Product Renders Masterclass in Cinema 4D & Octane

1. Introduction: Welcome to my Skillshare class. When it came to me thinking about making this class, I knew that it had to be something really, really special and something quite unique. And I didn't want it to just be about creating a particular kind of render. I wanted it to be about giving you a process, a process that you can reapply to different renders. So in this class, what we do is I take you through a step-by-step pipeline, starting with the folder structure, going through Luke deaf scenes, and then eventually coming into the final scene, distributing the assets correctly, making sure everything looks neat. Having the scenes built in a way we can revisit them, having everything centralized. And what this does is it gives us a nice kind of compiled, compartmentalized structure and workflow and pipeline that allows us to create renders effectively. Now, the way I'm translating it in the course is through soda can renders. Specifically Coca-Cola can renders. It was something I had my eye on for a while and I've seen some references and I thought it would translate really well. So within it, on the surface, of course, this is a soda can render tutorial and you can absolutely extrapolate that from it. But I really wanted it represents something a little deeper about what can you take away from the workflow and what points can you come in to the course at different levels. Whether you're a beginner or an intermediate, and see it for different things and be able to revisit it and pull things away from it in different ways. So with that being said, I hope you enjoyed the course and I hope you learn a lot. And there was quite a lot of stuff here that is also included in my email list. So if you want to sign up for that, find your weight to that. And you will get many, many more tips that are similar to this kind of workflow that's being demonstrated here. So that being said, a Enjoy the course. My light turned yellow in the middle of that. I did see that and I thought, **** it. Now if go re-record this because there's no blue the whole time and that's not perfect. But who cares? 2. Preparing Folder Structure: So for us to navigate this process professionally, especially when it comes to creating product renders, such as this one, that have a lot of variables and have different steps throughout the process that we need to take. If precaution to make sure we get the best result. What we need to navigate that effectively is a good folder structure and meet bringing this course to you without offering you a folder structure would be like giving you a car without wheels. So what we're gonna do, and you can put this wherever you want on your computer. It's just create a new folder. And I'm going to call this folder structure, but you're going to want to call this whatever you wanna call it, product renders soda can renders whatever you wanna call it. Call it that. But for the sake of the tutorial, for the sake of the course, I'm calling it folder structure. Inside here, we're going to put three folders. The first one is going to be called assets. The second one is going to be called output. And the third one is going to be called seen. Now in assets. Anything you download from the course, modals, premade scenes, textures, anything related to the project goes in here. Absolutely anything. And output, we can leave that empty. That's where our renders are going to go. And he's seen, we're going to put two more folders. The first one we're going to call looked f, the second one we're going to call final underscore scene. This is a very, very simple and basic folder structure that creates a pipeline for you to create everything in a centralized place. That's not going to confuse you. It's going to make it easy to revisit. I would highly suggest doing this and any renders that have a similar lightness. Now I have many other pipelines that are much bigger and scale for much bigger projects. But this is a really simple one just for creating basic renders. Forgetting your feet on the ground and getting familiar with using a folder structure and not just dumping all your files. Some random folder with the name of the project. But regarding the folder structure, that's about as far as we're gonna go. It's super-simple and this is going to allow us to save out everything we need, have everything centralized, know where we're going for it and not going in multiple different folders looking for multiple different models and textures and the other side of the hard drive, and this is just simple. So with that, we can move on to organizing our assets. 3. Asset Overview: So for the sake of the course, I am going to call this folder structure sort of current renders. That just helps keep things a little bit more familiar on your end. And going forward, I'll just refer to this folder structure I've created here. Please ignore my hoarding of different Cinema 4D versions. But if we come into the folder structure we just made in the previous lesson and we come into assets. What I've done is put everything that you should get. Once you download the course assets. I've put them in here. I want you to do is do the same thing and put all of them in this folder. And what we're gonna do is we're going to take a quick run through all of these. I'm going to come back to some of them a little bit later. I'm only going to go through the ones right now that have utility to the next couple of lessons. So right now, that's gonna be the look that I've seen and our 3D model. Now one thing I'm going to detail is if we come into the model here, I'm not going to make a 3D model, this model. Now the reason for that is I don't want you to worry about those semantics. So what we're going to be concentrating on is how can I get you from point a to point B? And that is for you to create a good-looking render. The 3D model we're using is only an artifice within that. You can chop and change this model. You can replace it with whatever product you want or any 3D model you can think of. Because what I'm teaching you here are the tools around it that you can compile a rounded that model and create a good-looking render. So this model here is largely redundant, but I'm going to use it as a device to teach you the skills you need. So we're just going to concentrate on the model and we're going to move forward with that. So we have the model here. I've cleaned it up, I've made it a lot nicer. The person who kindly modeled it had a bunch of different versions, but I don't want you be distracted by mTLS and FBX. And what's the best version? Again, this is just an artifice, is just the device. I've cleaned it up. Just there will be j inside here. The person who, who modeled this can it has provided three very, very well UV mapped textures. And this is brilliant as I did want, the Classic Coca-Cola, the diet and the Coca-Cola Zero. So big thanks to the person who modeled this and made it royalty-free because it has saved me a lot of time here and allowed me to really concentrate and what I wanted to in the course. And then what I've done here is these are a couple textures from mega scans, which we'll come back to a little bit later. But right now I want you to concentrate and using these textures here, we don't do much with them. It's quite simple. It adds a little bit to the kind of makes it look a little bit more realistic. And this texture here is something from, I believe, Cornelius **** website. I download this a few years ago and used it across a couple of projects I was doing with cars. And in a couple of scenes, I did actually experiment putting little water drops on the cans and some condensation. And this texture came in really useful for that. So that's what this is. It's a water drop kind of texture, rain texture. A displacement map works really well. We might touch it, we might not. I'm not really going to use it as a part of the process, but I thought it would include it in the assets. You have it as an option if you want it to go that route. So if we come back to the assets here, we're gonna go into look, they've seen what it can look, dev, and we're going to open this up. So you don't necessarily have to follow along here. I'm just giving you a rough overview of what we're about to go through this scene. This looked ever seen that were overviewing. This is a process that we do before we put the 3D model in a situation there's going to be fine on that. We're going to present to the client. Think of it as a stress test, to think of it as a bench, almost a benchmark for how does this model hold up? How does it work under different lighting environments? How does it handle different camera angles? It's kind of a checklist and it's so useful. Go through this process with everything. And this is why we create a look there folder and then a Scenes folder, because we can use this as a baseline and we can reference this and come back to it. Whether that's cameras, whether there's lights, whether that's old versions of textures. Usually this is where you want your mass to be. This is where you want all your different things to be all over the place. Not really thinking about it. Just how am I getting to grips and familiar with this product that this client has gave me or this product that I'm desiring to create a render of or not even a product, just any 3D model. This is so beneficial to have this here as a practice, run a messy Canvas, a massive piece of paper before you turn to your final Canvas is so useful. And what I've got here is a very cleaned up version of the scene compared to my more messy one, which we're about to create in the next lesson. We've got our finished textures here, and we have seen, we have our different versions of the con. I have a cloned version. And little bit later you might not be familiar with Takes if you're on the beginner side, but the close diversion can it comes in useful with the Takes here? And don't worry, I will have a lesson on Takes later on. But we've got these three different versions holding all. We can turn these off and on. We can go to the zero and we can go to the diet. Again, usually we would use takes for that when it comes to a professional pipeline in terms of rendering these out. But for simplicity sake, I've just left them, turning them off at all. And then we've got HDRI here. And we have a couple of camera angles. One for the cloner, because I kind of had to zoom out. And then we've got some lights here and we've got turned off light for the cloner. I'm gonna boot up octane. I'm going to let you get a little bit of a look at this and look at what we're going to create in the next lesson. So you can see it's kind of a studio lighting setup. We have the Coke Can. I had messed with a whole bunch of different textures, making it more reflective, making it more anisotropic, changing different things, giving it surface imperfections, making it compensated by, ended up just going with it. Really, really simple and funnily enough halfway through creating this process, I was, I was very much struggling to actually think about what's the best way to present this Coca-Cola account in the final renders and ended up, of course, going and buying kinds and looking at them. And it was kinda difficult because for it to reference real-life doesn't necessarily always mean it's going to look the best and the render. So I tried really hard to reference it the best than real life, but it wasn't until I was driving the other day and I saw Coca-Cola advert instead of a bus stop. And it was at this 3D render in a studio lighting setup. And I thought, Oh, I'm going to make it look like that. And that really helped me finalize the approach I want in here, which was definitely more of a matte approach. I went through a lot of look deaf scenarios where it was a lot more reflective. And when it comes to us during the late Dave here, I'm going to push you to take those liberties as well, but I am probably going to be taking us down a very narrow path of telling you what parameters to pump in to the materials and the textures to get this result here. But I would absolutely implore you to discover what different looks look like as this is, again, what this scene is four and then y look to having is so important. So the reason this is so useful is because we can just rotate, look at it, see how it holds up at different angles. Make sure all the parts of the model are just holding up. A reason that this is straight on is we want these parameters to be very stable when we pour them over. And if you're porting over models that are like this, it can really make things a little bit difficult. So if you're going to rotate these things and play with them when you're kinda close to the stage of bringing it over to more final scenes. You know, you're going to spend a bit more time on, this is where takes come into use. And I'm just going to flip, flip over to this tab here. And this is when I would spend these things around and have a little look at them. And of course you can just switch to the other models here and see how they hold up. And again, super useful. And the reason I created a cloner, this is because this allows me to, not only does it look nice and it kinda references an apple advert. And we will go over creating this, but it allows me to leverage a step effector and see how that looks in almost every angle. Because I can rotate this around and it's array. And we can see here it looks at every single angle and it's just, it's got so much utility for seeing how a model holds up. And this is something that should be a staple. And you looked at process is creating this kind of setup here, which just creates complete proof and insurance that your model is going to hold up. And the textures, you mean holdup. So anyway, I know I'm rambling a lot here, but this is very important to go over. We're gonna go into the node editor and you're going to see the texture set up super simple here. We have that original Coca-Cola texture. We have the mega scans here. And this is a little bit of a setup for the raindrop textures I referenced. So if I plug that into the displacement, you're going to see the effect that has here. I'm going to see, it's going to add all these nice little droplets all over the con might not be the most effective to do. At this angle in the corner. You can see them a little bit here. So I'm going to swap back over quickly to our single angle and turn on classic. Plug them in here. Sorry, it's kept a plucked in which is good, so you can see them there. It creates a nice little look. But I really don't want this course to be too complicated currying service imperfections. There's plenty decent tutorials out there on adding those things to the models. And generally you will find this kind of process of creating branded 3D renders. The clients want things that look so clean and so crisp that we don't really want to do anything that compromises their flourished aspect of the product. We want it to look new, we want it to look shiny and we want it to look stunning and appetizing. So we don't really want to put fingerprints all over it. A bit of condensation or some raindrops can be good. You can see here I've also done a quick little setup with some condensation, which is really simple. It's just a tapered sphere on a cloner scattered across it. And that also adds a cool that will look there. But again, I've got a turned off in just about all the scenes because I wanted things to look so clean. But it's there if you want to turn it on and you want to reference this scene. So all these scenes here, the look that I've seen is in the ones I'll come back to later are going to be in the folders. As I mentioned here. You can come and grab them if you want to. But I would suggest that you stay away from them unless you're really struggling for you to learn and for you to really develop from this course, I want you to go through the hard parts. So although I'm providing you with these assets and these safety nets, if things get really difficult, I would suggest don't go into them and familiarize yourself too much. Weight and embrace the struggle of trying to make this look good. And with that being said, we will move into the next lesson which is going to be creating this looked ever seen and seeing how we can create the different lights and getting the can to hold its own weight. Before we move into creating more of a final scene with it. If you're in more of the intermediate sight and you just want to develop your composition, your lighting, your optics, wherever that may be. Feel free to use your own model and just let me guide you through the process and setting up the textures and seeing that kind of process and my workflow and leverage your own modal through it. You absolutely are not bound to using these Coca-Cola, as I said at the beginning, this is just the device that we're using. So if you do have that confidence to use your own 3D model and apply it to the setups in the process we're doing here. Because that's really what this course is about. Is this professional pipeline from getting you from nothing to a professional looking 3D render that has good backbone, that has a good folder structure, that has a professional tint to it. That's what's important here, not the Coca-Cola render. So if you do have the confidence to use your own 3D model, then absolutely do it. Anyway, with that being said, let's jump into the next lesson and get started doing some look death here. 4. Texturing The Can: So what we're gonna do now is we're gonna do some texturing on the can. So we're going to create the textures. And then after we do that, we're going to move into looked, having the can and creating some lighting and making sure that those textures holed up in the assets folder. Let's just go and grab the 3D model here. I'm just going to drag it and have it open and new scene here. Now don't worry about the scale kind of glaze similar to a cube here. That should be about fine. We don't really need to worry about that. I want you to do is delete this default material. Now inside the Coca-Cola can OBJ, we have the body and we have the tab. I did consider separating the actual metal from where the print would be. But if you look at Coca-Cola cans, it doesn't have a label. It's all mantle. It's all the same material. So there's no point really differentiating that. I'm happy to leave it as it is and keep it all kind of unified. But because of the UV mapping, we can actually apply the same material on both of them. Now, I didn't do that in the initial renders because I did consider using a different mantle material. So I did just create one for safety. But to keep this simple, to keep it beginner, to keep it slim, we're just going to use that same material. So we're going to open up octane here, and I'm going to pop that on this side and we're going to boot this up. Now. What we're gonna do is make this path tracing. I'm going to lock the live viewer. And if we click here, we can zoom out. And I'm going to make this for the sake of the course and clarity. I'm going to make this 248 by 248. If your computer can handle that, absolutely do it. But it's more just so you can really see what's going on. If anything, I would suggest doing 1024 by 1024, and that probably would be enough, but just for the sake of the tutorial will do this. So I'm going to switch this render to Octane Render, and then I'm going to add in a texture environment, I'm going to make it black. Then I'm going to the HDRI Environment. So the way I'm going to get this is I'm going to go into look they've seen can look dev texts and I'm going to grab it from the assets, the scene files from the other scene. So that's just gonna give us a little bit of lighting here, which is going to make the scene visible and we can do our lighting. So I'm actually going to drag this HDRI below that sky, and I'm going to make this black one, the visible environment. Let me call this BG, and I'm going to call this HDRI. So let's just rotate this a little bit. But you'll notice right now if we select it, the axis is gonna be all the way down here. And we don't want that. We want the access to be centered. So I have this little button here, but typically we'll do Shift C and we'll do Axis Center. And we can grab this point center, include children. And then we hit useful objects. And now it will work. What we're going to do now is rotate this a little bit. And I'm going to drop in a octane camera. In this camera, we're going to hit this little box, so we're in the camera and I'm going to change the focal length to 135 millimeter. In fact, that could be a little bit too big. We'll do 100. Then if you come to coordinates, we're going to start off with the x and we're going to press zero, then tab, then zero. Then you're going to press tab and you're going to skip over 0.0. Now what this has done is centered or camera up in the middle of the scene. I'm going to drop the Coca-Cola icon down. I'm gonna do that by selecting it and then pressing W, which aligns our access to the world axis instead of the object axis. So then we can bring this back down, press W again to return it to the object axis. Now we're going to get started on the materials. So we have a little bit of a basic scene setup here that is allowing us to texture and allowing us to work through that. This is absolutely necessary, is not a good workflow. To just start texturing without adding in a base that allows you to work around it. Now what I'm going to do is create the texture. And then after that, I'm going to start lighting around the texture. I might come back into the texture and tweak it depending on how the lights work with it. So we're just going to create a base and then we're going to do the lighting. And we're gonna be open to maybe chopping and changing in a couple of things depending on how it looks in the lighting, because we don't know that yet. So this is the basic scene and now we can move into texturing. So to begin, I'm going to bring in a metallic material. I'm going to apply that to the body and I'm going to apply that to the top. Now you see off the bat we have a very, very reflective material. So we're going to grab the octane node editor. Now, I did mess with the BRDF models. G, gx is generally what's gonna give you the best anisotropic look, which tends to be on a lot of soda cans like this. I will come back to showing you how to do this. But for now, I'm just going to guide you through getting the result. I had to do that. We're going to keep it on octane. I'm going to bring in an image texture. Now we're going to come up to assets, Coca-Cola 3D model texture. At this point, you could grab any of the three that you wish, or even your own design that you might have that you want to apply to a soda can. Absolutely doesn't have to be Coca-Cola. But if you're following and you're using these assets, feel free to pick whatever one you want. Although they might respond a little bit differently to the lights generally, if you referenced the scenes, you will see that the parameters are slightly different. I'm not gonna go through creating all of them if you do want to see those, just go look at the scenes. But generally they were pretty similar. So we're gonna do is gonna drop this in here. I'm going to plug this into the specular. Now with metallic materials and octane, the diffuse doesn't act as the albedo or the color. The specular does. So if we want to see the color, we need to plug into the specular. Then next up, I'm going to duplicate this and I'm going to give it a projection and transform. And then in here, we're going to grab the normal. I'm gonna plug that into the normal. Then I'm going to duplicate it again. We're going to plug those in. And we're going to grab the roughness. I'm going to plug that in. You can see that's kinda filled in the blacks a little bit now. And that was the reason it was black was due to having no roughness parameters whatsoever. Then after this, we're going to plug in the texture protection and the transform into a third one. This is going to be our rotation. We're going to plug that straight into the rotation there. This is going to help it the anisotropic look. For these values. What I ended up going with the iPhone looked best was in the roughness. We're gonna make this legacy gamma 0.9. That gives quite a rough look. And then the roughness tab, we're going to make this about 0.15. The float. This is the roughness level if it didn't have anything plugged into it. And at the minute, it's not reading that, it's only reading the image texture. But the way we get it to respond a little bit to this is with this mix value. So as we bring this down, this alternates between these two values here. So what I'm going to do from the mix is bringing into a boat 0.45. And then for the spread, we're just going to leave that as it is at 0.5. Now, for the rotation, I'm gonna give this a gamma of about 1.5, maybe 1.6 section. Then in this transform node, we're going to mess with the scale of this aluminium texture. So if I right-click and solo this node here. Now notice you don't see very much this one here. This is allowing us to see a little bit more. In this transform node. I'm going to turn off the lock aspect ratio. I'm going to bring the xs to about 0.25. And in, in the r z, I'm going to rotate this by 90 degrees, which gives us that vertical aluminum texture, like Coca-Cola cans or soda cans in general have. I'm going to lock that again. I'm maybe going to scale it up a little bit. Might come back to this. But right now, let's stick it 0.25. And now those aluminum lines are in there and they're showing up the most on the reflections. So super-quick, super basic. I've just walked you through creating that initial Coca-Cola kind of texture I had. And I did a lot of going back and forth with these textures to get this result. And that's a really important part of the process. So what we're gonna do now is we're going to move away from these set values. And we're going to texture and just kinda get a little bit of a different result. But I want you to follow along just as I'm doing it, not as him saying so to speak. So before we move into that, I'm just going to tweak this HDRI a little bit. You can see this nice control of their reflections. But the reason we bring in the light's ain't never truly sells itself. So we're going to come back in a little bit later and probably put this at a lower power. So it fills in some spots and then have some lights in there too quickly as well. We're coming to the octane camera and we're going to enable it. We're going to bring up the Highlight compression. And we're going to bring the whole pixel removal to 0.8. And wireless on my mind, we're going to come to the render settings. Now these are the render settings I use in every single project. We're going to put these to 248. I'm going to put the diffuse depth, the specular depth and the scatter depth alter eight. When he keep hitting tab, we're going to come down to GI clamp. I'm going to set that to ten. Now, if you ever have to go over, I would say at least three to four, maybe 5,000 samples you're seeing is un-optimized. Something in your scene is causing noise. Normative samples is going to help you 100,000, 200,000. We'll get rid of that noise. You should be able to get clean looking render on a boat two to 3,000 samples regarding these different depths. After about five or six is never going to look any different. So just keep it at a nice safe bet. Gi clamp. What this does is kind of zone out some of the unnecessary light calculations that may be slowing down the scene or contributing to noise in the scene. So bringing that down to ten really helps cut out some of that indirect light. You can even bring it down to one if you want. But generally, I bring it down to ten. So those are the Render Settings. Now what we can do is start creating a second version of this. I'm going to call this classic underscore one. I'm going to duplicate that with Control C, Control V. I'm going to apply that onto these. And I'm going to expose my workflow a little bit. I'm just going to play with this and we're going to see what we can, what we can do with it. Now, it's a shame in-between recording these license and I'm doing it chronologically. I actually, I opened my fridge and I looked at kind of Coke and I do love how reflective they are. And although I didn't go that route for my final renders, I really want to show you how to create that look because it is a really nice look. And although it's kinda hard, it seems that they may be vary in different countries or different advertisements or different points in time the cans looked different. So it's hard to know what to really set your eyes. And I don't think there's one completely correct way to do it. But what we're gonna do is try and create more reflective version. So if you come to basic, we're going to set this to g dx. Now, this is super good for an isotropic and anisotropic anisotropy wherever you want to call it. And the way we do this is we're going to, this tab will actually really work unless you're on one of these other BRDF models. So in anisotropy, I'm gonna bring this up now if you bring this up towards one, it's going to give you more vertical anisotropy. And if you bring it down, it's going to give you more horizontal. You can see that reflecting on the material preview here. Now I'm going to go for the more vertical one. Let me come up here. And what these values is. The higher up we go on the roughness gamma, the more effective it's gonna get, the lower the rougher. I'm going to compensate a little bit, maybe come down a bit more. And generally, I was just kinda playing with these values to try and see what would come out of it. Now, back in the roughness, I would maybe bring that float back down again a little bit. Maybe bring the mix-up. Just rely on this roughness, texture and the anisotropy. More than tweaking those values. Because one of the things I look, I think look really cool about this texture over the old one. Was the metal of the top looking a little more reflective. If we try a couple of different angles here, you're going to see it seems to respond almost nicer to this kind of dark lighting environment. But this is where it can be tricky is you can get this to look really nice in this look dev environment. But when you take it into another scene setup, it might not look nice and you might have to compensate and change things. So this is where it's good to have a couple of different versions of the material. But generally, I did like this reflective on it did look nice. It looked a little bit older. In some moments. The way it just interacted with like was, was very nice. Let's add some of those raindrops onto it, some of that condensation, because that was quite nice. So we're going to grab a displacement node and I'm going to duplicate this image texture. We're going hit the file icon and we're going to grab that xo max net displacement. And we're going to plug that into the texture. We're going to give it a projection and transform, set it to box, and we're going to plug it into the displacement. Now you're going to see it's going to make them bolder, look super weird. So we're going to set the level of detail to four k. And we'll set the height to one. And you can see already, that looks quite cool, but the colonization is sideways. So again, let's set this to 90 degrees, and now it will be the correct way. And maybe want to mess with the scale a little bit. Now it looks super nice. The problem is that I noticed with it, especially on this material, is these raindrops are highlighting areas that are in darkness in the material in the mantle. And that just doesn't look that nice. And I did find a couple of solutions around it, but generally a state for the long run and it was a bit irritating. And I even did that with the specularity of the actual geometry of the raindrops or 3D modeled and scattered onto the can, which you saw in the other reference scenes. But this looks quite cool. I'm not going to stick with it, but on some shots, it really does look nice and I think it's nice to have to turn to in the materials. Lights unplugged that again if you want to keep it, just keep it. Now. Maybe we'll have a go at creating some surface imperfections. Looking at how we can play with that. So I'm going to bring this roughness a little bit. I'm going to grab a surface and perfection. Now I have this surface and perfection from polygon, and I didn't end up using it in any of the final renders. And this is one of the assets I probably won't provide in the end. Maybe I will if I provide the tutorial files as well. So it might be there might not, hopefully it will be. But we'll see how it comes. Eight turns out right now. So we're just going to ignore this roughness and plug it in over the top. And we're going to add our projection and our transform. We're going to set this to box. It might give us some tiling. I'll keep it in mesh for a second and solo it. Actually, it looks fine like that and the scale because okay, so I'm going to bring it down a little bit. And again, I'm going to switch it to 90 because there seems to be kind of flow there and we want to take one down. So I'm going to bring it up a little bit. And usually in the gamma, let's play with these values and see what's going on as we tweak this back-and-forth. And you can see that it's not really doing anything nice right now. It's just kinda looks like dirt. It really doesn't do anything nice at all. Now, a lot of this is because we are on GTEx and that's the main reason for that. Responds to these maps a little bit differently. I'm going to keep the rotation I'm plugged and I'm going to come back to g, g x. And it's because this isn't that it's making it black is, this is the reflections in here. And it's making them super, super dark. So ideally, we would want to compensate with a gradient node. In this gradient, we can play with the values and get full control over them more than just tweaking this legacy gamma or this gamma, whatever is in whatever version you're in. What we can do is lift up this gray Black, sorry, make it more and more closer to white. This is going to really help reduce that contrast. Overall. Give us a bit of a nicer look. But you're probably saying still doesn't look like condensation was going on, dude. So what we're gonna do is we're going to mix that with our roughness map here. So we're going to take a multiply that should work on the red. And we're going to plug them both in together. We're going to plug that into the roughness. Now we have our shine back and we're going to play with the gamma a little bit. At this point. We're kinda, when we're looking at playing with these values back-and-forth until it looks nice. Maybe going to set this power to about 0.5. Again, we're going to push these back and forth and see how they look. I might bring up the scale. May still doesn't feel a whole lot like colonization. It just kinda looks like dirt. So at that point, you could always mess around with an invert and see how the invert response. This dark again. Now it looks a little bit like condensation. We can see on those reflections. Now, I'm probably going to bring up the scale. And within the roughness texture. A little play responds. I'm going to play with the anisotropy ever so slightly. Even though it's not plugged in. Even though it's not plugged in. You can see that there is some kind of condensation here. Now, I would say to get a true condensation look, you're probably going to want to deal with a glossy material and bridge between the two using mixed materials, that's probably going to give you a better look. But because that's not really the resultant chasing, I'm not going to dive too deep into that. There is resources, online tutorials showing you how to do this kind of thing. But generally, metallic materials, you're going to want to layer them up to get a really nice effect. But if you wanted to keep it simple and just kinda wanted to allude to the fact that it's there, bring that in and then mixing it with the rain drop. It's probably going to be a nice enough. Look. It really again depends where you are after. Things start to get a little bit complicated. And I don't want this course to focus on that stuff too much. You can see that it's a little bit of an insight to adding some surface imperfections, keeping them super, super simple and super vague. But like I said, overlaying them, really playing with these materials is gonna be the way to go if you want to go that route. But I always kept it quite simple. We have those raindrops back in and we have a look at this at a couple of different angles. We can see this looks nice. If we were to store render buffer and compare the two. You can see both of them there. Of course, off the bat in this lighting. This one pops a lot more. But I did find that held up in the end scene quite a bit more. But to finish up with our original texture here, I am going to give it a value of one, give it a bit more reflection. And you will see how this texture comes to life once we apply appropriate lighting to it. So in the next lesson, we will go over that. And we will really get into the nooks and crannies. I've looked having this and coming back into the material and tweaking little parts and moving it around different lights. And I'm going to discuss fall of maps in dealing with reflective materials. And we'll dabble between this material as well here. And we'll see how they both hold up. And then once we have a good grasp on how both of them work at each side of the spectrum. The more reflective one versus the more pliable one that's going to behave and be a bit more predictable. And we'll see here they both work. But this is what doing look dev is all about. And I hope you're following along. Well. There will be moment to experiment a bit more and go a little bit more quiet and explain a little bit less. I hope you managed to follow along in those moments. What would that being said? Let's move on to the next lesson and get stuck into really, really creating the, the, the foundation of this looked ever seen. 5. Scene Lookdev: So moving on, The first thing I would tell you to do is just save this scene into the look dev folder, like I've done here. I've called it look dev underscore 001. The reason I put that 001 there is if we go to File, save incremental or shortcut Control S, it'll just change that to two. That makes it really easy to kind of build up incremental saves. But moving forward here, it's kind of difficult to compartmentalize and separate these stages of building these look dev seen, I've tried to record a lesson. They centered more about getting seen ready, building some initial textures. But this scene is going to be a little bit more messy and a little bit more true to my actual workflow when I'm creating these kind of renders. And the reason for that is I'll put in some lights and I don't really like the way it looks. So I will change the texture a little bit, and then I'll move the HDRI around a little bit and change the camera around a little bit. So it's very much a going back-and-forth. And this is the way you probably already work and the way all of us work. And it is very difficult to record and say, I'm creating the texturing segment. Now I'm creating the lighting segment. It just doesn't work like that. So we've got into the scene to a decent baseline and now we're going to move forward with that. So the first thing I'm gonna do is actually just shut off the HDRI. I'm going to drop in a octane area light. And the first thing I always do is drop a target tag on it. And I'm just going to target the Coca-Cola. If we press F2 here, I'm already set to perspective. But for F2 and change this the top, this is how yours is gonna look. So you press F to go to the top view and you can press F3, F4, it's up to you. That's just the front view and the right view. Any of them. But you can change the projection back to perspective. It's very similar to the 3D space that we're working with and our normal view. And now we can kinda run around here. And the viewport, the Octane live viewer will stay the same. First thing I'm gonna do is I'm gonna bring this light off to the left a bit. We're gonna make this our key light you see is looking very matte on the can right now. It's not, it's not looking very appetizing. So I'm actually just going to change the sampling rate of the light to the same as our Cine samples. I would always suggest doing this and then make sure that every light has the same amount of samples. I'm going to make the power something quite high, like 10,000. In the distribution. We're going to add an, a fall off map. And I'm going to leave the fall of map as a is. There's a couple of moments here. There's 90 degrees, 180 degrees. They're going to come in useful for different things depending on what you're doing. But with reflective objects generally leaving it on what it is by default is going to look the best. And the reason for that is we want our light to have fall off and octane doesn't provide that fall off by default. And there's numerous ways we can go into that fall off. Whether it's blocking it with geometry, are using IES lights. But this is a really, really simple kind of cheat codes to adding that fall off. And just as an example here, if I put this light behind those, you're going to start to see what that fall off is doing. So we're going to push this off to the left here. I'm going to make it a little bit bigger as that will increase the power and keep it to the left side of the can. And you can see it's already looking quite a bit nicer. Then I'm going to duplicate that holding Control and I'm gonna put it underneath again. We're going to go a two-way thing going on here. Make this one a little bit thinner and little to kinda get highlighted strip up here. And then I'm gonna do the same thing again. I'm going to pop this one behind the can. And that's going to add a nice glow. And then if we grab all of them, visibility and turn them off. So now we have some lighting in here, but the texture just doesn't look that nice. And that's where we're going to move forward and really dive into making this texture look the way I want it to. And the reason it is so hard to create texturing segment. And then a lighting segment is because you'll create a texture and it will look okay. And then when you start to add lighting, and again, this is what it looked ever so important. It's gonna highlight flaws in it. It's gonna show where it's not going to work, in where it is going to work. So this is why we have to revisit it and come back. So what I'm gonna do is I'm gonna duplicate it again and create third version. I'm like I'm saying, if you're doing this in your finished C and you're just gonna end up with a Massey scenes with to have this seem to do this in, saves us so much time. Now I've applied that here. I'm going to create a GG X version of it. And we're going to see here that holds up because it does give it a much more metallic look. And especially in this dark lighting, it just looks lovely. So with that, I'm going to come to the hotness dropping. I'm gonna bring it up quite a bit. And then in the roughness here, Let's try 0.6. And then in the actual roughness tab, let's bring up this makes a little bit. Maybe I'll scale up aluminium texture because right now I feel like we're not seeing that whole bunch. You can see a little bit here. I want more reflectivity, 100%. Okay, That looks nice. Just going to test a couple of, a, couple of different compositions here to see how it looks. I'm actually going to release our focal length a little bit to the eighth day just to get a bit more depth than the cam on the camera and on the object. Then with these lights, just going to play with the scale and position of them a little bit to see how I can get it to affect the can the best. Again, I'm pressing W to continuously switch between the world axis and the object axis. We've got this backlight. Now I'm going to turn to the camera. In the camera and what I'm gonna do is provide a bit of contrast. I'm going to bring down the Gamma, to bring up the exposure. I'm going to come to post-processing enable. And I wouldn't really suggest going over about 10:15, you don't want this amount of Bloom. Even this is probably too much everything in real life as bloom, specialty objects like this. Maybe give it 567, go up to ten if you feel like it. I'm going to add a little bit of vignetting and topics or removal. It's already at 0.8 and I'll leave it there. I can't remember if I did that in the last segment. I I do record these and kind of drill through it really quickly just to make sure I know where I'm going and things I'm going to go over. So if there's ever any parameters that are not default, it's because I've sat around in the scene before if it record. Anyway, this is beginning to show up really nice. Now, some of these textures and lighting, I'm going to bring the scale down a little bit because it's showing up a bit too much, but it looks nice. Anyway, you know what Sigma some dark spots here. The way I'm going to tackle those is with HDRI. I'm going to bring the HDRI back in and I'm going to mess with the position of that until it fills in those spots for me. Awesome. Yeah, this is nice. We're still getting a lot of those dark spots and this is where the material on the own GG x can become a little bit irritating because those dark spots are being drastically caused by the material rather than the lighting. Have a look at these lights. Okay. I think we're in a pretty good spot right now. It looks nice. It holds up. Maybe becoming a bit more composition. Look at that. Yeah, Cool. So moving forward, let's actually, before we do anything, let's compare this store render buffer and compare this to the old material. Again, that's kinda preference where these noun, the lightings in there, it holds up. Now we've done a bit of work in the camera imager holds up, but it's going to come down to preference largely. So with these lights, I'm going to call this one key, call this one, fill. Call this one VG. I'm going to group them and call that lightening. And I'll put those in there for now as well. Now I did mention using a cloner. So I think that would be a good step forward to see how the materials are holding up every single angle under pretty much the same lighting. So let's duplicate this, can just call this classic cooler. And we're going to zero out these parameters here. I'm going to zero out these parameters here. There's no rotation on the object. I'm going to go to MoGraph holding Alt. We're going to grab a cloner. We're gonna go to Object. And we're going to change this to radial, and we're gonna change this to x, y. Then we can increase the radius a little bit. Increase the cone. We can start rotating. We won't rotate them on bags. It's just yet, but we can start to give them. Nice little bit rotation here. Then we can duplicate the camera, zoom out. I'm just going to want to shift back this key light here. Duplicate it, create another one shifted back. So what's good about this is we've got reflections coming from the objects now. So this is allowing a nice kind of back-and-forth that I see what's going on between all of them. But what I want to do is if we come up here, grab the corner, go to MoGraph Effector holding Alt, grab a step effector. And you can see that it's going to increase the scale of them incrementally as we go around and we don't want that. So I'm gonna come to parameter and turn off scale and turn on rotation. And then we're just going to rotate the H. And now we have this nice kind of rotation is we go round. And that allows us to see every part of the con. This point. If we go back to where old texture again, you're probably going to see how it begins to hold up a little bit more and how it begins to look a little bit nicer. And this is just proof that we have to remind myself to bring this light forward again, I'm not going to duplicate it and I'm just going to rock it back a bit to stop it from blowing out. This is a shear evidence that it's not always the texture that doesn't look nice. And it's why it's important to put it in different environments and see the different environments are going to make it look different. So it's quite important to do that. And if we were to do the same thing and have a look at this condensation texture. Now we can see how that looks. That does look nice. Now we have three textures and they're all a little bit different. And going into the next couple of scenes, you can reference these improved from these and see which one suits you and which one you prefer. As of right now in this scene. I know I certainly like this one quite a lot. And I just love how dark and reflective is. Way too dark a way to reflect if, but this is something so punchy about it. I really like it and I did try to use it in the final scene and it's why I ended up coming away from it. But as of right now, it looks, it looks quite nice. But let's try the classic 11. It's more seen in that folks would even argue that when it comes to the background light here, only do we want to add a little bit bigger. But if we were to turn it off, we can get the HDRI to do it for us. I could provide a slightly cleaner result. So I'm just going to turn back to the original model quickly. Come back to our first camera, and come back to the original key light. And let's take the BG light as well. So just rotating this to a spot that makes it look quite appealing that we can come into and referenced different textures. Come back to it, understand where is working well and where it's not. And we're going to call the one in the cloner cooler. Cooler. We'll call this cam single. We'll call this can cloner. Call this key cloner. And we'll leave it like that for now. And that's pretty much a complete looked ever seen. We can come back to this and have a nice clean cut space of what's working well and what's not. Have a messy area to duplicate textures and have an easel Almost there is capable of allowing us to work in a very non-destructive way. In this lighting. Let's just see you. This original texture holds up. Again. It's looking quite nice now. Although it still looks quite flat and unrealistic. And the mantle here Really, I don t think is super nice under this lighting. Although it's not obeying the kind of roughness, It's not massively obeying the roughness parameters they said that it has is it will show up a little bit more like this, but just due to the nature of the lighting and lack of reflections in the scene is it's showing up a lot more rough than it is. So you can just kinda have to bear with that. And I've just have a feeling that when it comes to the final scene, I'm probably going to go with the base material again, but we'll try all of them. And we'll see you it looks and we'll start off with this one and see how that one looks. So going forward, what we're gonna do next is take a little look at the asset seems I have prepared and mega scans. And then we're going to jump straight into building out this final scene and getting multiple versions of the model in there. Having a couple of different versions of lighting and they're seeing how it holds up and working towards getting some very nice looking brown renders. 6. Final Scene Overview: So in the course, I say is I've just opened up the finished scene here. And I want to take a little look around it just so you can get a little bit familiar with the direction we're going to go. So we have a couple of lights here, a couple of different versions of the same light, one with a light and global one without a fill light and some unused lights they ended up messing around with but didn't use for the final render. And then we have our scene geometry or different versions of the kinds. At different version I made where it was tilted and falling off. And then our cinder blocks. Now, I'll run into the cinder blocks in one of the next couple of lessons. But basically I have created a another scene for these and the cinder blocks. Now I will go over the cinder blocks in one of the following license. And then we've got our HDRI RBG, very similar to the previous looked at I've seen. And then we have just some different camera angles. And then we have some takes setup as well, which I will come into in a couple of different licenses as well. But that's it. It's quite simple. I've got everything in layers here. So if you do want to come and have a look at the scene, you definitely can do if you get really stuck. It's very simple set up. As you can see, nothing too scary. And yeah, we'll get straight into this and get creating a scene that resembles this. 7. Megascans Overview: Outside of octane, this is the only plugin I have used to create these renders. And it's free. It's not even really a plugin. I am sure you are maybe familiar with using Quicksort bridge and manga scans, but it is free if you get it through Epic Games. And this is the place that I use for the assets. And I believe that this cinder blocks are quite easy to find that I used. It was these ones here. Now I'm going to have them set up in a scene for you to bring over similar to if you were to import them into the scene. If you want to do it this way and you want to bring in your own assets or even just import them from magazines you can do. But for the sake of the course, I'm going to have them set up in that scene and you can port them over, reporting them over from bridge. This is just to make it a little bit more beginner friendly and to hold your hand a little bit more. But if you want to take those liberties, you can do. I just don't want anybody to be missing out because they struggled to get manga scans or it's difficult or I don't want to slow down the process for you. And I also to really ensure the fact that you're going to get such a similar result to me. And I want you to feel so happy about getting that result that I want you to stick. If you are in the beginner side, I want you to stick with using the same assets that I'm using as it will elicit almost a one-to-one result. And that's going to help you just feel a little bit more confident coming out of this course. If you are to come in here and I tell you, Oh, just pick a similar asset and I don't tell you exactly what I've used or we tell you to port it over and I don't show you why did to the materials, things are gonna go wrong in little areas you're not going to notice. And as a beginner, that's just a little bit unfair. And I feel like just eliminating those choices for you and those that kind of hedge strain and the headaches of going through different versions and messing with different ones and seeing what works. I just don't want you to deal with that. So this is a quick little overview of magazines just to see where I find the assets and where it brought them over. But you are going to have access to the ones I used in which I will go over in the next lesson. 8. Megascans Assets: Now in your Assets folder, I had initially called this cinder block seen in three out of the recordings. It would have been referenced as that. But what I've actually done is just create a new one called Mega scans assets. And this is what it will be called by the time you download the files. And in here, if you open this up and that was because they didn't have the floor of the background in there, it just at the cinder blocks. And I thought to keep a centralized I'm just going to pop those in there as well. So what we have here a is the cinder blocks, if you were to import them over from manga scans, they would come in something like this. But then what I've done is if you really get stuck. And when we're creating and compiling all of the bricks together to create a nice little setup to light and put the hands-on or the product wherever you're using. If you get really stuck, the version I used, I just popped there. There's a couple in there that are turned off that I messed with and ended up not going with. There is this one, this one sticks onto the ground here just to get the scale difference. But because it was behind, I didn't really care about sticking through. But the rest are all pray flush, especially against the displacement. Then what we're gonna be using and why would suggest you use is we're going to build it with these. Then you have the floor material here and the background material. So this is all the assets you're going to need for the scene. Like I said, if you want to use bridge and you want to, like I said, if you want to use bridge and you want to bring in your own ones or you just want to go through the motion of importing them from bridge, then absolutely feel free to do so. But to keep it quick and snappy, I'm gonna be using this scene as a place to police assets from as opposed to bridge. 9. Creating Scene Setup: So what we're gonna do is just create a new project. And this will be where we build our final scene. Immediately. Let's just save this out and let's save this into our final scene and call it cola renders. One. I'm gonna go to Filter and turn off work plane. And the first thing that we can do here is we're going to drop in a cube and we're going to bring this down by 100 cm, 100 cm holding Shift, which will center it up to the baseline or the grid usually is. And that's because by default, the cube is doing just centimeters tall. So if you're making it 100, that's half. So it keeps it in a nice place to use this a floor. So what we're gonna do is make these quite a bit bigger and a little bit further back. So maybe let's do it 1,000 by 400. And then we're not going to add a fill it because we're not really going to see the edge of it. I'm going to add in a plane and we're going to bring that back and make this plus is it. Then we can make this the width thousand, and we'll make this about 2009. So it's a bit too tall, 1,000. And we'll create a little bit distance there. We'll have it a little bit farther back, but not super far. Closer. Okay. Then what we can do is bring in our mega scans assets. So I'm going to bring in the, and again, this is point where you can choose how much effort you want to apply. I would go through the motion. Like I said, we're gonna bring these over. And usually you would import them straight like this. If it was coming out with manga scans and other textures went black because it's struggling to reference where they're coming from. So to fix this, I'm just going to debate again. Just like that. You just kind of retell it where, where the, the texture path is and cinema as i 0 and then it makes, it doesn't make it black anymore. But that's because I'm working with two folders and you'll be working with one, so you might be fine. What I'm gonna do is I'm gonna brush these off to the side. The reason for that is because I'm going to immediately duplicate them and turn them off. And I'm going to work with these. But before I do that, I'm going to bring them a little bit closer and then we will get to work with them. So I'm going to start, There's a few duplicates in here. Our little bit different to the way they come up with manga scans. So I'm going to start off with the big one and I'm going to go for a pretty much identical look that I created in the first render. So one thing I really liked I did in the original seniors, I kept them all parallel to each other and if float, really nice. So what I'm gonna do is I'm going to just try to remind myself to keep pulling from this pile rather than duplicating. And then what we're gonna do is we're going to use a transfer. So if we shifts in Toronto type and transfer, and then for this one here, we're just going to click it. And now it's in the same spot. Not just saved us a couple of seconds. They're super useful tool and finding exactly where they were parallel or sometimes a little bit irritating. I did want them to look so glutes together and so flush. So I'm just going to be replicating that. Then. Then I think it was a little bit different. I'm probably going to try and stray away a little bit to be honest with you, but I'll see how things go. And then we're going to bring in this smaller one. And I remember this was either have my transfer command, the hair, so I'm just going to use it like that really speeds up the workflow and rotate this. I believe it was actually at different times, this one that we used. So put that there. And I can put this one at the end of it. I was really trying to play on the shadows as well because they interacted with the shadows so nicely. Is I was trying to get some taller wounds to cast some really nice dark shadows. I was playing with that quite a bit. And then I'm going to rotate this 180 degrees. And I'm going to duplicate it, reflect no, not duplicate any of the Talmud doesn't want to do that. I'll bring this one over. Here is the transfer again. Can rotate it 90 degrees. If I rotate it 180. Nice and flush in there. Then we'll grab this other tall one. And we will rotate by 30, 25 degrees. We're going to place this one behind. Maybe that's where I'll go a little bit different is just for some of these taller ones at the back. Now, I initially did have it kind of building up more like a pyramid or a throne. By no SDA. It just made the can not stand out against the background and it kind of eliminated that depth. So in the end, I ended up making sure that you could see straight through to the back. Now you can see this is where we start getting some issues is even though we're rotating them 90 degrees, we're staying true to our ankles and our and our parameters. Things aren't looking totally flush. So we kinda have to come in here and eyeball it and make sure they're just flush to the eye because that's what matters is not that the numbers are correct, but they're completely flushed to the way we see them. It takes a little bit to weaken. I'm just gonna make this one the one that was back here. And then I do believe that I had one of these ones kind of similar to this position here. Real quick, you guys from reusing that transfer. And I believe that that ability to just click is a newer part of the transfer command. You used to have the dragon from the object manager here. And I didn't want this to come out a little bit taller. Then. Here. Duplicate this. Now, I will start duplicating and we will just position this vertically just behind it. Okay. That was a pretty similar setup to what I had on the original. I think a couple of the blocks would have been a little bit different in some areas and I'm probably going to mess with this a little bit more in a while. I do remember I did, of course, is pushed this through the floor just to get that height difference. But this was pretty much it. There was a lot that I was doing and the other one they ended up taking out, which I kinda wish I didn't in some spots, but it looks pretty good for now. So what we'll do is save incrementally, I'm going to turn off his world axis because it's in the way and it's annoying. And then we're going to drop in and octane camera. And we're going to zero this out, similar to what we did before if cinema light's me and will zero out the rotation and we'll bring up the y. And we will make it a bit 135 and zoom out. And we'll make our aspect ratio again, I'm going to do 248, but that's largely for the tutorial. Then. And do Control D shift the darkness. And you can see that the blocks aren't totally centered and I do want them to be. Now if you press F2, you will see that they access it all the way up here. So I'm just going to enable the annexes and bring it in. I'm not gonna get too stuck up about centering it because I'm not going to be rotating them. So I'm just going to drag that over a little bit now. And then we can zoom in here. And I'm going to set this to perspective. And a, we can see that we have a nice loss or outgoing needs to turn off the grid in this view as well. Okay, So that's a start. We have our scene set up and what we'll do now is move into adding some lighting, adding some texturing, and bringing in the the kind and the asset and seeing what positions work. And again, this is going to be similar to the look dev, where we've got the scene in an okay place now, but we're going to start chopping and changing things and working a little bit more chaotically while trying to retain a smooth process. 10. Lighting The Scene: I just want to make a quick little note coming into this lesson eight, Ben had a couple of days or so between recording these two lessons. So the versions of the scenes were a little bit different, which is why my axis isn't centered on those cinder blocks. And I'm putting in the camera again. So I just wanted to add in this note to clear up any confusion with that being said, I will let you continue with the lesson. Okay, so now what we can do is get started on look to having this scene. So I'm going to be working a little bit more chaotically and we'll just get everything on the goal. I'll try to compartmentalize what I'm doing as much as possible. But the main goal here is let's get to this well, to this good-looking finished seen. So I'm going to increase the width, the depth, if you want to call it of this cube here. And just give us a bit more, more breathing room there because I don't want to see the edge will create a camera, will make it about 150 mm. And we'll do what we did before in zero. Everything here. Maybe I'll just point up a little bit there. Yeah, something like that. That's nice. Then I'm going to make this to 560 by 14, 40, I'm gonna go white screen. In fact. Let's do that. Let's make one way. You can make that 1920 by ten if you don't want to go for two K. And then we'll do square will have this set to 248 by 24.8 will set this to Octane Render. But for now I'm going to stick in the white. Okay, now let's boot up octane. But before we do that, I'm going to attach to love you. But before we do that, let's bring over these mega scans assets. Now. I'm just going to cut this out, but I'm going to make sure they're all linked up as I bring them over because I duplicate the scenes and it was linked up to the other folder. I've been running into this issue which hopefully you shouldn't run into. But I'm gonna make sure that links quickly and then pour them over. Okay, So notch these materials in the scene. And unfortunately it's lost the file path. So I'm just going to grab them again. Lets me hooked up both of these textures. Now when goal the texture is linked and what I'm gonna do is octane and we're gonna get started here. And the same thing has happened. So what I'm gonna do is boot up octane here. And I'm going to lock the view here, which locks us into our aspect ratio. I'm going to switch to path tracing. And where you're going to see here is all of these pieces of geometry aren't going to be perfect. And it can be a little bit tedious and we'll probably have to keep coming back to these and tweaking them and make sure they all just say the way we want them to. Try and wait till the end and come back and do this all at once rather than switching from one thing and continuously switching constantly. So regarding the background, We'll put on this painted concrete in the background and we'll put on this asphalt on the ground. And then I'm going to drop in an area light. We will add a target and target the cinder blocks. Okay? I will press F2 camera's perspective. I'll do n a. And let's have a look at lighting this. So if I'm bringing this light up and off to the left, you can see giving us some lighting, but we're going to add any texture environment. We're gonna make it nearly black. Not quite black, but nearly. And now we're going to play with these lights. So what I wanna do is go for a super, super sharp lighting, superdense, somebody that's gonna give us really, really, really sharp shadows. Remember to keep doing Control 0 and S and saving incrementally as we go. Just going to turn off this camera as well. But first of all, actually, let's add highlight compression on the camera. And in the render settings, we will do 248 by eight by eight by ten. Then let's make it 248 on the sampling rate. I'm going to set this to a power of 10,000. And now what I'm gonna do is make this about 20 by 20. Want to see what this looks? Okay? Yeah, this is definitely the kind of lighting I wanted to go for, maybe going bring it forward a little bit though. But at the minute, everything is so dark. So let's duplicate this light and add a fill light. So I'm going to make this light maybe 150, 150 will make the power hundred. I'm gonna bring this way. I just mess with a couple of different angles. Maybe over here. You can see that's just filling in those shadows. So now we have a couple of nice dark shadows, which is a bit more realistic, but just not as many dominating the scene. Next up, I think we should probably bring in the asset because attempting to like this without bringing in the asset is kind of difficult because that's the main point of all of this. So I'm going to go and go to our looked ever seen and grab our Kula. I have straighten this up. As you can see, everything's all nice and straight. So when we bring this in and there's no issues, and we're just going to make the scale 0.4 by 0.4 by 0.4. And I'm going to bring this center it here. Now again because my scenes were messed up, my materials are linked. So I'm going to fix that. And I'm just going to place this here and then boot up octane again. Now we have our asset in there. And as you can see, this more mount material really holds up in these lighting. What I'm gonna do is bring in the camera a little bit. I don't want this light to feel a bit more powerful, but messing with the light isn't always the way to go about that. Make the scale a little bit, a little bit bigger. That will help. Bring it a little bit closer. That'll also help. But a nice little cheat code in something you should always rely on. It's just messing with your exposure and gamma. This is always going to be a nice way to fluctuate your lighting. And then we can even give it a different response. E.g. this DSC three, number, number, number underscore five will give you a lot of punch, really going to make your render look a little nicer. We can add a little bit. Bloom. Got about five. That's too much maybe with three. Okay, so I'm pretty happy with the way this lighting is going is happening quite fast. But what I'm gonna do is create instances of the object. So if you just hold this and you just grab an instance, we now have instances of it, which they reference the base geometry. And if you scale up the base geometry, it will scale up this one. But it's way later on the scene. They're really good for creating different variations. Let's create a couple of different versions here. We don't want, not want to be coded in shadow. So bringing to light up a little bit, maybe bring the original to the left of it. And I could do so with the block is on as well. That center is everything up a little bit. So now I'm just going to look for any rocks that aren't in a position I like cinder blocks, sorry. And just try and fix that and make it look a little bit more flush. Everything seems okay just now. Right going forward. I'm pretty happy here. I'm going to match with a couple of different camera angles. So let's try a much more zoomed in camera angle. And then let's try one that's kind of like a nice, let me come to 100. A nice kind of offset angle looking up at the Cannes, almost none. We've got some camera angles there too. Now, the next thing I wanna do is add a lighting global. Now, I'm just going to use the one that I used in the original scene, which was a tree. And getting them to work in octane lights can be a little bit difficult, but it's honestly really easy. And the way we do that is we're just going to duplicate our light here. So we'll call this normal underscore key. And we'll call this global underscore key. And we'll call this one fill in the gobo. I'm just going to go to image textures. I'm going to load up my cool blue that I used in the original one. This is just a kind of black DOT image that it's going to act as some really nice lighting that's going to act as shadows. Almost think of putting something in front of the light. So I'm going to bring the power of the light to 100,000, which can make it a lot more powerful. And with that, I'm going to bring it away slightly. Then in the, in the gobo, I'm going to add a UV transform and I'm going to scale it down. And then I'm just going to play with the position of it. Remember going to bring the power down to 50,000. I'm not going to spend too much time perfecting this. I would suggest you spend as much time as you need to get it somewhere that you're happy with. I'm just going to try and get relatively visible. Check it at some different angles. Maybe 3,000. I'm going to come back to the cameras and compensate. They're a little bit as well. Now we have that nice sort of global effect setup with the shadows on the wall. I think I'm not super happy with the light position. Kinda prefer this a little bit over here. Something like that. So next up, let's add any HDRI. Now I'm just going to use the heat steroids that are used in the other scene, which was this studio HDRI. And again, the reason I'm doing that, just filling the reflections, simple as that. It's, it's literally just to fill in the reflections without having to micro adjust the lights. You can see without it darkens parts of the can and it just helps fill that in. That's literally the only reason I has a bit of seen fill. So now I'm maybe going to bring down that bloom again. I think I'm relatively happy with this. I've managed to get here quite quickly in about 15 min when she's definitely quite, quite good. I'm proud of that. Let's just quickly stress test the square view. You can see it's quite dark out here. And I don't really want that. So I'm going to return to the global to see if we can affect that. There we go. Now at least although it's darkening out here because our lights aren't reaching there. And there's no point for the sake of a couple of angles, there's really no point trying to fix that. But if we can have the global spreading out over it, It's just going to create a really nice look that's going to help that transition. And we're reaching the edge of the cube here as well, which isn't ideally what I want. This angle here. Let's focus here on the Cola. Thin lens depth of field. Let's do 2.3 and 0.0 when it's adding some depth of field. Not my blur. This bit here. I'm noticing this isn't centered now, so we'll just center that up there. What I don't like is this dark strip down the middle of the canned. Just want that to be completely highlighted. So I'm going to turn to the HDRI to fix that for us. You can see there that's gotten rid of that. Let's come back to our wide view. Maybe going to create one more camera there. The wide view. Let's try 80 millimeter. This looks nice. More of a towering angle. Okay. I'm just going to center this up as well. So where to go from here as you can keep playing with this and getting it to a place that you really, really like. But where I'm going to move on to next is we're going to incorporate a couple of the other cons I made to add variation. Generally, when we're working with products like this, you're going to have more than one colorway. You're going to have more than one version of the product. And bringing that into the scene is going to add a little bit of variation in spice that's just going to make it a little bit better to look at overall. So we're going to bring in the other versus the assets I made the recent I didn't go through them is because it's just the same exact same textures with slightly different parameters. And it was a little bit boring and repetitive. So I left. I've got them in the other scene. I'm going to bring them in. And then after that, because we've got we're going to have different versions. We're going to set up multiple takes. And then we're gonna look at bulk rendering them all out in one goal to produce a bunch of different shots. They have a bunch of different versions and a bunch of different positions with complete ease and without even having to name the the renders. So we'll look at that. And then we should be done. And it's up to you to come back and go through this process again and take what you've learned for the best. So we'll move on to incorporating those assets and then setting up some texts. 11. Incorporating Other Assets: So next up I'm going to bring in a couple of the other versions of the model into the scene. So what I'm going to go to my original look dev can, and I'm going to open that up. And you will have this file as well in the course resources. And I'm just going to bring over zero and diet. I'm going to bring them over. And I'm going to bring them down here next to our model. I'm just gonna make sure everything is linked up. So the same as before. Then, once they're all linked up, I'm going to take zero. And we're going to sort out the scale there. We'll do the same with diet. Then I'm going to take the transfer and I'm going to put zero there. I'm going to take diet and I'm gonna put it there. And we can turn them on. Turn off for instances. I'm going to sort out the rotations of them. I'm going to save an increment and hit random. We'll have a look how these are looking in this scene. Yeah, super nice. Really holds up. Well, it's kind of hard to explain the higher adding in the other versions really opens the scene up. But it really does a brings it to life much more. Having the variations that kind of dig your eyes into. I'm going to come back to the square version for a minute. And let's take our close-up angle and just come in even closer. This camera angle. Nice. Now I'm going to use this lesson to clean up the scene. So let's get the scene and are really, really cleaned up spot. So we'll take all their cameras and do Alt G and call this commerce. Will take all of anything that adds to our lighting and we'll call this lighting. Then we'll take all of our models here and put it into something called GEO, stands for geometry. And then within that will put it in another group and call it cans. And then we will take our cinder blocks and put that in GEO. And we will put our floor and our wall or our background NGO as well. So we'll call this one floor. I'm going call this one B, G. And then our original cinder blocks here, probably not gonna go into the now. You can probably delete them. So that's our scene, can be cleaned up and we'll call this square on the score or one. We'll call this square. I'm just going to call this far wide and the square root one. And we'll delete that one. I'll just call this angle instead. And then back in our way to view, Let's take up wide one. And there is a pretty finalized short here. I'm quite happy with this. There's a lot more we could do with this. I definitely have an urge to play with a lot of these blocks here and see what other kind of combinations we can come up with. But I'm trying to keep myself quite, quite limited with it and not make a huge amount of decisions constantly. Maybe we could see what it looks like to add in another one at the back here. Like I mentioned, I did do but took out Just to zero. That looks maybe we fit it in there. Bring them up. Like I said, I didn't really like it blocking out the background. But so much you can do here, honestly so much you can keep playing this, create your own variation of it. I would love to see them so much you can do. But I'm going to just stay the way we were. In fact. Just thinking about that. Actually, I'm going to move these a little bit further back to align that. I'm going to pop this a little bit further back and just create a little bit shadow there. I think that's really nice. Then it might even flip this around the rotation and get that kinda nice flush line. Make sure it's sitting on the ground properly. And I just like the way this looks a little bit more. But a lot of the light on this side of the scene view is kind of flat. So let's see if we can tackle this with this fill light. It's bringing a bit closer. Now it feels a bit better. A bit closer and off to the left a little bit more. Now seems to really help there. I'm going to create one other angle for the white. The white angle. Let me get 100. Awesome. Yeah, much better. Right? Next up. I'm just going to tweak this global average old lady. It's just not hitting the spot for me right now. Personally. I said I didn't want to spend too much time on it, but it's just bothering me. My scale this all the way down to get a good look at it. Yeah, we need more power on the light. So let's go straight up to 100,000 and bring him farther away if we need to mess with the scale and the rotation and just see how that comes out. There we go. Okay. That's a nice spot. Okay. Does this work? It's not too bad. Might scale it in on the X because it feels stretched out. I might make the light smaller. Maybe ten by ten. That's going to sharpen it up a little bit. I'm going to bring it closer. And then we're going to scale up the global again. Now at this point, shadows should look the way I want. Maybe 15 on the scale and just look. This definitely feels a bit nicer. Although there is some chromatic aberration due to the, I believe this response here that we used. It's kind of amplifying a little bit. I'm going to do matter, but I don't want us to maybe add some thing. I'm going to tweak with this a little bit more. Yeah, I think I can live with this. Looks okay. Yeah. I'll stop playing with it. I mean, I could go for half an hour, hours. This is where time really comes out of renders, is you get stuck into these little bits and all of a sudden you've lost 3 h. So I'm going to leave it here rather than trying to get too obsessed in perfecting it. But I'm glad that I've revised that and made it a little bit sharper because something just didn't wasn't sitting right with it. For me personally. Now, if I am to move this light around, I'm bringing up a little bit as well. Yeah. I could go all day, honestly. But I'm going to I'm going to stop myself. If you feel like you need to keep going, then I would absolutely do that until you just feel it gets in that perfect spot. Now, thinking about what we're going to go into next. I did mention earlier we're gonna move on to creating some takes. So we'll create some takes and look at rendering those different angles. But I just wanted to use this lesson is kind of a cleaning up lesson, coming in, sorting everything out that we didn't want, incorporating the other assets and adding adding some finesse to this and getting it in a really nice kind of finalized spot. And that was the last thing I was gonna do. I was going to bring in our reflective and condensate materials to see how they looked. So I'm just going to re-render the reason I pause it there when I switch scenes is arctangent bugs. If you don't and it gets really, really slow, it's just better to just save yourself a couple agonizing seconds or refilling cinema is going to crash and just pause it while you, when you go over. So first of all, let's try. Let's turn off these and come back to the instances. Let's try the reflective one first. See how that looks. You can see it looks nice. But does it look as nice as the other one? I don't know. It's interesting. It does hold up. Well, it is nice. I do like it is tricky. I just loved that reflective and is I feel like a happy medium is it probably would have been the best way to go. In all honesty. Maybe something like this might have been the, the most realistic option. It does look lovely. Now let's try the condensate one. See how that looks. You can see that there. And as nice as well. Maybe I can play with those surface imperfections ever so slightly while we're here and see if we can get a more visible response. Yeah, You can definitely see a little bit there, but it's not, it's not massively visible. Again, like I mentioned in the earlier lesson, unless we will go to, we were to go to glossy or layer the materials. And getting that condensation will be kind of an irritating process. And it's just not something I'm really interested in here. I'm not making this to make the best looking color renders. It's more about setting up product shots, so I don't want to spend too much time on it. So let's go back to this one and see who that carries. Only issue is we have these dark spots which act a little bit funny way around. That can be the HDRI, which I haven't named HDRI. If you just tweak the HDRI into some different sports, it might help with those bits. Or we can turn to the anisotropy. And again, that will help. Okay. So we'll turn on the other two again. I'm just going to fix up this HDRI there. Yeah, I think I'm happy with this. That looked ever seen came in useful. It's nice to see, yeah, the other ones looked. But let's look at setting up some takes now and named getting these, these shorts or rendered out and seeing how it all looks. This is shaping up really nice. So we'll look at getting a bunch of different angles rendered out and a bunch of different versions and seeing how it holds up. Once we get on with that. But I could say here tweaking this for light-years. So I should probably get on with that. 12. Setting Up Takes and Rendering: So next up, what we're gonna do, like I said, is build some different takes and different versions of the scene. Now, this is going to allow us to, if we come to the text tab here, hit one button and render everything, rendering all our camera angles without naming any, without having to come back and render them all over and over. It's just super simple. So the way it takes work, if you don't know, is we have this main take, this one controls everything we're going to put below it. So if I start hitting this plus button, is all of these takes reference this take. Now you can create further child's. And although this one will impact all, this main one will impact all of them, then this one will impact all these. And in this one all of these. So it keeps going. So basically, what we can do is we can create two takes, and we'll call this one square, and we'll call this one white. And then I'm going to swap them around. And what we're gonna do is for this one, we can set the render settings. We can set that to white. And then for this one we can set it to square. Now if we switch between them, you can see it's changing our aspect ratio. But to make edits to this, what we need to do is turn on this thing called Aalto take. Now what this is going to do is create overrides in the takes as we work and everything now should be turned blue. All the parameters that can change are gonna be turned blue. And now we can come and create all the different versions we need to rent right with. So if I make a couple of different versions here of the white one and put them inside of it. And then just select my white cameras. You can see now that I can just flick between the cameras. And then I can do the same here. Square one, and far and angle. Then I can do the same here. Duplicate again. And we'll call that one, will put out one under four and then duplicate again and put that one under angle. So now let's come back and name these. So let's do wide front and let's do white front, underscore two. And then let's do wait for, and then let's do wide angle. And let's do square front, square root front, then, square far, and square angle. So now what we can do is get ready to render this. Now, I'm not totally keen on the exposure and a lot of these camera angles I hadn't went through and done that. So the way to edit them all at once would be to come up the domain one, come to our cameras, have a look at far. I've looked at that exposure replacement like it bring it down a little bit, even out the image ever so slightly. Like how far back the camera is. I'm going to bring that in from two angles. Do the same thing. Now you can see now, let's edited that. So now in these Render Settings, let's go to this, make sure they're both on octane render. Let's go to Save, set it to PNG and n here. And what we're gonna do is come to our output and we're going to call this simply dollar sign take. And that's it, just dollar sign take. Now this is something called a token. And there's a lot more we could do. We could do dollar sign raise as well then dollar sign PR j. So that would call it the take, then it would call it the name of the project. Sorry. That would call it the tape, then it would put the resolution, then the name of the project. But that's kind of unnecessarily long. So let's just call it the take dollar sign take, that's all we need. And with tokens, you can actually see a lot of them here. So if you don't want to type them in, you can just pop them in here a bit frame rate, I'll put dollar sign FPS. But it's good to remember what to type in. And then I'm just going to duplicate that and put that same file path there, call it PNG. And then here I'm going to mark all of these except the top two. And the main. I'm going to mark all the ones with it. Then what I'm gonna do is simply just hit Render marked takes to picture viewer. Now it's gonna render all the Mark takes. And what I was going to do is just start rendering all of them. And I will cut two once it's rendered all of them. And you can see that it's simply just or I will speed up the footage so you can see it just goes through all of them. So as you can see here, that's all the shots rendered out here and it's just rendered through them super, super easily without having to name any. This is such an effective way to allowing yourself to render out a batch of shots. And there's really just simplifies the entire process. So I'd recommend doing this for most of your projects and utilizing this process when it comes to rendering out your images. But what if we wanted to create a version that was just the original classic Khan? While we could do that by creating a take and putting these inside of it and calling this variables or cons. And then duplicating that and calling it classic. And then we'll come to this and we will simply go into G0, turn on our instances and turn off zero and diet. And now you'll see that we can switch. It's really that simple. And then of course you'd want to come through here and probably call that classic underscore square and the square angle and so forth. So that's setting up takes, That's the scene pretty much done now. And keep utilizing lose takes. Rendering images in this way, is the way forward. And it's going to save you so much time. 13. Congratulations: So hopefully by now you have a pretty finance looking render. Render this in a good spot, and you're happy with. Now, my goal, like I said at the beginning of this course, was to give you a set of tools, a, a workflow that has utility of a path that you can go through over and over while changing little things within it and leveraging that to get different results. And I wanted it to be more about product renders, more about that process that I use to get such good results each time. Rather than this is a soda can. Here's how you make a soda can look good. I want it to, I wanted it to have a wider spectrum than that. I wanted it to feel like it had much more depth than that. Then on the other side of things, I thought about making a octane masterclass. And then I felt burdened with doing what a lot of people have done before. And that's doing an overview of the plugin and the render engine and going through it and showing what this parameter and that parameter does. The difficult thing is about us as humans and the human mind is we don't really tend to remember things unless it's built into us with utility and example next to it and application of that and doing something and taking action on it that makes us remember it. So if I'm to just sit and give you a bunch of mindless overviews of different things in the software. You're not going to remember any of it and you're not going to know when to use it. Then I felt if I create more of a masterclass, that's a path. And I carefully implant those little things all throughout it. Really good Render Settings, good folder structure, setting uptakes, not having to name renders, these little things that age your workflow and make things quicker. I thought that's a much more useful masterclass than just telling you what everything does in the software and then leaving it at that. So I really do hope that it got you good results. Please post the projects that you have made in the project section underneath the classes so everybody else can see the results that this course is able to elicit. I even put my own ones up there. Hopefully they managed to show up. The ones that I created during the recording process that you watched me create. So I'm really, really happy you made it to the end. This is gonna be the first of many classes like this. I put lot of effort into it and thank you for watching. And regarding your next steps, crane renders like this. Watch the course again, and change the model. And soon you'll find yourself taking more and more liberties, I would say, to your comfort zone. And soon you'll find yourself capable of doing it without any course at all. So thanks again for watching. And I will hopefully see you in one in the future.