and x2. This all done with holding Alt. We can select this line here. And I will, I will select this select Edge Selection and it called the goal. We can select all these slides. With holding shift. We can multiple this selection. So I will go again with all with holding Shift and again with all three can select all these lines here. And we can move with control V and add that over here. And let's hold Alt and select this line and also this line here. And we can also add lever here. But you can also always go with bevel modifier. And I haven't changed this material to whites, blacks. Let's now pay this metal part. Set origin here. And I will go with plain mesh plane and x like to replay this one, x axis by 90 degrees. And now I will go with the edge selection here, and I will bring this to about here. Let's see various waterline here. Okay. Now I will go with numpad one front orthographic view and I will go with the more than x-ray mode to see various states. So I will, I will try and make this parallel with this stage. I will create this part. So I will go with Control R and add one loop cut here. If we select these two vertices, Empress, we can move this up if you want. But if you want to be more precise, we can go with s, z zero to scale this. To work. This is zero and z axis and now they are perfectly align it. Move this along z-axis. I think we need to move this down. Let's try like this. So I will select only these four edges here and I will press P selection. And now we can delete these faces. We need only these edges here. And if we go to Edit Mode and select the winning select points, we want level. So these three points here, and how we can level vertices with Control Shift and B. And now we can scroll mouse and odd. This bevel here. Okay, And now I will convert these to curve. So we can go to Object, convert and convert this to curve. And now we have here properties. And I will go to geometric bevel. And I will add that if we can increase resolution if you want. Now we can add that. I haven't moved maybe 6 cm. And now I will go with Shade Smooth. Let's create this detail here. So I will add, I will go with Shift a and, and I don't need too much vertices here. So I will go bring this down to 16 and scale this down. And S to scale this one z-axis. Let's play this, place, this request as z. Select this face here and go to Control V to Bergen this. But before we do this, we need Apply Scale Control a and applies and now Control V. And then on this, we can always later back to this geometry level and we can change this later. Next, I will select these two objects with not put seven go to talk orthographic view. And with all the next, I will also place this object here, so every night. But I want to rotate this one minus nine, minus nine. And let's play this to this stage and bring this down. And all to D and X and move these sorts of here. And let's add one camera here to make one test render. So I will go with Shift D X. Okay, but we need to make this window transparent and we also need hard lighting to this, but crumbs. 13. 12 - Materials - Metal chrome: Let's now start with materials. So first I will k this metal chrome material. Let's add here. And we can now go with the shading tab. And when we switch to this shredding company with also switch to material preview. And let's press and up at zero. Bring this camera view. And I will now back to object. We can start creating materials here. First for metal, I will bring this metallic told to one. I will bring the roughness for now to zero and we already have nice metal material. And let's also bring this material to this object. But I want add variation in roughness here. So for this, I usually use concrete texture and if you go to texture.com, you can search for it here. This first results are BBR, texture and unit page, this PBR textures. But if you scroll down, you can find one in which texture here. And you can use any of these. You like. I think I used this one last time. And I will share this link with you. But you can download this for free. And I will now open folder where I download this and I will just bring these two blenders. And now I will go with them. And I will plug this roughness. And if you press Control Shift and click on this node, we can see how this texture is projected on this object. And because this is just one curve, we cannot unwrap this. So I will not use UV map for this object. I will go with, I will press control and select this texture and press Control T to get this texture coordinate and mapping the node. Then I will try it, generated projection here or object. And I think this looks pretty good. We can change this scale here. I don't like this edge here, so I think I will change. I will use this concrete texture here. I will share this link we would do if I find this texture, but you can always find flexion you like. I would like to Blender and let's select this material and I will make this maybe 21. Okay? In blended white color means value of one and a black color is value of zero. So if we change, if you make this material by clicking Control Shift and click on this node, we can change the roughness. Roughness means completely shiny and roughness zero means completely shiny and roughness one mean completely wrapped. So if we now know that black color is zero and y is one, we can control this roughness value of Q. I want more black color because I want to make this more shiny. But I also want some these details. So we can make more conscious. Move this white color and left. Okay, and let's now create this glass material and we will see better when we put some light through this window here. 14. 13 - Materials - Glass: Now I will select this window and go to Shading tab. And now we select this last material here. So if we switch to Shading tab, we can see that we have glass material here. And I will not put slash key twice. Bring this object here. Let's now delete this case. It will be SDF and let's go with glass material. And if you plug this here, we can see that we have glass material, but I can also mix this with transparent. So we can see through this glass. And you can go with the mix shader here and you can plot this one here and one here. But you can also go with Control Shift and right-click. You can just connect these two and you will get this mix shader here. Let's now add more details. I will again go with image texture, and I will use this concrete texture I use before. If you press Control Shift and click on this, we can see how this texture is projected. We obviously need an abrupt this and I will press U cubed projects. We now project this image correctly. And if you want, you can always, you can press Control T here and we can scale, change these k, maybe 1.5. We can now use this tool, roughness here, same as before. So I will go with them and I will bring this black here. And you can take this black and white to get the result you like. And I don't want to be completely rough. So we can also bring this white color or more tube-like. Something about this. And I think this is better than before. And we can add all solid will bond to this Windows. Now they are perfectly flat. So I will go with sheep, they end with Muslim texture here. And if we press Control Shift and click here, you can see how this mass move texture look. So I will change this scale. Okay, and now I will go with bond. So Shift D and I would plug these two height. And I will plug this here to normal. And we can make this material with Control Shift and click here. And you can see what result we get. So this is obviously too intense, so I will bring this down and straight also down. Okay, and now we can see through this glass material. 15. 14 - Backrooms - lighting: If you look my last bathrooms tutorial, I talk about how to create this ceiling panel. And I will not do this again, but I haven't shared this file with you. So you can just open this blender file and you can use this ceiling panel. But I think I've shared this part of tutorial with you so you can learn how to create this. In. For now, I will just show you how we can use this. If we go with RA modifier, I will remove this for now. And if we now select this object and we can go with an array, we can just lay this on x-axis and we can add another array here. And we can bring this x axis, 0.1, y axis to one. And now we can add this one, Vioxx. And how to turn on or turn off this light. So we can go to material here and we can go to Edit mode. And if we select this slide, we can just select this slide. So I will rename this to light, this light on this slide. And now I can select this face here and I can just assign this slide on material. And if you want, we can apply this are the modifiers. And then you can change this slide thing to without affecting this, another part of this panel here. So I will assign this turn off this light, lights here. But when you assign this as a modifier, you can see that these dots are now too big. This must be texture because we use generated projection, not uv. So you can just scale this up and fix this little dots here. But I will go with Control Z because I don't want to apply this array modifier here. And now I can turn off this array modifier and I can now select this object, right-click copy objects. And I can pay this out. So paste this here and I will now set this on place. So I will go with Nike and let's place this here. Because we already have this ceiling material here. So I will I will go with all high to make all these hybrid materials sent me back this seeming material. So I will create, I will select this object and I will press M. And I will create new collection, and I will call this. Okay? And now we can put all these objects, ceiling objects in sealing collection. Okay? Let's now bring this down. And we can select this with G and Z to about here. And now we can use a modified array and I will go to minus 12 opposite direction here. And let's call this four times and another modifier. And on the y-axis. And we also need this panel here. Okay, and let's now press as well and seek all this loop. And now we have a lot more light. And let's switch to material preview. I want to place this in the middle, so I will go with g and y. And I will place this to about here. And now we can, let's see how this looks. Okay, Let's these little more. So I will move this y-axis again. And let's add one more. Because I will make one room here. I would also add one more array here. And now I can apply this model. Okay? Now I just want these dots here. So I will go to Shading tab key twice to bring this object here. And just select this funnel material. So because if you go to Edit Mode and select this, you can see that this is Spanner material and this is like on this slide. So I will just bring this. So this is what a noise texture and bring this up. This look good. Now, let's fight this here, and I will create another camera here. So Shift D and move this on y-axis. And let's rotate this camera to about here. And control number zero to switch to this camera. And we can now make test run. I think we have too much lights now in our seams, so I will go to swap two. And let's make this hallway here. I will go to Edit mode and hit Control R on one loop cut here and another here. We can just go to Extrude and white port y-axis and let small. And having just select this face, delete space. Okay? Now I will make this ceiling material, ceiling panel here. And I will turn off some of these slides here. So I will select this one. And I will go to materials and light off. Light off and also this one. Okay, And one thing I want to fix here, because we can this intersection here. I will select this role and I will move, and also this one. I will move this to this line. Okay? And these have much more sense now. And I will also do this with this work here. So let's move this to this edge here. So this is a water line. And we can move this waterline to about here. And this part here is backroom some ground. So I will also select this part here and move over to here. And we need more ceiling to this area. So I will go with D and y. Ok, and now we can make another test run. And you can see that light can go through these parts here because they are not perfectly connected. And we just need to increase this ceiling here to cover this part. So I will go with Control R with K for time, and I will just hold y for y axis and press Enter. And now we can go with E to extrude this part here. So e and y just covered this part and old some of this. And I will also extrude this part here, so e and y. Okay? And we can also bring this ceiling whittled down. You can create an atmosphere you like, but I think this is too much light for this part of bathrooms. So I will just play with this and I will switch to material preview. And we can with numpad slash key isolate this object and you can see how much light we have here. So I will, just, so we're here and I've adjusted all these slides here. So let's select this and just assign the sleight of material. 16. 15 - Backrooms - wall material: Let's now back to Layout tab. And I will now select this bedroom wall material and I will go to Shading tab. Let's now create this material here. For this, I also go to texture.com and I served for, for wallpaper. And I found this textures here and plus time I use this one. So I think I will try to find this texture and share the link with you. But you can use any similar texture for this. So I will bring this to Blender. And I will now connect this to color input. And we need unwrap this. So I will press a and you feel projection. And now I will go with Control T. And I will just scale this maybe ten times or 50 times. Okay, I think this looks pretty good, maybe 60. And we can now just create week material here. So I will go again with follow them. And I will plug these two roughness. So I don't want this to be shiny, so I will bring this light color down, something like this. And I will also use this color them for bond. So we can plot these two pipe and to normal less than begging this material here. And this 0.1. Bring this down because the backroom small sub pretty yellow. So we can make this with a yellow color. So this will be color 1.2 will be this yellowish color here. So we can set this to multiply. And we can choose coal much we want this yellow color. I haven't bring saturation a little down. And we can now make another test run. Okay, this is so yellow. So I will bring this saturation more done, something like this. And I would also go here with hue saturation. And I'll bring this saturation of this texture. And shy another test render. I think we can see too much of these flowers here and I'm going to scale this more. So I will bring these two might be 80. I will change this multiplied to mix. So now we can choose how much we want these flowers or this color too. I will go to about this value and change this color here. And I will make a few hallways here. So I will now, let's find the ceiling materials here and let's go with Control R and maybe three cuts here. And now we can hit control V, split this. And we can now use all to extrude face normals. We can move this out. And let's see how this works. And we can also bring value on this slide down if you go to Shading. And you can see here is a volume, this slide and I will bring, this may be okay, and I turn off the slides. I keep only few here. And we can now select these camera and control numbered zero. We can make test render here. This is resolved before and after. I want to make less space in between these 2 v. And I want to put this in the middle. So I haven't just do this quickly. Let's select these two. Ceiling. And I will go with the G and X. And let's move this here. Let's now select this. And I will move camera a little on x-axis. And let's now make wonderland. Next, I will improve this roughness map here. So we use this flower texture for roughness also. And I will now select this. And I will go to Shading tab. And instead this texture, wallpaper, I will go with concrete texture, image texture and concrete texture we used before. So Cassie call this look. And now I will go with Control Shift and click here to see how this book here, and I will go with Control T. And let's scale. This may be totally okay, this look good and I will now go with tolerance. And let's try plug this. So if we press Control Shift and click here to bring back our material and I will plug this too rough. This is before and this is up. So they get more details here. Okay, and now we will create a carpet. 17. 16 - Carpet texture: For carpet texture, I go to ambient cgi.com and I will click here to material, and I search for carpet. And I download this one. You can just click here and you can download this. And this is how this looks. So I will copy this address here. Now, I will go back to Layout and select this color texture. So I came back to sharing the tab and we can now select this principle be SDF. And we can press control shift. And now I will paste this address here and I will select displacement and roughness map. And now I will change this scale maybe to 20 or 50 or seven. I think this displacement map is too intense, so I will scan this for 0.1 and 0.2 here. Let's now add some dirtiness or stains here to this carpet because now look too perfect. So I will go to slot for the scale to maybe 50. And this looks too saturated. So I will go with the Hue Saturation node. I will bring this saturation a little down. And now I will go with Shift a and massively protection. If you press Control Shift and click here, we can see how these look. I will also go with the color ramp. And I will move this black color here. And very slight cooler, there will be our stains. So I will play with this value here. Okay, something like this. And now I will go with Shift D and duplicate this hue saturation. And I will plug this here and I will now go with saturation all down with value also down to make this more darker. And now I will go with Control Shift and right-click to mix these two texture. And for mixed factor, I will use this color ramp. And now I will make this material with Control Shift and click. Okay, I think I need to invert these two colors. Now we can see this dirtiness, all these stains here. So I will now doing these little more. We can increase this and make more visible if he'd move this white color on left. And I will now add more black color here because this is still visible. This is before and this is after. I will now add more lights here to make this more visible. 18. 17 - Tile texture: For tile materials, I will use these tiles texture from NBN cgi.com. So if you go to Materials and search for times, you can find these types 107 texture and I used to k image. And I will share this link with you. This is how this look. But I also want to add more details. I will mix this with the x concrete shader peck from Chaco fool.com. And you can download this from this link. So if you go to chocolate fool.com, you can click here to store and products. And you can go here for three category. And you need make three profile. And then you can download these shaders bundle. And you'll get a lot of this three and high-quality shaders. And I use this shader. So let's now create these types material. I will, I will select this object and I will get the numpad slash key and isolate only this object. So we can use this for real and odd here, white material. Now, I will go to Chez the term and I will press number slash key. I will now copy this address that I download these tiles from MBA CG. And I will press Control Shift and tea, and select this color, displacement and roughness map. And we can now go to edit mode a to select all and you, your projects to unwrap this. And now we can scale this value, maybe 2 ft. This displacement map is still ten, so I will bring this maybe 0.1. And you can see how this book maybe also here, 0.1 or 0.05. And you can see how this loop. But if we zoom here, you can see that we get a lot of these big cells. And because this texture don't have enough information, I will also use this chocolate for concrete texture. I will mix these two texture together. Let's now open this charcoal for texture and you can use any of these. But I use last time this number. So we can double-click here and we can open this shader. And I will now right-click and copy object. Back to our scene and this object here, and I will now select this object. And you can see that these objects have this material and I will just select all these and let's delete this, fall this, and let's paste this here to white tiles material. And I will now delete this one. Okay, Now let's go select this texture here and go with Control T. And scale. This may be 20 or 15. If you want, you can play with these values here so we can increase contrast here, saturation, brightness. And also we can increase glossiness. Or bomb. I will know for this type of texture here. So I will first go with this color map. Okay, and let's now go it's Control Shift and click here to see how this look. So we need scale this, so Control T and scale this maybe to five. E.g. and even more, I think maybe for now I will increase this black lines here with color ramp. We can all mix this to color the color map. So I will go with RGB and I will plug these two color one and these two color too. And we can plug these two base coat. Let's press Control Shift M, like this material here. Okay? Now we can choose between color one, which is this tile from NBN cgi.com, or this chocolate for texture, which is color too. But we can also multiply this and take a darker color from both of this image. You can choose how much of this concrete information you want. And we can also add more contrast here. If you want. To get more of this concrete look. Okay, I will add more conscious, but I will also go down with this value here. Okay? Next, I will go with the bump map. So for this, I will use this displacement map and displacement and bond par, very similar. So I will now plug this to scale this. If we go with the Control Shift and click here, we can see how this looks. So we need also scale this 40 times. And I will just plug this, this vector. Okay? And now I will go with Shift a. And I will plug these two height and these two norm. Let's bet call material and we can now see what we get. So this is too intense and I will bring this top 0.1 and also 2.1. And next is roughness and roughness determinate called glossy will be, our types will be. So I will go with color ramp. The white-collar mean value of one, which means completely rough and black color, is value of zero, which means completely shiny. So if we increase this black color, you can see how we get this more glossy look here. And also if we bring this color morph to black, we get more reflection here. But I want this lines here non-reflective. We can mix these two texture. So I will go with Shift D. And if you plug this, this texture and with control shifts, we can see how these look. I want, make this white. So if we tweak this color ramp, we can get the white color here. Now we can, we can move this here and we can with Control Shift and right-click, and we can make these cool textures. Let's go with Control Shift and click here to see how this looks now. So we get this white color here. Now we can see that we don't have reflection on this part. So let's play with this value. If we increase more co-op, we can see that there is no reflection on this. I think this is too glossy, so I will bring this red color and this one. And also this one. Okay, and now I will back to Layout and let's go with number seven and duplicate this Command, Shift D. And why? And let's put this camera here. And now I will go with control lamp and zero to switch to this camera. So let's move this here. And let's rotate this one z axis and also bring this up. This is what I get. And we can say that maybe this bump is a little too intense, but the rest look good. Okay, and we can now move this camera and tried this from a different angle. So let's make one shot from this angle. And before I made test renders, I will also add this texture to these objects. So I will select this white tiles material and when this here. And let's go with your project. First, I will press N and we need apply scared control a scale. And now we can go to you. You feel projection. This look too small. So I will just scale this down and make this bigger. Let's now add this material also here. And let's go to Edit mode. Press a to select all and view your projects. And we need scale this down a lot. They need the unwrap this part here. So I will press a to select all. And let's just check scale this one and your projects. I made a few test renders and you can skip between this slot with pressing G on your keyboard. 19. 18 - Ceiling texture: I will now enable this ceiling in Newport and we have this ceiling material. And I will now go to Shading tab. And I will go with English texture. I will use concrete texture I use before. Let's press Control Shift and click here to see how this look and solving it will go to Edit mode. Press a to select all. And you do projection. Let's press Control T and scale. This may be 50 times. Let's vector. I will now use this roughness maps. So color ramp like this here and plug these two rough and make this material here. Let's isolate one of these objects so we can see better, but we can. Okay, Let's tweak this a little. I don't want this completely black and completely shiny parts. So I will bring this more twice. Okay? And I will also use this for a bump map. So shift take bomb, plug these two phi n and bring these 2.1 and this all down. This is before and after. And we can see this details here. And we can also add little of this concrete in color or inputs. So we can go with color ramp and we can also plot this. 20. 19 - Ocean modifier: Next we will get here is what our shader. So first I will switch to solid preview and I will hide this ceiling from viewport. And I will select this line. And I will scan this maybe to 20-byte and set the origin to geometry. And I will move this here. First. I want to add some real geometry here. And for this week are here. Ocean modifier. Next I will apply scape. So control a Apply Scale. And now we have a few settings here. And this setting, this resolution is actually sub-divide. And if we go to wireframe mode, we can see how this looks. And I think this value of seven is okay. I don't want to high density mesh here. And this, I will keep this to seven. And the next, I will scale this size down to about here. Now, next important thing here is this spectrum. Here by default to this turbulent ocean. And you can try different types here, but go with this shallow water. And the next important thing here is this race. So I will scan this all down to 0.1. And you can also play with this fetch value I, I try different values skipped. So if you go down, you get, you get to this more, this tiny waves. So I would go 100 or 200 to smooth this. Okay, I think this is still, the scale is still big. So maybe 0.05 because this is a pooled water and we don't need too much waves here. And I think this is pretty okay for now. So now we need to animate this water and for animation reuse this time option. So first I will go to first keyframe here, and I will press I on keyboard to insert this key frame. And now I will go maybe to 100. And I will set here, fine. And press I to insert. Now if we back to playing one, and if we press Space, we can see our animation. If you want this animation to be faster, you just need to move this left and you can see what we get if we press Space now, we get much faster animation, but this is too fast. So I would go maybe to 150 and let's now, let's paste. Okay, and we have one problem. When we cross this last keyframe. This animation will stop. And we can repeat this if you press Shift E, and if you choose leonardo extrapolation. That's mean that this animation will be on repeat all time. And now we just need array this and we have here this array oxygen under repeat. So let's now these few segments here. And we can move this here and just increase this on X. And I think this is m. Let's add one on y-axis here. If we know what example switch to this camera with control lambda zero. We can preview this animation. 21. 20 - Water shader: Next, this watershed. So if we select this and we can see that we have water material here and I will go to Shading tab. And I will press numbered zero to switch to Gemara Preview. And let's press number slash key to beg to our state. And be sure that here is the material. First, I will delete this principle because the F and I will go with glass transparent. So if we mix Control Shift and right-click, we can mix these two materials and I will plug these two circles. First thing here, if you search on Internet IO. So you can find this index of reflection list and you can see that the flexion of water is 1.333. Here, recover water and I think for water is 1.333. So this is water. I think. You can find this list online for different type of glass material. So I will type here 123 tree. And we can now make first-place trend. I will pick store things I see here. First one is get the light to this area because we need to bring up this ground floor. And second this unwrapped. It's not correct of this part here. So let's fix this week. I will turn on from this reference image and I will switch to material preview. So first I will select this floor and I will go with G and Z and break this rate law. Okay? Select this water material and let's make, let's see how this looks. So we can see something because you can see this, the format, the times here. So we see our water material, but this transparent value is still dominant. So I will now bring this all to 0.1. I will change this color on water here to something like blue or green. And let's now make another test render. Okay, I see that I forget the unwrap this floor tiles. Also. You can see how big is this. So let's, let's now pick also do this. So basically we can select all this part and we can press a to select all and new projects. And that's for now, just hide this waterline. And we need big scale of these two match these timescales. So I will go to UV editor and I press a and I will scaling this up. Okay. Now we can make a test render. So F to L and I will back to Shading tab. And I will now get this water line. In viewport. This is a before and after and look much better. Next I want to add here is bombed details. And I usually see that people use Muslim texture for this. But I think better solution for this is if you use image of water, because muscular texture is computer-generated. And it's always better to use the image because you will always feel that something is computer-generated. There is one better thing than one still image. We can use Window Animation. And I'm found one, this nice video animation or for free on pixabay.com. So I will share this link. It you can just click here and you can download the native resolution. And you can just download this, I think without registration. And we get this file. And now I will bring this animation to Blender. And I see that this Please 38 s. So da by 24 frames per second is a lot of frames. So I will bring this here. And because this animation we need set, how much frame is this an 800 value? Because we don't need more than 800 frames here. And let's click here cyclic and the outer refresh. And we can now play this in real time in viewport. If we press Control Shift and click here, we can preview this. And I will go with Control T because this is, you can see scale on this is too big and I will set here scan this may be 20 times. And if we press Space now, to start animation, we can see that this is unlimited. Okay? And now we can use this for bump. So first, I want to convert this to black and white. And I will go with follow them. I will go with the bump. Plug this to height. Now we can plug this to normal. And we can see already a lot of bomb here, and it will play plus space and play this animation. We can see how this looks. But I will scale this down, or 0.0, 0.2. And also on this slide here, you can see all these details here. Maybe we can bring this 2.0, 0.4. And let's now make one test render. So I will go to slot three and press F2. And so this is before, and this is after. You can see lots of these time it takes here. So before and after. But we can also increase this if you use this value for us displacement. So I will search for displacement. And I will also use this texture plug to hide. And I will also use small value of 0.02. And I will copy this here. And let's plug these two displacement. And you can see now, big difference. Maybe this is too intense. So I haven't bring this down and let's move it to another test run. I think this is too intense, so this is before and after. Let's play with this a little more. I made a few test and I go with this value or width to 0.002. And you can copy these values if you want. And this is result I get. So this is before and after. And we have one small problem here. You can see that this repetitive texture here, you can see these tiles here. So we can break this if we go with the Muslim texture. And I will press Control Shift and click here and we can scale this maybe to about here. And let's now mix these two texture with control. And no, first, I will go with color m, So I can control over this texture. Now, I will mix these two texture by holding Control Shift and right-click. And now by default, the mix. Now press Control Shift and click here. And we mix these two textures. And you can see if we go all to one, we get only this texture. And if we go all to zero, we get only this one. And I will now set this to multiply. So it will take black parts of both texture. So if we now go to one, we get both of these texture makes sense. And I will just fade this black color here. Let's give this a little more. Okay. Let's now make our material here and let's see what we have. So e.g. I. Will just make this black color to see better. Where is this black area here? We get this tiny race. So you can see that we fade this tiny waves here around this area. But if we move on to zero, we make these tiny lay the eggs from this area. I will not completely fade this, but I will go to about maybe 0.5 or 0.8. And let's now make your test renders here. So I will select this camera here and then we'll go with control not at zero. And let's make now one tester. And then from this end. 22. 21 - Caustics: In this part we will create caustic. And you can see here examples how this loop and also here in this renders lander Lewis new costing option two versions ago. To make this costing to work, we need three condition. And first one is light source or son. Second one is glass material, which is this water, and third one is ground. This costing will be visible and we have all these three options. But there is one problem. Because we have ceiling in our scene. We need some heating through water and may cause things on this ground. But because of this sealing, the sun don't hit our water. You can see in render preview that I'm getting all of this works here. And that's the reason why this costing option will not work for us. So we can only make fake cost sticks. And I will show right there how. I will now show you how you can activate this course takes in Blender for another scene where you don't have the ceiling. So you need to select the light and you need enable this shadow caustic. And then you need to select this water or glass material and feed on shading. You need a neighbor. Shadow costing send object will be displayed. This need be receiver shadow. And this should work as caustic snap. And you can find many tutorials on YouTube about this new feature. I think this is not physically accurate because they need some heating through water to get costing. But I like this text here. And I think this is also not physically accurate. And also this because you need water here and sunk it into water to get costing. But I like these states and if you're not overkill with this, I think it will look very nice. So let's now create this fake. To create Paco sticks we need now for this image because I want to make this animated. And because I want also share this file with you, I'm limited only on the texture I can pound and I found this one on pixabay.com and I will share this texture with two. And we have a small problem here. This types are visible and it will be visible on our ceiling and where we want displayed this costing, but this is best I found and I can share this with you. But you can always go to Google and you can search for cosmetics with the texture. You can find a lot of options here, which is paid mostly. Let's see some examples. So you can see on shutterstock.com how much options you have here. All these are wide quality and really nice. And if you want, you can buy better texture or maybe you can find for free. Let's now create fake caustic. So I will put one here. And I want this on ceilings, so I will go with the ship they liked, spot lung and X1 family day. Next. I will add fake ceiling here. So I will go with plane just to show how this, Let's imagine that this is ceiling and I will scan this. Let's now select both of these objects, and let's go with numpad slash key to isolate only these two objects. And just for to show how this work, we need to go to Select wrote on this object to go to Shading tab. And let's hear this number slash key twice to bring this object here. Switch to render preview. But because we have lot of sun here, I will go to work. And just for now, I will bring these two values to zero. And let's select this slide source and let's bring this might be one. Because I won't cover more of this area. I will scale this spot size. Now, I will beg to object. And then we have selected this object here. We need click here, Use nodes to get notes here. Let's now bring our caustic window texture. Now we can plug this straight and you can see that we didn't get anything here because widow or image texture use by default UV map. And first I will bring this, brings to 200, and I will click here auto refresh. And I will now go with Control T. And you can see that uv is by default, but we need change this to normal. And now we can see our video texture here. Now, I will go with color ramp here. And I will tweak this, isolated this course take from this and make this more visible. But if we change radius down, we will get more. This tastes. So if we change this up, we get soft light here. But if we change this, scale this down, we get sharp details here. I will go to about here, 0.05. And you can see how we can see this. Clearly, this course sticks and this types, and I will try to isolate these types from this course takes its little hard because this texture is not so good, but I think this ties are not so big problem. And if we now press Space to play, you can see that this is animated. And we can also use color here. So this will be blue because this texture without one is blue. But you can use a small value of this color. If we go with hue saturation, we can be saturated this a lot, but also keep a little bluish color here. Now, when we see how this look, we can now delete this plane because we don't need this and we can get to World settings and bring our likeness. And nothing slash key. I will bring this little orangey z-axis, so g Z to bring this up. And now we can use this over RC. So all the X, then we can place one here and one here. Let's try make test render. So I will duplicate this camera. She is the x and I will place about here, control up at zero. Let's look to ceiling. So let's try this angle. This is result I get and you can see few cos x cubed, but we can make this more visible easy. If we go to layer properties step and you need enable this shadow pass and then you need re-render this. And now we can go to compositing. And if we go with Control Shift and click here, we can skip between this process and this is image path. And this one is Shadow Pass. So I will now mix these two together, which makes RGB and plug image here and shadow pass here. Now, if we go with screen blending mode, screen will ignore blacks and keep only white values. Now with Control Shift and click here, we can preview this node. And you can see this cost x squared. And now we can choose how much we want this input two. And you can see that this shadow pass is not in the noise that you can enable denoising data here, and it will go hit Shift D. And the noise. We can plug this here and this should work. Okay, you can see that now it's a little bit and you need to load this whole time. But we will do this later in post-processing. 23. 22 - Imperfections: Next, I will add some imperfections. And the first time we start with tiles, we have only this repetitive tile texture through all this area. And I want to break this with some details, some tiny details, and some imperfections. So first, I will copy this object with Shift D. And I will move this on x or y axis to split this. Okay? And now I will remove this modifier to speed this up. Then I will just, well with the Shift V and copy only this space here. So Shift D and Y. And now I will go with P selection. And I will delete this second object, and I only need this part here. Now, I will go with number slash key to isolate only this object. And I will go with set origin to Geometric. Next, I want only cut this part of, part of this area, maybe ten of these, ten by ten. This tight. So I will go with Control R and I will add one loop cut. And I want to be precise. This line here. So if we move this on x-axis, we stretch this type texture. But if we press G twice, so g, G. And now we can move this precisely without stretching texture. I think this option is called correct base attributes. So you can try now, it's Control R. Yes, if we enable this option, we now can move this without stretching texture. So let's cut here. And let's add one to about here. Okay? And I will now select all these faces I don't need. And I will press delete faces. And let's set origin to John it. Next I want real geometry here, so I will move with control arm and Outlook cuts to match this timescale. Let's now move to Face Selection and press a to select all. And I will now press I to insert this. But I will go with I twice. So instead this on individual origins in the dual basis. So I said this just a little and now we can, okay, This is too much. So I twice. Let's now go with E to extrude and y for y axis. Okay, and now I will go with Control B to bevel this. And scroll mouse up to add one loop cut. Okay, and then now we have some geometry here. And I will now make some imperfections scheme. So I think I will go with shade flat here because we get Shea smoothies with shading. And let's now select few of these faces. And let's move this along y-axis. Now let's press X, Y, or Z to make it to deform this later. I will now go it's Control B on one level here. So I will now get along y-axis and I will now go like this little on patrol be to add one level here. Let's go with and why now x or x axis? And let's add one bevel. So why might it be at x also can control B. Okay, and now we have piece of real geometry and we can stick this through our walks. So I will bet with NumPy slash key to our scene. Let's place this, duplicate this to time and place over this. So I will go with g x, x-axis. But if you press G x and press Shift, you can move this more precise. I will now also go with G and why. And you can see all these bevels here and all these imperfections. So first, I will make the camera here. So I can compare this before and after. I will move this to about here. And I will press Control numbered zero to switch to this camera. And let's bring this little up. Rotate on z. Now let's move this sweater. So for now, I will move this on y-axis to remove our endurance. So we can compare this. Now when we have, before, we can skip two slot tool and we can now make this part here. And we can also duplicate this with all the and all this area. So I will go into g, y and hold Shift to be more precise. Okay, and now I will go with all the x here. And we can also apply this to all this. So all this is before and this is after. And you can clearly see these bumps here and imperfections. Maybe it's a little too intense, so you can always select this and press G for y, for y axis and hold shift and move this vector. Okay? Now. 24. 23 - Leaking and Graffiti: And the next we can use for imperfection is leaking texture. So if we go to texture.com, you can search for leaking. And you can find this PNG textures here, and you can download any of these for free. So I will now, I download few of these here. And I will now back to Blender. And I will set the origin to this area. And I will go with Shift a image and the unit first go to Edit Preferences. Hey, don't send unit enable this. Head on images as plane. You just need to enable this here. And when you go with sheep take, you'll get this option here, images as plane. I will now select this. Any of this you can use. What I will go with this one. Let's just so I will now press, select this and press like Ivan just for a second, check this face orientation must be blue here. So this is okay. Let's now back to material preview and let's play this. And let's scale this down. We can control this intensity of this texture if we go to Shading tab and I will press numpad. We can see here this solving. We don't need isolate this. And if we now add color in between in this Alpha value, so shift the color ramp. We can control intensity of this. So I will bring this white color. I will bring this white color to black. And you can see how we control density of this opacity. Okay, and let's now go with D, Z and rotate this on x-axis and by -90 degrees. So x -90, 90 for 90 degrees. And let's place one. And we can now go with d, x and move one here. You can also create another material, maybe with this texture and you can place this all of this area. I will also duplicate this one. So this window, so all the X. And let's place one here. And let's now make another vendor. One thing you can do here, so it's easy to see where is our texture. You can always move to looper viewport and we can say pupil color for this texture here. Viewport display. If you set this to green, you can see that this intersect a lot. So I will go with g, z and we can see where are our ligand texture. So let's duplicate this with all the g m x. Next I will add here is graph it. So we can go to texture.com and we can search for graffiti. And you can download any of these texture, but I usually want high contrast texture like this so we can blacken graffiti on white background. And I download through all of this here. And I will now set cursor here. And I will go with the shift day images as plane, and I will select, let's select this one. So let's with 90. Let's check this orientation is blue. And now we can make two material preview and let's scale this up. Now, if we go to Shading tab, Let's go with NAFLD slash key to bring this object here. And let's go to material free. And we can see that this is connected alpha to alpha. But because this is JPEG image, we don't have alpha value, but we can create this manually. I will go with color ramp. And I will plug this color to all white color means value of one, which means completely transparent. So I want to make this gold texture transplants. So I will just invert this. Okay, and now we isolate this graffiti from this. I will now, let's make this a little better and we can see this part here. Okay? And now we can go to edit more than we can go with k. Now let's separate these three graph. Hit Enter, and I will also make one cut here. And now I will select this part, the selection. And let's also separate this and this. And I will now just set origin to geometry. And we can now place this over this, over this walls here. So I will place just for this place, one here and one here. And I think this black coral color is too intense, so I will make the shading tab. And I will just say this. If I bring this black color, now, I need bling. Bring this white color, mostly black. And we can fade this strong black color. I add two graffiti here just for tests and you can play with this oscillate. And next imperfection I will add here is garbage. So I made this photon scans before, and I will share this file with you so you can just double-click and open this file. And I will now hopefully few of these pieces. So right-click copy and we can now paste this to our scene. And I will move this here. And next I will press M. And I will create garbage collection. So we can always go to here and we can easily remove this forum from Render if you want or viewport. And now I will, Let's find this line. Because I will place this over this ground. And let's copy pure this with all D. And move this on y-axis. And let's place this two pieces here. We can scale, these are lethal. We can see here that something is underwater and replace this basis on this area in here. Okay, and I figured out that I use all this without compositing nodes. We do it before. So this look a little unrealistic, but you can see this hi garbage here. So I will now quickly fix this compositing node and I will make refuse to testify on that slate. 25. 24 - Big room - Poolrooms: In this part we will talk about camera animation, but we forget make this big room. And I will now show you how you can make this. Let's make to render and this big room, nice position about here. And I will set the origin, of course are heat and I will go get sick. They make a cube. And I will type here 6 m before no here. Meter. I will line up this with this object and we can just go with number seven. And I will update this on z-axis. Now we can change from low ball to normal orientation. And I didn't go with Sx to scale this an x-axis. I want make these parallel with this. And SY to scale this and y axis, or you can make this big one. I will go up to about here. Next time we will apply scale with Control a. And I will separate this ceiling. So be selection. And let's press M and add these two ceiling collection. And we can enact this stone ceiling big room. Now let's disable this in Newport. And now I will just make lower here. You cannot live out in the middle and then we'll hit Control V. Now just press Delete. Let's now select this fall and I will move it to the Z row it SY to scan this and y axis. And let's move here and E and Z. And this is the axis because we are in a normal orientation. So I will now press L. Let's first apply material and Umrah. So let's start here. Tie white dice now carry out which two material preview. And we can select all these a few projection. And this looks good. And now I can go with L. And now we can change to local orientation and shape d y for y axis. And we can go with Shift R to repeat this process. And now I will press L over all these parts and she would be x. And we can move this face. And let's also move this ceiling here. And now we just need copy this ceiling lights. And I will go with sheep, the y. And we can rotate this z-axis to line up with this object. And now we can just go or they modify and make these count and also modifier on y-axis. Okay? I will also now disable this viewport and we can add here modifier, maybe five centimeter. And you can also add the graffiti, leaking and garbage and other imperfections. And just be sure to add water here so we can get this water line. And I will duplicate this and move this here and rotate. Let's now move on camera here. Protest. Ok, we need to fix this problem here so we can move all this on y-axis, so g, y. And you can go to Edit Mode and bring this here. And this one here. 26. 25 - Camera animation in Blender: Let's now talk about camera animation. So first we will talk about this field, the focus effect. So you can see this nice effect here and I will show you how you can make this. Let's turn back to Solid View. And I will find this evening here. And I will start with this position here. So control now at zero to switch to this camera. And for this effect we need object, we will put in focus. And because this hole here is one big object, this is not a good object to make in-focus. And for this I will use empty plane. So this is just empty object which is not visible in camera. So Shift a and I can put this to about here. I will go to material trivial because we can preview this field in material prevalence numbered zero and select our camera enabled that we can set focus origin. And this is this empty. Now, if we go with f-stop down, we get this, the focus here in our camera. But I will go to 0.0 because we will now start adding keyframes to our animation. We need set. Because we will now start insert the keyframes on this timeline. We need to set a position for star. And I don't want to start from zero. Because if I change my mind later and if I want something behind this point, I can always use this to add something here because we cannot go to minus. I will sit here on Foundry. And this will be stopped for our animation. But if I change my mind later, I can always go back to zero and I can always add something here. So let's now bring this to 101 keyframe here. So this is 0.02 value, which is completely almost completed, the focus, and I will now go to about here. So 24 frame is 1 s and let's see, 12 ramus about 2 s. I will also insert it here. So all this area will be the focus. And let's go to about a second more. Let's say here maybe 0.020, 0.01, and add another keyframe. And I will now go with 0.02 here. And now I will complete with the focus. This is crazy too. What we get from this. And you can move this closer to make this faster if we want. Let's delete. Delete this middle keyframe here. After this keyframe here, we don't need anymore this field. And we can disable this. If we press here. We can except the brain. And all this area left is with the tag field. And now we can go one, more or two. And we can now disable this and press Add keyframe here. And you can see now we have enabled that that field. And after this, just all these disappear. And to get to this camera down effect, we can just, now, I will insert keyframe here to location and rotation. And I will go about first frame and I will bring this x axis down. And I will press I here and we get this effect. And this is so slow, so we can always move this here to speed up. And how we can know which of these points are or dislocation of rotation, which is what this focus. So we can, if you press this button here, jumped to keyframe, we can see this yellow color, which means that this keyframe for this. And if you now click one more time here, we can now see yellow color here. And this is for this. Stop. And this one is for this rotation. And we can always change this solid line. We can press here and tie here to insert another keyframe here, or overwrite this value here. And the main tool for this realistic camera animation is one, encore camera. Shake it. You can feel that this looked like a man walking through this area. And I will show you now how to get to this. So I will share this link with you. So this is a link where you can download this camera shake. If I add on, you can click here and you can download the zip. And then you can save this to your computer and copy this other swear I download this. So you can just move this here. And we can back to Blender. And now you need to go to Edit Preferences. Add-ons, install, and select this zip file here and install add-on. Then you'll get this Gemara shaky Pi add-on and just click here to activate this and say preferences. So next time when you open Blender, it will be enabled. Or then when you select your camera, you can see here camera. And now we can add animation to this camera. So we just need press, press plus here and we can choose here type camera animation. So if you space on your keyboard to play this animation, Let's bring this. And 0.21 thousand. You can see that our camera is animated, but we have a few types here, and this is investigation mode, and you can try all of these presets. This is why congruent. And you can feel that this has this look like bike animation. And some of these presets are events like this one and some of these are subtle, like this one, but you can always make this inference bigger. Here too. We can increase this and you can also play it. But for this animation, I will use this to store. And I will make this one goes to one. And now we can start going through this area. So let's see various lost this keyframe for location and rotation. Okay, I start from here and now I will move this to about here. And I will move camera. Now. I will press I. And let's see how this works. This is too fast, so just bring this right. Still too fast. Okay, Let's look better and let's now go to camera view to see how this goes. Okay, this looks pretty good and I will now play with this while loop here. So I start slow. So I will press I concert keyframe here and I will now, when we speed up, I will now bring this influence, maybe two. And let's press insert keyframe here. You can see that we intend to this animation when we speed that. You can see this value here how they speed up. And let's try it. Okay? And now when we come here, we can bring this a little more and we can go little on the y axis if we want, and we can stop here and if we want, we can rotate this and look around. Let's insert keyframe here, and then we can back out to about q2 and we can look down. And let's see how this looks. Now, when we stop here, we stopped working. So I will, Let's see rice. Okay. Now I will bring this to one. Here, we've completely stopped. So I will go and you point to one. Okay? I mean, it's more than this robotic mode. So just make more space in between these keyframes too small to this. You can add the keyframe between these two small to this. So I will back to about here. Let's move the keyframe between this. Let's call this loop. Let's now continue with this animation. So I would bring this to about here, and I will take this here and let's add a keyframe. And because we start walking here, I will add another keyframe here to about 0.2. And then because we start working, I will make these two. Okay? This is too fast. So let's see. This is my position, location and rotation. And here we start talking. So I went back to about here and let's see now. Okay, this looks much better. Then we can go with number seven and we can now. And then we can start to go through these steps here. So I will take this on x-axis. And let's see how this, okay? Because we now go down with this tape skew. This is z-axis four meter. And if one goes down with this tape, we need to bring this camera down about here. And I will now instead location and rotation. Now let's see how this, because we know this stage, I will influence this a lot. So I will send this. Okay, For this maximum, for this animation. You can see how this book, I think this is when it's slowed this selector. So I will put here value of four, but I will also add maybe one to three. And you can play with this animation. And I will stop here because there is no sense to add all these keyframes. Last time. I spent about 2,800 keyframes to get from this point. And I go through this area here and through this lab. And I enter in this main room and IL-4, this need 3,800. The keyframes, which is divided by 24, which is 110, is about two-and-a-half minutes. So this is seconds and this is about 2.5 min. For all this animation. 27. 26 - Export and render animation: Now we will talk how to export this animation. So for this unit, make folder on your computer. And I made this animation folder, and I will go with seven. Because I made a lot of tests for this long copy these others. Now, in our property step, you need select here for that. When you want to save your animation, I will select this folder seven. And and now when we go with Render, Render Animation, this animation will be saved in this folder. I will load resolution here. 50% of this value just for test. This is just for testing. We can just go with render, render animation. We can see what we get. Okay, and if we now go to this folder, we get to this animation. And this is blank because when we start this animation, we look this to this floor and this black color is okay. So we can see Mike last time when I render this. First time when you make this animation, my suggestion is to go with the low resolution and low while your samples here to make this animation. And then when you make test animation, you can see how this look and when you are here for you, for final animation, you can increase this will go to 100 or more if you want, then you can go with these samples up and lost time for final animation. I go with 500 samples here. But I will stop this animation here because I need to one thing before I continue with this. And for final animation, I need shadow. Here. You can see this shadow pass here. If I increase this opacity to 100 and if I break this to normal, this is how this shadow pass look. You can also hear, see here how this, we need this shadow paths to increase visibility of this course sticks here. So if I said this shadow pass to screen to ignore this Blake value scale and keep only this white values here. We can clearly see this cos x here. And this is also animated. So you can see all this goes to x here. And this is animated. But this is obviously too intense. So I will bring this opacity maybe to just 10% or 15. And you can see this nice effect here. We cannot get this without this exporting this shadow. And I use prime end probe or this just for this test. But you can do also this in Blender or any other video editing program, like After Effects and DaVinci Resolve or any similar program. So you just need said this shadow pass over this main animation and just set the blending mode to screen and just bring the opacity down. But we will talk about this in post-processing part. So you can skip this for now. I will just now show you how we can export this set of paths. So to export this shallow parsing it go to here to the Layer Properties tab and we need to enable this shadow here. And now we can go to composite or we can see now here this shadow. For this, we can use to go with shift. We can use file output node. And we can plug this shadow here. And I will now back to my folder where I render this. I will just create this, you can call this shadow. And I will now paste this here to output properties folder. And I will just select, double-click to this folder an asset. Now, when we make when we go with Render, Render Animation, this shadow pass will be safe. But we need to be careful because we use this lens distortion and this distort our camera. We also need duplicate this and we also need paste this here. Let's now go with Render, Render Animation. And after few minutes, we come back here and we can see that we have here shadow pass. And now we run the same time. And we can see when I render this last time. So I also try glossy direction is ambient occlusion, but I didn't get the big difference with this process, so we will not include this in this tutorial. But if you want, you can also, if you want to add to your scene, you can also go with the midst past. And you can use this to miss in your render. But I don't want this now and I only go with this set of paths to get from this course takes. And when you're finished with your rendering, I will show you how we can make animation from this. So I will copy these others. We can do this in any video editing program. Last time I use crime approach. So I will also show you the prime X Pro. So let's start with new project. And just double-click here. And I will go with this folder and just select the first frame and the image sequence opened. And just move this here, and that's all. So now you can press space. We can load this NIMH. And now we can just go with File Export Media. And we can select the destination folder, e.g. desktop. And we can Call this animation. And just click Keep to export this. And if we want, include this shadow pass, we can just go to this shadow folder. Important also this put this shadow above this animation screen blending mode. And just bring the opacity down. And we get this score. Let's now export this from vendor. So we can go here to video editing and editing and art image sequence. One difference between primary pro and render video editing program is you need to select hold Shift and select all this animation. To select all these. And here we have our animation here. Now you need a select destination folder. And then you can go with the render when the animation. This is all for this vendor part of tutorial. In next part we will talk about post-processing and we will do this in After Effects. We will try and get old camera be cages to look and see you in next part. 28. 27 - Announcement : If you don't see After Effects part for now, you can come back here for a few days. And the reason for this is because for few days this Friday, I want be on time to upload this tutorial. And I didn't record After Effects part for now, but when I added all these videos and upload, I will come back and I will record after a fixed part and I will upload them, holds. 29. 28 - After Effects post processing 1: Hello and welcome to the last part of the pool rooms tutorial. In this part we will talk about post-processing in After Effects. I should finish this part a month ago, but I got stuck creating other animations. I made this scene and recorded our tutorial about it. But I don't want to stop here. I continue to make animation inspired by car. I mainly animated car driving. And finally, I collected about them animations. Because I'm not good at writing stories, I decide to create something fast and dynamic. These days, I will start recording a new tutorial where I will talk about some of these things. And when I record the tutorial, I will pause the animation on my YouTube channel. The new thing is that apart from CG, I discovered another method with which I can create animation, which is AI. We all know that AI is coming in. My opinion is that visually see how we can include it in workflow and combine it with CG. This rabbit was created and animated entirely with AI tools, and I will talk about that in the next tutorial. But most of these things are still created in Blender. I also mix multiple styles, e.g. this animation was created simply. I just created a simple shader and made a few cuts. I will also talk about this next tutorial and let's start with pool rooms post-processing. Now, I tell you last time that you should render only this main render and this shadow pass. But I also render ambient occlusion, glossy direction and miss and you don't need to do this. I made this just for tests, but I think only this part is important for us. If you want to render. Also, this process would just need to go to blend that end. In here. In layer properties, you just need the neighbor lossy direction shed of an ambient occlusion. And then you need to go to compositing and just connect glossy direction to file output and create a folder here. And you just need the select this folder. And you also need to add this lens distortion because this will distort our image. Let's now open After Effects. First I will copy and relocation to this folder Control C. So I don't need to search and I will now go with new composition from footage and I will pay this address here. And now I can select the first sequence here and just click here important JPEG sequence and click important. And if you see this message, just press Caps Lock. And we have a one small problem because by default this is 30 frames per second and our render this in Blender. In a 24 frames per second. We need more time here. So I will go to Composition and Composition Settings, and I will add here maybe 40 s more. And you can see that we get more time here. And now I will select this sequence and I will set here 24. And now I will just extend this. Here. I will now move this timeline here and I will go to Composition, trim composition to working area. And now After Effects, we've got this part will now rename this domain maintenance. And I will also create folder to keep this organized. And I will call this the lenders. And we can just drag and drop this here. And now this is in this folder and I will go, I will now save this file. And I'll call this four rooms and spaces. You can see that this is our animation. You can zoom this with your mouse or you can also zoom this here. Okay, Let's now import another renders. So I will go with a shadow first. So again, select this first, this sequence and import jetpack sequence. And rename this shadow. And bring this in this folder and in our timeline and cups look to replace this. And also you can see that this is short-term than this one, because this is 30 frames per second. And just select this and click here and set this to 24. And we can see what we have here. This shadow passes, adjust our cost x. And I will now mix this with blending mode to screen. Screen will ignore blanks and keep only white color. Now you can see all these costs ticks on our ceiling, but this is obviously too intense. And I will press T to bring the opacity here and I will set this may be to 20 per cent. And you can see this goes takes and I think this is too intense. I want keep this subtle. So I will set this maybe to 15%. And I think this is okay now, because you didn't render this passes, I will show you now you can skip this part, but I will show you how you can use ambient occlusion. Mr. Grassia, direction. So I will now own for ambient occlusion and I will just do same as before. So the name is A0, 24 frames per second. And I will bring this here. And for ambient occlusion, I use soft light blending mode. And you can see before and after we just get more ambient occlusion here. And let's see how does this look here. But the last time, maybe just 20% of this, just a softer effect. And you can see this on these edges mostly. So I will increase this a little too soon, but let's import lawsuit that action now. So GAL4, velocity direction and 24 frames per second. For velocity direction, I use screen blending mode, and this will increase glossiness in our render. So I will go with screen. You can see how we increase this reflection with this path. You can see especially here on tiles and water. And I think I didn't use the noise, therefore this path, so you can see this those here. And I will use maybe only 20% of this. I'm just doing this to 100 to see better these details. Okay? And last one here is missed. Missed and 24 frames per second and bring this here. So with Miss, we can get missed in our scene. Let's go here. And if we set this to screen blend mode, we already have missed. And if you press T, we can control how much we want this mist in our scene, e.g. 50 per cent. And you can see how we can easily missed here. And if you want, you can with the thing that quickly changed color, we can e.g. odd yellowish color here or any other color. But we can use also this for more advanced stuff, e.g. we can add some window overlays here. And I will now create the overlay folder. So we can bring here some overlays and you can skip this part. This is just e.g. if we, if we find on internet something similar like this, we can bring this in After Effects. And I will put this in this folder. We can now bring this here. In the first level, scale this down. And now I will set this to screen blending mode to ignore black colors here. And I will also go to Effects Control and with levels. Make more contrast here to isolate this black background. So this is similar like the color ramp in London. And I will move this black colors here and make more conscious click. Okay, and now we can use this mist. You can see that this is black and white map. And we can use this aspect or to control this smoke. So if I set here, luma made this smoke effect will appear only radius white color in this mist MOP. Ok, and now I can also bring in mist levels and I can control where I want this mist overlay. So if I press here, I can isolate and see what I do. And we can now control this map here. And if we now press space, you can see that this is animated because we use with our 56. You can see that we have this smoke effect in this task. And I think this, this is just e.g. but this is not good with the overlap for this. I don't want to use this in closed spaces, but I use this a lot in this example. So we can see this smoke with the overlay in background. And this is much, much better example. And I use this with overlay also here. Maybe it's not so visible, but it is here in this transcend behind this car. Okay, let's see how this look. And I think I will press T here and I will bring intensity this to 50 per cent. And I will press S to scale this and make this smaller. But we get this edge here so we can fix this if we use masks. And if we just add further to this mask, so maybe 200 pixels sense now this edge disappeared. And I think this is too fast with the footage, so you can see how this is false. We can play with this semi can just slower than this 200. Now it's slower and we can see how this, okay, this is just example, how you can use miss passed. And I think this is not so good example, but I think you understand point of this. And I will now remove this move and miss because I will not use this. I think I will bring this path here and I will just use this as Screen blend mode to add a small amount of white colored in background. And I will just press T and I will send this to maybe just ten per cent. And this is before. And one thing we can do to create a volumetric or haze effect here, we can duplicate this may render with Control C and Control V. And we can go here to Effects Control and we can search for Gaussian blur. We cannot raise the value here for about two, about 100. And now we can send this to, I think to screen blend mode. We can just keep normal and we can press T and bring opacity. Maybe 250 per cent. This is too much. This is before and this is after. And I can keep this but maybe not 50%, maybe ten or 15. And if you want to make this intense, you can use 20%. But I think this is a little too much. But we get this little case. And volumetric effect here. I think most important thing for post-processing is overlays. And I always try point and collect good overlays. And I made half of job just with overlays. So I will share this file with two and you can find here all these overlays I use in this scene. So let's first. So first I will go back to project and I will select all this renders. And I will go with right-click and pre-compose. And I will move this to a new composition and I will call this main page. And now just keep this organized. So if you want make changes on this footage, you can always double-click and you can open this composition and you can again play with this passes here and these values here. E.g. we can always change these values here. And now we can, now we have a clean workspace here. And if you don't see these options here, you can find this option clicking here. And also for this stretch and duration, you can click here. And here. Let's now bring some overlays here. So I have some sources here. And first one is, let's play with this length. So you can find this on this website, on, for this link I will share with you. And you can download this for free. You can just click here and you can download this for free. And this is just a lens there. This is just one image. So you can choose any of these you like. And I think last time I used this one and this one because this look like water on camera. So I will bring this one here. And I will bring this in overlay folder. And now we can set this over our main composition. And I will press S to scale this and scale this down. Now, change the blending mode. I think I will use screen, but I can always, you can always try this or that or flight them because they are pretty similar. This light, this odd or solo mode. But I will go with screen. And we can just press T for opacity and bring this maybe 30 per cent. And you can see that now we have this overlay. We can see this overlay here and this look like water on camera. And I will scale this up a little. One thing you can do here, you can change, animate this opacity. So I don't want to keep this all time too intense. So I can e.g. start with when I go in water to maybe 40 per cent. This is too intense. But if I press stopwatch here, I can add a keyframe here and I can. Fade this effect after 32nd of working. So I cannot hear maybe ten per cent. And you can see that we just fade this effect. Let's bring this one also. And I will press S to scale this down. And we can add this screen blend mode. And I will fade this a lot, maybe just five per cent, just subtle effect here. I think Dan is too intense. You can see a lot of these details here. So maybe plus y per cent. But I also use this in a lot of my vendor CPU. Look there is this less? Okay if we go here, various back home so you can see that this is too intense, so I won't bring this down maybe to two per cent. And also this one is too intense. I will set also here three per cent. Let's bring another overlay and I will use overlap on this site and this is only one overlay end. I will share this link with you. But I didn't use this last time because this limitation is only 40 s here. We can look this, but it will always go 0-14 s. But if you have some short which edges animation, you can use this. I will just see how this looks. So bring this in this folder in our composition. And I press, I will press S and scale this down to about 22%. And I will set this to screen blending mode. And we can always stretch this a little API and disabled this connection. And let's stretch this little on the z-axis. So maybe 25. You can see that this is visible only for the seconds and now disappeared. And to make this loop, you can just go here, right-click interpret footage and main. And let's hope this maybe ten times. You can see that this is all time here, but always start 0-14 s. If you want to use this, I will go with the opacity to maybe 30% of eight this solid. The next over, let's say we'll use in tutorial is from this guy, Jake Bartlett. And I found this on skill share. So if you don't care profile on Skillshare, I will share this link with you. And this is my profile you can find here my some of my tutorials also. If you register it from this link, you'll get one month for free. And then you can find this guy. And I found this overlays on this tutorial here. We can just look in After Effects. If you click here, you can hear on project and resources, you can download this here. And this is how this book and this tutorial is best. We can just tutorial I found and if you make a profile on Skillshare, you can make recommendation is to watch this tutorial and you can learn a lot of things here. But for now we will use this overlay. So I will start with this one. So we can bring this in After Effects. Let's bring one here and let's see how this look. So let's press S to see how this is original leakages resolution. This one. So this match perfectly with our resolution. And I will now maybe go to Screen blend mode to keep only white colors. And I will go with 50% of opacity maybe. Let's see how this. Our After Effects now become little slow. And if you want, you can bring the resolution to call. And now should be little faster. Or if you want to can always disabled this last overlays and the preview only this new one. And later we can make this. Now press paste, this shouldn't be lethal. Foster this green line means that this is loaded. So we need the weight lethal. If you want to preview this in real time. We can just make this here and press paste again. Now this is real time. For my opinion, this is little, this animation is little too slow, so we can always speed up. If we change this to 50 per cent, this year will be faster. Okay, this is better now. Okay? And I want to repeat this every maybe ten or 20 s. And I can now precompose this with right-click and move all attributes into new composition. And we can call just this week pages. Now, if we go Double-click with this and open this composition, we can see that this is also about 3 min and we can go with control C and control V. And we can duplicate this a few times. And now I will just spread this out in our timeline. And dipping back to our composition, we can, if we press Space, we can see that this, this will repeat in our composition few times. Okay, we have one here. I forget one thing which is important, we need to set this to screen blending mode. Okay? We can also use this to displace our footage. So I will go to main footage and the effect control. And I will search for displacement pump here. And now we can use this VHS drift displacement. And you can see that this already works because these displays are footage. And we can see, we can e.g. just bring intensity here to see better how this effect. And I will use this pixel around option to add color here and see how this look. If we use this VHS footage, this composition to displace our footage. And now this is not adjust the color. This, this effect to this main. Okay? And this is nice about, this is too intense, so we're back to main footage and I will maybe use only three pixels of this. This is horizontal and this is vertical. And I will also bring this down. Maybe we can creep like this to fixed cells. And to avoid these edges here, we can just scale this maybe one process. And you can see these little ribs here. It's not too intense, but it's, I think this is nice detail. And now we can also make this color input and all these overlays. I think this one is good. So we can try also make displacement with this footage here. So let's bring this footage in our project. I will bring this, I will disable this for now because they slow down our footage and you can see that this is so short. So we can go right-click Interpret Footage, Main. And let's plug this 22 times. Still not enough. So for the fourth time. And now we can just bring this here and we can precompose this. Let's call this static loop two. And now we can go to main footage. And let's just add another displacement map and let's use this new one. So VHS static loop to us displacement. Let's now disabled this in our preview in from color input. And now we can see that this, this should effect to our footage. And I will trace this. Maybe 20. See how this look. And I will disable this first one for now. Just to see this one. You can see that we get all these glitches here. I think this is nice effect but dense. So maybe we can keep this on all the white pixels. Or three. Let's scale this footage. Maybe one pixel is small, so 12. And now you can see that this is a subtle effect, but we see all these little distortion here on these edges. Okay, This is example how you can use displacement maps. And we can also use this in our color inputs. Just set this to screen. This is too intense, so maybe 20%. Before we continue with overlays, I will bring opacity on this lens. It look too intense. So if you want to skip to this keyframe, you can just click on this button left and right, and here is 40%. I will bring this maybe to quantify. And this look, okay. So here is only ten per cent. And I will also bring opacity on this. We can just static loop. So I will set this maybe to 105. 30. 28 after effects post processing 2: Next we will use here is from Premium Beat and you can copy this link here. And you can download this pack from this link. And let's see what we have here. So you'll get these assets here. We don't need this aspect ratio because we use original VHS resolution. When we export then add this video on YouTube, you will get this black box or left and right. So I will now use this statically the asymptote. And you can see that this is salt and then 1 s. And let's import this in After Effects. Now we can put this here and you can see how short is this. So we can really zoom this timeline to see this here. And let's now bring our course are here and let's see how this loop, I will press S to scale this and scale this down. And let's also set this to screen blending mode. And I will press T to bring opacity, and I will set this to 50 per cent. Now I will just pre-compose this. So right-click. Move all attribution, new composition. And now I will double-click here. And so we can now go with control C and control V and double this two times. Now it can spread this on our timeline. You can see one here and another is here. And we get this nice effect. And we need to set this to screen blending mode. And we have here, we can just overlay and we'll also bring this here and to our timeline. And I'm going to press S to scale this down. Because this is short. We need interpret this. So Interpret Footage Main. And I will set this here, maybe 15. And now we have, now we cover all our timeline. Because this overlays mostly great. We need use this overlay blending mode. So if you want to remove white colors from your overlay, you need use this back here. To remove black colors. We use this spec here and remove gray overlay. But mostly we use this overlay blending mode. This is very subtle effect. So this is before and after. But if you add levels here, we can tweak this overlay. Let's isolate only this overlay end. If we tweak this, we can get more information. So you can see how this look. I will not use this levels too much, but we can increase little visibility to this slider. So let's now see how this looks in our composition. Let's just for test. Make more conscious here. You can see how now this is easy. Because we have here five or six these overlays. With the Screen blend mode, we can pre-compose all of them. So select first one and hold Shift, and we can select all this. And now we can go with pre-compose. And I will call this just overlays. Now we can always back here and change something if you need. And of course we need set this to screen blend mode. And last video overlapping we have here is from Max NOVAC. You can find him on YouTube and you can download this with opec from this link here. And this is what you get. You get a lot of these overlays and you can look at them and you can find what you like about There is a lot of things can find here, and I think I will use this one. So if you look at my ballrooms, we though, you can note that this is a start of my veto. So what we can do here, we can bring this in how overlay folder. And I will now make this, move this, select all this, and I will now make more space at start. And I will move this little m, right? And now I will set this overlay here and scale this down. And let's move our cursor here and let's find something interesting. So if we remove this and let, we can find something we can use for beginning of this video. Okay, maybe we can use this, the tail end. Let's see how this works. Okay, let's use this part to cut this. You can go with Control Shift and the and now we split in this lesson, I will now delete this part we don't need. And I will now set here also screen blending mode. Now we can see little background here and let's see how this loop. And now we get this interesting start. And maybe you can use also this overlay. Let's see how this look. And let's get this up. And let's try with the Screen blend mode. And you'll get this effect. We can keep this butter. Not too intense like this. So I will press D and I will bring opacity. Maybe if there is one thing, you need to be careful because we disable all these overlays here. We need this. Okay? I think we little overkill with this, all these overlays and maybe we can press T and bring opacity of this folder to maybe 60%. And we are done with this overlay. So you can download them from these links. You can play with this overlays. And let's now add genetic correlation effect. It basically add red glow around the highlights or edges. And this is effect we can find in old cameras. And because this is old camera, Let's try k this. Now. First I will go with new adjustment layer, and I will go with find edges effect. We can see how this looks. So I will disable this to make this faster. And now I will go with thin because I want to convert this two edges to red color. I will select this red color and, but I will go more with orange. Okay, and now we'll just inverted this. Now, I will go with clever because I don't want too much red color here. So I will just bring this no, this one to make more conscious. Now I want to prove this. So I will go with fast rule. I will set maybe here, then this is too much, so maybe five. And let's make this more orange. We need to remove this color scheme. So I will go with screen blending mode. And you can see before and after. This is before and after, we add basically this red color on these edges. But let's play more with this. So I will make this to normal. Let's go with curves. To increase. These are lethal and I will maybe make this fast balls move three to get more sharp this and more intense this red color. And let's now see with the Screen blend mode, you can clearly see this red edges. So let's see before and after. And I think this is too intense, so I will bring opacity made because as 2%. Now this is just subtle effect, but we can see this red color here. And the next, we can add this little lens flare. So when we come here, we look on this Windows and listening and we can make lens flare here. So I will go with new adjustment layer and I will rename this to lens flare. And if you search here for lens, I will show you one paid option if you want. So it is called optical player, and we have a lot of these plaintiffs here. If you want to consult for this add-on. And you can choose the type of this lens flare here. And now we can use this screen blending mode and you'll get this a lot of options here. There is free option here in After Effects is called len square. So we can bring this here. And you have three types here. So you can search between different lens type. But I will use this first one and let's see how we can use this here. So I will first open this effect here. Because we will add some keyframes here. First, I will, I will add here zero per cent of this brightness because we don't need here this lens flare. So I will send this to zero. And the first check that this stopwatch is enabled. Soviet can add a keyframe here. Okay, And now I will also bring this zero to about here. And now when we look through this window, I will add here maybe maximum value or maybe 30%. Okay, Let's first add this to this window. So plebs center to this window. I think this is maybe low. So let's try with 50 per cent. You can see that this lens flare here. Okay? Now when this window disappeared, I will also back to zero. So we have only this lens flare on this area. You can see this here. Okay, Let's bring this intensity maybe to 70%. You can see here. You can see this lens flare. One thing I will do here, I will try to follow up this window here. And I will also click on this stopwatch here. So we can add the position of this. We can follow position of this window. I will change position of this center here. And now I will try and follow this window. Okay? Now I will click here. And now I will try follow-up position of the center of this symptom. Next, keyframes here. Next is here. And I will go maybe two or three frames more and just try fall off center or this. Okay, This is enough because here is opacity is only 8% and here is now zero. And this means that this is more reasonable. And let's see how this thing. And we get this nice effect here. Okay, this is how you can add that this lens flare. And let's now add chromatic aberration effect. I will, again right-click here and new adjustment layer. And I will call this chromatic. And it will search here. You can find chromatic aberration effect, but I think this is not so good effects. You can see how this look. A little weird. We can use this little of this effect. If we go close to zero, we basically remove this effect. So I will go maybe minus five here, maybe just five and here maybe just ten. And now we have this small value of this chromatic aberration. Increase, this chromatic aberration effect. I will go with China. And now basically we can blow your different color channels. So we have here red, green, and blue. We don't want all three channels because that then we will get clustering bluish. So I want only maybe red and blue one. So I will go with maybe 15 on red. And you can see how this look. And I will go with blue. Maybe. I think this is too much, maybe. Then this is before and after. Let's bring this resolution to fall to see better what Maybe Last one thing here is color correction. So I will add new adjustment layer, and I will call this C, C for color correction. And I will place this on top. And let's now move it. Lumetri Color, which is main color correction to tool in After Effects and Premier Pro. And there is one problem I didn't note. Because of this lens, we set this to screen this lens flare effect. We get lots of bright color here, so I will make this to normal. And we can see how this lens flare effect look. If we go here, is our window, we get to this problem. This part here is too bright. So we can just select this lens flare and we can just add simple mask to keep only this part of lens flare and to remove this part here. And now we can go back to our color correction. And let's see what this weak edges make characteristic. So first I want to pay this. So I will bring this maybe to 100. This is too intense, so I will maybe bring this down, maybe to eight. Okay, and now, because we lose a lot of contrast here, I will bring us to 100. I think this is also intense, maybe 60. And I will bring this. Whites don't. Maybe to -50. I will also bring vibrance down maybe to -20 to fail this color scheme. And the next I will go with unsharp mask. And now we will make a lot of detail with this. So I will make this to 20 or 30 and maybe we can play with this volume heroes. This is before and after. And I think I may be overkill with this. So I can later easy bring opacity down with this. But I will now try. Maybe more sharpness here. And maybe we can use snake here and you can play with these tones, shadows, and highlights. I think more vintage color is green and purple. So I will try out purple color here and you can see how these look. And you can play with these colors here. I think this is too intense, so we can add just a little purple color in highlights and green in shadow. Okay, so this is before color correction. And if this is too intense, you can always go with T and we can bring opacity to maybe 50 per cent. And this is before or before post-processing and this is after. We are done with this tutorial. We are here more about 1 h, I think. And this is too much. And just to know that too, you don't need to follow exactly this process. You can always play with overlays and you can tweak this color correction values and maybe you can get better results. Then I get when I do last time, this, I also get a different result and it's all about tweaking these settings. So you can always play with all these settings. Thank you for watching and see you in the next tutorial.