Twinmotion 2022 Masterclass: The complete guide to go from zero to Pro

1. Introduction: Hi, and welcome to this twin motion masterclass. My name is Dan and I'm an architect with over ten years of experience using modeling and design applications. I will be your guide through all the aspects that makes this an amazingly powerful tool in your architectural landscaping and urban design workflow. I will show you how to add motion can help you visualize and explore your work at every stage in the design process. Here are some of the things that you will learn in this course. How to create highly detailed textures and materials, compose dynamic scenes full of animated characters and vehicle models. Simulate any lighting or weather condition. Generate lush environments or carefully detailed landscaping projects with numerous types of plants and foliage. And of course, how to quickly and easily generate high-quality media, which includes images and panoramic views, standard or 360 degree videos, as well as interactive cloud-based walk-throughs. So whether you're a complete beginner with no prior experience of twin motion or other visualization programs. Or are someone who has used it in the past and would like to brush up on their skills, then this course is ideal to improve the way you interact with your projects regardless of scale and scope. To emotion is also compatible with a wide range of modeling and design applications. So it can easily plug into your existing workflow. Throughout the course, I will primarily use the demo projects that come built into twin motion. So you can follow along and get started without any additional files. I look forward to seeing what you can accomplish. Let's get started. 2. Installing Twinmotion: To install twin motion, simply head to the official website. Here you can see an overview of all the different functionalities that the program has to offer. In order to download and install it. You will first need an Epic Games account. And access to the Epic Games launcher. Simply create a new account if you do not already have one. And download the Epic Games launcher from where you can easily install and then startup twin motion. You will find this in the Unreal Engine tab on the left-hand side. And within the twin motion tab, within the top bar. Once you're ready, simply launch it from here. There are different types of licenses available. So you can either start with the free trial version or select whatever licensed type that suit your needs. Full motion connects many mainstream design and modeling applications, such as SketchUp, rhino, our kcat, and many others, to directly import your project information and to enable a live link between the design model and the visualization model. To create this link, you will need the appropriate data Smith plugin depending on which application you are running. These can be found on the twin motion website as well. This plugin also acts as an exporter, converting your design model into a dot data Smith file type that can easily be shared with others. So depending on which program or application you use, most frequently, select the appropriate to emotion dataset, plugin. Install it, and once the installation and setup is complete, let's open twin motion and have a look at the interface. 3. Interface: Now that we are into emotion, we can discuss the interface. There are different sections that will appear on your screen, and each has a dedicated function. The main section of the screen is called the viewport. And this is where you can see and interact with your model. At the bottom of the screen, we have the dock. This will host all the general project settings, object or material related controls, and other contextual options based on what you might have selected. This panel also has different tabs on the left-hand side that allow you access to various settings which will expand into the main zone. So we have the input tab. Then we have contexts settings, followed by media. And finally, export settings. Above the dock, we have a narrow toolbar which hosts the main tools that you will use to interact with the model. Let's talk about them from left to right. So we have first the burger menu. This is the first icon from the left hand side and it expands into the jungle. Fowl management, actions, preferences, connections to Epic Games account and so on. Then we have the tab name or label, and this will indicate what you currently have open in your doc. Next we have the packet tracer. This is the shortcut that toggles the path tracing render on or off. When it is on, the progress or preset icon will appear to the left of it. Now this progress or presets icon only appears when the path three, so it's active. It will show progress circle fills up when the scene renders out in the viewport. And as you can see, a tick icon. When this is complete. It also features a drop-down menu, which gives you a shortcut to three quality presets, low, medium, or high, and a value inputs for the number of samples currently calculated. You can easily import your desired value in here, and that will immediately take a sec. Then we have the material picker indicated by this eye drop tool. This will allow you to sample the material from your scene simply by clicking on an object. And it will bring up the material within the dock and also give you the relevant settings for it. We'll discuss this in more detail later on. We then have the general interaction tools. First you will see them move tool or translate. But if you click the arrow to the left of it, it will expand. To show you a lot more tools. The first three, translate, rotate, or scale our transformation tools. And they allow me to interact with objects in the viewport. When you no longer wish to see all the tools, you can simply collapsed menu back by clicking the X. Each TO will have a different gizmo that appears once an object is selected. So if we select one of these lawn chairs, you will see the gizmo appear at the center point of that object. Then we have two more tools. First is a toggle between the local and the world axis. This toggles whether the objects pivot point and transformations are tied to the world axis. That motion will interpret the local axes which are inherent to the object. With the pivot edit, you can toggle whether to move the objects pivot point without moving the object itself, or vice versa. It also has a drop-down menu to allow you to either reset the pivot or to center the pivot back to the origin. The top corners, we can see a few different icons. On the left-hand side. We can expand the library which holds all the materials, all the objects and assets, as well as the siem tools, characters, and many other. On the right-hand side, we have another arrow which will expand or collapse this scene graph. This will show all the assets currently loaded into the project and can be very easily organized. You can control the hierarchy or structure of your projects contents through containers, which are similar to folders, but they're not necessarily limited to folders as objects themselves can also become containers. We can expand on that later on. You can also control the visibility of assets simply by clicking the icon for certain objects or containers. And you can see that they appear or disappear from the viewport. You can also manage assets here by duplicating or deleting them. Renaming or replacing them are additional panels at the base of the scene graph. Currently we see statistics which we can expand by clicking the arrow to the left of it. This will give us a rough indication of how well our performance is at the moment. So you can see an indication of frames per second, whether or not the model is in good shape. And some details about how many items, polygons and so on. You have loaded into the model. There are a few others, so we can click on Statistics and select from the drop-down menu. You can see scene states. Ben information. If your model comes from the design software. Transform. And finally, statistics, which we had previously on. Also in the top right hand corner, we have the visual settings. Now, this menu and defeated by the eye icon, will expand to show you presenters settings, camera types, and other quick access visual settings. The navigation shortcuts panel, which we currently can see at the top of the screen, can be turned on or off from the basis this menu, clicking the last icon called navigation. And you can choose to either hide or show navigation. Before discussing the navigation commands, we can enable or disable the presenter mode, and this is indicated by the second icon. This will enable the full screen presenter mode, hiding all the menus and panels. So you can focus on exploring the model, are showcasing Live presentations. Finally, the navigation shortcuts offers you a panel that can be turned on or off, and shows the most common keyboard and mouse game controller commands to navigate the model. We can see that we have the mouse commands based on the different keys that you can use, the movement commands. So you can move around in the model in six directions. You can also change the speed of motion. You can, however, also changed the layout by clicking on this gear icon and selecting the mode from the drop-down menu. First you can select what you want to use the keyboard of PAD, which is again pack or touch, depending on the availability of such functions on your device. Then if you wish to use a keyboard and mouse, you can change the layout of the keyboard commands to replicate certain mainstream design software. So you always have a familiar experience. You can choose between the twin motion standard methods or Unreal Editor if you are familiar with that, or pick from a sweet different mainstream design programs such as Revit 3D and smacks, archi cats, Cinema 4D, SketchUp, or rhino. Finally, you also have a height navigation panel shortcut here. If you want to get rid of that altogether. At the very top, we have the menu bar, which will host the OS familiar settings, as well as some of the twin motion preferences. To learn more about keyboard shortcuts, you can access the shortcuts menu and help. And depending on the language that you're using or prefer, you can find a list of all the different shortcuts. I find this to be a very good cheat sheet in case you want to learn how to control the application better. Or one quick refresher of how to use it later on. 4. Navigation and Interaction: Let's talk about how to navigate within your model. Depending on the input device and controls layout that you have selected. You may have a slightly different experience, but I will be using the default twin motion layouts to exemplify this. And I will use the W, a, S, and D keys to move around forwards, backwards, left or right. I can also move up and down by using the q or q e to come back down. You can see it also tells you a couple of alternative keys that you can use in place. So maybe you will be more familiar by using page up, page down as they're a bit more intuitive to move vertically. If you hold Shift, you will slightly speed up. So if we move only in one direction, say forwards, this is the normal speed. If I press and hold, you can see that it moves at a higher base. However, if you hold Control. So let's look in another direction. This is the normal speed. And with control held impressed, you want to actually move at all. You can also change the speed of motion. So you can either press the shortcuts 123 or four, or from the visual menu. We have here a speed guidelines. So one is a walking speed, two is a bicycle speed, three is driving speed. And for something like a plane speed. So let's exemplify these. So I'll click on one. This is the normal pace. I'll simply hit two on my keyboard. And this is what we have previously. Now going on SP3. You can see this is much faster. And if I hit F4 on the keyboard, you can see how quickly you move around. You simply zoomed through the entire model. To look around the model. Simply hold the right-click button on your mouse and drag the cursor around to reorient the view. Japan, you can either hold down the middle mouse button or the scroll wheel and simply drag around the cursor. As you can see within the navigation panel, the shape is identified by this oval, which is also identified over the mouse. If we hold Shift and use the middle mouse button or scroll wheel, again, you can track mouse around to orbit. The difference between these. If you want to simply pan and they fight over this roof. I can move in any direction that I want. But the cameras sits on the same position basically. So you can't move forwards or backwards. You can simply move around a fixed point that you have chosen, which was where the camera was located. However, if I hold Shift and the middle mouse button and I enable orbit, you can see that I actually move the camera around the point at which the mouse was held, that becomes the orbit point. Of course, if you look around, the camera remains fixed and you simply rotate it around that fixed point. You can of course change the navigation commands by simply going and picking another template. So if you were to pick something like SketchUp, you can see the command has changed for pan and orbit and they have been flipped. If we select Rhino, you can see that instead of using the middle mouse button or scroll wheel, instead devices you to use Shift and right-click or Alt and right-click. These obviously changed depending on what option you so choose. You can change the navigation mode by expanding the visual settings menu. And if we move the cursor down, we can expand the presented mode section. Here you can see two modes at this treadmill and fly mode. Currently, we were using the flight mode so we can easily zoom around the model without being constricted by gravity. But if you want to enable pedestrian mode, the camera will be fixed at the very specific height and you will walk around the model. Now, if I enable higher speed, it will become easier to navigate. If I now press q or e to go up or down, you can see that it doesn't actually happen. That is because the camera is fixed in the pedestrian mode. To change that back, simply expand the visual settings menu, and select the other mode. You can also press M on your keyboard to quickly switch between them. Also from this menu, we can change the view type. So I will expand the menu. And if I scroll down to the house icon, I can expand the views sub menu. Here, you can change the view from perspective, which we currently are. Two typical to the views such as the top besides the back, the bottom. Once you are in a 2D view, you can notice that official style has changed. It starts to emphasize the edges of all the objects. However, it doesn't give you an option to change the style or to reduce this effect. I am hoping that in an upcoming version of the motion, they will let you change this in order to make the drawings a bit softer. However, it is really good when you're trying to exemplify to a client or colleague how to building might look. Some of you, they might more typically expect. There is also custom mode that forces an isometric view. And it is represented by the small house with a C next to it. Again, this emphasizes the same visual style as before. However, it does force the model to become axonometric or isometric and style. You can navigate the model just as before, albeit it may be a bit more twitchy. For now, let's go back to the normal perspective mode. To interact with objects in the model, you can simply select them with the left mouse button. This will highlight the asset, and we'll also show a transformation gizmo at the pivot point. If we expand the scene graph, you can see the model has been expanded here and it is called lecture number three. If you select another object, you can see that also expands the current copy we have selected. So you can see them alternating within the scene graph depending on the selection. Now I've selected the towel and you can see that has been immediately highlighted here. You may also directly select assets within the scene graph instead of picking them out of the model. So if I select the texture again, you can see the transformation gizmo has moved and the asset is now highlighted. 5. Transform Tools: We have seen that when you select an item, it will also show you the transformation gizmo. And if you remember, we have discussed the three types of transformations. So we have translation, also called move, rotation, and scale. Now, depending on what transformation tool you have selected, the gizmo will also change correspondingly. At the moment, I have the translate tool enabled. So you can see the three axes, as well as a point at the center of them. And also this arc between the axis x and y, and also a plane. It's important to understand because these also allow you different types of movement. So let's start by clicking above or directly on the pivot point. And we can move really all the way around. And because we have selected the pivot point, you can see that twin motion allows you to snap the object on any surface. So it will automatically detect the surface orientation and aligned option directly vertical to it. So as you can see, we can place this table absolutely anywhere. Let's bring it back. If you select one of the axes themselves, you can first see that the axis is highlighted also in orange, and an input box will appear. First, let's click the axis and drag. You can see that regardless of my mouse movement, the object would only move or translate along that axis. So you can only take it back and forth along one specific vector. The values within the input box also seem to change depending on how much you move the object and also in which direction. So if it's along the positive values of the axes, you will see a positive value. However, if you go towards the negative values or in the opposite direction, you can see a negative value. This is the same for all three axes. Let's place this back on the carpet. Now, if I hover above the plane defined along the X and Y-axis, you will see the plane actually get highlighted. So this allows me to move the object anywhere along that plane. You will see it no longer snaps to other items. But instead, it is defined and constrained by the original plane where it was previously located. Finally, if I highlight the arc between them, this allows me to very quickly rotate the object. However, it is only available in plan, so only between the x and y axes. If I hover above one of the axes again, or above the arc, there is a flashing cursor appears within the input box. This will allow me to more rigorously control the transformation. If I want to rotate the spine 30 degrees, simply put in 30, hit Enter. You can see the results. You can also do that to move this object up by a meter. You can now see it floating above us. If we select another tool, let's say the rotation tool, you can see that gizmo has changed altogether. It's still also shows you the axes, so it does allow you to move them just as before. But now you have arcs along all three planes, as well as all the three planes being displayed. So you can move the object along the planes, x, y, and z, and x and y. And you can also rotate it alongside the respective axes. So alongside axis y or x. And again, you can also freely snap the object into another position. You can see that it has reset the transformations. Then if we select the scale tool, once again, that gizmo changes. So we have the axis, but now it only has a grabbing point at the end. So you can click and drag the mouse cursor to scale the object only in one direction. Depending on which axis you pick. Or in all three dimensions, uniformly, If you pick from the origin point. If you hover above one of the axes and the value box appears, you can import the scale factor. And you can hit Enter and see the results. If you're not satisfied with the results, you can also use the typical commands to undo or redo, which you can find in the Edit menu. Control set to undo and Control Y to redo. Also here you can see copy, paste and delete using the typical commands from the scene graph menu. If we go and change from statistics and to transform and expand this menu, Let's select an object. So at the moment, this will give you an indication of all the transformations currently affecting the object has been moved almost one meter along the x-direction, almost half a meter along y direction, almost 0.8 along the z direction. So if we notice the first line is called position. This indicates the position N respect of the world origin point. So if I click and make these 0, you can see that it has moved the entire table directly next to the origin within the entire model space. Now I can click on due. To bring the table back. From here. You can also change the rotation more accurately along any axis. And you can also change the scale. Now, I want to scale this back to a 100% along all axes. It is important to note what unit of measurement here model we'll use. As you can see, it has indicated within the parentheses. So for position, it will tell me I'm using meters. And for rotation, it will be in-degrees. Whereas for scale, it will be in percentages. You can change the chosen unit system to be either in meters or inches. You can set this up in preferences. If you want to make copies and duplicate objects, you can do so in a number of ways. First, let's select one of these tables and choose the move tool. You can see it selected in here in the scene graph. So if I hold Shift and I track the item in whichever way you prefer, you can make a duplicate instance of this. However, let's discuss, because this menu will actually identify what type of copy this will be. We have instance, which is actually a clone and shares the properties with your original object. Or we can have copies which are detached from the original object. Then you can see it asks you how many copies they will make. So at the moment it is making one, but you can actually import a different value here, let's say five copies. And it takes the value between the original spacing and the new spacing to actually give you the cap in between the objects. You can also input another value in here. When you're satisfied, simply click OK. You can see it has created five new copies spread out at 1.2 meters. Because these four instances, let's see what the difference between that and copies are. If I choose the same object again. And I want to make a new duplicate instance of this, but I will only make this a copy. And just for the sake of it, I want to change the material to be this marble. If I drag it above the original item, you can see that all subsequent instance copies of it will take on the new material. But the last object that I have made over to the right-hand side does not take the new material because it is entirely separate. Let's hit Escape to cancel out that command. This method works whichever way you want to use the transformation gizmos. So if you hold Shift, you can also make a rotated copy using the same menu commands. Or you can also hold shift and drag another instance away from the pivot point so you can snap it to a new location. If you use the normal commands, say copy and paste. If I move slightly away from the original object and I click Paste. It will also ask me what type of copy this will be. Let's go with Instance. And you can see it drops it back in the same location. You can also do the same commands within the scene graph. Let's select the object. And from here you can cut or copy. And also right-click on the container and select Paste. You choose the desired type and it will drop in the exact same location as the original item. Now, if you make an instance of an object and let's do that now. Select instance. And perhaps you want to change the material to it again for the original object. But as you can see, we no longer want this material to be applied to this table here. So hit Escape. Select the one that you wish to break inheritance for. And we can find it within the scene graph. Simply right-click and select break instance. Now, when you want to change the material for the original copy, you can see that the new object will be excluded from that. If you want to get rid of an item from the scene graph or from the model, simply select it and hit Delete on your keyboard. Or you can right-click on it and select lead from the right-click menu. Or you can also find the same command with an Edit menu and the top toolbar and select the lead from here. As you can see, this model is very neatly organized. In order to create better workflow for yourself in the future. I do recommend that you create a lot of containers and give them adequate names in order to make life more easy to find items. So as I have mentioned, all these folders are called containers. Every time you will import models, regardless of whether there are multiple objects or not. This will be contained within a container bearing the import models name. You can also create this yourselves simply by going on the three dot menu here. And depending on which active container you choose a walk, create a new container within. So if we select new container, it will be added to furnitures. If I click it on the scene graph and say new container, it will add it on the bottom of the list. As you can see, there is no problem in using the same name for multiple containers. However, this walk perhaps impede your searches in the future. If you want to rename an item, either use the three dot menu and click Rename or right-click on it and choose the same option. You can easily drag these around to place them underneath another container or to change their position within the hierarchy. So perhaps you want to put this new test container within lights and simply drag on top of it. And it will appear in there. If you want to exclude a container from another one, drag it outside of the current hierarchy. The very top line called Seeing graph is the general list for the entire model. And you can see you cannot rename it or delete it or do much to it. You can however, copy or paste into it. And you can collapse it's hierarchy, which you can also do by clicking on the arrow next to its name. If you're not happy with the recent action, you can always undo. As I've said, you can use either the undo command in the Edit menu or the keyboard shortcuts. However, you can only go back and forth about 50 steps. And this will include every action that you have done. From the viewport interactions, visual style changes to expanding and collapsing containers and everything in-between. So if we simply hit Control Z on the keyboard multiple times, you can see that nothing actually changes within the model. But all the containers will expand or change depending on what we have done recently. 6. Importing Models: When you need to bring in your data and models from another software. There are multiple ways for different input types. To import design models into twin motion. We have two different methods. You can input geometry, which allows you to input files directly into twin motion in a variety of compatible formats. The most common being data Smith, FBX, OBJ, three ds, and even SAP files native to sketch up. However, you can also create a direct link between the two applications, meaning to emotion and your design software, which allows changes to be synchronized between motion in real-time. When you have different files open, they will automatically be detected within the menu. If you need to import semi models and additional data, we have two different options. First is the landscape method, which allows you to input data and generate a sculptor bold typography within twin motion, you can import a variety of file formats, either as a height map, images, ordinal data. We're even 3D models from other software. The second method involves point clouds, and this allows you to import survey data to directly visualize existing buildings or site conditions within twin motion and can also open several different file types. Let's discuss the input geometry method from the import tab within the doc, click the Import button. And on the first tab called geometry, Let's try and open the file and navigate to your source file. And the bottom right corner, you will see a drop-down menu showing the acceptable file formats. By default, it will indicate the first type which will be recognized within the explorer. However, you can also load up different files by clicking on the second option. Thus, you can easily bring in your existing content library created and other applications, as well as importing GeoDesign project. Generally for assets, I would use 3D S files, OBJ files, or FBX files. These are widely used in other software. While for projects, unless it is greater than SketchUp for which twin motion can automatically detect the SQP files. I wouldn't actually create a due date as metafile from the source software using the twin motion plugin. But first, let's see how we can import this ketchup file. So I will simply click on it, click Open. And without going further into these options, simply click Import and wait for it to emotion to register your data. Once it has finished, you will see in the scene graph a new container being created corresponding to the file you have imported. If I select it, we can see that it has naturally appear within the 2D motion viewport. And you can navigate around it. Within the doc, you can see the file format pink, exemplified by the thumbnail to indicate what you have imported. Here. All the other phones that you will import during the course of your work will also appear. To create a data Smith file type from your design software. Simply go to the data Smith plug-in and select export your data set. Let's try this within SketchUp for the same model. Here I have the bus model in SketchUp. If you also use SketchUp, then you should have installed necessarily dangerous myth plug-in at the start. However, if you are trying to impart some different software, there are additional data Smith plugins available. So from the plug-in, we can see export to data Smith file. This will allow you to create a new dataset file type. Simply select your desired file location and click Save. Once it has finished, let's try and import that directly into twin motion. Again from the input setting. Let's click Import again within the doc, select geometry, and navigate to the newly created you data Smith file. We can see it has the same name. And alongside the file type, it has also extracted assets and necessary textures. As we'll cover all the necessary options like to run, simply click Import for now, and let's see if anything changes. Motion will start to read an extract the data and we can come back once this has finished. Now, because I have all the same materials within the model, having important the same model twice. Motion recognizes this and it will ask what to do. I can choose to use the same materials. Or if I prefer, I can use the imported materials coming in from the new file. Or if need be, I can keep both options and duplicate all the materials within the model. This also allows me to do this on a material by material basis. Alright, so this has finished now and we can see the two imports side-by-side. You can see in the dark that different types of formats that we have brought in. And we can also see within the viewport, the model being duplicated. For some reason, it has changed the models orientation. But I think that is just in the way that reads it. You can see within the scene graph the two different containers. And conveniently, the SketchUp one also has the file extension at the end. There is virtually no difference between the two. However, the advantage of using this method is that you can easily share that you date estimated file and packaged assets to another user and you do not need the source application opened or installed. However, if you do need to change the design, you will need to re-export a model and re-import it into twin motion. Next, let's discuss the direct link methods. To set this up, you need both twin motion and another application open at the same time. We can select direct link, which is the second tab. And it will automatically detect what source software we have opened. If you have multiple compatible applications opened, this will be all visible in here. So if I click on the drop-down menu, we can see I have the sketch, our model, which we have just seen, as well as the Revit model showing the basic sample project. If I select the Revit model, ignoring the options for now, let's click Import. As you can see, 20 motion. So immediately loaded in the Revit model. Because we haven't changed any of the import settings. We can see how the import has been brought in with all the different materials. We can ignore that for now and let's have a look at the different methodology. I will get rid of this plane for now, just so we can fully see the model. The advantage of this is that once you go back to the design software and make a change, you can synchronize the changes without re-exported in reinforcing all the information all over again. Now let's switch back to wrap it and make a change within the model. So here we are in red and you can see if you have installed the necessary data Smith pocket, you will see a tab within the menu up top with all the different commands necessary to work. So in here, I want to create a new wall. It doesn't really matter what you're creating a song as if it's something that we can then synchronize back into twin motion. Now, I haven't made any connections. So let's go back into twin motion and let's see if this has appeared. Okay, so as you can see, it doesn't automatically appear just by magic. You have to synchronize it. If we go back into Revit, let's see how we can do that. From the data summit tab. We have the first menu command called synchronize. And this will synchronize with the direct link. If you want to make sure that this is connected, you can first select the second menu option called Connections. And this will show you that the model is connected to 20 motion. Let's click Synchronize. Now, let's go back into twin motion and let's see what has changed. Okay, so now back into twin motion, we can see that the wall has immediately appeared. This works well when you are trying to develop your designs. N1 to both visualize and produce all the necessary information at the same time. By using the direct link methodology, you will save a bit of time having not to reimport and re-export each and every time you make a new change. The landscape import function allows you to import height map files as monochrome images, point coordinate values as text files, or 3D objects in order to create a specific topography and last deep surface with a height map, which you can also generate yourself in any graphics program. We'll use a dedicated online tool called height mapper to generate real-world height map data based on real locations. You can generate this monochrome image. This is representing a section of the Italian Alps. And we can see the differences between pure white and pure black and the gradients in-between, which will generate our contexts and typography levels. Let's click Open and see what we can get. If we know what the overall levels are, namely the highest and the lowest point within your height map. You can input these values within the options menu here. The tallest point corresponds to the largest dimension. So if this was 3 thousand meters, and then subtract the lowest value from the highest value, thus generate the amplitude. This will then calculate the height of each pixel based on the brightness value in relation to the two high values. Let's assume this is 2500 meters. And click Import motion and will thus generate the file based on the values hand, mitch type. Let's zoom out and see why it has created. As you can see, this is a very quick and easy way to generate a very varied topography. If you have survey coordinates for your project sites, or even half the model is another software. You can import a text file for the coordinates or the model itself. If it isn't recognized file format, the result will be a topography surface, just like the one which you can create from the library, which you can sculpt and paint within the viewport. If we select this object, you can see two different commands appearing in the doc will discuss this later on. However, if the topography needs to be more accurate and it really matters for the project, I would personally model that in another program where I can adjust it during the design process, the project, rather than rely on grade, but very primitive tools within twin motion. If you do need just the ground surface or an imaginary landscape background for your design, then this will definitely do a great job. Finally, we can discuss Point Cloud information. This is a new function in twin motion as a version 2022 is still being developed as it currently has limited functionality. If you do have access to point out survey in a few fall formats, then you can import this and better visualize the scan data using the presenter to truly experience or review the space is surveyed. Unfortunately, I do not have any such information at hand. And it appears somewhat challenging to find a good example online. But if you do happen to obtain one and a few of the file formats accepted, do give it a try. 7. Import Options: After you have chosen to import the file for your design project, let's discuss the various input options available. If I tried to Import Geometry directly, regardless of what file type this will be, you will see a new addition to the Import menu, and this will describe the various different options. First, let's discuss collapse. This affects the way in which information is structured upon imports. First, keep hierarchy, will retain all geometry structures intact as incoming from the design software without collapsing it. It provides the ability to select and edit any individual assets or sub-elements as modeled. What can lead to very heavy scenes within twin motion, given the high complexity. Let's import this without changing any other things. And we can see how it looks with the model having been imported. If we expand the scene graph, we can see the folder, what container indicating this file. If we expand this, we can see all the different elements that it is composed of. And if we say select one item, it will be highlighted within the model itself. And you can see that you can select individual elements without being constrained by absolutely anything. However, let's expand the Statistics tab within the scene graph. We can see that it has brought in 2 million polygons, Around a thousand objects, counting around one gigabyte and textures. I will rename this container just to make sure that it is the one that has kept hierarchy. Next, we can discuss collapsed by material. This uses the materials applied in the source design file to group multiple objects and sub-elements together. Condensing highly complex model structures into simplified structures. We've grouped objects that share the same materials. This enables a better management of assets through the scene graph and can lead to better performance whilst in the model. Again, let's import this directly without changing any other options. And let's see the results. Okay, Now as we can see, the model has been brought in and it looks identical to the first one. However, if we expand the container that it has newly created, and you can see the previous one with the k-th at the end. To distinguish it. We can see the structure is now much different. Even though it is still quite expensive. It does indicate that the structure is based on the materials that it has brought in rather than the individual items themselves. So as an example, if I select blue body work, it will select all items that shared that material. If I select the tires, you can see that it has selected all the four ones. Whereas if I hide this object and re-enable the one with the hierarchy, get, if I select one of the tires, it will only select that individual one rather than all the ones present and sharing the same material. If I select the body work, you can see it highlights this element or panel individually rather than what we had previously. Let's rename this one to indicate that it has collapsed by material. Finally, we can explore the last option named collapse all. This will collapse all elements and sub elements from the file into one single object, but retaining all the material information applied to it without distinguishing the individual elements in the scene graph. This is useful when importing objects and assets where you don't necessarily need the entire file structure, but less so when dealing with entire buildings or complex scenes. If we click Import without changing any additional options, let's see what the results are. Okay? Once again, the model is completely identical, but you can investigate the structure that has newly created within the container. If we expand this, you can see that it is only including one item inside. If I selected, it will select the entire bus without distinguishing between different elements or different materials. Now, if I use the material picker from the toolbar, I can select individual materials. So selecting the blue body work, we'll highlight that material. Picking the tires, picking the wheel covers, class. All the materials are recognized individually. This will be the same case if we expand the previous model types. So if I once again use the material picker, it will select the same material. It's like the same glass, and so on. Now let's discuss some of the other options. Fixed UVs slash texture is only a tuple. And this will allow to emotion to attempt to correct material mapping and orientation of surfaces. Next, up axis allows you to define what the vertical axis is within the source model. As some file types will have a different app access. You can set this to auto or select each individual axes as the defining vertical. Finally, the unit conversion table allows to emotion to re-scale unimportant if necessary. If the source file is sent to a different unit system or different scale. If you set this to auto, you don't have to worry about it. But if you unclick it, it will give you an indication of the scale that you want the model to be re-scaled by. A one factor means that the model will not be converted anyway. But if you type in, that means that your model was initially ten times smaller, so it needs to be brought up. Or if you type in 0.1, the model was already ten times bigger. So you want it to rescale it down to a different size. It's important to note that twin motion works in either inches for imperial measurements are meters in the metric system. Using all these options, motion will allow you to customize and define how your models will be treated. Font import. If you choose to import the model via the direct link method. Once you have selected the source project, you will again be shown different import options. First, you can select how to collapse the materials or not at all. Then you can enable substitution, meaning that materials will be automatically changed to a preferred set once brought into twin motion, you can define your own personal substitution tables using a spreadsheet file. This is a rather more advanced method and is generally used in larger offices, where you need to keep all work produced in a consistent style. 8. Materials: Next, let's discuss materials. Having access to an extensive library of high-resolution, high-quality materials has an immense impact on the visual quality of your projects. Together with the ability to create and customize the raw materials to emotion, provides the tools to rapidly visualize your designs in a simple, friendly, and easy to use interface. I have opened the demo material library seen built into twin motion. First, let's explore the model a bit as it will give us an indication of the materials effects start to emotion is capable of. We can find materials in the library. So let's expand the library panel. This will be under the first icon, intuitively called materials. They will be grouped under many different categories depending on the type of material. With each type shown with a myriad of different variations. It'll be great to explore these at your own leisure to familiarize yourself with what is available. Let's expand metals, for example. You can scroll this and see a wide variety of different metallic materials. Or we can also explore stones. And you can see, if you hover above them, it will give you a thumbnail with how that material will look once applied to your model. If you want to see more materials at once, you can expand the library dark by dragging the grip over to the middle of the screen. And they can expand up to five columns. Besides the ones found in the materials category, we can find additional materials under the quick so omega scans icon. These are all Photoscan assets, including materials grouped under surface, which are digital copies of real life objects, textures, and so on. We can discuss these in detail later on. To apply materials will see simply track is selected material from the library over to the target object, and the effect will soon be visible. Let's change the material of this wooden desk to something more stone like. If we go down, go into marble and granite. And let's select a green marble. Type O one D. If I drag it out, once it hovers above different surface, it will give you a preview of how that might look. You can still drive on if you have a left mouse click. And you will see the effect take place depending on whatever you are hovering above. Once you have reached the desired model, simply let go of the mouse and the material will shortly be applied. The material settings will appear within the doc. Now, before diving into the different sliders and toggles, we can first notice the material preview, this ball object that displays your current material. You can see the changes happening here. Even if you don't have the material applied to any scene objects yet. In the corner of the street view, we can see the grid icon. And this will enable the library of all the materials that are currently applied within the scene. We can also create new materials from here by clicking on the big plus icon. If you didn't want to expand the individual materials, simply click back on the ball icon and it'll give you the preview once again. To select the material you have already applied to an object, either to change its settings or to apply it to a new object. You can use the material picker. We have seen this is located within the toolbar. And if we now want to change the settings to the stone we have applied to the desk. Simply hover and click on the material itself. This will be brought back into the dock and we can change its settings. If you want to apply it onto a new object, simply drag the ball over into your scene and let go. Once you have selected the desired object. When you apply material to an object, you can either apply it to the object using the previous material in your scene library or you can replace it entirely. This setting can be toppled from the first icon in the toolbar. We can see it represented by the two circles at the moment. And if we click on the drop-down menu, you can see the two circles represent replaced material. Or if you want to apply to object, the icon will only show a single circle. To exemplify this, let's drag the green marble we have on the desk on to another object. If I then want to track in a different material from the library with the applied to objects settings enabled. You can see that I can apply it over the task without changing the material I have applied to the skirting boards. If I undo. And I want to change the setting to replace the material. If I then drag the second green marble, you can see that once I drag it over the desk, it will replace the material in the scene and therefore change every other instance of it that's supplying the skirting board as well. You can also change how the material is mapped onto an object. This is called UV mapping. From the second toolbar icon, represented by this cross. You can click the drop-down menu to reveal four different options. We have cubic UV, cylindrical UV, spherical UV, and from object using the term u, v represents the axes of the texture in relation to the axis of the model in space. Similar to how x, y represent the play. So to UV represent the textures flat plate. In order to change the mapping mode, you must first select the mapping mode and then apply the material to the object. First, let's select Cubic UVs and dragging this just not material onto one of the boxes. If we're getting closer to it. We can see that has been applied and a fashion that we might expect naturally a wooden box to look like. However, if we also apply this to the cylinder, Let's see what the differences might be. I will drag it from the material preview and the dock and release it once it is over the cylinder. Okay. So we can see that for the vertical face of the cylinder is still looks somewhat like the box would. However, we can see the scene, which perhaps is a bit unnatural, but it doesn't detract from the quality of view. However, the top face is much more stretched out in an unnatural way. Especially when looking at the mapping on the box. This doesn't look like it should. Next, we can also apply it to the ball. Let's strike it from the material preview once again and reset whilst it's over the sphere. We can see the same representation that we can see within the material preview. Since this is also a ball, it would look a bit natural. However, I'm sure the top, we'll have a bit of a discrepancy to how this might look in reality. However, let's also apply it to the hemisphere or the cuts here. You can see that it has the same mapping as the sphere. Next, if we change the material mapping type, and let's select cylindrical, we can use the same material preview and let's first apply it to the cylinder to see if it changes. Unfortunately, it doesn't seem to do much as the material actually looks somewhat similar, if not identically the same as the cubic UV protection. If we select circle UVs and apply it to the box, Let's see if that has any effect. Okay, so even with the spherical projection type, spherical UV, it doesn't seem to have the desired effect. That is perhaps still a known bug within the newest version of twin motion. However, if we apply it to this flat surface, I think we can actually see there is a difference in the way that instead of this being displayed similar to how it looks on these objects, that is actually stretched out because it is trying to map out a spherical projection onto a flat surface. For whatever reason, it doesn't want to apply the same effect onto the primitive objects. If we try with another type, perhaps a brick. We can also see this effect. And now perhaps highlights best how it looks. The different primitive objects. You can see that on the box it looks somewhat natural. Whereas on the cylinder, it does make it much more stretched out along this face. Whilst the top one is much more distorted. In terms of scale. We can clearly see that the flat ground projection is also greatly scaled upwards. However, if we do apply it onto the sphere, you can see there it is actually behaving as expected. Now let's select cylindrical UVs and try another material. Perhaps that will actually override the selection. So if I apply it onto the ground, you can see that it has unwrapped in a natural way. On the ground with a cylindrical UV protection. It works just as nice as it does on the box. However, funnily enough on the cylinder, it doesn't really work as intended. Because instead of it being naturally shaped, it does stretch out the texture much more than you would expect. Finally, let's apply from object UV so that everything will look as expected. And perhaps in a natural way. Let's choose a turkey break and apply it to any of the objects. And you can see the preview works perfectly as expected on all but the cylinder. Depending on what types of materials and what types of objects you will apply these to. Your results may vary. I'm sure you have noticed that at the bottom of the screen and the dark, the different materials settings have expanded. And depending on what material you have chosen, stopped, the settings might be different. Regardless. This panel will now allow you to edit and refine the material to suit your needs. Let's review what these are and how you can interact with them. 9. General Material Settings: Having seen how to apply materials, let's now discuss how to change their individual settings. Let's start by adding a new material into our scene. Let's go to perhaps this planter, expand the library and add the new material. The material now selected, we can see from many settings that control its appearance will be reflected in the dock. Alongside them material preview. We have a range of different settings, so let's discuss it these individually. First, we have the color. Now, if you have a material without a texture map, you could simply recolor that material. So if we click on it, it will give us the color picker, allowing us to pick any color from the spectrum, as well as change its individual RG or b values. You can input a hex code to reach a specific color tone. Or you can use the slider to control the variation of brightness. However, if the material does have a texture map, this will apply a tint color on top of that. You will recolor the entire material. For example, if we change the color here from the color picker, if we make this slightly more reddish or perhaps purplish, you can see in the material preview the results, as well as within the viewport directly on the object onto which the material has been applied. If you're happy, simply click OK. But if you want to store this new color, you can also click Store, and it will appear within this grid. If you want to cancel the effects, simply click on cancel. If we have a look, there is a More button here in the bottom right corner, underneath color, as well as indeed under many more options. Let's click More and see what this expanse to. First, we have an option to load, change or remove the texture map. Simply clicking on this will reveal what extra currently is loaded. And you can copy and paste this into another material. You can open the file location, reload it in case you have made any changes to the original file or set it to default. Then we can see the opacity mask. If this material had any perforations, for example, which you wanted to see through, could enable the opacity map to enable that effect or turn it off to ignore the effect. To exemplify that, Let's pick another material. And the material library I will go to grades. And let's choose another object. Actually still on the planter. I will apply grid number two. I will drag this on. And because it has the opacity mask on, you can see right through the dark spaces within this material texture. As you can see here. We can clearly see through it. However, if I disable the opacity mask, now that defect has disappeared. Moving on, we have luminosity, which is presented as a slider, or it allows you to input the value directly. This allows you to adjust the brightness of the texture map. If we slide this down, you will decrease the value. Hence the material will look darker. Or you can increase the value. Lightening the material a bit more. Grungy is a setting that will roughen up the uniform appearance of the texture. In effect, it will superimpose another texture, which will change its appearance to look slightly less uniform. If we increase this, you will see the effect. This can make it so that the texture applied to material throughout your model don't look as perfect as normally you would expect from a CGI, giving them a bit more character and a bit more realism. Then we have an option to change the sound. This allows you to change the sample file this material will make once you walk across it in pedestrian mode. For example, if I pick this material, which is a cobblestone, if we go on to bar and we can see the sound it currently has attributed is for carpet. However, that is not good. First, let's experience this without changing it. If I press M on my keyboard, I will revert into pedestrian mode. You should hear a very soft sound, very unlike what we would normally expect from walking on top of cobblestone. Now, if we are going to change this, perhaps do something like concrete or raffle. Depending on what you think cobblestone might sound like, you should hear the sound profound change as you move across it. Generally, these settings do help with creating a bit more of an atmospheric field once you create more interesting presentations. Next, we can discuss about reflection. This is a slide that controls how reflective the material might be. If you increase the value, you will increase this effect. And you can see the material starts to be more mirror-like, reflecting everything around it. Whilst by reducing this value, you can see the reflections are softer, more blurry. And the less you give it, the less reflective it will be. In reality, all materials do have a vase level of reflection, so light will naturally bounce off of any material. Let's set this to about thirty-five percent, just so it has a very soft glow. If we click More, you can see there is an extra slot allows you to insert a monochromatic image that will control which areas are more or less reflective across the surface of this material. In general, we would refer to this as the roughness. Currently, it has a texture map already loaded in which imitates the wood grain. And thus, darker parts of this image will be less reflective. Then the lighter parts. If we zoom in and perhaps get a very acute angle. We can see around this area with a reflection of 35 per cent. You can't necessarily distinguish much. However, if we increase this, you can start to see that some areas naturally become more reflective than others. It's a very subtle effect. However, this kind of effect does increase the realism throughout your entire scene. If you use it with purpose and care. Now increasing the value of bit more, you can clearly see that not all areas around this portion are equally reflected. As the deeper parts of the world green would naturally be much less prone to being reflective, whilst the areas closer to the surface may be a lot more. Next, let's talk about scale. This slide that can uniformly scale the size of the texture map applied to a material. You can also input a numerical value if you so wish. If we change this, you can see how quickly the texture is enlarged, the larger value. Or by decreasing this, you will see that texture be repeated many more times. Under more. We can see we have additional options. First, we can rotate the texture. So if we drag the slider, you can see Protection will rotate on top of the object. To stretch or reposition texture. We can click on axis, which will expand into another menu. First we can stretch along the x or the y directions. So if we increase the values, you can actually see that the texture is much more compressed. Whereas if we decrease the value, the texture will indeed become stretched out. You can see what a fairly low value, how it becomes very indistinguishable from it being bored. And you can do this independently across either direction. If the values are close enough or identical, the effect will become uniform. However, if one value is much different than the other, then the effect will be quite different and the texture will become greatly distorted. However, you can also move your texture along the x or the y directions. This simply allows you to reposition the texture in relation to the object's volume so that you may be able to cover up scenes or change it, become a bit more randomized or so on. Next, we can add speed factor to the material. If we expand this menu, you can see you can input speed along x or speed along y vectors. This will set the texture in motion and can be super useful for certain applications. You can see by changing the values, how different the result MBA. Not all materials will have the same settings. If we pick another material and very conveniently have this glassy texture here. If we use the picker tool to select this, we can see that instead of reflection, we have opacity. Opacity is an option that controls how transparent the material will be. And it has no additional settings. So by decreasing the opacity, you can make them with you a lot more transparent and see-through. Or alternatively by increasing this, it will become more solid. Next, on most materials, you will see a toggle for whether this doesn't give you any indication unless you actually start to change the weather. If we set the weather control on any weather effect within the environment, will have an effect on top of the material. If you turn this off, clearly the effect will not apply to this specific material. Let's exemplify this by changing the weather. Don't worry, we will discuss this in greater detail later on. But for ease of simplicity now, let's make it so that it is overcast and rainy. Having changed the weather system to enable snow globe here. We can see that because the weather is toggled on, snow will start to deposit on the surfaces that they can, on the object that uses this material texture. If I disabled when there, you can see that effect starts to disappear. And this is true for all whether particles. Once the weather effect is turned on. The very last section called settings. Within the material setting stock will expand to give you a number of very important features. First, we can discuss about bunk. Now, if we zoom in closer to this material surface for perhaps let's look at this cobblestone on which the effect will be a lot more pronounced. Bump is the material property that generates a 3D effect on surfaces. Give them that without actually having to model the geometry, the slide that will control the strength of this effect. If I decrease it, you can see the effect immediately take place on the surface with a 0% value, effectively flattening out this entire surface. If we click More, we can see we have two additional options. First, it allows you to import a normal map, an image file that describes which parts should be reassessed from the material texture. Then we can enable the parallax effect, which actually calculates and displays this effect that we see on screen. And off. You can see the depth of the material is much less pronounced. Positive will show up in some reflections. It doesn't necessarily appear as if the material had any grooves. If we turn this on, you can see that is calculated based on how you look at the material. This also has additional option, allows you to input another height map and also a slider to control the intensity. So if we set this all the way down, it is as if it is turned off. But if we increase it, you can see how deep it starts to try to simulate that. And depending on the type of material, the strength is perhaps a bit too high. And they no longer represents what we are trying to achieve. In this case, I think a value of five per cent is great enough. Then we can talk about low. This allows materials to appear MSF, to emit light. This slide that will control the intensity of light and is measured in next. You can apply this glow effect onto any objects. So if we select this with material and increase the slide that even by one knit, the material will immediately start to emit light. You can also see that effect take place in the background of our viewport where those objects MetLife and also have a very special effect. Actually, I will pick this material because it will allow us to better see the results. Currently, this is set to a 100 nits. You can also increase this beyond the top value of the slider simply by inputting the different values. And you can see with very high results, the effect of that light is very pronounced within the model. If we click More, you can see that in this case we can control the temperature. However, if we go back onto the wood material and click More, we have a lot more settings to control. First, we can import a texture map that will allow us to control which specific areas are emissive, rather than it being the entire surface. Generally, a grayscale image works best as you can control the intensity of emissive areas with the brightness values from the image. If I copy the same texture map that defines the wood grain, and I will go and paste that within the globe setting. Here. You can see that effect is no longer the same across the entire surface. However, let's get him closer to it. And also set the setting to nighttime. If I increase this value only by five-minutes, you can see the effect of the whiter areas within that texture map be much more emissive, whilst the darker parts no longer shining. Anyway. Moving on, we have a luminance filter, which changes the color of the light emitted. Currently, this is set to white, but we can change this using the color picker and set it to any desired color. This will also allow us to better see which parts are more or less emissive. Next, we can adjust the color temperature to make it colder or warmer in degrees Kelvin. A lower value will change the color to become more yellowish, orange, ranging towards red with the lowest value of a thousand Kelvin. Whilst if we increase the value, the color will become more bluish. We can also enable the dusk to dawn effect. If we turn this on, and currently I have set the time to be nighttime. If we set this to be around noon. You can see the effect no longer appears because it is set to only work during the nighttime. Mindfulness is a toggle, enable some materials to have stronger sharper reflections, thus, replicating real-life appearance of metals and metallic surfaces. This is based on the principles of physically-based rendering or PBR. If I enable this for the wood material, you can see it tends to vary darker shade of brown. However, the glossiness effect is much more pronounced, even if the reflection is only set to 50 per cent. If we come in closer. And perhaps let's see a area which has a brighter zones so we can see the reflections. If we increase this, you can see the effect is so pronounced, it looks like Chrome. This allows you to create a very convincing looking metal elements and materials without making them look unrealistic. Under more, you have an additional texture slot, which can further control this effect. In gray scale images work the best in this situation. If I once again paste the same what grain material. And having this enabled, we can see perhaps by changing the reflection value, that not every area is super metallic or super reflective. And response to the Great and brightness values within that image. The next setting named two-sided is a toggle that enables the material to be applied to both front and back surfaces of a surface. Whereas it normally only applies it to the front face. If we go inside this planter. Because it only applied it to the front face, you can actually see through it as if the internal phase is do not even exist. It basically makes the material and the object itself disappear. Whilst if you go outside of it, you will see it's normal phase. If we enable this setting, their material will be applied to the back face as well. If we go inside it, you can actually see the material is still has some limitations because you will not necessarily see a solid element given how it was modeled. This setting can be very helpful when you only have planar or 2D objects. Detections will be displayed on both sides. And it can also allow you to correct certain input errors when objects have incorrect surface orientation and the material or faces will appear missing. Finally, x-ray forces your material to be visible to other objects regardless of how much they may be obscured from your view. And also changes its appearance by applying a color overlay that you can also change. If we enable this material will no longer be what, but instead it will have this bluish, then you can actually see through the material because it has become more transparent. And if we go further away from it, even go outside, we can still see the planter. If we expand the More menu, we can see different settings. First of which allows us to change the opacity, which is currently set at 50%. So if we lower this, the material will become invisible. And if we increase this, we can no longer see through the material as much. However, the next effect called fall off, will control how the reflections work and how much the edges are defined. If we decrease this value closer to 0. You can see that the material actually starts to take on the color of certain materials around it. And you can see much more defined edges. However, if we increase this value closer to one, you can no longer see anything through it and the edges become a bit more. Finally, can also change the color. So having brought up the color picker, you can manually change what color is going to be displayed. And even from far away distances, you can still see the object there on screen regardless of anything circling it. This can work great when you're trying to create survey, diagrammatic, or show objects that will naturally be obscured by other elements within your buildings. 10. Special Material Settings: There are some additional special material set which only apply to very specific material types. First, let's expand the library panel. Go into materials and scroll all the way down until we reach neon, which you can find indicated by this light icon. This is also currently applied to these objects that appear in the view port flashing brightly orange. Your materials are therefore somewhat special depending on which type you may choose to fly. There are a few that link, ones that are static. There are also wants to change colors. If we have a look at the material settings, we can change the color. As we have discussed before. We can change the scale or be it, this doesn't necessarily change anything once the material is one single color, but it will come in handy for different types. We can change the globe by increasing or decreasing the slider or the value. We can change the sound profound that they have and also control whether they are two-sided or not. If we now apply a blinking neon to the same areas, you can see that this flashes at its own pace. However, if we go into scale and go onto speed, we can see that there is a speed value given on the y-axis. If we decrease, this material will be static. However, if we start to increase this value, flashing will become much bigger. Please note, there will be flashing images appear on screen. If you have a sensibility towards that, maybe skip ahead. So what higher values? This will be very, very fast. I won't go into more detail and you can experiment at your own pace. For these. There are two additional types. One called police beacon, for which the flashing color will change from orange to blue. And also a movie colored neon that will change between all the different colors, the rainbow. Next, we have a Watson material. So in the library, if we scroll all the way down, we can see right underneath neon. So we have a water section. Here. You can see there are pre-made water materials, which if we apply onto the plantar, we can actually pretend that and it has been filled up. This material is special in the way that it stimulates water and other liquids. With a few preset variants available to choose from and some very specific settings. You can see that it also has a very specific animation across the surface of the material, regardless of how that surface has been modeled. So we can change the color. You can see how that appears, and we can change the water depths currently set at two meters. This will simulate the effect of the water or the being more or less transparent. So if we increase this value higher, you can see it turns to a darker tint. However, if we give this a very low value, you can see this becomes a bit more transparent, lighter in color, emulating a shallower body of water. If we click More additional settings, it duplicates the water depth slider, but it also gives you turbidity, which simulates the cleaner liquid or one with more particles. So at one per cent, at this very clean, if we increase this value, it will become a bit murkier. If we also increase the depth. You can see how that affects its place. Next, we have a slider that controls the CO six sides. These are the effects generated by the light shining through the liquid surface, reflected or refracted onto other surfaces. Five disabled the plants. We can perhaps better see this effect. So as you can see, these waving like particles are actually the caustic effects. If I turn this all the way down, you can see the size of them becomes smaller and they are more repeated. If I increase the size, they repeat much less. Variation is much greater across a wider surface. If I then move on to co sticks intensity, this will control the brightness of this. If I increase this value, you can see the brighter spots. Whereas if this is lower, you can barely see them anymore. Next, we can control the waves intensity across the water surface. Currently this is set to a 100 per cent. You can use this slider or inputs of value directly to change the intensity of this effect. If you want the calmer or more agitated body of water. If we click more, because the ambition of settings, once again, we can enable this effect. We can change the wave size with larger values, simulating a much larger body of water. And lower values making their waves much closer together. To pay attention that they do not increase or decrease the height. They are simply a scalar value across the entire surface. Then we can change the flow direction in relation to the world coordinates. We can also change the flow speed. So a lower value will make the waves move much slower. Whilst the higher value will increase the intensity. Finally, wind gust. It's an effect that enables an official type of waves, which, as you can see, replicates the effect of the wind blowing above the liquid surface. This works great for fonts and other smaller bodies of water, which might not have natural forming waves. The last toggle enable seasonal effects. This mainly response to wintertime when the water can. If I let this be enabled. As I change the value from the season from summertime into winter, you can see the entire surface as it freezes. All of these materials settings allow you to treat em perfect each and every material type. Thus bringing your scenes closer to realism. 11. Landscape: If you require a more natural setting for your projects, away from the urban context, you can generate your own landscapes using the powerful built-in tools from the library panel. Let's open the vegetation and landscape and select the landscapes category. These are surfaces that you can sculpt and paint to create the background, topography, and environment for your scenes. You can drag either one of these into the sea and the painting and sculpting tools will appear in the second panel. Let's try with the slack 1 first. Once this has been prepared, you will see it appear in the viewport and the settings will appear at the bottom. Let's also get rid of the starting ground. Using these tools, you can easily modify the two rings to manually define typography features, creating mountain mountains, valleys and planes, and everything in-between. Let's have a look at the Sculpt tools. Once this section is selected, you can see a few settings appear in the dock. Diameter, intensity, and shape of your sculpting brush. In the toolbar, there are also six modes to choose from. Phrase, big, smooth, noise, erode, and flatten. Let's have a look how this works. So when you hover your cursor above the view port, above the object, let's have a better look at it. You will see this brush tool currently with the erase tool. Select it. If I move my brush and hold it. You will see that the Marines start to move. If I look from a different angle, you will see this has started to rise up a bit. Let's increase the intensity. The effect will be a lot more visible. You can change the diameter size to widen the brush will make it more precise. And you can change the shape from a circle to a smooth circle, blobs or stains. This will allow you to increase the variety and create more natural looking environments. If we go on to dig, we can start to depress the topography rather than increase its size. If you want to smooth and the results. Let's decrease the intensity. You can create more smoother transitions. Using noise. You can both race and depressed the topography at the same time. Let's go with a smooth circle. Let's see what it looks like. If we use a road will start to dig into the topography without actually changing much of the defining characteristic. It also smooths it but without making it all the way flat. And finally, if we use flatten, it will pick the defining point as the level and then move everything to that particular level. The painter rain tool has a similar functionality, but it allows you to paint different materials on top of your typography object. Expanding this section and the doc will reveal similar settings such as the diameter, the scale of the material, its opacity, and the shape of the brush. You will see a material palette giving you the option to choose from for different materials. And it also expands the materials for ground comfort in the library panel. First, let's pick a material from the palette at the bottom, such as the grassy ground. And let's increase the diameter so it's a bit more visible. As you can see, you can very easily paint on top of this surface to change the material aspect of it. If you increase the scale or decrease it, you can see that immediately affected on screen. You can also change the opacity. And that only applies to the newer brush. So that transition is a bit more blurred out. Let's use moss Iraq. You can also always play with the transitions of these to make them a bit smoother or to alternate the material between them. If you are no longer satisfied. But these foreign materials, you can simply replace them by dragging another material from the library into the palette. However, you pay attention to the fact that you will have to drop it on top of an existing material thumbnail. As you cannot simply add it to the palette. And this will replace existing material with the new addition. Having replaced the grass with the pebble material, you can see that every word that material was present, it has now changed into the pebble one. It will be a good idea to first define the materials that you plan on using before you start painting. Otherwise, once you replace the material, some unexpected changes might happen in your entire model. Let's have a quick look at the other type of topography by first delete this one and adding the rocky grasslands type. As you can see, this has some inbuilt variation in the topography. It allows you to very quickly define more natural looking environment without having to manually sculpt and define every high and low point in the environment. However, of course, you can use this hope tools to more accurately redefine this natural landscape. But it is a very good starting point if you want to use your models and designs and an imaginary natural landscape. 12. Vegetation: Thanks to its incredibly rich library of trees, plants, and other assets, twin motion can drastically improve your scenes by allowing the easy and quick creation of diverse environments. It also features some great tools that help you create randomness and variation without manually changing every asset, thus reducing hours of work to just a couple of minutes. The library panel, Let's open the vegetation and landscape section, where we can find several different categories of vegetation assets. We have already looked at landscapes, so let's focus on plants. First, we have trees. And these gives you a large collection of trees of various species native to different parts of the world. These can be placed individually within the scene with automatic rotation as like re-scaling to generate variety without much effort. Let's simply select one, such as the little leaf, linden. And hover over your viewport and you can see that's already appear. Let's click once. And you can see the next one already has rotated and a slightly larger click again. And now each time you place one, it will be slightly different. Slightly smaller or taller, and ever so slightly rotate it. Once you're happy with your placements, simply hit the Escape key. In the preview panel next to the library, you can see how this tree will behave and how it will change its appearance based on its age. You can also see a representation of scale indicated by the human figure next to it. Has indicated the library is quite extensive and you can see a large variety, different species. These come in all sizes and shapes. If we select one, we can see there are many settings that affect the appearance of trees, as they are quite interactive and responsive to the built-in weather system. You can change the age of the tree by changing the slider, which changes the height and its appearance. So let's make this a very young tree. And not only has it changed in scale, but you can see the entire body has changed and more into a young length. If I again select this and increase it to 100%, you will see its body has changed once again and it has a much fuller ground. If we come in close, you can even see if there is a slight wind animation that moves the leaves around. Besides the H, you can see an indication of the height of the tree. As the tree grows. You can also see how the size actually changed. This is very useful when you need to define a very specific height for your vegetation. You can enable or disable the growth mechanism by clicking this toggle, which changes whether this is controlled globally for the entire scene or not. Next, you can also change the tint color of the leaves by adding your preferred variation and even to the bark. So if we can make it any other color, let's see it up close. And that gives you a lot of freedom to experiment with. Next, we can turn the seasonal changes toggle on or off. Which means that as the season changes, there will be a different family of the tree that corresponds to that particular season. Let's have a look by going into the settings menu. Whether changing the season from summer into autumn. And already you can see how the leaves turn golden yellow. And if we change this all the way into winter, you can see the tree is now bear. Going into spring. You can see all the leaves now come back. But they are slightly whiter color or a much brighter color. And as we go into summer, they are a lot more saturated green. However, if we change this mechanic on the trees, changing and from auto, you can manually define what seasonal factor and you would like to see. So currently this will be the summer variant. And we can make it awesome, which changes just this individual. And also set this to winter. Finally, you can talk all the wind animations on or off. If you no longer want to see this very slight movement. Next, we can have a look at bushes. This is another large collection of plants, two different shapes and sizes that also come in multiple variations for each species. You can see in the case of a tropical palm, that you have three different types, which already have the mechanic of scale and rotation. But by having different variations of the same model, you can more easily create a wider diversity in your scene. If we select one of these objects, we can see there are fewer settings to play with. We have sites which allows us to manually define the size of this asset. And we can also tend to leave and enable or disable the wind animation. Next, we have two similar categories. First being class and flowers, and the second detail grasses. They have similar assets featuring many types of grass and flowers to add to your scene. Let's expand the first one. And we can see different types and lengths and appearances of grass, as well as different funds that will appear on metals and loans. If you scroll to the bottom, you can also see different types of flowers. Let's select one type and start adding it to the scene. And you can see it allows us to place clusters of tufts of grass so that we can easily create more variation and more realism. Then by simply painting the surface with a glass material. If we come in close, you can see these are mildly detailed and they have some variation in the texturing. If we go back into the library and have a look at beta of grasses, there are fewer options to choose from. But if we select something like long grass borders, you can see that the main difference is reflected in the density of the tough. These being far fewer than the first time, but they have a lot more detail with the blade being slightly more defined and bunched closer together, which is useful when you have to come in for a close-up shot. As an example, here we have lawn number one, borders has a detailed class element. And lawn number one as a normal grass asset. And you can see the very stark difference. One being much more refined, much closer together, whilst the other being far wider, spread apart. And the blades having much less definition. Of course, work in different ways. For one, you would only place in bunches When you will have the camera really close to the objects. Whilst the other is great for building wide environments where you don't need to see the actual definition of every asset, but you want to improve on just using a grass texture. Both types, however, have the same settings as we can see. So first, we can define the size. And this pretty much scales the grass blades up or down. If we click More. You can see that you can also change the type from wild to uniform. The variation is quite subtle. Next, we can change the tense of the leaves or the plates. We can change the dryness. So at the moment, this is quite fresh. It's quite green and it's uniform green throughout the length of the plate. However, if we zoom closer in, if I increase the dryness to 100%, you can see a lot of variation has appeared on the length of the blade. Next, we can define whether the wider appearance of a patch of grass will have a striped effect or not. This will be more visible once we will cover larger areas under more. You can also change the angle and the size of the effect. Finally, we can toggle the wind animation on or off. The last two categories. Rocks in miscellaneous, offer a large collection of various stones of different sizes and various other types of assets, such as fallen branches in three stamps, leaves on climbing plants, and other kinds of debris which might find out in the wild. These do not have any specific setting. So if we bring in a wood pile into the scene and select this, you can see nothing can be changed about this. It merely has to be taken as is. If we bring in a hedge. Again, nothing can be changed about this. The appearance is set and the same is true for stones and rocks, which you can bring in. And as you can see, these also have the same rotation and size, variation dynamic. And also nothing can be changed about this. Beyond this incredible collection, there are even more assets to be found in the pixel mega scans section. Under 3D asset or 3D plans sections, which allow you to dramatically increase the level of realism and visual quality by adding these highly detailed, photo-realistic object. We will discuss more on this topic later on. 13. Creating the landscape: Having access to a large collection of vegetation and environment asset is useful, but also having powerful tools to disperse and distribute them across large areas with automatic rotation and re-scaling to generate variety and randomization certainly takes the process of building your landscapes and environments to the next level in the pursuit of lifelike realism. For this purpose, Let's have a look at these two super awesome tools and the contexts that we can find, the vegetation paint and vegetation scattered tools. Now let's see how also these work. Starting with the vegetation paint. This tool allows you to create custom brushes, loading them with a variety of landscape and vegetation assets all at once. Set up how dense each and every one should appear, and then simply paint over in areas of your scene, large or small to easily distribute them across without the need for manual placing or additional plug-ins. To create a vegetation brush. We can simply drag objects from the library, which conveniently opens on the trees category. So if we drag in a few different types onto this palette area, now, these will be considered as new assets to be painted in the scene. You can select each individual one to increase or decrease their density. So perhaps I want the Indian sandalwood to be 50% dense. Japanese see there perhaps a bit less. European mountain ash, something like 80 per cent. And both of these last ones just leave them as they are. It's good to remember that these do not all add to 100 per cent is just how often each one will reappear in the scene. You can also affect each individual ones settings by clicking on the Settings icon. Once you're ready to start painting, either select one or multiple ones, and click on the vegetation paint tool in the toolbar. This will automatically select all the assets. And you can see the diameter slider now appear enabled. But let's have a look. So simply start painting into your viewport. You can see the areas affected by these small triangles at the bottom. And all the trees start to appear in the scene. You don't have to do all the area in one go. So you can also look around, decide where you want to change or do you want to add and just continue? And it really doesn't matter how far apart they are. Once you're happy with the results, simply hit the Escape key. As you can see, all the assets are automatically being created and randomly dispersed. They are also hosted under one single object. If we expand the scene graph, you can see we have one painted vegetation asset, and it doesn't contain any other sub-elements. This helps greatly with easy sea management. If you also select the object, you can change all of its settings or add to it. You start to paint again. Or if you're not happy with some areas, you can simply use the vegetation eraser tool to remove unwanted areas. You can also add, change or remove assets from the original painted region at anytime by simply adding or removing new assets into the palette. Or you can also change the individual settings for each of the assets. If I want to change this in-country, perhaps I want this to be taller. You can see I can change its individual age and it will be propagated to all individuals and the painted region. If I want to remove this japanese see there, I simply select it. Click Delete and it will disappear. If I want more Indian sandalwood assets, I simply select it and increase the density. If I decrease the density, you can see other assets will substitute it. So the entire object is actually quite interactive and it allows you to make changes on the fly. You are not limited to just adding trees. You can add any type of vegetation. And lastly, asset. If you want to add bushes, you can simply drag them in. They will appear within your painted region. And you can add many, many assets. We can also add the grass and flowers. And these might take a couple of seconds to load in depending on how many assets you want to distribute. And we can also load in a couple of rocks. And you can see if your machine is slowing down to in motion will let you know too. Please wait as it is trying to work hard to add all of these assets into your model. Let's have a closer look. And apart from the fact that I have added to far too many rocks, Let's delete one of them. You can see that all the assets has been distributed within the scene without me having to add any more manually. So we have a lot of bushes. I guess we can also see some grass somewhere. But if not, I can always increase the density. Okay. There you go. It's still trying to load some of the assets up, but you can immediately see how lush this new environment is. You can see a lot of grass, lots of bushes, all the rocks underneath, and a wide variety of trees. Next, let's have a look at the vegetation scattered tool. This works in much the same way as the pink brush with the ability to load up a pallet with different assets and tweak the settings individually. However, instead of manually painting over an area, you can essentially distribute the assets across an entire surface or object in just a few clicks. Let's have a look by simply adding a few trees. Because I have a very wide landscape object which I will paint over. I think I only want to add one or two types. So let's drag this nickel and a blue spruce. You can select one or multiple assets. So let's select both of them. And you can then use the scaffold, our tool from the toolbar to easily distribute across the target host. And they will magically populate the entire area. Because my area is quite large, it will probably take a few minutes. But you can also apply it to smaller surfaces. Okay. So as you can see, all of my scene has now been populated with trees at a very light density. Now, imagine having to place all of these in such a large area. It will probably take you a couple of hours. And even with the paint tool, it will still take you quite a fair bit of time. If I go into the air, we can actually see just how many trees have been added into my viewport. If you want to increase the density, simply take the scapula tool and click once again on your target host. Okay, so you can see a lot more trees have now been evenly distributed across the environment. If you are no longer satisfied with the results, you can either Use the scaffold Remove tool. Let's see. I only want to remove one of the three types. If I select the blue spruce and select the scaffold remove. If I click on the target host, click once. You can see that these have randomly been reduced and distribution across the entire environment. If you want to be a bit more specific and reduce manually, you can use the eraser tool. This works just the same as with the vegetation paint tool. So if you zoom closer in, if you want to increase the diameter, you can simply use it to brush over the selected assets to pay attention that it will only remove the blue spruce because that is what I have selected. So if I then select the nickel firm, it will only reduce those and ignore the other types. So it only affects those which are selected. If I select both, then equally, it will remove both types of assets. You can always add, change, or remove assets from a scattered region at any time by simply removing or adding or changing their settings from the dock. Because I have been working on such a large section. I don't want to do that just now. But if I make a new object, for example, a primitive surface, I want to create another type here. So vegetation scatter. And I want to scatter a lot of grass and flowers and other small plants. Select all of them. Use this catheter out tool and click on top of this surface. You will see these have appeared by magic. If I click again, they will increase in density. And if I perhaps want to remove these two types, you can see the ferry equally disappear. If I delete the wild grass type, number one, it will disappear from my entire surface. And perhaps if I want to add a couple of rocks, simply dragging them in, I can just redistribute these on the surface. Just as before. It's useful to know that they are all created under one single object. Combining the ability to widen, generate dense vegetation by using these two tools. What manual placement of assets to perfectly set the scene and fine detail. You will easily mastered the ability to create stunning, diverse and realistic environments for your projects. 14. Urban Context: A few projects are located within urban environments. Motion can help reduce the time needed to build and model the contexts. If all you need are simple mass in blocks by extracting the data and downloading it to your scene. All thanks to the integration of OpenStreetMaps. The urban tool is found within the context tab. And it allows you to locate your site using the map and then grab the surrounding area by fitting it within the selection box. It defaults to a region and center of Paris. But you can always search the map by clicking on the magnifying glass and typing your desire to dress. For example, if we want to zoom in on the city of Westminster in London, you can zoom out and see a wider area. But you can also zoom in to define a very specific site. Once you're happy with the general location of your site, you can simply click the zone to grab tool and the selection box will appear over the map. Unfortunately, you cannot change the size of the selection box no matter how much you try to drag by the grips. So try to fit the required area within it. Even if it is at a wider scale, then you would perhaps need. So let's pick a location, perhaps somewhere along here. And we can get a bit of the bridge, a bit of the River Thames, a bit of St. James's Park, and a couple of buildings. Once you're happy with the selection, simply click Graph and wait for twin motion to process the selection and bring it into your viewport. Once this has been set up and process, the contexts will appear model as simple 3D block massing together with road, general and green areas generated as 2D surfaces. You can see that even a couple of trees have been added where they are notable features for this area. Although this generates geometry that lacks refinement in detail. Perhaps on the general buildings, rather than on some iconic landmarks such as the Palace of Westminster. It does rely on open source data for the measurement. So it is not always accurate, but it most definitely helps to save countless hours creating the context from scratch. On top of that, each element is individually editable in terms of height. So you can then start to refine each element by yourself in order to create a bit more visual fidelity to the area that you have captured. These are all individual blocks, so it does give you a better freedom and flexibility. There are some limitations to this feature. So it is good to bear in mind if you have critical work to do. It doesn't seem to recognize bodies of water at the moment. So even though we know the river teams is a very notable feature in the area that we have captured. And instead, it has included this within the general surface, which you can see in the scene graph as simply a ground area. The unfortunate aspect of this is that you cannot separate the surface manually within twin motion. It is one simple, large surface. You can select elements of the road as they have been brought in from OpenStreetMaps. However, there is very little customizability to them. You can of course change the materials, but not so much the geometry. It also doesn't relate multiple contexts grabs to stitch them together. So in the case that I want to add another section which excludes the first contexts, but is immediately next to it. So we can see that road layout over there being slightly south of it. So actually let's include it. The new contexts will simply appear at the center of the scene as just another group. Let's have a look by clicking graph and seeing the results. As you can see. Then you import just sets randomly at the center of the scene and overlaps with what I had already in the model. If we expand the scene graph, we can see we have the first contexts and the second contexts as individual groups. So turning these off, you can see the great distance between them. You could, if you struggled a bit, could manually placed them so that they do stitch together. However, if it is very critical for your modelling that you have a lot of accurate contexts. Perhaps it is better to model it beforehand and only rely on this feature when the context isn't as important. Or you can download a much wider area to begin with. Regardless of how you end up using it. I think it's a really powerful tool and it does allow you to save a lot of time in setting the scene perfectly for your own projects. 15. Objects: Twin motion features a vast collection of objects grouped under many categories and topics, so that you can always populate your scenes with high-quality detailed assets. And if you don't find something that suits your needs or must use a particular asset. You also have the ability to import from your own content library. By expanding the library panel. We can find objects under its own dedicated section, where you can find additional categories. Home and city. The first two categories is where you can find regular day-to-day objects covering everything from interior furniture, decoration, food items, all the way to urban props, street furniture and street lighting and many more in between, organized in different subcategories. Expanding the Home section, we can see furniture and objects grouped by room and function. Well, in the city category, we can find different types of assets based on what the purpose is on street, such as benches, bullets and planters, fountains, street signs and rubbish bins and so on. Let's have a look at placing some food items which can be found in the kitchen category, their own food section. So I believe in this scene, having that dining room table will be a perfect solution to place a few food items. We can add a few types of bread. Perhaps a slice of pizza, some apples, a few pumpkins, and tomatoes. And, you know, just benefit from the wide range of different assets available. If we then go into the city category, perhaps let's have a look at adding a bench onto this porch. Even though it may not be the most appropriate type of furniture. Saying that it is far more urban than this environment. Now is a snapping gear right there, but something that we can easily fix. And there you go. These items you can see are very simple to be placed within the scene. They can be edited using the transform tools by expanding them in the toolbar so you can very easily move and rotate them. However, if fits your needs, you can even rescale them to better fit the purposes of your projects. In some cases, you can even change their materials. However, they do lack any additional editing capabilities, so there are no particular settings to change about them. If you want to change the material, for example, it might work on furniture items more so than the food that we have placed before. Speaker. Select this would. And if we then go into the materials, let's make this concrete, for example, simply drag it ulcer and it's so easy to change and personalize all of these assets. The next section is called primitives, and this hosts a number of simple geometric forms and volumes of different sizes that allow you to easily create simple block massive or anything else that requires not that much detail. You can simply drag them into the scene. For example, as is the case of this cone. And if you want a very simple shape here that perhaps is decorative or you plan on building something with it. Where perhaps, let's see, that's a bit big. But you want to place this on top. Who knows for what purpose. That's very easy to do. These again, do not have any particular settings to adjust and tweak them, but they do take on any material that you want to apply to them. And as always, they can be changed with the transformation tools. And as you can see, there is quite a wide variety of different primitive objects allowing you to quickly make up some without having to go back into your design software. For simple assets. Decals are effects and imperfections, signage and many other types of details that work like stickers, which you can apply to any surface to enhance the look and feel of your scene. As you can see, there are many types of different road signs that you can apply it onto your road surfaces. But there are also many others that allow you to personalize and add some damage items or graffiti. Wall art, puddles, stains and so much more. To use these, for example, let's drag in stains number five, we can add some imperfections onto our concrete cube. Once you place it in the scene, it will apply onto the host surface. And you can see it adds a lot of variety to that surface without having to specifically modify the material. If we select the object, which might be tricky to do simply by clicking on the surface, but you can find it in the scene graph. We can have a look at the variety of different settings available. You will also notice that the transformation gizmos do your peers so that you can transform these on the surface. And a very helpful guide will appear to suggest the plane that they are on. You can also redirect them and move them simply a cost the target surface, or move them onto another surface altogether. You can see the mechanic of placing them over non box-like surfaces and objects as they will struggle to be applied onto it. However, if we keep to the cube to exemplify some of the other settings, you can change the texture simply by loading in the texture map, which is an image file, which transparency. If we click More, you can change the color. So if we move the picker way, you can very quickly add a different tint to that cow. And you can also increase or decrease the luminosity. You can change the size, simplify re-scaling the sticker image. And if you click More, you can scale specifically on one or the other directions. You can change the opacity to make it more or less solid or transparent. You can also change the offset, meaning that if you increase set, you can see that instead of it being complained, now projects the whole texture onto a rectangular box. And you can see that it starts to be applied onto other faces and other objects as well. If you plan on placing multiple stickers and they cows onto the same object, you can sort them in order by changing the slider here. So if I apply the number for onto the same one, I can now select the first again and select the order number and set this to one, which will bring it ahead of the other objects, but which I have placed more recently. So this works sort of like a layer system. If we click on settings, we can see some additional changes that we can make to this thicker. We can increase or decrease its reflection. By clicking on More. You can add a roughness map to it. You can increase or decrease the pump so that it becomes more or less three-dimensional. And you can also add in a normal map to it. You can make this glow with more settings allowing you to change color and light intensity, as well as to enable the dusk to dawn mechanic. You can also enable this to be metallic and have more realistic reflections. You can also load in an additional texture to change the strength of this effect. The following category called particles, allows you to place very special assets or feature particle animation, allowing you to have fires, smoke, and fog, waterfalls, or found injects constantly moving and adding color effect to your environments. If we have a look in the model, let's see if there is any indication of a space that could become slide please. So here we have a gas stove. So simply click on this. And let's place it roughly in line with one of the gas burners. Try and place it on top of a surface. And now let's have a look at editing this. Try and find the object again, and we can very easily you re-scale this. Let's do this uniform me, Bye 0.1. And that's so perhaps a bit too big. And I think that's the smallest actual scale, but it will come to you. But you can see how incredible this effect is. Not only is it constantly animating, but it also transforms the area around it, and it is also visible in all of the reflective objects. However, let's get rid of this one and create another type. And we can create an animated waterjet. This will allow you to create very interactive fountain and water escapes. If you're interested in creating a more moody scene, you can also create small fog banks which generate a lot of fog around them and why they're area. As you can see. By placing these, you can create some very atmospheric scenes. One thing to note is that these particle objects do not have any settings and you cannot change their animation or types. Next, we can have a look Water object. So by expanding this category, we can see two different types, a water cube and the water cylinder. Let's click and Crick one of these. And you can see it looks exactly like one of those primitives. However, it already has a water texture and material applied to it. If we select the object in the scene graph, we can see that it has two different settings. Toggle to enable or disable. And an aspect setting which allows us to select from three different types of water. For number one, number two, and number three. This is where all the settings are limited to. However, you will remember that there are a lot more settings to change when it comes to water materials. So if we go back and add a new water material to this new cube, you can see the stark difference between the two. And the way that you have a lot more variation to play with. You can change the water material in far greater detail than you would with just the water object. However, if it doesn't really matter how this looks, it is much easier to create a water object and then rescale it by dragging on these grips. Suit your particular needs. And of course, you have two different shapes depending on desired outcome. With the option to select from a cube or a cylinder. In the sounds category, you can find different sound source objects that allow you to play many different soundbites throughout the environment to add an extra layer of emotion. These are grouped for different types of environments with many options within each one. So in the people category, you can find environments for urban or retail or different sorts of spaces where lots of people might come together. You can even find spaces for busy ambience, cafe ambience, crowds, and so on. The nature category, you can find natural sounds of different environments such as a column, forest, creeks, fountains, reigns in storms, different animal sounds, and so on. And finally, within the city category, you can find different urban noises. To use this, simply drag them into your scene. And once you come close to the area, you should be able to hear a sound play out. If we then select the object, which will have a small icon to inform you that it is present in the scene. But you can easily select it from the scene graph. You can find all the different settings expand within the dock. These will be a toggle to turn the audio on or off, a volume slider to set the volume. And then the shape of effect and the size of effects. So if we zoom out a bit, you can see at the moment this has a very large sphere, 36 meters in diameter. This means that anywhere within the body of the sphere, you will be able to hear that sound with various levels of intensity as you come closer to the source. But you can also change it from a sphere to a box and can change the size from a maximum of five kilometers all the way down to a meter. Whilst you have a very wide selection of different sample files, at the moment, you are unable to load your own. The final category is called doors. And this offers a large selection of different preset doors, either singles or doubles, rotating or sliding, that can be customized, change their appearance and which are animated to open and close upon different triggers. You may have seen within this model. When we approach this door, it will trigger an animation to open it and stay open until we pass through it. And go beyond its range of triggering. At which point it will close behind us. Similar with the bedroom doors. As we approach, they will slide open and we can pass through. Moving away, they will close again. In the doors category, we can find first the two different types rotating, as we have seen with the entrance door and sliding. As for the bedroom doors, opening one type, you can see the wide variety of different sets. So if we want to use the double rotating number seven, for example, it can very easily place it within the model. If we move closer to it. You can see has already been animated. To open. If we selected the object, you can see the main settings expand within the dark. You can change the style either by selecting a preset or if you click on More, you can select the individual styles for the handle, for the hinges, and for the casing. So do you want to see hinges on or off? Do you want to change the door handle? You can very easily do that or you can even remove it. And if you want to change the casing or remove it entirely, it's also very possible. Next, you can change the trigger behavior, meaning that you want it to be triggered upon approach. Stay open. For stay closed. And if you expand more, you can see there are different types of settings to change the radius. Let's set this to trigger first in order to expand these. So the trigger radius is highlighted by this blue circle. Currently this is set at three meters, but if I increase this, and now, because the camera is set within this area, the door has opened. If we decrease this value, you can see it being represented on the plane. You can also change what can trigger this behavior, such as the camera, a character, or a custom path actor. And you can also change whether this happens instantly or has a very slightly. You can set this all the way up to a minute. If we set this to two seconds, Let's expand this. You can see that now it has to wait almost 28 seconds until it will close again. Next, we can change which side to open. So currently it is opening only the right side, but we can select right, left, or both. And as we come close to the door, you can see there is an indication to show what sides will open and also which direction we will come close. The radius was set to 0. So we can see that working now. If we click More, you can change which direction it opens in, either inward or outward. And also the angle, whether you want this to open less than 90 degrees or more. Next, we can change the width and height of the door object simply by using the slider or the value inputs so that you can very easily customize this to fit within your proposed designs. You will notice that the door handles remain in place regardless of how tall you make the door. In this case, the last setting framing is this activated. But we can use a different doors style that will have a framing to begin with. So if we choose style number two, you can see framing now is active and we can increase or decrease the thickness and scale of that framing. If we expand the setting here, you can see that you can change the hinge style, the lock style, the bottom rail, or the top rail to manually and carefully adjust exactly how this door is meant to look like. Beyond these numerous categories, there are even more objects for wide variety of uses in the quicksort megapascals category in the library called 3D assets. These are Photoscan, real-life objects with incredible visual fidelity and stunning materials, and allow you to create even more diversity in populating your scenes. If you need to import external files model than other applications or acquired from other vendors, you can use the Import Geometry method discussed at the beginning for this use case. Yet your method is to use collapse or in order to have a single object with a clearly defined pivot point, but still retained the different materials applied to it. There are many file types supported by mainstream 3D modeling applications. So you can enjoy the freedom to bring in your own assets. 16. Quixel Megascans: Since both twin motion and Quicksort are part of the Unreal Engine ecosystem. They have a tight integration with regards to using photorealistic assets developed and hosted in the mega scans library. These assets are digital copies of real life objects and surfaces created using a technique called photogrammetry, which captures even the smallest detail and imperfections, making it much easier to increase the photo realism of your projects compared to modelling these details manually. These can be found in the quakes omega scans category and the library. The best way to take advantage of these incredible assets is to use them straight from the twin motion library. Here you can see four subsections of hundreds of assets made compatible with twin motions real-time engine, but are a fraction of what the incredibly expansive library of mega scans can offer for. These are grouped under 3D asset, 3D plant, surface, and decals. Each of these can expand into more and more topics and categories. And more are added constantly giving you an ever-increasing freedom of creation. When deciding to bring an asset into the scene, such as a food item, which we can place on this table. The first thing you might notice will be the addition of a small Download icon in the corner of each thumbnail. This is due to the assets being stored on the cloud rather than in pre-installed with twin motion, like other assets, you can simply download the ones you need by clicking the icon and waiting for the process to complete. Let's see what type of baked good we can add here. Let's add very large loaf of bread. And clicking the Download icon will indicate the progress. When this is ready, just drag the asset into the sea. Then ask this will be the first instance being loaded. You will see a place holder object appear rather than the actual object. Once you determine its location, the actual detailed object will be processed and loaded. This only happens the first time any new asset is loaded into the project. Now we can zoom in and actually see, now this looks in much greater detail. If we add one of the previous loaves of bread closer in for comparison. Whilst this looks very good from up-close, it does look like a 3D object modeled by someone very skilled, whereas this actually looks like a real piece of bread. The texture is much more detailed and the shape is much nicer. It was actually even partly submerged into the table. But you can see this is of a much higher standard. Generally, 3D assets will function just like objects without any particular settings. Selecting this bread, you can see nothing will appear in the dark. You can apply a different material to them from the library. But this somewhat defeats the purpose as most of the detail and imperfections are stored in the Photoscan textures they come with. If we, for example, wanted to make this bread or something else, something made out of wood. You can of course, drag material over it and it will apply. And you can see how this was modeled. But it doesn't actually lends itself well to become something else. 3d plants will generally have a number of variations on the same type of species so that you can easily avoid repetition. If we expand this category, Let's try and pick an object. You can see that there is quite a variety of different objects depending on which subcategory and topic you choose from. For example, I already have this downloaded and if I hover over it, it will show you all the different sub-elements contained within this collection. You can first pick individual items out of the collection. Or you can, of course, big all of them to bring into your scene at once. If I download another type of assets, Let's go for this ornamental kale. You can see by expanding this panel that you can create variations. So if you click on this, we'll start to process all the data downloaded. And you can see all the different assets contained within this collection. If you want to place this within the scene, for all the collection items, you can simply track them in. And you can see these appear within the scene. Letting go will start to process them and then you can actually use them. Most asset will give you the ability to control their size. And whether they will have the window animation enabled or disabled. Unfortunately, they are not yet compatible with either the vegetation or scattered Cruz. Perhaps given the high polygon count, mentioned that for precise insertions, where needed to boost the quality and detail of a particular shot. If however you want to use one simple item, clicking the collection first and then clicking on the individual item from the collection. You can just place that by dragging it. Then. Surfaces are highly detailed, higher resolution materials that work just like native materials into emotion and features, some of the general settings to further customize them. If we expand the surface category, again, we can see different subcategories per each different type of material. If we want to make something out of wood, Let's expand this and you will see even more categories to choose from. Let's look at veneers. These also have to be downloaded from the Cloud and they will be stored locally for you to use on all future projects. Let's have a look at this oak veneer and apply it to perhaps this chair or any other object within this bathroom. Actually, let's have a look at making the bathtub out of what? Simply dragging the material both from the library onto the object. You will see a highlighted first. Once you let go of the mouse, it will be processed. Material will be created. Like any other material. You can choose how to apply it by changing the projection UV mapping. And let's apply it again. And you can also change the reflections scale color, and so on. If we have a look at concrete, for example, you will see many more different variations of this material type. And if we have a look at cast in situ, you can see that these are clearly much more Fareed and detailed. Finally, decals are similar to the natively available counterparts, working in exactly the same way. Attaching highly detailed stickers to surfaces to further drive up the level of realism. For example, if we have a look at this desert soil scatter, once this has been loaded, let's apply it. Somewhere on this deck. Simply drag it in and wants to place holder is in the right location, let go and it will be processed. And you can see these appear fairly natural and very detailed. If we come in close to them, they almost have a 3D quality about them. If you look at them from a slight difference, you wouldn't even be able to tell that is, It's thicker and not actual geometry. Another way of using mega scans assets is through the Quicksort bridge app. Here you can find a full library of assets split into more categories. However, it is important to note that if you intend to use 3D assets from here, you will find that they are not as will optimize as they would be once accessible through the twin motion interface, even though they are using the same asset. But don't worry, as more and more assets are being frequently added directly into the twin motion engine. You can however, make use of the different material texture assets, such as surfaces, imperfections and displacement maps. You can find these under the surfaces imperfections and displacements categories in the side panel. This will allow you to create your raw materials and twin motion or add additional layers to existing ones to manually improve them. Imperfections work great in the reflection texture slot. While displacement x shares work really well in the bump normal texture slot. Two people to use these assets, simply click your desire. One, such as this brick tile displacement. And you can change the resolution of the asset to be downloaded. And simply hit Download. Once you're happy. When you first install and set up this program, you will be able to specify what your desired file destination will be. Once back in twin motion, Let's have a look at how you could load in these assets. So perhaps I want to change this marble texture. If I select it, and I want to go onto settings, bump, click More. And now let's have a look at replacing the generic normal map. Once you navigate to the file destination, you can choose a number of different texture maps. However, because we want to replace a normal map, simply select the one called normal, which will be this slightly bluish purple color. Once that has been loaded in, you will see the effect immediately appear within the viewport. If this is perhaps a bit too large, you can always go and change the scale of the material. And now you can see how this has easily brought in February detailed look to this marble, making it look more like tiles than simple slabs. Using all of these incredible assets, you will be able to undoubtedly take your models and designs to the next level in terms of detail and realism. 17. Lights: When it comes to lighting up the spaces in your scene using artificial sources of light, you can find a large collection of special objects in the library, in the light section. If we expand this, we can find these are organized into different types based on how they distribute light in the scene. You have omni-directional light, spotlights, neon lights, Area Lights, and finally, different types of IES lights. Let's discuss each and every individual type, starting with the omni directional light. You can simply drag these into the scene and snap them anywhere within the model. I have already placed all of these in space so we can simply turn them on and off to discuss their individual characteristics. So omni-directional light, uniformly cast light in all directions. Hence the term omni from a point or a spherical source. So consider this working as a regular light bulb when it is unobstructed. You can see that the entire scene is being lit. A spotlight will project and focus light towards a particular direction in a conical volume away from the source. If we select this one, you can see how this starts to project light away from a singular point. And that's the light doesn't actually spread out throughout the entire room, but it focuses on top of the bed. Neon lights, Castlight uniformly in all directions from a linear source object. If we have a look closer in, you can see the guideline being represented by this rectangle. At the moment, this is set to one meter in length, which of course you can alternate. You can see that light will spread along this entire object. You can even see its reflection off of the tiles. Just like with the omni-directional light. The neon light will spread like throughout the entire room. And every alive, on the other hand, cost like uniformly in one direction in a box volume away from the rectangular source object. This looks similar to the neon light, particularly if we were to make the box the same size. However, you will see that light is not predicted throughout the entire room. So let's make this one by one meter again. You can very clearly see the point at which the light starts spreading downward and it no longer shines anything above this line. Finally IS pipelines are essentially spotlights, but they specifically refer to the method of describing and displaying lighting patterns created by real life lighting products. Ies stands for illuminating Engineering Society. And these slides depend on an IES photometric file that accurately describes the shape and pattern the light will create. You can find that by clicking more on the light toggle. And you will see what this file type is being loaded in. All of these objects, as you have seen, mostly have the same settings. First, we have a simple toggle. This enables us to turn the light on or off. And you can even load the IES file. If you click more, then you have intensity. This is measured in lumens. You can increase the brightness of the light by increasing the slider value. And if you click More, you can also change strength of the reflection of the source and reflective objects around it. You can also enable the dusk to dawn mechanism. Effectively. If we enable this, because outside it is during daytime, the light will be turned off automatically. However, if we change the time of day, this will automatically be turned on. And in order to see the reflection, Let's come down. Perhaps we want to see it within this window. In fact, actually it looks better within the metallic frame of the store with the reflection set to one, you can see how bright that is. If we turn this down, you will see no longer starts to appear. Next, we have a color settings. This is in degrees Kelvin. And if we look at the source and at the light within the room, this allows us to change the lights temperature. If you increase the value, the light will become warmer and tone and much whiter. However, if we decrease the value of the light will become much colder and more yellowish, orange and red. If you click More, you can actually change the color or the tint of the light. And this looks like a color picker, which allows us to manually change the actual tone and hue of the color. Not all settings are present on all types. So if we enable the spotlight, we can see this has an angle setting, meaning that you can control how sharp or white the cone spread of light is. Currently this is set to 88 degrees. So if we decrease this value, you can see the guiding marker here starts to become sharper and you can see the light start to focusing in one specific area. If we increase this, the light will obviously be spread out further apart. This applies to both spotlights and slides, which are in effect the same type. If we select neon lights, we can see that these have a length setting. And if we also select, I realize these have a length and a width because one is a linear object and one is a rectangular object. These allow you to define the actual measurement of the object. Setting meters. If we enabled the omni-directional light, again, we can see a setting called attenuation. This is applicable to all types. Apart from neon lights. Attenuation is measured in meters and is the extent that the light can reach way from the source currency to set, to five meters. And you can see this represented as the fear around us. If we set this to one meter, you can see the sphere has reduced in size. And because no object is contained within it, nothing is being backed up. If we track this light source further down so that it can reach the bed. You can start to see around the edges of this fear that it starts to actually look brighter. As we move further away, the effect disappears. So you can also increase this value. To be able to spread the light further away. The shadow stock enables the light to cast shadows of objects that it meets. If you turn this on. First, let's have a look at where this light actually hits objects. You can see that nothing actually casting shadows. But if we turn this on, you can see that the light starts to calculate all the shadows based on objects that it impacts. If we click More, you can see that there is a toggle for volumetric shadows. These generate 3D volumes in the atmosphere and not just the 2D representations on the surfaces. If we enable this, we can try to get close into this area here. It's actually quite difficult to create a situation in which we can more clearly see the volumetric shadows. But perhaps at a later point we can exemplify that. Next we have a haze. This is an effect that locally generates particles in the air to simulate light rays passing through a dusty atmosphere and create a more dramatic effect. If we enable this. You can see the slight Hayes appearing within the viewport. It starts to move around, suggesting dust particles moving around in the air. Let's have a look at the spotlight or an IES like and if re-enabled shadows on this one. And also Hayes. And even turned on the Volumetric Shadows that will perhaps allow us to more clearly see how this works. If we focus in the angle bit more and actually move it so that it shows us a bit more clearly the shadows coming from this corner. If we enable more settings on the haze table, you can see three types. First is the intensity. This allows us to control how intense the haze will appear. Next. You can toggle the speed and as you can see as such, to move around on the view port for if we turn this all the way down, ideally, it should stop doing all of this. Or you can increase the speed, giving it a much higher pulsation. You can also change the timing with higher values, meaning that a towels more. So it scales down the sort of texture and effect. Or if we take this all the way down, it should appear as a much more uniform effect. As you can see when we turn off Volumetric Shadows. The haze effect becomes quite weird, particularly in the view-port without it being rendered. However, when we do an a volumetric shadows, this starts to pulsate far less and it looks a bit more natural. Obviously, all the light sources can be transformed much in the same way as other object types. So you can move them or rotate them, but not scale. If you do need to scale or change three dimensional seconds for them, this only applies to neon lights, as I've mentioned, where you can change the length of the object. Or for area lights, where you can change both the length and the width. Now, be aware that lighting objects, such as lamps, pendants, streetlights, and so on, do not have a light source object associated with them. So when you add them to your scene, they will not actually cost any light as is visible within the scene. Now, This lamp only has the light bulb and the filament slightly glowing in there. And so does this one. You can see the light bulb is very nicely model. You can see the filament, but nothing actually project outwards. So in this case, you will have to manually pair a light source with an object to reach the desired effect. In order to do that, for example, let's use the IES slide number two. Let's bring this in. And I want to sort of match it. Wet application might be. Let's turn this off so it will be easier to move around. Okay? And it's enabled us. You can actually rotate it and change the angle so that it looks a bit more natural. There we go. And let's change this to something perhaps not as sharp. And we can also change its intensity to something more manageable. Enable shadows. You can even enable haze, but it looks a bit weird, so maybe turn that off. And finally, you can also apply the dusk to dawn mechanic. And now if we change the light and time of day, this will automatically turn itself on. However, if we are to look at this lamp in more detail, you can see that it starts to project light. But if we come close to it, than light bulb is actually turned off. So there is no actual natural mechanic here. In that case, we have to do some tweaking. Let's have a look at the material glow. This was discussed previously elsewhere in the course, but in effect, it allows materials to generate an emit light. We can see that the filament that has a very, very slight glow to it. So let's try and go in closer. Perhaps we may be able to change it. I want to right-click on the object and isolated. Now let's try and pick the material from the filament, see if that works in any way. Here we go. So I managed to actually select the light filament material. Now, if I go all the way back and I want to click on Settings, and we have the closed set in which we have discussed in the past. This is now set to ten minutes, which isn't nearly bright enough. If I turn this to dusk to dawn enabled, so that it only starts to work during nighttime. I want to set this, do something far brighter. So something like a thousand, five thousand nets. It's perhaps a bit too small really to make any difference because it's only a couple of wires. 10 thousand nets doesn't really make a difference, does it? If we isolate this, we can see there is no real difference. But perhaps we can create a new material. Click on the grid icon to see all the materials. And let's click on the plus button, make a new material. Actually, we might be able to create a translucent material rather than a new and the type of material because we want to have something that's slightly transparent. So I'm going to try with this blue lacquer glass and actually change its color to be simple white. The unfortunate thing is that you can't actually make both transparent and glowing materials currently. Perhaps that will come in the future. But if we make this glow very brightly, let's say 50 nets make this double-sided and apply it to the light bulb. Makes sure there's only becomes dusk to dawn enabled. And what we want to do is actually go and re-enable the IS life and match the color profile here. So you now have to replace this further down because the material is no longer see-through. If we select this, make sure again, this has the same light color and temperature. Now, it looks much more natural. If we turn the light off. You can see the light bulb still shines, but it doesn't cause any light at all. So as we can see, different types of materials and the special lighting objects work really great when combined to create a more natural feeling and a much more natural working system to light up the scenes in your projects. 18. Lighting and Environment: By default, when motion uses a digital sun and sky model to light up the environment. This also enables the weather system, which will expand on shortly as the version 2022. You can also use sky domes to replace the sun and sky model with an HDRI photographs of our real sudden sky. The natural lighting conditions in the scene will depend on a few factors and settings. From the Settings tab in the dark. You can affect these from the two sections called lighting and location. Let's talk about the first one. Here we can see all the settings that affect the sun's light characteristics and how it is interpreted by the camera. Sky dome is a new feature, as I've just mentioned, and it gives you access to a specific settings once enabled. We'll talk about this in more detail later on. The exposure slider allows you to change the exposure values in the presented camera, controlling how light or dark you perceive the environment. You can change the slider or input a specific value. With lower values, making it much darker and higher values, adding more light, but blowing the image out of proportion and burning it. If you click More, you can toggle auto exposure on or off, as well as set the values. Once again, if we set this to off, you can see this is by default at 0. So if we increase this to meet the requirement inside, once we go into a darker space, such as inside, we can see that the lighting condition doesn't change. However, if we then turn auto exposure on, we can see the scene automatically brightens itself up plus adding the exposure correction. So it's best that you either manually set the exposure values depending on the scene or leave it on auto exposure and just leave the exposure value to 0. This will give you a much more natural looking image. Next, we can talk about white balance. This changes the white point in the image based on the light's temperature in degrees Kelvin. You can see this is currently set to 6,666 degrees. So we can change this by increasing the value of making the light appear much warmer and hence a bit yellowish. And if we increase this by a lot, you can see more warmth in the image, more orange tones and the highlights. Whereas if we decrease this value and if we go beyond the original value, you can see everything starts to be called. The light is much more bluish and it just gives you a more stock appearance. If we decrease this value by quite a lot, reaching 5 thousand degrees Kelvin, you can see it's actually starting to be a bit new green. The sun intensity changes the actual light intensity generated by the sun. Irrespective of the exposure, you can change the Sun's strength by changing this slider. So currently this is set at ten, but if we set this to one, Let's see how it looks. And as you can see, it's a lot darker. And even with auto exposure set you on, it still gives us quite a dark environment. Let's set this to 15 and see the difference. It's not much better than at first, but definitely a bit brighter. And you can see in the highlights they are a bit burned out. Especially outside. Something just on the value of ten perhaps works quite nicely. If you want a soft balanced image. If we click More, we can see the intensity of the sun's reflection. And this will impact how the sun is represented on certain objects. Let's have a look where the sun is located. So it should be visible on one of these windows or perhaps in the glossiness of the roof. If we start to decrease this. You can see the reflections across the roof and even a bit in the grass and over the windows. Such student finishing string. If I increase this, you can see all the glossy edges and all the sheet starts to come back and give it a lot more life. You can also change the size of the Sun by increasing or decreasing the value or dragging the slider. So if we have a look directly at the sun, which is quite above us, currently set to 0.54. We can define it as that range. But if we increase this to You can see it physically changes in size, increasing dramatically. So generally helps when you have the sun visible in your shot, whether you want to create a very specific look. However, if that is not a concern, you can just leave this at a value of one. For something more realistic. The moon intensity can also change the actual license and city generated by the moon irrespective of the exposure. So if we set the time to something like midnight, Let's see if the moon is visible. Okay, there we go. Currently this is set to 1.5. So if we increase this by, let's say five, you can see just how much brighter the entire scene and the entire sky has become. If we have a look at the house again, set this to 1.5. Again. You can see the entire environment is much darker. Again. Playing between the sun intensity and the moon intensity does help to create a different field. If we click More, we can see we also have a slider and then value inputs for the stars intensity. Currently this is set to one, but let's increase the value here. And perhaps it is very faint, but we can see a lot more stars in the background. The subtle ones that will usually just dust booking. And the maximum value here is three. It doesn't go higher than this. Having set that to 0.5, we can see around this area that they are much, much subtler. Now. Finally, the ambient slider controls how much the ambient light cast by the moon or the sun is going to be present in the scene and affect other objects. So now this is set to 0.5. If we set this to one, you can see slightly on the area above the roof, start to change. This to two. Again, it will change a bit more, become a bit brighter. And the maximum value is two. But setting this back to its default value, you can see how much blocker it is now by comparison. Now, let's talk about location. Here is where you can change the real-world information about your project. You can relocate the project anywhere in the world by changing the pens location on the map. And this will have an impact on the sun and sky model. Has it responds to different latitudes or hemisphere. Currently, this is set somewhere in France, perhaps in Paris. But if we drag the pen somewhere else in the world, you can instantly see how the environment changes to adapt to the sun's position in the sky. So if we have a look, It's almost for 20. If we place this somewhere in Canada, somewhere up north, you can see how the sun changes again. Overall, it allows you to manually set up the location of your project. What you can also be more specific and search for the exact location. We can change the time of day or using the slider, or as we have seen, by using their facial styles menu here. You can just input the exact time or use the slider. Next, we can also change the month. And you can only use this slider in this case by alternating between the different ones in the calendar. As you can see, this only has an impact on the sun's position in the sky by setting its altitude. It doesn't currently affect the weather as that is separately control. The North offset will allow you to manually rotate north direction if the project was not rolled aligns to precisely set the direction of lighting. The compost on the side of the screen will indicate what the north direction is like the red arrow. And currently this is aligned with north being. That way. If we change the slider, you can see that the compass automatically changes and rotates to address the actual location. And you can also input a numerical value to be more precise. Finally, we can change the background, which is the image displayed at the horizon. Currently you can see this image of mountain scape just to define the edge of the world. But if we click this button, we can change it. You can choose from a default set of images. And unfortunately, you cannot load your role at the moment. But these generally do suffice. And if you're not satisfied with any of them, it's easier to just have it on none. This will allow you to see an infinite plane without being constructed by the limited choices. If you are using a background image, you can also rotate it by using the slider or by inputting the specific value. The weather system entered motion is a very spectacular feature allowing you to change the environmental conditions without difficult post-processing or any special purpose modeling and texturing the visualizer designs in any methodological scenario. So still from the settings tab, the fourth icon will guide you to the weather system. Here we can see the different settings that affects specific commands. Whether slide that controls the actual weather effects. From sunny to slightly cloudy To overcast and rainy to an absolute storm. And just as the rain starts to break, back into cloudy and back to a sunny day. The next slider controls the actual season from somewhere to autumn, winter to spring, and all the way back to summer again. If we start here, Let's see how the weather changes. You can see how some of the deciduous plants and trees start to change that color. We can see all of these nice yellows and goals and oranges. And as we move closer to winter, you will see, Let's now start to appear. And some of the trees will start to lose their leaves. Snow will cover absolutely everything. And you can go then back into spring. Some variables, something at all. While some of the snow will still be persistent. Some trees will have a face light variant for spring season. However, most of them all just spring back leaves and half the normal summer appearance. The following slider controls the global growth level of trees and vegetation for those with the cross toggled on. If we have a look tree, you can see the cross toggled on. So if we then go back into the weather system and we start to change the slider from 50% all the way down. You can see how it affects all the trees at once. If I select the same tree again and I stapled on the PS3 specifically, you can see it defaults back to the Age that is set manually on this exact individual. Let's turn this back on. As it is always better to control the settings globally rather than individually, unless you have very specific purposes. You can set this to a 100 per cent and you can see how the mature landscape pulled up here. Under Effects. We can expand to see other environmental setting settings. First is the wind speed. And this will allow you to alter the wind effect on vegetation when it is toggled on, it is still quite subtle. So if we have a look closer to southeast grass and pushes, you can see they slightly Chico and the movement of the briefs. If we increase this, they start to move a bit more rapidly, but not to some drastic effect. The maximum value for the speed as five. You can also change the direction from which the wind blows. This effect is very, very subtle, and it doesn't really matter how much you change it. It's not really going to be that visible. Smoke sex, the atmospheric fog intensity. So currently this is set to 15, which means that at the horizon you will start to see everything blur out of bed. But if we increase this, it will start to be a lot more visible. It will start to fill up the entire environment. This will allow you to create some very atmospheric shots, particularly coupled with some very specific lighting effects. And we can discuss about particles. This is a toggle that controls whether rain and snow effects are visible or not. So currently this is set to on. So if we set the weather system to overcast and raining, you can see the actual rain effect. And if we turn this off, that affect all goes away. So you can't see the rain drops, you can see pebbles on the ground. It doesn't really work anymore. With the effect of Naples, you can see puddle start to form on the ground and on surfaces that can be affected by the weather. On the roof, it catches all of that glossiness from a wet material. And if we are to actually set the weather to rain and the season to winter time, you can see it actually stops to snow. So you also get these particles in the environment. So it can be more abundant or a bit sunny whilst it also snows. You can create some very wonderful environments. The last setting is called ocean. And it enables a whole environment, body of water that simulating the ocean. What specific settings? So if we enable it, ignore for a second the fact that we have a large body of water. If we enable the ocean setting, you can see another infinite body of water will appear at a height of one meter beyond the origin point. So this has flooded the entire scene. If we set this higher to say ten meters, you can see we are completely submerged. And this will stretch out until the edges of the environment. You can also change the aspect between a few presets. This is currently set to clear river, or we can make it look like the Atlantic Ocean, which becomes a bit bluish. Different types of river, tropical seas and so on. But this April, this effect. And we can clearly see from the scene graphs, just for the sake of it, that this was just part of the model rather than a tread motion effect. Using all of these mechanisms will show me alone to recreate any number of scenarios in climate and showcase your projects in the best light. 19. Skydomes: A new function in twin motion, but by no means a new concept for architectural visualization is the integration of sky domes. These can be found in the new category in the library and our group under different times of day. If we expand the library, we can see the new category called scutum here. And as you can see, these are grouped under morning and afternoon. Noon, and low sun, meaning either task or Dan's situations. From the Settings tab. In lighting. We also have the feature called sky dome. These are effectively spherical or hemispherical photos taken through specialized process in natural real life conditions to capture the details and variations of our real sun and sky. These rely on HDRI or high dynamic range images in either E, XR, or HDR file formats. Typically, train motion uses in digital sun and sky model and a complete weather system to allow you to generate different environmental conditions. But in some cases, you might want to rely on real information. Using a sky dome comes in handy, but it will overwrite the real-time engine. So you won't be able to change the time of day as usual. To add the sky dome. You can either go into the library and select your preferred one, or from the lighting settings. We can enable the sky dome. Let's try this method first. If we turn this on, we can see that it will already apply something by default. But if we click More, we can see all the different effects. Now, let's go into the library and choose something with a low sun. Expand this category and you have three other options. Depending on the weather. Clear, cloudy, or overcast. Let's go for something cloudy. Now, what you will see is a range of different images, but these are not actually stored locally on your machine unless you have previously downloaded them. As with Quicksort micro scan assets, you will need to individually download these before you want to use them. As I have already used this one, we can simply drag it in and replace the one in the preview. And as you can see, it has dramatically altered the look and feel of our environment. We can see a much nicer sky. The sun is much brighter and very orange, and we can clearly see this approaching the sunset. Now what the sky dome add it to the model. Let's discuss the individual settings that we can see in the dark. Obviously, we first have to preview and this will allow you to interact or reload the image file or to even loads one of your own from your personal content library. If you click on the three dots icon, you can simply go and open. And it will allow you to load in thought EXIF files or that HDR files, which are called cube maps. Next, we can discuss about the intensity or the strength of the images. Currently this is set to five. So as we have seen previously, we can increase this value to alter it the sun's intensity. Or we can decrease it to something lower, let's say three. To diminish the level of brightness and overall light in the image. If we click More, we can also change the level of ambient lighting. The next double hold, much sun will automatically match the sun within the engine to the light source at the same location and direction as present in the sky dome image. This is to ensure that the actual light comes from the same direction as the brightest point within the image. And not to have two different sounds on the sky. Rotation will allow you to rotate the hemisphere in order to change the direction of the light in the scene. You can manually set the value or you can just use the slider. The following toggle named sky dome effects like ink. Very intuitive, might I add, allows you to toggle whether you want this guy down to affect the overall lighting within the scene, or whether you simply want it more as a backdrop. We can see over in the background across the lake. If we turn this back on, it starts to increase in brightness. And I think it generally affects the global illumination in the scene as well. You can also turn on or off the general smoke within the scene. If we set this to off, it doesn't immediately become visible as we do have a background image. But let's play. We can distinguish something over at the horizon. If we change the background to none, we go back. We can see with the smoke turned off, the horizon line is just a clear cut line. Whereas with smoke, you see a bit of a blurry edge. Whenever you wish to go back to the pen motion in engine sun, sky model, you can simply change the setting from on to off and the Lighting Settings tab. And this will revert back to the default settings that you had previously. Generally, the sky dome does allow you to create a much wider variety of scenarios because the lighting conditions are captured in the real-world and more accurately represented as opposed to something that's simulated by the engine. 20. Characters: Thanks to its incredible real-time engine and the ability to display dynamic objects, motion also has an expansive library of character models of different types, as well as a multitude of vehicle models. This allows you to create rich dynamic environments with these in the library. These are split into their own categories, characters, and vehicles, each with several subcategories depending on your needs. First, let's have a look at the most important part of this conversation. And perhaps of architecture as a whole are people. In this case people models. So populating your scene with enough people to give them life to interact with the buildings and the environment is a key strategy to creating realism in your projects. There are several types of characters and they have different use cases and settings. First is the animated humans. Let's expand this category and have a look. And limited humans are the essential assets for your models. As they are not only highly detailed 3D characters with multiple color schemes, but they're also completely animated with many different actions and poses. Let's place one within the model and investigate this further. Now, let's select it and see what the different options are. First, we have cloths color, and this gives us a range of different presets schemes. So even if you choose to have the same model repeated in your scene, at least it will be more valid and it will be harder to spot identical copies. We can see that this model has five different presets and it basically just changes the color of the clothes. Next, we can change the pose. And there is a range of different poses for your character. So they appear engaged in different activities and positions. We can see we have speaking, which engages the character in a speech with another character setting. And in this particular case, we do not have a chair model or any city model underneath the character. So you can see how this might actually work. If we, for example, move the character over here. Or perhaps inside the house, where we do actually have a chair. Depending on how well you position the character, it will start to look quite believable. Another pose is dancing. And you can see how much fun this character is having. Then we'll skip over one and go to walking. And this will be helpful when we discuss custom paths. And let's see the special pose. Now, this character appears to be giving an interview. However, if we go and select any of the normal ones, we can discuss the final setting here, which is called animation. This offers a range of different animations for each pose to add an extra level of variation. So when the character appears to be speaking, you can choose from two or three different animations. If the characters dancing, they have multiple dancing routines. If the character is walking, they can either carry some luggage, precise them, talking on the phone and walking. Walking normally, having a shopping bag, maybe even playing on their phone. However, something really incredible happens when you select the special pose. And you also change the animation type. So all of a sudden, this character appears to be playing the piano. This is something that changes from character to character as different models will have different special animations. For one, this one appears to be giving a concert or to be doing a job. In this case, reporting from the scene. If we place another model, this individual will of course, have different special animations. So for one, we also see lying here as the character lays down on the floor. And of course this has different variations, but let's have a look at the special pose. This also appears to be playing the piano, but you can see this character has a lot more special animations. They can also write a scooter. Fits and pigeons. Take photos, have different poses if they have limited mobility. With either an animation in motion or a static one. And also have a job. And coincidentally, this is the camera man to our initial reporter. So as you can see, there are many ways to bring life into your model and to create some very dynamic environments with people engaging in a multitude of different actions. Next, let's have a look at groups. These are groups of animated humans of different sizes and suggesting different activities the characters might appear to be doing. Let's have a look at one. Perhaps these people that are standing in a queue. As you can see, it allowed me to very quickly place a lot more models at the same time, rather than placing them individually and arranging them in line. If we expand the scene graph, we can see that originally we have placed Helena and isn't individually, and they appear as two different assets within the scene graph. However, we also have group number seven, which is the cost of people that we have placed pretending to be an acute. You can see that I can select the group number seven and move it along anywhere within the viewport. But I can also individually select some of the people if you already have the group selected. So if I click elsewhere, click it. Once. It defaults to selecting the group. If I then click the person individually, it will allow me to select one character at a time. When you select the individual characters, you can see that all of the settings discussed before appear and are active. So you can change them for each character. But if you select the group itself, you can see there are no special settings to define the whole group. If we scroll down into the library panel, we can see that on a few different scenarios that have been already good, we can see a group of construction workers, a family with children playing around them, a group of people engaging in different activities, groups of children playing and so on. Then we can discuss about post humans. If we expand this group, we can see again 3D characters. But if we place one individual within the scene, we can see that these characters are not dynamic. In fact, they are static 3D figures posing for different activities, but without any animations or any setting. They use case for using. Either of these will perhaps come down to whether you want to create a dynamic environment. So that whenever you extract images or videos, people engage in different activities. And every time you export a view, it will be different. Whereas if you prefer to use static character models, there will always be the same and in the same locations. Next, let's have a look at cutouts. If we place a character in the model, we can see some things very strange appearing. If I look around in the model, in the viewport, this character will always turn to face the camera as it is. In fact, it to the cut-out image that is preset to face the camera at all times. This is something you might find as a legacy method. Or if you have been using some modelling software in the past, where this was the only end the default option for people and entourage. But with more recent and modern software, you can also have 3D characters with highly detailed models. One aspect of these cut-out characters, fact that they have an option to turn the picture on, as we can clearly see now or off, which allows you to create silhouettes rather than fully dynamic people. You can also change the texture if you prefer to have a different picture on them. Or you can change the color of the silhouette. Now, this functionality is a lot better, in my opinion, because it allows you to create diagrammatic images and models. And by having silhouettes of people, it does not detract from the model or the spaces that you intend to create. And it's in fact enhances them without adding far too much realism by creating environments with 3D people. Finally, we can see animal characters, and they offer a number of different types of animals that you can add to your scene for a bit of fun. We can add Margaret, which is a lovely cow, or we can add to our model. And you can see that even the animal characters are dynamically animated. This cow will appear to be grazing at the moment. So we can add some friends to create a small farm. Here we have Kate, the front of the guilt. Or we can even add, therefore, the mischievous. As you can see, there are many options to choose from, but there is quite a lot of variety. So you can add domestic animals, fish, birds, and even butterflies. They do not have any options. So there is nothing that you can change about them. Regardless, they will immensely help in creating a much richer environment regardless of the type of project you might be working on. 21. Vehicles: The second part of having believable onto Russian you've seen is achieved by adding high-quality vehicle models, especially when representing urban spaces. And having access to a wide variety of different types of vehicles is even better. In the library model, we can see the vehicles category by itself. So if we expand this, we can see there are many, many different types of vehicles. First, there are cars. These are regular personal vehicles of different sizes and body types. You can simply add them on to your scene. And as you can see, with each new instance, the color might change. The rotation of the model might also change a bit. If we select one of the models, we can see that we have only one option allowing us to change the color. If we expand this, you can see a wide range of metallic paints specific to cars. If we tried to use the material picker to select this model. You can see that I'm practically selecting through the car itself. It will not allow me to change or even pick the color material. I can't pick the class, I cannot pick any of the additional materials. So be aware that what you see is what you get, but what you can change the color. Next, we have buses, which offer a variety of public transport and coach vehicles. These are great for when you are trying to create urban environments and want to define public transportation or mass transit options. If we select the model, you can see there are no options. But in this case, if we do use the material picker, it will allow us to pick out and change the materials individually. You can see this model in particular also has an advert on the side of it. Some of these materials will be much more complex as they are mapped onto the whole object rather than locally. But at least there is an option to change them. So if we pick the red, pink color, we can actually change the reflection or even change the color. You can change all the settings, like we have discussed in the past. We also have the option to place boats. So if we expand this category, we can see a wide variety of vessels of different types. What is slight rocking animation? If we place one in the model and it helps if replace it over the water, make it more believable. You can see that this vessel starts to move slightly to suggest that it is indeed floating. This is valid for all the different types. As you can see, some have a much more subtle movement and others. So as you can see, there is quite a large variety in terms of sizes and models allowing you to create much more valid scenarios. Now, let's discuss aircraft. There are a few types of hot air balloons, lanes of different sizes. And even a helicopter model. If we place one into the model. And let's have a look at this hot air balloon. You can see that this is not animated. Coming in closer to it and selecting the model. No actual setting will appear at the bottom. In the dark. However, we can select the materials of the model. But this is not founded on all the different models as placing an aircraft. And let's try to match it onto the bridge. And selecting it, you can see how many different settings will appear in the dark. This is particularly great when you are working on airport projects. You can change the lower color. The upper color. Let's make it more visible. The tail color and even the engine colors. You can also turn the lights on or off. You can see that lies underneath the random model, go on or off. One thing to note on the aircraft models is that there are in fact two types, one that is flying and one that is parking. The only real difference between them is that the flying model has its landing gear retracted. Whereas P path model will have the landing gear extended so that it can touch the ground. This allows you to create more believable scenarios in which you can place the models high up in the sky without being burdened by landing gears and other details. The two-wheel category gives us a library of different cycles, as well as motor bikes and scooters to choose from. And we can see that neither of these models has any real setting to change its appearance. However, we can pick the materials and change them. Suit all prefer needs. Next, we can have a look at construction machines. They offer a range of different structural machines and vehicles, especially useful when you might be visualizing the construction phase of your project. There are original variance to some models with European and American type vehicles. And there are also static animated variance for some of them will indicated within the library. If we place a EU type dump truck, we can see just how detailed this model is. We can also place equivalent American model, one that is actually also loaded. You can see you have variance where they do not or they do carry some ballast. Having a look at some of the animated models, we have, let's see, a track loader that is static, and also one that is animated. So let's turn this one around. You can see that at this, trying to work hard to clear the debris. You even have unlimited cranes or static reigns. And the sheer scale of these is quite impressive. With the construction machines. You can also change the colors and also change the logo displayed on their sides. As you can see, most of these are the typical construction yellow or construction orange. And at the moment they just simply have a logo calling the company still, but you can also load in your preferred images. Finally, let's discuss trucks. There are several truck and trailer models with both European and American variance. If we select these, again, you can see that there are no specific settings, but we can manually change the color of their materials. As you can see, there are different types of trailers or systems. And they can also be detached or attached to the individual models. So you can have a US type truck that is driving a system or a European type Lori with a container on the back. Having access to such a wide variety of different vehicle models does give you a lot of freedom to fully express the dynamic environments that you will be creating. 22. Paths: While directly placing people in vehicles into the scene, can greatly help to populate your designs and make your project stand out. There are a few tools that help you take these to the next level and bring the scenes to life. These tools are called paths, and they allow you to define movement routes for characters of vehicles, four different types. Depending on the assets they use. Characters, vehicles, bicycles, or custom paths. You can find this section in the context tab within the doc. For now, let's have a look at character plants. Then you can select the Pen tool from the toolbar. And we can start to draw within the viewport. You can see that it allows you to create nodal points simply by clicking within the model. And the actual path will be generated in between the nodes. Once you are happy with the path, simply hit the Escape key to finish. You can create either a to B roots, meaning a linear path between two destinations. Or you can create loops simply by coming back onto the first starting point. If you need to change the path after the initial creation, you may simply select some of the notes and you can move them around. You can place them high up in the sky. Even though, as you can see, characters at the moment do not start floating around. And you can even delete them by hitting the delete key. Now, you can see the characters are still moving, so the path is still there. And if we expand the scene graph, we can find the character path at the bottom. As I have organized my scene graph. But you can see the node we have deleted is no longer there. So don't be alarmed. If you see the node creation mode disappear once you delete the path node. This system applies to all the different paths types. However, there are different settings that characterize each type depending on the type of model they will represent. So discussing the character path, we can see different settings appear in the doc. First, we have the type. So if we expand this menu, you can see that you can change what ethnicity the character is moving along this path, my task. And you have three options, African, Asian, and Caucasian. For all three are selected. But you can change which types you would prefer to see to suit the specific needs of your project. Then we have clothing. You can change the type of clothing and appearance of your characters based on different activities or environments. As you can see, they are currently set to street. We can change them to your office attire, travel. And some of them might be more allegedly somewhat have bags. Beach. So some of the characters might be in swimwear. And finally, traditional Middle Eastern. Moving on, we can change the width of the path. Currently this is set to one meter wide, meaning that at most you will only have one set of people going across. We can actually change the width either by inputting the specific value or adjusting the slider accordingly. You can see that not only does the guiding highlight actually increasing width, you can see that more people are walking in file. This allows you to create more numerous clusters people, depending on the situations that you want to portray. This goes hand-in-hand with the density. Once you can have a wide path, it may not necessarily be very well populated. So if we go back and make this one meter wide, you can see there are only a handful of people walking along because the density is at a 15%. If we increase this to 100%, you can see just how many people start to appear. And again, if we increase the width, three meters, if there's only one file, but if we go beyond starting from four meters, you can see that two or three people walk in line. Next, there is a reverse topical. At the moment, the characters are moving in the direction of my drawing. Having started on the left-hand side and finishing on the right-hand side. However, if I enable reverse, characters will simply change the direction of travel. And finally, there's a toggle. Currently, as you can see, people are walking, but if I turn this toggle off, people will simply stop and stand. Next. Let's discuss vehicle paths. To draw this, if is simply the same mechanism, just as before, I have drawn a simple linear direction of travel. So that we can discuss the options that appear at the bottom of the screen. You can see the first option is called lane count. And this changes the number of lanes per each direction of travel set to one. At the moment, you can only see one line of cars. If I change this to three, suddenly creates three different lines so that three columns appear side-by-side. What you will notice is the fact that they are still traveling in the single direction. So if I set this back to one, we can then enable two lanes currently set to off. However, if I turn this toggle on, you can see bidirectional traveled. The lane offset allows you to control the width of each lane of travel. Currently, this is set to 0 meters, so they are traveling quite close side-by-side. Then first change the notes so that they are in fact on the middle of the road rather than in the middle of one single lane. So now if I choose the line offset, I can actually increase the width of the whole path without changing how many cards appear on each lane. This allows me to more easily adjust where cars will appear in relation to the width of the road as models. So you can see cars naturally travel down the middle of each of the lanes. Density changes. How many cars or vehicles will appear on each direction of travel. Currently set to 30%. This is medium to medium low density. So if we increase this to 100%, you can see it creates a very busy traffic. Whereas if we decrease this, it just looks like a normal, very light traffic. You can change the speed of travel currently set at 25 kilometers an hour. And increasing this will create a different situation based on the type of road that you are trying to display. The next option is called traffic rule. Now, in reality, this should enable you to change where the cars actually drive. So as you can see, this is currently disabled only because we only have one lane count for each direction of travel. If we increase this to two lanes. What I did not mention before is the fact that you can actually see cars being driven rather than appearing MT. So it does create a very natural seal. Now coming back to the traffic rule, you would expect that once this is changed to left-hand drive, which is the standard in the UK and some other parts of the world, the cars should actually change the direction in which they are traveling. So if I re-enable this, you can see that nothing actually changes. However, one way to change this is to apply the reverse. So regardless of the traffic rule, if we apply reverse, you can see the cars actually do change which side of the road they are traveling on. This works regardless of how many lanes you will enable. Then we can also describe bicycle paths. If we draw a simple one along the side of the road. This has a very similar set of settings. Just like the vehicle paths. You can enable one or two lanes circulation. Currently this is set to single lane. But if we're unable to, you can see people traveling in both directions. We can again change the lane offset to widen the path without adding multiple lanes. We can also change the density, which will increase the number of people traveling in each direction. But as you can see, there are only traveling in a single file. If we turn off the two lane mechanic, you can see that it disables the lane offset so that the density increases. The distance between the people. Or in the D3 says that as the value grows, you can also alter the speed currently set to ten kilometers an hour. What's the maximum of 30 kilometers an hour? Finally, you can also reverse the direction of travel depending on the situation or part of the world that you are portraying your projects in. Lastly, we have custom paths. Let's draw a very simple one along the side of the road here. And what you will see is a slight change in the settings that appear in the dock, as well as that one lonely cubed that appears to travel along this new path. Custom paths allow you to generate movement groups for individual custom models. You may use absolutely any type of object or asset from the twin motion library, apart from Mecca scans objects. And you can have them moving along this path with a very particular set of settings. So if I click on the box, you can see it changes the pivot point. But I'm not interested in that. I'm actually interested in changing it. So if I click above the box, I can go to library where it will expand at first the primitive section. However, maybe I want to place a chair. To do that. I will drag this red chair over the box to change it. And all of a sudden you can see that the red chair has started to move along the custom path. Let's choose something more basic, such as this box, bigger version of it. And in fact, I want to isolate this object by right-clicking on it within the scene graph. And going on, isolate on, off. First, let's have a look at the type of animation. Currently this is set to loop. But let's start with them in order. So if we change this to once, it will start at the starting point, travel along the path until it reaches the end. And let's speed this up. And it will stop, revert back to the starting position and not start to move anymore. If we change this to one's pink punk, start as normal. Go to the end, stop for a second, and then go back to the starting position where it stops indefinitely. And then we have the two loop options. If we change it to loop normal, it will go to the end position. Once it reaches its end, it will default back to the starting position and go on this indefinitely. Finally, if we change this to look pink punk, it will start at the starting position, go to the end, and then stop for a second and come back and go back-and-forth indefinitely. The speed is the same as all the other different options. So you can either input the manual value or you can simply adjust the slider. You can change the direction of travel either from the start to the end or from the end to the start. And you can also apply a delay once it reaches its starting or endpoints before the animation starts to move the object again. Currently this is set to 1 second. So once this object stops 1 second, we'll pass and then the object will start to move again. What can also change this? Either by using the slider or by inputting the value manually. Rotation will allow you to change the direction the object will face based on its original pivot points. So let's choose a person perhaps. Because of course you can use any type of asset. So if we bring in one character and change the direction of travel to double reverse off. Let's give this 25 kilometers an hour. We can see that the person is facing the direction of travel. So that now having created this band, we can see that the person will still face and rotate along the path. However, once it reaches here, let's have a look. I can actually change the rotation of the person so that their default rotation is different. And you can see how this changes in real time. However, you can disable or enable this follow command in which the person or the character still faces the direction of travel. Having turn this off, you can see the character does not take account the direction of the path and only faces in one direction depending on its pivot point. And model Origins. Finally says This allows to emotion to calculate the surface that the model will presumably circulate across and adapt accordingly. So if I re-enable all the contexts and move one of these nodal points to be in the air. We can see that with the character physics still enabled, a character will not consider that pivot point floating above, and we'll simply walk across the surface underneath it. However, if I turn physics off, when the animation starts to loop again, you can see that it will circulate on the path as visible, meaning that the character wolf float and ignore all the contexts entering underneath it. Considering these powerful tools, it is incredibly easy to populate your scenes, which realistic movement and dynamic entourage. Going beyond the typical visualizations. This ensures that you can create lifelike animated fighters without the giant static models that break the impression of realism. 23. Tools: Now let's discuss the tools and the library panel. If we scroll down, we can find this category which will contain a number of different objects and tools that will help you inform the model with notes and measurements. Improve the model with reflection probes will allow you to create sections with Section cubes or to create custom animations with animators. Let's start with the sections. Within this category. We can only see one object holds, the Section Q. This will allow us to cut into objects to show their interiors, or to isolate and focus on a specific area. Let's try and place one within the model. So I will simply drag it on and attach it to one of these side faces. You can immediately see how it's starting to cut into the model. I will expand the scene graph so that I can more easily selected and move it around. As I drag it to encompass the building, you can see slowly within the interior of the building. And as a section cube starts to cut away, you can see parts of the building disappeared. You can very easily manipulate the section cube simply by using the transform tools that we have seen before. So you can move it around, you can re-scale it and rotate it so we can change its orientation. Or if we try to re-scale it, you can see the scripts appear on all of its sides so that you can simply drag either face. Next, if we have a look at the dock, we can see the various settings that control it. First we have an enabled toggle which turns it on or off. Then we can change the color. If I zoom in close to the building model, we can see this area just around the cutting lines, both on the roof and on the booleans of the windows colored in black. So let's try and change this to something more easily visible, such as a bright red. We can see what it actually does. Now the section cube all display a band of color, our varying thickness around the cutting line to more easily distinguish where the cutting off point is. You can change its color as we have seen, and we can also change the thickness. Currently this is set to 50 centimeters, which we can see. So if we set this to five, you can see how thin that line now becomes. What is important to notice is the fact that this will extend either side of the cutting plane. So what this set to 0, where the building geometry intersects the cutting plane, it will simply disappear and we can faintly see a red outline. If I set this to 50. You can see that the band extends either side of the cutting plane to more easily distinguish where the actual cutting is. However, it does give you some extra geometry. If I set this to 200 centimeters, we can almost see part of the building that was meant to disappear. It's important to understand how this actually affects the geometry. Ideally, you would either set this to a very low or even 0 value in order to actually cut away the building as intended. Then we have a toggle to invert the cutting. Currently this is set to off this section cube actually takes away a chunk of the building. However, if I turn this on, it will actually isolate that chunk of the building and hide everything else in the viewport. Finally, the clipping mask toggle, toggles what type of object section cube will actually be able to cut through, whether geometry, point cloud or both. Now seeing as we don't have any point cloud in the model, it's pretty irrelevant. However, perhaps if you are working on a model which does employ point called geometry, you can make the difference between the two. Next, we can discuss reflection prompts. These are three special types of objects that help to stimulate more accurate reflections of objects outside the frame. When using the real-time engine. If I come in close to the window, we can see some reflections of the trees behind the camera. However, you may notice that this is not actually very accurate. The tree is somewhere over there. Whereas the reflection does make it like it's much, much closer to the camera. This is because in fact, there is a reflection probe already present here. So as the default model already contains one, having selected it, we can see that the cube appears all around us. Now, if I come in close to the window again, pay attention to the reflection of this tree. Let's try move away from that door. And if I turn this off, you can immediately see the reflection changes quite drastically. You can no longer see anything reflected from behind the camera. That is because reflections are only. Really calculate it and displayed for objects that are visible on the screen when you're using the real-time engine. And these tools force the calculation of reflections for objects that might be behind your point of view. Thus enhancing the realism. But it only enhances it to a point. As we can see the reflections, it does trick the mind to think that this is more accurate. However, if you do pay closer attention, that is no longer the case. Now, let's have a look at the two types. There is a spherical reflection probe and a box reflection probe. Fight turn these off and try to place this spherical. I'll just place it behind the camera location here and perhaps change its dimensions. We can see that the reflection has updated event that we do have a reflection probe enabled. But we can see it is somewhat different to the original one. So if I change between them, you can see how this looks, particularly reflecting the skinny tree behind me. And having both enabled, you can see that they do actually overlap. There will be a very slight difference in how reflections will be displayed. And given that this is spherical, it might actually have a slight distortion. If I set this to a smaller size. We can vary slightly. See that the reflection of that skinny tree has disappeared from here. Now, let's discuss the other options. So as we have seen before with the section cube, you can enable or disable one of these tools. Or you can indeed turn them on or off from the scene graph simply by clicking on the visibility icon. We can force an update to make sure that this has changed the current condition of what's happening behind us. So in the case that the grass is actually gently moving in the wind. As I press Update, you can kinda see the chorus reflection slightly change and update, as well as the leaves above the roof. We can change the brightness. And this will affect how brightly reflections might appear on the screen. As we have seen, we can change the size of the reflection probe, which is very conveniently displayed by the sheep that it is using. So in the case of a box, you can see a box within a box. The outer box is defined by the size variable. So at the moment this is set to 25 meters, which is the outside edge. So if I set this to 18, you can see this is moving inwards. And we can also see an inner box. This is defined by the transition variable, meaning that there will be a slight change between what is external and what is internal and the boxes, making the reflections blurrier and less accurate. Just simulate that. If we now go back and visualize the window, Let's click Update. And we can see the transition is set to 0. But if I increase this and perhaps set the value bit lower, we can see everything is slightly less visible. And refreeze set that transition even lower. Something around here does indeed change. As you can see, you can no longer distinguish the pace of grass that is visible against a black background. Now, let's discuss notes. These will allow you to add comments to the model, enhancing it collaborative workflow. If we tried to add one to the model. At the moment, this is pretty big, but as you can see, it does try to stick to any particular object that you tried to place it on. So let's place it on top of the wooden deck. Hit Escape. And let's select it. Obviously, the first thing that will appear in the dock will be the actual text box. We can change the title to say change material. And you can see this appears boldly within the text box in the viewport. And we also have a description which will contain the bulk of our actual note. Now this has also appeared big within the viewport, but that is due to the very big size of the entire note. So if I change this to 1%, we can see that it has scaled down to be much more manageable, readable. You can change the alignment of the text, either left, center, or right. And you can see this actually changes the vocation of the title in relation to the text underneath. The size scalar here allows you to change the appearance of the entire thing. Whilst changing the color will only change the color of the background label. One cool thing about this is that the color of the text will also change to adapt to whatever color is on the label. So that is still legible. If the color is quite bright. In many cases, the texts will be blocked. However, if you're trying to write on a blue background, the text might change to white. Then there is the toggle to always face the camera on or off. This is useful for when you always want to see these as is visible now always facing us. You can turn this off so that it is only visible and align to the original viewport once it was created. And there's also a thumbnail that allows you to recapture the view. We can actually address it and make sure that we are actually taking a photo of the deck. And this will help once you are actually trying to manage comments, giving us a more easily identifiable location. Next, we can look at the measure tool. This allows you to very quickly checkup distances between objects. So if we select it and drag it within the model, let's actually go inside so that it has something to measure against. Placing it on the wall above this door. It will expand a little, reaches the wall opposite just behind the kitchen. And what you can see is that it automatically detects the length or the distance between the two points. If we select the store, we can expand the different settings and the dog. Now the functionality of the store is quite limited. So it generally helps to get the information out of the model quickly, but not fully annotate the project. Perhaps that is better suited to the original design model. Having a look at the settings, Let's try and look at the first one. This is called constraint. And by default, it automatically adjust the distance between the opposite end of your starting position. Meaning that when you try to place it on a surface, it will be perpendicular to that surface, giving you the direct distance between the two points. However, if I turn this off on the selected measure tool, I can actually start to drag this way. So you can see I can move it and it no longer actually snaps to any of the surfaces. However, if I do turn this on and start to place it on something else, it will automatically snap to that surface and gives me the distance between the opposite object. Next, we can see per length also appear within the duck. If it is too difficult to read it on the model. It's always here so that you no longer have to worry about it. The text position, slice the text along the length of the measurement tool. And the scale adjustment makes the tool skinnier or sicker and also adjust the text dimension. Finally, we can also change the color of the entire tool to make it more visible within the model. 24. Animators: The final tool is called an animator. And put simply, it allows you to create stunning dynamic effects for nearly any object and asset in 2D motion. Not just to bring your designs closer to reality, but also to add some interactive moments to your presentations. If we expand the animators class in the library, we can see that there are two types based on the type of motion that they facilitate. First, we have rotors which allow rotational motion, rotating objects in relation to its axis. Then we have translators which allowed translational motion, moving objects along a vector direction. When you expand either of these sections, you will see the actual animator, as well as a few different objects that illustrate the movement type. Let's try adding the animators into the viewport. I'll expand the scene graph just to make sure that we can actually see it when we're trying to select it. In the scene graph, you can see the translator has been added to the list. Unless selected. Don't necessarily see anything present. So you will have to use the scene graph in order to make sure that it is still there. But one selected. You can see the axis of the motion, a transformation gizmo, and the specific settings appearing in the dark. Yeah, nothing is happening. Since we have no objects associated with them. They have nothing to move. To easily exemplify this, let's add one of the example objects to the viewport. Let's have a look at this industrial gate. Or perhaps the retractable ball out given its smaller size. If we actually have a look in the scene graph, you can see how this is created. We have this retractable or large group at the moment. And this is in fact a container. If we expand this, we can see the structure and how it is all set up. It contains the animator, which is a translator, as well as the gate and the bullet base, which is the bottom element. What is important to understand is that the objects that will move are contained within the animator. And in fact the main container. In our case, the retractable pole outgroup, is simply therefore housekeeping. As you can actually place any objects meant to be moved within the animator itself. But without further ado, let's actually come close to see how this will work. You can see on proximity, the animation will start to manifest. This should give you an indication of the types of settings that this might have. If I select this translator. And you can see it actually also select the object that it moves. We can see the sections below. First, there is a toggle to enable the Play Animation. Currently this is set to one. If we turn this off, you can see the object will revert to its natural state. And regardless of how much we come close to it, it will not start again. Then we can see the distance. And this change is how much the object will travel, the direction of travel based on the values positive or negative. And there are also more settings. If we expand this command to allow us to change what axis of motion will be. Currently this is set to zed, meaning it will be vertical. But we can change this to x. And you can see the indication of travel by the blue line. Or if we change this to y, you can see the arrow change again. If I set this value to a positive number. You can actually see the length of the blue element expand by exactly how much this will travel. So it's easy to understand. And as they come close to it, we can see the bullets start to fly out in the vertical direction. And as I move away from it, it will start to come back down. Then we can see the animation setting. This has different types. And if we expand this, we can see it is currently set to one, meaning that as we approach, it will only go down once and stop there. However, we can also set this to ping-pong. If I approach the object, you will see it will go down. And then we'll come back up. And then finally, start all over again. Or I can set this to loop. And once it goes all the way down, it will automatically revert back to the initial position in a bit of a jittery movement so that it can loop the animation all over again. Expanding this menu will also enable us to adding a delay by inputting a specific value or adjusting the slider to suit. If I set this to five seconds, or perhaps something shorter. And actually set this to loop so that we can more easily see. Now, this will wait for two seconds before jumping back up. Okay, So actually, that delay only really works on the ping-pong animation. As the loop simply jitters the whole object backup. Then we can see the speed of travel. This allows you to change just how fast the object will move. Always remember that this will be set in meters, so this is currently set to 0.1 meters per second. So if we input a larger value here, we can see just how quickly this moves. Finally, we can see the trigger. Now, this is a mechanic that enables you to set whether the animator works all the time when it is off, or only for certain conditions. If I move away from the object, you can see that the animator will still move up and down. However, if I enable the trigger again, you can see the objects will stop in its natural position. Expanding this menu will enable us to quickly change what triggers the motion. You can see that it can be enabled by the camera, pedestrians coming close to the object, vehicles and bikes, or any custom path actors. And you can also change the trigger zone either by inputting a specific value or adjusting the trigger zone slider. Just quickly to go into the rotator objects because they have another specific setting here. Selecting the store and actually the rotator for it. We can see that instead of a distance setting, the rotator, animators have an angle value. This allows you to change how much the object will rotate, as well as the direction of travel based on the value either positive or negative. You can also change the direction of rotation by changing the axes. As this is set to 0, you can see the blue line being vertical, but you can also change this to the y or x axes. Now, having seen how custom objects with built-in animators work, why don't we actually try to make our own? So because we have already added a translator which has no objects onto it, let's try and bring in an object from the library and see how we can link it through the translator itself. If I just bring in this armchair, simply placing it somewhere within the viewport. Let's re-select the translator. Perhaps even move it to the center of the object if you want. So in order to link an object to it with the translator or the rotator selected. We can have a look at the toolbar. First, we have the object link, then an object on length. And as well as a pivot edit in terms of commands that we can use to change the settings. Let's try and link this big red sofa. Simply clicking on the object will add it within the scene graph on top of the container unit for the translator. And you can all of a sudden see how this starts to move up and down. And you can change all of the settings as we have just discussed. If you no longer wish to have this object affected by the translator, simply select the object, unlink. Click the object again, and it will immediately start moving. If I move the translator further away from the object and actually try to add the sofa back onto it again manually. I can simply use the same graph, select the sofa, and simply drag it on top of the original translator. And it will all of a sudden start to be moving up and down. Now, if I select the translator, you can see that although the object stays there, it does in fact move in relation to this origin point for the translator. Given that it only moves up and down, it doesn't really make much of a difference. However, if we use a rotator and place it roughly in the same point, I want to drag the seat over the new rotator. You can see that it does start to rotate in relation to that origin axes. And moving this all the way around the model, you can see how actually it works. If I want to change the object itself to distances from the axis, I can do that on the object itself. Whilst the rotator stays in place. 25. User Library: Sometimes you may find yourself creating custom groups of objects that are used multiple times over different projects. Or you may want to keep using the same assets without having to re-import them each time. To solve these matters, you can simply add them to the user library. If you scroll all the way down in the library, we can see the final category called User Library. This will contain all your customer assets, materials, geometry, objects, containers, and so on, so that you can effectively save them for later use. As you can see, I currently don't have any objects since this is a new version of twin motion. So let's see how we can add any assets to your own personal library. Simply put, if we just expand the scene graph and let's find an object that we want to save. For example, perhaps I want to save this nice table. Selecting it in the viewport will also highlight it in the scene graph. So from here, I want to right-click on it or click on the three dots menu. And scroll all the way down and click Add to use a library. This will instantly add it to your personal library. And as you can see, it has simply added it within the main section. You can further organize your personal library by creating different categories. Simply clicking on the Plus button to create a new folder. This now has created a new category, which if I right-click on it, I can rename and call this custom furniture. I can then simply drag this new object into my new category so that it is well organized. You can create as many custom categories as you want in order to more easily manage and organize your entire costume collection. If you want to change assets and your scene without needing to delete the old ones and minorly placed the new ones. You can do this using the replace object command. This will exchange the target object with a new asset with the option to keep their current transformation settings or reset them to the original state. Let's add a new object into the scene. And we can use that to replace the two deck chairs without using anything too fancy. I will just add a bench within the model. And then let's select one of these lectures. If you right-click on it within the scene graph, you can see towards the bottom of the menu this command called replaced object. If I select this, I can then drop the object within the panel in the dock. So whilst I have already placed this in the model, I can simply drag it from the library in here. Then you can toggle the desire transformed conditions either on to change the new assets in the same location and scale as the original ones are not. For now let's just leave this as ON and simply click Start replacement. You will see that because these were not instances of each other seeing us one was deck chair. Oh, 31 was lecture or three underscore 01. They weren't exactly identical copies. So only one of these has actually been changed to the new bench. But you can see just how easily that has happened. In order to change multiple objects at the same time, makes sure that you have all of them selected at once. So if I want to change both the lectures, I can just select both. And with the replace object command still active, I can simply start replacement. And both will change at the same time. If I disabled the transform toggle and stuff replacement, you can see that might replace them. Bench does not conform to the deck chairs orientation, and it simply takes the default orientation from the model. A great functionality of using both the user library and replace object function isn't a way that you can create your own custom writing objects that have both an inbuilt light source and the actual light object geometry. So take the case of this nice bedside lamp. If I make it nighttime, you can see that it barely has a glimmer within the light bulb, mainly because of the material inside the filament that will be an emissive material. But you can see it does not actually cause any light. So if we use a light object, perhaps a spotlight, let's try to very quickly position it in place so that it looks more believable. It doesn't have to be very exact, but let's just reduce the intensity by a bit and increase the attenuation. Enable shadows, and making it looked like the light actually shines from this nice bedside lamp, also enabling the dusk to dawn mechanic. Now, I want to add the spotlight to the lamp itself. So let's select this, find it, and simply drag it so that it becomes contained by the lamp geometry itself. Now if I simply select the lamp, disabling it, you can see that disables the life as well. Great. Now, if I right-click on it, add this to my user library. And if I do go into the User Library, I can find it called Nam table number three. Because there are already two copies of it in the model. I can select both of these. Right-click, hit the replace object setting and simply drag the one with the light attached to it from the user library. Once I'm ready to start replacement. And you can see that both of them have been replaced. This makes it very easy and very convenient to replace geometry within your models and also to add custom assets to already great looking geometry and assets. This is particularly useful when dealing with street lights and lighting objects in general. As you do have to manipulate them a bit in order to add the light sources. 26. Camera: Whenever you're using twin portion, it is important to bear in mind that what you see is always assumed to be through the lens of a camera, regardless of the navigation mode. As such, you should think about the waste cameras, and particularly digital cameras, work in the real-world as they will share the same functionality in settings with a twin motion counterpart. Let's discuss how to modify the cameras settings to better capture your designs and expand the limits of your creativity. These are found in the Settings tab in the dark under camera. If we expand this section, we can see how many different individual settings we can change to alter the way we perceive the world we have created. First, let's discuss the F0 v, or field of view angle. This ranges from 18 degrees, which is very focused, to all the way up to a 170 degrees, which is a very, very wide angle. And generally this setting changes how your camera sees the world. Either focusing in with lower values or expanding the view with higher values. Do not that with higher values, the perspective will be more forced, more distorted. As you can see, if I increase this all the way up and come very, very close to the building, you can see just how far away it allows me to travel. Even though in reality, I was always really quite close to the building. Generally, you can see that everything looks very, very unnatural. However, if I set this to something more normal, Let's say 50 degrees, you can see I was actually really, really close to it and fax it in probably just a meter away from the corner of the building. Then let's enable the DOS or depth of field. The toggle enables the effect to either blur objects that are out-of-focus or not. So currently you can see that even things that are very far away or very close to the camera, especially if we move closer to the grass. They all have the same sharpness, which in reality is not how it works. So if we enable this effect, we can all of a sudden see that the entire image has become more blurry. If we expand this section, we can see different settings we can change. To alter how this effect is generated. You can set the distance between your camera and the target. With objects being out-of-focus, the closer or further away they are than this value. This is currently set to a meter which is probably around what this rock is. If I set this to five meters, you can see the building becomes sharper. The grass in the foreground, it comes much blurrier. And all the trees and foliage beyond the house also become blurrier. If I set this to 25 meters. It doesn't really change much because the building is already contained within the set area of the focus zone. Next, we can also change the field of view from this menu as well. So if we set this to 25, it allows us to focus in on a particular area, creating a much more intimate view angle, coupled with the blurriness of the depth of field, generates a much more cinematic view or more autocratic approach to your rendered images, as opposed to something that looks starkly computer-generated. You can't really see any of the foreground foliage, and not even the ones at the very back of the image. But we can very clearly distinguish the geometry of the chairs. We again alter the distance to 12 meters. Perhaps. You can see how that changes. Rather than guessing all of these distances. There is one tool within the toolbar which allows you to immediately set what your focus point actually is. Now, if I click on the chair, perhaps won't actually target the chair for the class sitting in front of it. Well, let's give this a try. You can see that the image started to become a bit more clear around this area. So all of a sudden we can distinguish what the distance might be. Next, we can have a look at the aperture. This sets the opening size of the cameras objective. Just like the real cameras in real life, with lower values, meaning a wider aperture, more life being processed, and the shallower depth of field being created. Conversely, higher values mean a narrower aperture, less light being processed, and thus a much deeper depth of field. If we increase this to four, you can see all of a sudden things become more clear, regardless of the distance between us and the objects themselves. If I set this to ten, you can see even the Fe, very close leaves here has become a bit clearer. Whereas if I set this back to one. Everything is very blurry. The maximum value for the aperture is ten and the minimum value is one. Finally, the bulk of shape simulates the aperture shape based on the number of plates at the shutter would have. And it defines the shape around certain light reflections coming into the camera. Let's see if we can actually find where this can happen. Okay, so I have changed the materials for disliking objects and specifically the light bulbs from glass to a neon material. Now, with the free faraway view, as you can see, I'm all the way next to the carpet, but with a very low field of view. If I enable depth of field, Let's have a look at what happens with the bright objects. Now, this is the effect described by the bokeh shapes. Currently, I have set this to four, meaning that the poker shape is actually a four-sided polygon. If I increase the number here, you can see how these change immediately. And clearly, the more edges this has, the more circular the appearance of the poker shape will be. The maximum value here being 16 and the minimum value being for. Moving on, we can discuss the next toggle called parallelism. This will enable or force the vertical correction, meaning that all the vertical edges in the scene will be straight and parallel vertically rather than converging to a vanishing point. Now, if I come very close to building and I make sure that I have a very, very wide field of view. In order to emphasize this drastic difference. Setting this to 120. If we were to extend the edges of this building, you would naturally see them converging somewhere high up in the sky. Now, if I enable vandalism, this actually forces them to be parallel and straight up, vertical without ever converging to a vanishing point. This is similar to the more typical architectural style photography that you see and professional publications. Now, regardless of how they move around the building, you will see that everything actually looks vertically straight. However, this only works well when you are at the human level or you see the building from a midpoints you, whereas if we go higher up in the sky and you look at the building from up top, it does create some very strange mechanics. As you can see, it looks very distorted and very unnatural. In that case, I do recommend that you turn parallelism off. Thus, you can take out more natural-looking aerial shots. Next, the vignetting effect simulates the effect of darkening around the corners and even the edges of the camera frame, which is unavoidable with real-life cameras. If we increase this all the way to a 100 per cent, you can clearly see the darker edges and corners in the viewport. However, if we turn this all the way down, you can see the same brightness value throughout the whole image. You can use this to create some very cinematic shots within twin motion. Or you can set this all the way down so that you may add this in post-production. And other software. Lens flare simulates the artifacts of scattered light from very bright sources hitting the camera lens. Thus creating these transparent halos of light. When looking at the sun or bright lights. If we have a look at the sun, this is currently set with ten per cent, so it's not really that visible. However, the set is all the way to a 100%. And if I move the camera around, you can clearly see these artifacts appearing over here. And you can see depending on how you angle your camera in relation to the bright objects, that these effects actually move around the viewport. If I go back inside and we can have a look at the bright objects. We can also very clearly see a lot of lens flaring appear. Even though it is much more subtle than looking at the sun directly. If I then turn this off and pay attention to this area of the screen. You can see how this diminishes and strength. Next, we have final say section called visual effects. But if we expand this, we can see a collection of different settings that apply and artistic effect and other graphical changes to what the camera sees. The first one named color gradient, features, a range of different effects. Change how certain colors are displayed. Similar to the effects of a color correction or color grading process. If we expand the type, we can see the entire library of effects contained within twin motion. There are many different preset types to choose from. And you can change the contrast and the saturation level as well. This is set to pollutant as it is the test demo project. But if we change this to none, you can immediately see what a difference that filter hat on the image. You can play around and perhaps find your preferred ones. Or you can set this to none and change all the color grading and post-processing software. If you change the contrast, you can increase the difference between the darker and the brighter areas. And female also increase the saturation of colors, or indeed decrease it all the way down to 0. Filters offer a range of other effects that drastically change how the environment is processed and displayed. With many types, offering more radical results. For sketchy or artistic results. If we have a look at some of these, you can clearly see there is a much more drastic change in the way that everything is being rendered out. The strength of some lines, in the case of linework filters, will actually diminish once you've render it out based on the resolution of the final image rather than the one in the viewport. The clay render toggles, a color overlay mode. This will override all the materials, Textures, and features, leaving you with a more diagrammatic study model. If we enable this, you can immediately see the effect taking place. This is best suited to explore massive designs, light studies, or diagrammatic views. And you can choose what assets are affected by this effect and change the material settings as well. You can choose what assets are affected by this type of effect. Whether glass, for example, so that you can or cannot see through them. The landscape, which is all the way in the back. Vegetation, meaning all the grass, foliage, trees and so on. Water bodies. And if we have a look here and re-enable it, you can see the difference. Characters, vehicles, items, and others being generally something that is not considered by any motion category. So it's generally just the geometry that you bring in. However, if we enable all of them again, just saving water and glass disabled so that we can clearly see both the water and inside the building. You can also change some of the Material settings, so to speak. That you can change the translucency of this color. Whether it is more or less translucent, you can change its actual color. You may also change the reflection strength. Finally, you can toggle the bumpy textures, which enabled the bumpy textures from the original material to still be perceived. If we go inside the house. You can see that this table is simply a flat, smooth slab. If I enable the bump, you can immediately see perhaps not unstable, but certainly on the chairs, the effect taking place. So let's toggle this back and forth. And indeed you can see this happening on some areas of the table as well. Lastly, we have one more section to cover called reflections. This only has one towel which enables the screen space. Reflections on or off. And this only works during the real-time engine and does not affect the path trace arranger. Because we currently have the reflection probes enabled, they will overwrite this function. So let's have a look at this in Windows first. And if we then play around with this green space reflection toggle, you can clearly see on the areas around the base of the glass how the reflection start to change. The effect is much more subtle than you would expect, but it does have a much more drastic effect overall on your final images. Within the main camera settings. You can see there is one last tool that we have not covered, and this is called the camera a line. Simply put, this allows you to align the camera view with any specific object that you may select within the viewport. If I do this on the glass, it will align it to that position. And supervising the hot place thus far away from it and actually behind the tree. But this allows you to very quickly align the views. Specifically when you want to focus on a different angle or you want to that particularly geometric view, as is the case now, having align perfectly with the facade of this building. Using all of these settings, you can finally tune how your camera performance within twin motion, allowing you to more accurately match realize cameras in pursuit of photographic or cinematic views. 27. Renderer: The path tracer is a new feature onto in motion 2022. This is essentially a ray tracing and fully calculates all the light within the scene for all objects in or outside the visible frame. This is similar to other popular renderers in this industry. And this is a first step towards improving many aspects were twin motion had disadvantages. We've covered this new icon visible in the toolbar. So now let's discuss how it works in more detail. From the doc, Let's expand the settings tab. And the first category is called the renderer. If we expand this, we can see only three different settings when using the real-time engine and when the path tracer is turned off, these are the path tree search toggle to enable or disable the function. And we can also see a toggle for the GI or the global illumination system, which calculates how the light bounces off of surfaces after the initial contact from the source to spread throughout the rest of your visible scene. To expand this, we can see a GI intensity toggle, which controls the intensity of this effect, as well as the distance for which this effect is calculated away from the camera. We also see a shadow toggle, which controls the distance for which the shadows are calculated and display away from the camera and the visible frame space. If we expand this, there is also a setting that controls the shadow bias. This controls how accurate the shadows are calculated and display the lower values for more accurate results. However, as we were discussing the packet tracer, let's simply enable this to see how this section actually changes, expanding into many more different settings. Once we enabled to send Jim, it will start to calculate all the light rays within the viewport bus at the beginning of the image will be much fuzzier and much less accurate. Has a choice to calculate and redefine the whole image. Let's enable this and see the results. As you can see, the toolbar, there is a Progress icon which will display how long we have until the whole image has been calculated. Okay, so now we can see in the dark just how many new settings have appeared. Again, we have the Packet Tracer enable novel, which we can use to turn off or back on. Then we can see a slider and then value input for the samples per pixel value. This will control the number of light samples that are taken from each visible pixel to calculate the light, reflections, the shadows, and so on. Higher values mean more accurate and higher level details. But longer processing times. Max bounces. Times light will bounce after the initial contact, which results in more accurate reflections and shadows. Both of these feature either a value input or a value slider so that you can easily control the values themselves. That the noise there is a post random process that attempts to clean up the leftover noise in your scene when using the dollar values for samples and bounces to still yield good results. If we turn this off, Let's have a look at the difference. Mind you, these values are actually quite low. As this will start to reap, process the entire image, we can actually see how much noise it will be left behind. You can clearly see what Elder denoise or enabled. There are many, many artifacts still visible within the viewport. All of these are due to the very low values for both samples per pixel and max bounces. However, if we re-enable this and wait for the image to be reprocessed. We clearly get a much more usable image, even though it does look very low-quality and it does have a very soft and matte appearance. Clearly, if we were to increase the samples and the max bounces, we would get a much more refine the image. However, you can experiment with different values to see the different results. The next setting is called firefly brightness. And this is slider that controls the exposure and visibility of fireflies. However, there is no clear guidance on what this actually means at the moment. So I'm a bit unclear as to what the exact effect is. By default, it appears to be set at 30. So we'll assume that once more guidance becomes available on this, we can really understand what it does. Even if you hover above the slider, it does give you the same explanation. Moving on, let's discuss the emissive toggle. This controls the emissive materials and the glowing objects, enabling you to turn them on or off during the ray tracing engine to change whether that light is visible in this space and it affects or not the global illumination calculations. You can see at the background of the image and the kitchen, there is a light underneath the top cupboard. If I disable this function, waiting for the image to be recalculated, we can clearly see that that material underneath the cupboards has been disabled, meaning that all the light that we previously have seen is no longer visible. Generally, I think you would want this enabled at all times, considering that you will have spent a lot of time setting up all the lighting in your project, only for it to be turned off accidentally. Lastly, the AUC filter sets the intensity of the anti-aliasing effect, which softens the jacket edges of geometry. Currently this is set to three, so it will try to smooth out any geometry edges. If you leave, this value is very low and the resolution of your final outputs might not be too high. You will definitely see some jagged edges. However, this is probably not that visible within the viewport at the moment. Also considering the, the noise are being activated, which will try to clean up most artifacts. However, if you do increase the value here, it will try to smooth things out and you may end up losing finer details. If we click the drop-down menu for the progress window, we can see the three presets, low, medium, and high. These also correspond to the three keyboard shortcuts. Control one for low, control to for medium and controlled 34 high. In here, you can also input a value directly linked to the samples per pixel from the Edit menu. If we go in and select Preferences and expand the packet tracer setting, we can clearly see here that we can change the various settings for both samples per pixel and bounces settings for each preset, so that you can quickly alternate between the three. And you can also change the default values. It is very important to bear in mind that the hardware requirements for the packet tracer are much more demanding than the real-time engine. So your experiences might vary based on what you're running through in motion on. It's always useful to check the official guidance on minimum and recommended specs and platforms during the initial rollout of this feature. I believe there might be issues with using this on MacOS, but hopefully this will be resolved in the future. One thing that you might notice is that this at the moment is a very static image, despite how interactive it looks in the real-time engine. Once you enable the past tracer, it will actually render out a static scene and cancel out all the dynamic effects and animations. If I move the camera around, you can see that slowly. As I move around, it will start to process every frame until I actually stop, until it finishes the frame rendering. Despite how great the results are, it is important to note that when it is active, all the dynamic effects will be turned off, which clearly will affect all the animations for people and older, whether particle effects. Another aspect that you might notice, particularly in the case of this project, is that when we come close to a body of water, naturally within the real-time engine, we would see both reflections and refractions through the water surface. So if I have a look at this pillar, we can see very slightly there is a reflection, but we can also see the entire length of it underneath the water. If I enable the path tracing now and give it a second to load, that effect clearly goes away us at the moment, all bodies of water render out merely asked reflective surfaces. So you can also see that they are no longer moving and there is no wave effect across their surface. Despite all these initial setbacks, I fully believe that the past tracer is a great step forward for twin motion. As with further refinements, it will enable you to experience real time ray tracing for all your different projects, which will drastically increase the official quality and centrality, bringing them much closer to reality. 28. Images and Panoramas: While exploring your models and the presenter mode and engine can be really immersive to fully experience your designs. You will also need to save views or videos out of your model in order to document or present your project. So in the media tab within the dog, we can expand to see all the range of different media. Motion can setup and subsequently export. These are images, panoramas, videos, phasing sequences, presentations, and panoramas sets. Let's talk with images. Essentially, this allows you to take photographs out of your model and save them on the project. So in the dark, you can click on the big Plus button to create a new image, which will save the current viewport and add the thumbnail to the bottom besides all the other ones. This will also enter into the media mode. Now, depending on the aspect ratio of the image, the viewport might adapt to show the safe frame of that shot, introducing the black bars in the interface, marked in this case by the black white zones either side of the main viewport. To modify the camera angle or settings for your saved image. Simply selected within the thumbnail section and click on more. This will expand all of its settings in the dock, which are mostly genital cameras settings discussed previously, as well as format and output sizes. We can also see settings that control the light, location and the weather systems. All of these settings can be tweaked on a per image basis, regardless of the settings, using the presenter or in the other media types. So that you can fully customize the look of each shot with the highest degree. Let's try and customize this. And then once we exit, we can see what the changes are not. So I want to add the sky dome here. Let's use one that we have already downloaded. And we can also change some of the lighting settings. We can even change the weather system, changing it from sunny to something like a rainy afternoon or perhaps a full-on storm. But I still want to see the nice slide given by this guy TO also, let's apply a growth variable. So making this 0.8 so that all the trees around a much bigger so we can more clearly see the effect. And coming into the camera settings specifically, we can change the field of view. Now, having changed all the individual settings apart from the renderer, because I still want to keep it within the real-time engine. I can finally look at the format. This section. Critically, we can find the output size. And here we can change the resolution and aspect ratio of the image. If we simply click on the output size, it will give us a preset between two K full HD or four k ultra HD. However, if you click custom, you can click more and actually input the values for the width and the height of the image. Let's say you want a much wider view so that you can capture more of the environment, but not actually change any of the height. So now I can go back. And if I'm happy with all the settings, I can simply go back into the breadcrumb and make sure that all of these settings are actually safe to Mike image. In order to do so, you can go over the thumbnail and click on the Refresh button. This will save all the currents visible settings to the project. If I go around and move the camera, I can always click on the image and it will revert back to the original location. If I click on another view from the thumbnail section, it will simply change that to you and you can see that it automatically inherited all of its settings. So everything that I have previously set up with the rain and the nicer sky has been canceled out because that only belongs to that specific image. If I click on it again, all of them will be loaded in as if nothing had happened. One thing to note is that in the corner of each thumbnail, there will be an indication if the specific image has had path trees are enabled. This will be the same icon for the past tracer. So if we click on Image Trace at number seven, you can see it automatically starts to render it out. However, I don't want to wait for it to process, so I'll click back on image 19 when you want to cancel out of the media modes and thus revert back to your original presenters settings. Simply click Quit media mode, and everything will have reverted back. Next, let's have a look at panoramas. These are still 360-degree images that capture the entire physical seed and allow you to see much more than the typical image and the dark. You can click the Create panel button to generate a new panorama views from your current location. The process is pretty much the same as in the case of creating images. Then you panorama will appear in the dock as a thumbnail. To change its individual settings, simply select it and click More. Here we can see much of the same settings apart from the format. That is because that particular setting is controlled elsewhere in the export menu. Another big difference is that within the camera settings, you can only see depth of field, official effects. Nc State. If you want to move around. If you're not actually happy with the original point of creation, you can do so by simply moving around within the viewport. And this applies to both images and panoramas sets us indeed all the other media we will create later on. Once you're happy with your new location, simply go back into the main section. And in order to update the new locations, simply click refresh. That will save the new position and all the new settings. Commit them to the model. It may be difficult to understand how panoramas are created simply out of the media creation mode. That is because they are more visible once they are actually output rather than when they are created. Because simply put in the presenter, you can already look all the way around yourself and your initial point of view. Whereas if you were to export an image, clearly you can only see what was framed nationally. Whereas with panoramas, you get the same freedom as the presenter. 29. Video: You can easily create animations and videos from your scenes to better capture the essence of your projects. And taking advantage of older moving and animated assets. From the media creation money. We can have a look at creating videos. Now, simply click on the big Create Video button to start a new set. This will effectively start the keyframe process and also automatically generate your first keyframe, which establishes the location and orientation of the camera, as well as the camera and environment settings. This is effectively the same as setting up one image. Then we can move around the model to create the next few points. Say if I want to spin around the house and I can add a keyframe after the initial one. Or if I say wanted to go in the opposite direction, I could add this as a previous frame, but I want to keep them in order this other way. And you can see all the new thumbnails appear in sequence. And they effectively are created the same as images. But I'm not limited to just hovering above the ground. So in this case perhaps I want to go higher up and further away and try to zoom out as if I'm flying further away from the building. Okay, that should be enough for the first test. Now, you can see how easy it was to simply add more keyframes. You can click in-between the existing ones. Now, if you wanted to add one in-between, I want to start at a different point in the beginning. Say around here. I can simply add this as the first initial frame by clicking to the left hand side of the first one. Even though we have created the Keyframes, Motion will automatically generate the movement path in-between them, which actively act as nodes. And it smooths out the motion in-between every keyframe. While still in the sequence creation mode, you can see a few new tools have appeared in the toolbar. First is the create new video part. This will allow us to create a new sequence so that we can link multiple clips and stitch them together. Then we can expand or collapse the parts visible within the dock. And this will allow us to more easily edit and manage all the different sequences. If you expand them, you can see the whole structure with all the keyframes expanded. To manage the interface more easily, you can collapse or later expand all possible video at once. If you want to collapse or expand individual parts, you can simply go on the three dots menu and collapse them individually. Next, we have two buttons. First frame and last frame. These two buttons immediately take you to the first or last keyframes and the sequence that you have created, which is useful when you have very long timelines. Finally, we have a Play and Stop button. This allows you to play and stop the video from the current timestamp. You can see the progression and the videos timeline by observing the pinks vertical line moving across the keyframes. Let's play this video out. First to see how the animation plays out, but also to see the progression line move across them. Simply hit the play button. Okay, So I think that was pretty good for a first attempt. It's not as smooth as I perhaps intended, and it seemed to move quite fast. If you want to make changes to individual keyframes, or if you want to change their positions or settings, simply highlight them. For example, this middle one, and click More. Here. We can actually change all the individual settings that we have previously discussed. To make changes to all the keyframes in a sequence, there are two different modes to control the settings. First is called single ambience. If we click on the menu, by clicking the three dots, we can select single ambience from the top. This makes all the conditions the same for all the keyframes. So if I click on Settings and I make the changes here. For example, if I set the camera to have a different field of view. And like go back to the video itself. I can click Play. We can see the animation starts from where I previously stopped. And clearly you can see that all the key frames have the same camera setting. However. If I want to make a change to start an end ambiance, I can select this mode. And you can see there at the base, we have settings for the start and settings for the end. Let's affect either of them in order. Starting at the beginning. Perhaps I only want a very wide field of view to begin with. So let's go with 120. And at the end, I want the camera to still focus in, perhaps not as much, but let's go with 45 degrees, which only those two changes. Let's click play from the beginning. Okay, so you see how a camera actually starts further away and moves in closer to the house. But this is certainly not limited to just the camera settings, but indeed to weather systems, lighting conditions, and so on. So if at the end we make it snowy, you can see that the star is still during summertime. And let's click Play again and see the differences. So midway through the video, you can see that the system changes the weather and the season from summertime to autumn, and then slowly into winter, and everything becomes snowy. If you want to change the duration of each sequence, you can do so by coming into this portion here where you can alter the path length. And this is currently set to ten seconds. The first marker will be four minutes, the second part being four seconds. If we wanted to make this Thirty-five seconds to give it a bit more time to observe all the changes, we can simply type in the values. And if we click Play, we will see that the animation is actually much smoother and quite a bit slower. Now, let's actually create a new video so that we can have a look at how to edit them together. Simply click on the new video pot. And perhaps we actually want to collapse the first one so that it becomes easier to manage. I don't actually want to start from the same position. So let's create this in a much more valid session. Okay, So if we just play out the second sequence, we can easily go back to the first frame within the sequence by clicking on first frame. And it will automatically set us at the beginning. Let's click Play and see what the results might be. Okay? Now, I don't want to spend time editing and making all of these videos. Perfect. Because I want to move on and see what the transitions between them might actually look. So instead of playing out just a second part, I want to play the video from the beginning. And I will change the initial videos length to be the same 10-second video. If I click Play now, we can see how this whole transition, okay, So to transition between them was white, abrupt. That is because they were currently set to cut. Let's have a look at the different types of transitions that we can apply between the paths. First by collapsing the parts themselves. So there is an icon either side of each sequence that indicates whether transition might be the scissor creates a transition, cold cut, or you can fade to black, which indicates this dark rectangle. Or you can say to white, which is indicated by a filled rectangle. If I simply move the progress line slightly before the transition point and click Play. You can see that the image slowly fade to white before setting up the new sequence. If we set this to fade to black, the effect will be similar. This functionality is really great because it eliminates the need for a third party software, which you could only use only to stitch together a couple of sequence. Thus, it fully enhances your workflow within the same program and using the same render engine so that you can create more smoother transitions and more complex videos. If we simply go back to the library of videos within the menu, here, we can click more. You actually see some of the different settings available. There aren't as many because all the different camera and environment settings will be controlled by the images that define the keyframes. So the overall video settings are the output size, which you can choose between two presets or a custom setting in which you can add your individual width and height values. Or you can also set this to your particular facing. But we'll discuss about this later on. Overall, considering all of these options and features, motion can help you achieve a lot when creating and compositing videos, albeit in a very basic way. But eliminating the need for other applications when you're stitching together videos is truly a lifesaver. 30. Phasing and Scene States: Facing as a special type of media that allows you to create and set up different development phases to show the progression and changes within your project. Indeed, it works really well with construction stages or renovation projects. So any process where you can show something changing, overtime, good work just as well. In the media tab in the dark, we can see the phasing section and let's expand this and create our first facing. Here you can see a colorful block stretching over a number of weeks and months. A phase, effectively a save of the current visibility state of objects within your project, which you can show or hide within the scene graph. There's even a helpful although subtle message at the bottom of the timeline, saying that you should first select the face you want and then modify the visibility of items and assets within the scene graph. So let's create a phase where we only have all the land and all the vegetation and none of the man-made elements in the scene graph. Let's find those and turn them off. I believe they should be all in Project. By the looks of it. That might be right. Now as you can see, there is no grass over the site, but we won't be concerned about that at the time being. So this is phase one. Now, in order to create another phase, simply click on the Create phase button and another one will be added. You can very easily manage these and reorganize phases by dragging them. Or you can just adjust the length by dragging the end points. So if we want face to, to be longer, we can simply grab the end and extended. And you can see that you can extend it over many months at a time. You can use the scroll button or the base to go back to the start. Or if you want to change the length of phase one, you can simply grab this one instead. You can create more tracks by simply clicking the three dots menu besides the track one and select new track. Or indeed, you can see different options to copy, paste, rename, or delete each individual one. This will allow you to overlap multiple phases or multiple actions over the same amount of time. For now, let's simply create a linear progression. So I will simply delete track number two. Let's select face to enable parts of the house. If we expand the house container in the scene graph, Let's try and find the actual structures. So we have the exterior shell, which I know it looks weird, but let's go with it for now. Let's decrease the length of phase two and simply start creating more. Leaving them roughly two weeks in-between two or three weeks, maybe they're all equal. And then we can simply enable more elements for each subsequent phase. Okay, so I have created nine different phases. In the toolbar, you can find a zoom out and zoom in button, which you can simply use to zoom out over the calendar length. This won't necessarily shorten anything, but you will see only a month or a couple of weeks at the same time. You can also use the drop-down menu to actually import or select what the increments in the calendar might be. If you're onto Tuesdays, you can see what happens over each consecutive day. You can select weeks, months, and so on. Once you have finished setting up the phasing sequence, we can actually added to video to best show the progression. Let's go and create a new video for this in the video section within the media tab. Just like we have discussed previously, let's create a quick video. If we make this 20 seconds long, we can see how that might look. But what we are interested in is actually adding the phasing onto this video. So if we actually come out of the main video creation mode and back into the thumbnail section. If we hover over this and click More, we can see the phasing section that we can attribute to our new video by selecting facing one or whatever name you have given your face. Now, if I go back up and enter the video creation mode, I want to hit Play to see the results immediately. You can see that at the start there is no house there, whereas previously it was visible. Let's hit Play and see the results. Okay, so you can see that things start to slowly appear in the viewport in relation to how long each face has been set up to be. Clearly, this is a very good mechanic that allows you to create video progressions of your entire project without worrying about merging different video clips together in post-processing. Next, let's actually have a look at seen states. In the scene graph we have previously covered. There is another menu. Currently this is statistics, but you can drop down menu from which you can select the scene states. Let's expand this panel and see how it looks. Currently, there is nothing there, but if we go back into the media mode and go into phasing, so that we can get all the visibility for each of the phase. Selecting phase one will have all the project elements hidden. Now in the scene States panel, let's click on the plus button at the bottom left corner of the panel to create a new scene state. This will also save the current visibility state of items in the scene graph. If you want to make changes after you have successfully enabled or disabled whatever you wish to hide or show, makes sure to always refreshed the current state that the updates are committed to the project. If you want to rename this, simply, right-click on it or click the three dot menu. And let's call this phase one. That it is more clear and then tone with the phasing program. With nothing shown. We can clearly see that as phase one. But if I click on phase four again, some elements will become visible. I want to create another scene state and rename this to face for. Now, if I quit the Media mode, I don't necessarily need to see any of the phasing anymore. I simply go in and do my regular business in the model. But all of a sudden, I want to see what phase one looks like from this angle. If I simply click phase one in the scene states, you can clearly see that has been immediately applied to the entire model. If I click on phase for here, you can see that some of the elements have become visible corresponding to what was saved previously. So you can very quickly create multiple states to carefully control how and what is visible. And these states can be used as sharp to hide or show larger groups of items. If we go into the medium mode, into an image, perhaps one that is already set up. Let's click More here. If we go on camera, we saw previously there is a scene state section at the very end. If we expand this, we can actually select one of these since they found we have previously created. So it is quite easy to attribute these things States to media so that you can easily save them in different states. Overall, both functions work towards a similar result. This enables an immense freedom displayed, not just the final product of your designs, but all the steps leading up to it. 31. Presentation & Panorama Set: Finally, let's discuss presentations and Panorama sets. Presentations for your feature that can combine all the types of media into one collection, effectively creating a slideshow to better present your work. Tell the story of your project. From the media tab in the doc. Let's go to presentations. And let's click on the already existing one to see how it looks. Here you can see a set of four images. If I click Play, we can watch this unfold. Because there were only images. You could only see this as a slideshow. However, we can create our new presentation to add more media types from the main menu, simply click create presentations by clicking on the plus button. A helpful tool tip will appear, showing you the button to add more media. Let's click this. Then a pop-up menu will appear showing all the different types of media present and safe within the project. We can see the three different sections, images, panoramas, and videos. You can simply select all of them and dragging each one or multiple ones at the same time. And adding them to the base in the dark. You can simply drag them in whatever order you need. And you can simply click and drag them to reorganize them within the dock panel. Once you're happy with your selection, you can close this menu down. And if we drag the progression bar from the start, Let's hit Play and see the results. That looks fantastic. If you have a look in the toolbar, there are two additional tools you can use. First frame and last frame. And as we have seen in the case of videos, you can simply use these to go between the different frames. It is a bit less intuitive in the cases presentations, as it does not actually go to the last or first frames. But it simply allows you to jump at the start of every frame. And the last section called panoramas sets. We can see this feature that allows you to create sets out of the panorama images that you have already set up in the project. Effectively linking them together so that you can export the whole set as part of an online, cloud-based interactive experience. There are two panoramas sets already present. So if we have a look at the panel raster set, well I can simply click on each one. And actually we can look around in the project without really affecting them. But it is less important how they look within the viewport, but more so how they look once you export them and add them to the Cloud. Whenever you wish to create your own panorama sets. From the main panorama set menu, click, Create New. And as we have just seen, you can click the Add Media. Select all the preferred ones that you have set up in the project previously. Add them to the bottom of the dark, and then that will be created. Again. You can simply drag them and reorganize them to shoot your preferred needs. Both presentations and Panorama sets have a lot more usability when you are actually exporting them either to the local machine or to the Cloud so that you can share your work with anyone from anywhere without needing them to access to in motion. 32. Exporting Media: The export tab is the last one in the dark. And it gives you all the functions to output the media you have previously set up in order to showcase your designs. Outside of twin motion, you can export either local to your workstation or to the Cloud to share from anywhere with anyone. The process is fairly simple and applies to any section. First, you select which type of media you want to export. The menu will appear with all the items that you wish to select. If we select the images, for example, we can easily select each image that we want to showcase. So if I select three images, once I'm happy, I can simply move the cursor away. This one for me that I have already selected, multiple images. The case of other media types, currently you can see it says empty. If you do not need to set up anything more, you can simply hit Export. And twin motion will start to render the images out or whatever media type you have selected. And it will save them locally. However, each media type will have additional settings here found by clicking more under each section. So let's have a look at them one-by-one, starting with images. First, you can toggle whether you want the 3D mode on or off. For twin motion to render the images as 2D or 3D stereoscopic. The refinement toggle allows you to increase the level of detail based on preset grades. When rendering out the images. Here you can see it can be turned off. Low, medium, or high. Motion blur toggle enables the effect of lowering assets when they are in motion, such as speeding vehicles, for example. When the images are processed for rendering. And max lighting will toggle an increase in the amount of light created within the scene. If we then explored panorama settings, we can see the same 3D mode function. But next we can see the resolution. So if you remember, there was no setting to set the resolution for the export when you were creating panoramas because they are actually located here. So we have the option to create a to k for k, six K or eight K 360 degree image, then we can enable or disable motion blur as well as max liking. The case of videos, we have slightly more options. The first one, clip can select individual parts are too full videos to export separately. Here you can see all the different parts that are contained within each individual sequence. The format can allow you to select what file format and frame rate to export the video. So you can select between mpeg and PNG files. The mpeg file being a video file. Or alternatively, you can export each frame as an image file, which you can later a third party software. If we click More, we can actually set the frame rate for the video. Bridging between 25 to 120 SPS. You can set the mode between standard 3D, 360 degrees or fifth you 360-degree 3D. This allows you a great freedom of creation. So that you can create not just simple standard videos, but you can select between all of these modes, thus enhancing your creative freedom. Whenever you select a 360-degree video, you can also change the resolution, similar to how you can do that for the panoramas. Again, ranging from two k for k and a k. If the mode is standard, you can also choose the refinement as well as enable backsliding. You can see that the refinement was turned off when you are trying to rate is 360 degree video. For presentations, we can see there are no options, but it is worth noting that presentations can be either locally saved or upload it to the Cloud. Whereas panorama sets can only be uploaded to the cloud. If we actually select one of these. Let's go with the one using the raster mode or the real-time engine. We can actually click more to expand this. And note that you can change the resolution between 2468 K and enabled max lighting. If you're happy with all the setup, you can now click Export and waits for the process to finish. However, I only want to export at the moment, just the panorama sets so that we can go through what makes this function so special. So once the panorama set has finished rendering locally, it will simply be transferred to your twin motion Cloud. Once that is ready, simply go to the twin motion Cloud and we can have a look at the newly exported set. Now, we can see the panorama set that we have just exported. If we click view within the big thumbnail, it will load up the model and allow us to go through the interactive experience. Here, you will be greeted by the model in the background, as well as the navigation tools to explore and interact with this virtual experience. You can also click here to view the teleportation or movement keys. Whilst this was exported as six K, it may actually be a bit under detailed, but given that this is still in early access, I'm hoping that this will improve quality with subsequent updates. So if we have a look around, we can actually see exactly what we would have seen in the twin motion viewport or be it, none of the dynamic effects are actually set in motion because this has in fact rendered just an image. So don't expect everything to be fully dynamic. But it is quite great to be able to look around and not be confined to a static preset frame. If you want to move around, as we have seen, we can use the arrow keys on the keyboard or the WASD keys as well. This will allow us to transition between all the pre-set views that we have just exported. And as you have seen, it does fade and transition quite nicely between the two. Thus, you can very easily look around from any different point of view and actually see the full extent of the model all around you. If we click on the Cite button here, we can see all the different locations within this set. So it will allow us to more easily transition between each one. While some effects will appear a bit jittery, it is noted that it is still in development, so hopefully this will improve. But overall, I think this is an incredible interactive experience that you can take your clients, stakeholders, professors, and so on. And more easily, be able to describe and showcase your project. More so than simply using two-dimensional drawings and flat images rendered out from the project. You can use this function on touch-based devices as well, such as phones and tablets. And it will give you a much more hands-on experience as you get to interact directly with the environment and with the added benefit of Cloud processing and sharing. You can upload it presentations and quickly share them around with your friends, colleagues, and clients without worrying about them having access to twin motion in the first place. I hope you have enjoyed following along the spin motion 2022 masterclass and have learned how to leverage the immense power and functionality of this amazing program to better explore, visualize, and experience your projects and designs.