Transcripts
1. 01 Intro: Hi, my name is
Marla, a 3D artist. And in this video, we'll learn how to light
texture and render. This. Lotion seem to look like it is on the right
from how it is on the left. So in this video, we'll go into a little
bit of a scene setup. And I will set our cameras
and a bit of lighting, UV mapping, and
texture creation, then rendering the entire scene. So I'll be working with Maya, redshift and a little
bit of Photoshop. And you basically don't have
to be a pro at any of these. I'm sure you'd be able to learn a few things
here and there. So I hope you enjoy. And let's get started.
2. 02 Scene Setup: Hi. So let's start with
the scene setup. So initially it was just
the bottle and the coconut. So we have this in the back and I did not have
my camera as well. So I'll just go ahead and remove that and make sure
that it's gone. So I didn't have this
secondary ground as well. So I'll go ahead and move it. I'll provide these files just so you can try it out
on your own as well. So making sure everything
is on the ground there. And the first thing I want to add is of course
going to be the camera. So by default, the Maya camera. And I didn't have
the lighter as well. Just go ahead and
have those away. By default, the MC
Hammer who come with a focal length of 35. And that might work
for certain things, but for the product, I want to render a and B. Look, I'm going for, so I'm going to work for me. So just to make sure I'll turn this
into my render camera. And I'm just trying to position it the way
I want it to look like. So just make sure in
the render settings, I'm using the resolution
presets A4 because any of these will give me an
extra real estate on this side that I
don't want to deal with. So four so I'll just position it best I want. At this point. I actually like the the
bottle is so in my face, but it's even much smaller. So I'll go ahead and play with the focal length
and zoom out a bit. Actually, I'm just middle, clicking on that and middle
mouse dragging to get a much, much better focal length there. And I'll try to compose and 90 cell
work with 90 dot point and just position my
objects much, much better. And just, I want to
switch on the timeline and create a few t-test to
compare the two focal length. So if I keep that
at 90 and at one, I'm going to keep buck at 35. I just want to scrub through
and give you an idea of how each one will look like. A key that there. I'm just pressing S to
kill everything here. So when I shift
through, you see, you see that now camera we
created gives us a much, much better view of even
the sides of the bottle. So that's why I'm going with that focal length and this one. So let's just get
those out as well. I like to select my camera and usually turn this to sorry, I'll turn this to display
option is to liking. I don't see anything
else on the other end. Once I'm satisfied with
that camera, I'll lock it. Just so we don't accidentally
do any weird things to it and keeps jumping this side. Okay? So the second thing I want to add is the background. And that, that is just
going to be a simple, simple plane that I extrude on this end and
pull that up, excuse me. Then I'll, I'll
Google this H and adding a few segments so
that it simulates a studio. So it looks like
that has been set. So we might have
a few edges here. Like one actually might be
too sharp when you render. So we'll go ahead
and just pull that. We'll see how to edit it as
soon as we reach that point. That is, if it's showing
even much in the camera. So that is the only scene
setup will be doing a guess. And I wanted to just try
and render that without even the lights and
all of that so we can see how it looks like and making sure I'm
rendering my camera. Yes. So it's looking exactly how
I want it to look like. And we'll go on and cover what's next in the
next lesson. Thank you.
3. 03 Lighting: Hi. So let's do the lighting now. And it's not going to be
very complicated actually. From this particular image here, it looks like I have much
more light coming in from the left than the right. And I'll just take note of that. So I'm going to make sure I'm running my IPR
render. That's one. Because I want to see
whatever I'm editing to. Two in the texture folder, I have an EX, our image added in there. And it basically
will look like this. And it's what I'll
be using as my HDRI. I like this because it has a bright white light and
some warm lights in there. So I'll show you how we
add that in our lights. So that is basically
what I'm getting from outside and I'm just
going to use two lights. So I'll go ahead and like
to create lights from here. I'll create a dome
light and observed on in our render view. Of course, it just changed
because we added this slide. And let me, let me, let me, without using shortcuts, I wanted to use Control a
to get my attribute editor, but it's here already. So under this texture
tab is where we put the texture file. The EX are these HDR image. So I'll just want to look
for it and add it in there. And you'll notice the
changes here. Ready? And I'm going to try and just position it beat without
even tweaking anything yet. And definitely like the weeds. That point, I'll try to
increase the exposure to 11. Thing that I forgot
to mention is that under my render view, you just want to get
this window out. So I know my render view here. I'm not using sRGB, so I forgot to change this. So we need to be using a cyst. That's the color
space I'm using. So I'll keep it at that. And then Ms. Tracy, this black here
because it's open. It's blood right there. So anyway, I'll go in
and terms with id. And still it's
still showing sRGB, I think so. Right? Um, I'm just making sure that my color space is
Finder and I'm going to increase the intensities to about two to see how
this behaves like. It's quite bright now. Point, point. Alright, so I think I'm satisfied this week
at this point, once we add in another light, that is going to be an area
light somewhere around here. So just to take a step back, my dome light, I
don't like only has this HDR image and these are the only
settings tweaks here. So this area light is
going to be having, It's going to be in this end. We, under its attributes, you can turn off visible, so it doesn't have that
black light in there. And it's way, way too bright. So take it back to like ten. Even ten, it looks fine. And I want it to be a bit
bigger so that the lights will basically become
much softer when you push them back from whatever
object it is. Given. When you make them bigger, there'll become brighter
but much softer. I'll just position
that around there. And I definitely like this. But we then lesser
intensity of about five. So I want to go ahead
and render this. You see how it looks like now. So with the lighting
will definitely to heat a little bit more once we start to apply our materials, because we might find
or see sudden materials reacting hashed into
the light and we definitely have to
adjust it accordingly. So this is just to give
us this lighting stages, to give us a starting point. If it looks fine when you apply the materials
and everything, you just leave it like that. But it's rarely rarely find yourself just leaving
the lights like that. Like you bless them
in the beginning because you might want to tweak a little
bit here and there. I definitely liked the way
it looks at this point. And I'll definitely go
on and start applying my materials and seeing
how everything will turn out and hope to
see you guys next week.
4. 04 UV and Texture Creation: Hi. So in this part, I'm
going to try and recreate the sticker
on this bottle. So I'll be doing
that in Photoshop. And as we see in the top
part of this bottle, so this entire class will have a plastic like color and this will
be just a sticker. So before I do that, I just need to make sure
that under my UV UV editor, I just wanted to
double-check this and the U visa a little bit messed
up by the look of this. And when you see
in the UV editor, they are kind of all
around the place. And this is just a simple
rectangular shape. So what I'll do is I'll go into my age mode and
select all of them. And my shift and
right-click mouse button, I want to sue them together. So before doing that, if we tried to select a UV
shell to be separate shelves. So after I don't want
it to be one shelves. And then if I select now, I can select one shell. So still Shift right mouse
click and I want to unfold. And I want all of this
UV data to fit in this. We need to look at disclose it. How about one in there? And this is a one. So I want all of these
to fit under that. We have it all in there. So when our image comes in here, if, if this is all over, this place, who will have
the UV map is all over this place will have a lot of overlapping happening
on our texture. So we don't want that to happen. We would, we would want that to happen sometimes for
certain reasons. But here it's not necessary. So let me just
arrange that there and we have to jump back into Photoshop and see how that
how we create this sticker. So I'll also provide this
particular template. And initially this was, this is just text
that I added in here. And how I created
that food is just y. By selecting the text
and the text tool. And I had the cocoa
butter formula. And of course this is so
big and I need to be at about 0.5 is too small. You need this to be much smaller around a two right there. And the spacing of this, what I need to
double-check that. And that should be around 1. Can eat ish? Yes. And my word Coke
was just write that in trying to position
it much better. And I had this created from, I just got a, a random
texts from the Internet, which is this website and
copy and pasted it in here. So I'll try to resize it here. And of course adding
the text him. It's just like how I added
this text and you will resize it and creates
different paragraphs. So when that is done, I had the text
somewhere down here, in here, and around here. So we'll just go in and copy control C and
control V, that text. And I wanted to add
it in around there. Around there. So remember, you can always
add whatever you feel like. If it's for a client and
they have a product, you would just put in the material they
need you to add in. And sometimes they'll
have their own font. Times, they have
their own images. So that is a very crucial. And I wanted to add in another
texts somewhere around. Let's see here. But this, this will be different. Can be a different color
and a different font. I just need to let me first make them bigger
and then we'll resize that. So I want the paragraph
to start from this end, to start from the left. Bottom. Color gin. Lastly, I'll also go and adjust the spacing of that. Somewhere around there. And right under this, I had had assault of a square that was
created a rectangle, but not a full one. So it looks like this one here. That is in place, you here midi to be white as well. Right? Strange right there. And just made sure that these are also smaller
than the auction. And here as well. I didn't I didn't think
mine are equal right now. And that should work. So we have a text
in there that says, free of different font. This font text too. 1.5, right, so it's free of this text is white. See going from v, That means you to be
at 0.7 ish Robbins. So that means that we
have to reduce these will move around there. So some more text in here. Take this control C, control V that in tested. So I keep using control V
because I really coped. I already copied this text and I just need the same thing. The same font, and I
don't want to mess up. So Flash 10.6. So it looks like my
text is fine the way it needed to be now and
it's not the best. But if this should work. So I went to save my file
and again, I went to, I went to space this
out just a little bit to 1.5. So let's save that. And I'm way to save us. And I have this textures PNG. So since I have one in there, I'm going to say this, I'll
call this portrait is 01. And I'll save that. And we'll jump back into Maya. Just assign this, and then we'll go on to assign everything
else in the next lesson. So I want to create a onto assign
a new material. And since we're using Redshift, click on that and use
it redshift material. And I'm going to
call this sticker. Sticker then under color. I want to hit this of course, but before hitting File, I'm going to add something
in-between here that is called a red shift
color correction node. So the text will
be added in here. The color correction
node is very vital that sometimes things look a certain way and
we don't want that. So we just want to
adjust it within Maya to give it a little warmth. Need to do a little more blue and a little more red or yellow. So that's why I
have to add that. So this is the texture
repeated. Press six. It's looking decent. We can select it and
go back to a UV editor and we adjusted accordingly. So I feel like that's not bad. Actually. Yes. Well, I'll see you guys in the next lesson. I'm going to apply textures and everything else
on that environment. The other elements. Thank you.
5. 05 Shaders and Rendering: Hi. So let's do some
nice texturing. So what I always like to
do is to get my IPR render running as I assign these
materials and shaders. So let's see how this
looks like, so forth. And immediately I do
see something up here. And this is because if the UV, and I'll just go in
there and select that and scale it down a little bit. Okay, Now I've lost
something done here. So that means pushing this down. It's looking higher,
wanted to do already. I can see some
reflections in there. And this is coming
from the material that is this sticker, one that we had in there. So it has reflection in it. And I don't want that to happen, so I'll put them at 0. And this is looking
much, much better. And how I wanted to do look like so first things
first I wanted to assign a plastic
material to this, so it has to be a new material. Redshift, redshift material. And it might go in here
and just select plastic. However, however, I don't
want it to be too reflective. And I will say increase
the roughness, so helping all of that, just being reflective, so
have a little white color it? Yes. And I also want to increase the scatter scale on under the
subsurface two by ten. So now it's not you
had very clear, but we'll do a render later and then you test it and see how everything
looks like. Soap. Another bits that I also want to just make sure
to always rename. So in way too cold.
Just call you. I wanted to stop these to have a little green that
looks like this. So I also feel like there's still an issue now
with the color. And I think it's fine
anyway, it's fine. So alright, so I want to assign a, a shade on this
top part as well. And I'll just call
this shift material. This will be a lime green. So I want it to look
exactly like this area. So let's select that color
picker and have that there. So let's see the color changing. And of course, each by default it's going
to be reflective, which I don't actually want. But she'd be fine me there. And what else? I want to also change the color of this background as well. I will delete the
history on it and assign a new material which would still be redshift
material, no flexion. And the color, I want
this same similar colors. That is to blueish
down around there. So I'll just, I want
to create a render. However, it might take a few minutes and
just loved to Create. Let's create one. After assigning
materials to everything. So the coconuts really
have a texture somewhere. So the inside does not, so the outside part has. Texture file and inside you
just assign a new material. Course, Redshift material,
and call this Koko in. And it will be a weight to height which have a
human-like hue to it. And definitely less far less reflective and
a little bit of roughness there and eat it will have some form
of subsurface to it. So this is actually taking
much longer than expected. So I want to double
check my settings. And this is way
too, way too much. So I'll try to reduce the resolution and
then bump it back up. When I feel like just pose this IPR. Yeah, This seems to be
running much faster now. So again, on your own, I mentioned something to do
with adjusting the light. So this is the point. So I feel like the
light is hitting too much Jan everything. So look for a much better point that or even just reducing
the exposure of case today. Because real quick
for this as well too. I'll just adjust
this, call this BG. And don't be too blue to green
and decent visual weight. So this first layer
of the coconut, I'll just sign as
willing you are to you and call it cocoa. Are all one. And the reflective
for any reason? Under the diffuse color. I'm going to first
look for my nod, my color correction node. And then in that I'll
add my file is going to be my color. So that is looking decent, and that is decent. And I want to add a
second one on this, which is going to be my cocoa. Assign new material. Shader, redshifted, night Coco out. Too. Most reflective,
whatever reason. Redshift, color
correction node there. And this is this. So things are starting
to look much nicer. And I'll assign
that. This is Cocoa. Cocoa, Cocoa out. One. This is Coco out too. Cocoa out to. Alright, so it looks like I've assigned
everything I need. Now. I need to make things start
looking much, much better. By one, I don't see
flexion in the coconut. I don't know why. These usually very tiny
reflection inside there. And I didn't know whether
it's the directional lights, especially my dome light. It will do some really
interesting things with tweak it. And because the EXE file has some warm points and it
does have some great. Now, we do see a little
reserve that warmth coming in. I didn't know what we'll find. We keep rotating this and this is interesting. Right? So it looks like I'm going
to bump the expression back up here and give me one. No immediate 0.5 ish. I think I like this and everything is
looking much better. I want to add a sort of a rough ground on
this background. Something you need to disrupt. But how I'll do it is
basically my hyper shade. And going to go to good to BG this. And I want to create
a displacement node, tub displacement, redshift displacement
and the out going to displacement shader. Clicking on this and
takes texts map, I'm going to add
a file in there. And that is going to be my my, my, my forest ground. Think. It's concrete wall. To use a concrete wall. Alright, let's use
concrete wall. And I've added a displacement
to the bank guarantees. However, however, this Bucher, we don't see anything
happening in here. Why? Because the
displacement node, and I'm saying this for
redshift and Arnold, I don't know about other
renders of wound marking that when you select the mesh, the the mesh shape usually
under Redshift or somewhere. And I know that usually
shows around here as well. It might show you
anode somewhere, but under Redshift, I have
to switch on tessellation. And I have this tuition, displacement and weird
things will start happening. So yeah, it went all the
way up and became crazy. So this displacement scale has to go down to negative 0.1. And when you look at it now, we do have rough
things and mend. The entire mesh just
became very big, huge. So that means we need a
much lesser value like 0.01 to create course I went and looks too small to go for 0.03 and keeps going higher
and higher background, I mean, so I might go for 0.6. And I'm going to do
is in the viewport. Of course it looks
like it's on there, but because of the displacement, you need to push this a
little bit down right there. That's alright. So I want to add that
displacement to my coconut. Coconut cocoa out1,
the displacement node. So same procedure. Cocoa out one is that displacement
redshift displacement out into the
displacement shader. In this text file. My file is going to be the
cocoa out1, this color. So I want to give
this displacement. And it's already showing something because I
think it had this switched on earlier AS
when you select that, you go to shape. These were already switched on and looks like I need to reduce that a
little bit as well. So my Coconuts are looking
the way I want them to. And I want to add onto add something underneath
this makes it look like some particles fell
off of the coconut. So what do I do? I just confusion
or mesh a plane. A plane that is before
we actually do that, I feel like this
green and topiary is getting washed out here. So what do I do that I
might cut down the weight. Well now it's
looking much better. I might cut down the weight
and the color around there. Like this. It's far from
what actually had before. Why? It's interesting. So I guess whenever like
two people create art, it might look different. Because I created this before and now I like this even more. Yeah. So I also don't
like the fact that this is getting washed
out so much around here, especially from a distance. And might cut down the weight
on the hues a little bit. Like a few pens. Yes. It's a bit darker
than before, right? So I'll create a plane
and I'm going to make sure it sticks there like this. So this plane, I'll just switch on desolation and displacement. I'm going to give
this plane texture, which is, which is, which is, which I'll
just call it like that. And color. I want to give you the
color correction node. And now it's shining, so definitely adjust that file. And that is going to be, I'll give it this forest ground. I got this from poly haven. They have lots of
nice free textures. So looking decent. And I can see that
it's shining onto, cut down that reflection. Nothing to 0. And actually,
actually I did not. I don't think I need this color. I will just break
that node because I'm going to click on Color and use the pKa to get
that brownish look. And the texture we
actually add in here is because this is named
this. She's aren't here. And let's open that. Let's give it a displacement
node out there. And you come here, file. And first ground, That's
the displacement. Now it's looking crazy. Yeah. Hello. This was already because displacement is only
if I turn that off go. So this is going to be a 0.1. Not bad. Actually. So what happens is just making sure it's
right on the ground. See you there. And we'll start to
edit it like this. I want to go into my
page mode and down. And I just first three. Push this down a little
bit early to be done. So looking interesting, I see, I'll try to
delete a face and see what happens
and needs to face. That's not a good idea. She'd done a little bit. I already have a piece in particular sets probably
fail of like dark, but clearly the coconuts, I really like the entire
rendering right now. So I want to take this back into the A4 screen that we had. And that is their
screen resolution that we had, which is here. And save that. I don't feel like changing anything here right
now actually, and I'm ready to fire up my render and see
how it looks like. So I really hope you guys get to create much more
interesting stuff like this, learning all of this. So immediately, of course that camera was not the resolution. Will worried seeing that
the dads leg stuff here. So I need to readjust that. So I really hope you guys create some really
interesting stuff. And I would love to see them see you make whatever years
Come on, let's go. However, this will look
like and help you guys out. And thank you for watching.
Walla Morris, 3D Artist
