Twinmotion for Architectural Designers - From Begginer to Pro

1. Introduction To The Course: Hi, my name is Frank to Emma from the art of 3D experience. In this course, we're going to transform a basic 3D and bomb created in Cinema 4D into an amazing virtual environment using twin motion. With the rise of blockchain technology and virtual reality platforms like these central and some namespace and special virtual environments are becoming very popular these days. The best way to learn is to work on a project. So I'm providing you with the basic 3D model just in case you get lost on the way. So in just under two hours, we're going to make a 3D virtual gallery come to life. Using twin motion as powerful array of objects, materials, and lights would create a final presentation that will help us sell if virtual gallery online. It's going to be fast, easy, and very fun. So let's jump in. 2. 01 Getting your basic model ready in C4D: Okay, so before I go into twin motion, I just want to talk about cinema 4D, which is where I used to model this project. This is what it looks like. So you can import various types of files to twin motion. But for this project, I'm going to use the FBX version. I'm using FBX because you can export FBX from many types of 3D software. You can import FBX straight into motion. Some of you might use other programs like 3ds Max or Blender, but all the software should be able to export FBX files. So let's have a look at what I've got here. I've got my objects down here. I've got my materials down here. And all my materials used. The basic Cinema 4D standard materials. Don't use any corona or v way or any types of special materials, just convert them all down to standard materials. And really all I've got in each material is just the column happ. Why we don't need any more than that. For materials on Cinema 4D, we need is the diffuse or the color. If you have any textures like these artworks, is just the texture. I don't need the reflectance at all. So I'm going to take this all out. Now, reflectance and reflectance. So the way we're going to export this model is we're going to export it as one big fires 11 chunk, basically, meaning that each materials will be connected. So the white will be just one material. The water will be the one material, the glass would put the war materials. And so when we export those into motion and we want to change the materials, or we need to do is just change the one material and then everything else will update in to emotion. Rather than updating materials obtained by object, you can now update materials by chunks. So if I select all my objects, you can see that the pivot point is at 0 in my scene and each objects pivot point is centered to its main pivot point. So for what I was saying earlier about materials, if I change this concrete material on the floor, it will update the concrete material on this object to. And so that's how we're going to export our model to twin motion by collapsing it by materials. Right? So what I'm gonna do here now is I'm going to export this model as FBX. So I'm just going to go to File Export and FBX. And I want to leave the settings as default. And I'm going to say, okay, someone to export my model as gallery. I want to call it a gallery version four. And that's it. You have your model export it as FBX. And this model, this 3D model will be available to you as download. So you can have a o, so you can play around with it if you want to before you export it. And the only last thing I'm going to do is I'm going to show you a bench that I've got modeled in space. So I've got a bunch here. Move it up and you can see the pivot point is at 00 on this bench. And the reason why I'm hiding it and I'm having it as a separate object. Because I would like to show you how you can copy and paste object in cinema 4D in motion if you have them imported as separate object. So rather than having it as part of the bigger model export, I'm going to have this as a separate object. So just to show you how you can copy and paste and move around, move objects around in twin motion too. 3. 02 Import your FBX model into Twinmotion: Okay, once you are ready to import your FBX intuits emotion, you can go to the Epic Games launcher. You can get this by going into the epic Games website and downloading twin motion. And then just follow the steps and it will be added to your launcher and you will get to this page. So I'm gonna go to twin motion and launch it. So once I open to emotion, I, I'm presented with this landscape. So what I wanna do now obviously is to open my FBX files. I want to go to file import, or I can just click on Import down here. When I say open, I'm gonna go to my gallery. So one option in your import option, you're going to have various import options. You can collapse object by a hierarchy, meaning that everything will be separate, or you can collapse them. Biomaterials, that's the option we're going to use. So I want to select Collapse by material. This can keep this to auto and it's fine. That's fine. So import, the whole thing will come in. It will show you what, how would you want to import the materials? I'm going to say use imported materials because that's going to be using the materials are used in cinema 4D. So I want to say, Okay, applied to all is fine. And here is my model. And let me just show you what I mean by collapsing biomaterials. So if you have objects that have the same materials as others, you can just update them once and it will update the other ones. So let's say I'm going to select this class material here. I'm gonna go to my materials. We're going to click on this sampler here. I want to sample a glass material. And then let's say that I'm going to change the color to blue. And as you can see, when I change it to blue, it changes the inside glass through Bluetooth. So this is what I meant by collapsing by material. Let's take it back to queen. So here's my model into motion. And also what I was saying to you earlier about importing objects separately. Basically, if you select this, you select this object here, the pivot point is in the center. But if I select this bridge here, the pivot point is also in the set-top box, so everything I select, the pivot point will always be in the same position. So if I select those lights, if I wanted to move this light accurately, I wouldn't be able to because the pivot point is always in that area. So if I wanted to move it, it's gonna be tough too. Move objects separately. So this is why I've imported everything that isn't going to move as one chunk, so I don't want to move any of these one are these objects. So I kept them as one chunk. But if I wanted to import my objects separately, I would have to import them. Like I'm going to import my bench later separately. So that's what I meant by collapsing your objects and your materials y. So these won't move. So it's all fine. I can just have every object have the same pivot point. So here's my bench, and I want to import this bending separately into twin motion. I can manipulate it. So, um, let me just go to File and I'm going to export, I'm going to say BX. I'm going to leave these options as default, and I'm going to say bench. So that's my bench as FBX file. Now what I'm going to do is I'm going to import my bench separately. And I'll show you what I mean by importing objects separately. So if I go to my Import option and say Import, I'm going to click on Open, go to my bench, open my bench, collapse. I'm going to keep the hierarchy this time because I want it to be separate objects, right? So the thing else as is import, I'm going to say use imported material, that's fine. And here is my bench, right? So it's in the same position as I had it in Cinema 4D. But now I can. Move it separately. So there you go. Delete this one. Benched and let's just hide it. And I'm going to keep this one as is when you go. And now I can move this bench separately. So if I wanted to move it over there and you can see the pivot point is follows the object. So it's not like all the other objects that all have the pivot point here. This one has its own pivot point. So I can move it around. And I'm just going to place it somewhere around here. Just going to place it here when I want bench here, rotate it. And actually it's moving and it's moving inside, smoke in here, or keep it in here. My objects in here. And I'm going to write just a right rotation for it. This way. That's kind of nice. I'm just going to copy and paste it. I want to paste it as an instance. So it keeps all the information the same as the parent objects. So I want to move that one. This way. I'm going to rotate it. Go. And there's my bench to benches blank in the center point of this stage. That's quite good. Right? And also while I can do is I can import objects separately from twin motion libraries. So if I click on this little arrow on the left and go to Object, you have all kinds of objects. If I go to the sit home and I say, let's see, kitchen, I can import chairs and lists important tool in here, just as an example. When I double-click on it, just pay it. You have to download this one. So if I download this tool, it would come in to my library. Let me try something out. I don't have to download. Okay, let's try this chair, for example, is you can drag it into my scene and as you can see, just comes in to scale, right? And everything is nice and clean. I can move it around. I can place it in various places. Girls. So that's how you import objects from the twin motion library itself is fairly straightforward. When I delete that one. And let's just import something else just for the sake of it, let's try an impulse to the city, to a bench. Bench. Last coordinates actually. I've got this bench in there. I can rotate it around, move it around. So you can see you've got loads of different options, got hundreds of materials, hundreds of objects that are prebuilt that you can use in your scenes. So I'm gonna delete that one to n. So yeah, that's how you import a separate object in motion. Also one last thing, what you can do once you've imported your objects into twin motion and you'd like to use them on other projects. You can save them to your user libraries. So if I select this bench and I want to keep it in my laboratory for later projects, I can just select it, right-click on it, and then choose Add to use a library. So that's going to add these objects into my user library. If I go to my user library, which is down here, you can see my bench is in here now. So if I open a new file and I can drag and drop it, it will be available for me in another project. 4. 03 Basic navigation in Twinmotion: Okay, so before we get too far, let me just talk to you about navigation and also what some of these editing panels are. So we know where to find things into motion. You can have different things, different keyboard shortcuts to the same things. But what I would recommend is if you have an English keyboard, you can use the WASD to move forward, backward, left and right. And you can also use the Q&A queue, takes you up, takes you down. You can use the white button, click on your mouse to look around the scene. The left hand just to select your object. So the left mouse button to select. And you can move up and down. So that's a Q&A to move up and down. W to move forward as to move backwards, h move left, move right. And that's basically how you move around your models. So you can round up and down. You can also zoom in and out using your mouse wheel if you have one. So zooming in and out, it's quite useful. That's like navigating in Cinema 4D. But apart from that, is pretty much a gaming type navigation with your keyboard and your mouse. But then when it comes to Panels, and you don't have that many panelists. One down here which has got all these various options, the various categories. So we've got input for this one. You have got paths, you've got vegetation, been is your rendering and all the new lighting. So if you want to adjust locations and the weather and the camera settings, that's all done down here. And then you have the media, which is where you set up your various rendering images and whatever we wanted, 360 or video or whatever, panoramas as well. And you have your exports, which is where you export your files. And I think one of the most interesting panel in twin motion is the one up here with a little arrow. If I click on this little arrow here, you have stuff like materials, vegetation, object, characters, and download stuff can even have your own use elaborate, like we've seen earlier. Go through materials. You can navigate back up by clicking on the little arrow here. So back up one step and just add an object down here. There's the chair. Let's just do a box, a box on here, and change the material of it by going to materials. And I can see concrete may be used that onto it. There you go. See it's got my concrete material on my box. This is where we find all the stuff you want to use on your objects, or to import them, or to modify them. So this is by far the best or the most important panel of motion. And then on this side, you've got the hierarchy, which is basically like Cinema 4D. So it looks like Cinema 4D. So that's if you're familiar with Cinema 4D, you know how this works. This is where everything is. So it is a list of all of your object. You can collapse groups, you can rearrange stuff. You can hide, turn things on and off. You can. You can create a new container, sub container, which is like a group in Cinema 4D. Call it an unknown landscape. Then you can drag stuff inside your containers to arrange them. Just go back. And also, sometimes you might import something that's quite small. So to focus it on your screen, you just press F, F for focus, and it will focus on the objects. If I select these lights and press F, the camera zooms into the lives and center them on my screen. So that's how you can do. So for example, if I was too far out and I just important and object and I'm not sure and I'm not sure where that object is. I can just press F to focus my model and it will just focus my model onto my screen. Down here you have your statistics panel showing you how much memory you're seeing is using and the amount of polygons and objects and all that kind of stuff. So let's close this panel. And the last thing is this eyeball down here, which will give you daytime. The speed, which is the speed of your move around my screen. So right now I've got it as four. I can make it faster, like a car, basically five, moving faster. Or I can go to an airplane, Celeste really fast. And I can just go with you. Walking, speed as three, that's quite slow. So I like to keep it around four or five when I'm working on models. Here's a screenshot. You can take a screenshot of your models. So wherever you are, chest, click on screen shot a will take a screenshot of your model. You can have a pedestrian mode, which is, you walk in like a human around a space, which is quite useful, right? So you can walk around and it automatically puts a blocker around a physical objects like my walls. I can't walk through the walls and pedestrian mode, right? So this is how you have like a human type experience rather than a drone type experience. Fuse. And now you've got, I can now isometric views front side. Isometric. You can have perspective, back and top, which is quite useful if you want to place objects and do stuff like that. Keep it to perspective for now. I'm going to go back to my drawing mode. Just quite useful if you just work in progress mode. Drawn mode is quite good. It gives you a nice overview of your model. And apart from that, that's about it. I mean, I saw you need to know in terms of navigation. 5. 04 Optimising viewport quality: So just before we carry on, I just wanted to show you different ways of optimizing the view in quality. So if you go to Edit and Preferences and then on the quality, when you open to any motion, it will default to medium by n. So if you have a computer that's distinct to three years old, they won't look as good. So let me just show you how to customize how good your model looks based on your machine. So let me just zoom in, zoom in and see if I go to Edit Preferences and I go to quality, I go too low. You can see the shadows, shadows on even there. If I go to, go back and I go to medium, shadows are there, but they're not as crisp as it should be. I, if I go to Preferences again, quality or go to a high, high is better, highest better. And you'll kind of gives you a kind of like a best preview for what your final render will look like. But then if I go to ultra, for example, Ultra is like the best, best quality. This is very close to what you will get in your rent is y. So if your machine is not very new, you can kind of keep it to medium, which will give you something acceptable. Why? But I wanted to keep mine at hi because I think my machine can handle it so high. That's pretty good because when you modify our materials and stuff, you want to see what it will pretty much look like at the end. So if your computer is half this and it should be able to handle medium to high quality just in case. So that's just a little side note on how to test the quality of your preview. So you don't get confused between preview and final renders. 6. 05 Basic transformation tools: Right? So in our projects, in the project file, I'm just going to try and make it look as presented board as possible and as clean as possible for final presentation. So my model right now is kind of okay anyways, looking, looking at why it's not bad. It got basic lighting is called a basic materials that I've added in and cinema 4D. So from the star, it doesn't look bad at all. You can see that some of the materials and lighting on it are perfect. They just call it at the moment. So remember that we, at the beginning we've imported these benches as separate objects so we can move them around, rotate them. You can select, say, for example, select the bench and you can either rotate or scale. I can rotate my model. All right, I can scale it on the x, y, or z axis. Alright? I can also scale it uniformly by clicking in the center point here and then scaling up and down. You can move, move along a plane. So you can move up and down or around a single plane. You can also move up and down on individual pivot point. And also notice that with the rotate or move we can do both to see if I go to move, I can rotate to buy. If I go to rotate, I can also move. So I'm just going to see if they are paste properly by going to my top view. My benches. Okay. That's fine. Yeah. The other one. Yeah. That's fine. I put it up. Move it up here. So that's fine. So I'm gonna go back to perspective view. So that's how you place your objects in your scene. We using the basic transformation tools, which is pretty, pretty straightforward. Like I showed you previously to. You can also copy thing. See if we say if you go to move and then press Shift as you move an object, it will copy it as an instance or a copy. And that is basically it for transformations. 7. 06 Add objects to your scene: So once we have our basic transformation understood, let's look at how you can place new objects in your scene. And as I've, as I've showed you before, we got a huge library to play with. And it's not just materials and stuff. We got lights, we've got vegetation or trees. And volumes can use characters. So for example, I could do a human, an animated person, male. Let's drag him in. And there you go. You see how it's moving around, just acting y. Then it's looping. It does the same thing over and over, but there's a really good assets to have to make your scene look a bit more realistic. I'm going to leave him in a scene. So that's, that, that's how you place objects in your scenes. Let's add a tree. I'm going to add a tree to this little patch of grass down there. Let's go to trees. I'm going to go for something that will fit within the hole down here. So maybe something like that. We'll do c to put that there. And as you can see, you just snaps into place. I can move it up. And they go, Here's my tree. I kinda want it to be a bit bigger than that. So I'm just going to scale it up uniformly. Asked about why and then move it up. Move it up into the ground. Like so. That's pretty cool. I like that. That's nice. Okay. Yeah. So, you know, you can play around and add what you want to seen. I think that's pretty good for now. 8. 07 Basic viewport lighting setup: Okay. So as you can see, a lot of the materials aren't finished yet. They haven't been optimized properly. And so I'm going to start editing these materials. But before I do that, I'm just going to show you something with lighting that will allow you to see your materials better and give you a good idea of what they will look like. What your materials will look like in the end. Because if you're seeing is too dark or too light is going to be hard to preview it and give you a good idea of what it will look like. So this is kind of a very basic lighting setup. If you go up here to the eyeball, to the lighting, you can change the time of the day. Why so I can go up to sunset, sun rise to sunset. Why? Sometimes you might find that you don't like the angle of your lights. You don't like the way the sun is angled. So what you can do is go to here too, the location down here, and you can change the time of the day. Same thing. We can also change the month. So that will change the angle of your lights. Maybe change no offset. So the sun is in a different position. Maybe that's kind of good because it stands behind the camera. As interesting, and I can see most of the space quite well. So the inside of the circle is well lit. So that's, that's kinda good for material selection and no modification and stuff. And also you can also pay what? You can also change the background. We can change it to different city. You can do mountains, countryside. In fact, let me just change it to none. I have nothing in the background, right? That's quite cool, is quite simple. Like that. And I'm just go back to the location. Let me just rotate, change the time of the month, baby to October. November is quite good because it's not sure why it is. It's got some counter to it. Actually want it to be applied to a second gentleman. Material is properly so that November, October is quite good. Let's keep it to October. And yeah, I think that's quite cool. That's quite nice. I can see most of our materials. I can see the scale. Let me just scale that down because it looks like I've scaled it up to much earlier. There you go. Now, also, in this tab and the Settings tab, we can change the weather. You can have you can have a rainy day. You can see it updates your materials on the fly. So you can see puddles of water on the floor. You can have a really rainy, really cloudy day, and then back to a Saturday. So you have different different weather, different seasons. You can go to snow, you go. Now if I go back to settings and enlightening again, you have all different types of different ways of adjusting the brightness of your scene. So I have exposure. It would take me, take up, you can take up or down. Only if it is 0. You go white balance, which is basically the temperature of your scene and go to warm to very cool. I'm gonna keep your y 6 thousand sun intensity. Turn it down or up. Keep it around here. More intensity as well. You've got the ambient which is, you know, how dark your shadows. If I move it up, you see my shadows again, biter y. So if I keep it down, you see my shadows. My shadow areas are darker, so ambient is quiet. It's quite good to keep the peace and quiet high because it allows you to see details of the scene. You can always adjust it back later, but I like to keep it quite house. I can see within the shadows what my materials will look like. So as you can see, all these lights in settlements have been updated on the fly. So there's no rendering, no waiting. Everything is done as you make those changes. So that's pretty amazing. 9. 08 Adjusting materials pt1: Okay, so now that we have our lighting where I can pop this, we can see all our materials. We can now focus on adding some basic materials to our model. So let's jump in and look up the materials that we've imported from Cinema 4D. So as you can see, I've just added some colors just to kind of identify each material. So there will be class, of course, some water in there. The edging of the building to the black outlines you can see around the building. I'm thinking more of a metallic or like a dark brushed aluminum. Same thing for the lights in here. They'll be kind of like a slightly reflective materials with some neon in the middle. And I can also add some materials on to the railings hair. And that's it for this video. So let's start, let's jump in and let's see what we can do with the material. So I'm going to open my materials palette on my left. And as you can see, we've got materials palette, so I can click on Materials, and I've got a whole list of things that I can add. So let's start with let's start with the metallic edging here. So I'm just going to use my Material sample picker. So I want to pick on the picker and then sample is material, which is this one here called Men material, metal edging. And I'm going to go to my metal's section in my materials and find something quite dark because this is a, I can use the carbon, I guess, but in this got some texture to it. I want to keep it quiet plane. And so I'm thinking maybe something like something like blushed material, brushed aluminum would do so let's try it. Let's add aluminum to that materials. And as you can see, it changes the whole thing because I've imported it as a merged material object. So what I can do because I want it to be quite dark. I can go to color down here and I can darken the color of that material. So it will still keep the material property of it will still keep them. Mental illness of a batch wanted to be dark because it's meant to be quite dark. So I want to go to stick it to that color. That's fine. And then Okay. And I can also adjust the reflection of that material. So I'm going to keep you about 50% is about why. It's about why it's 2% on there. That looks good. Let me just zoom in to see what it looks like. Close up. That's not bad. I think the the texture tiling could be a bit smaller, ellipse a bit bigger than S. So want to go back to my sampler. And I'm going to scale the size of the repetition on it, yet, on keep it quiet times. That's kind of okay. So that's my metallic edging. Should be the same on that too. Yes. And next let's look at the lights. So these lights down here, I want to add, I want to sample that texture. And I'm gonna go to aluminum again, and we're going to apply that onto this object here. And then same thing, go to Color, decrease the lightness of it. So it's a bit darker, maybe not too dark for this one on keep it about that level. And I'm going to add a little bit of reflection on this one. Right? That's fine. Or else can I do here? I can add. These lines also have a kind of a dog brushed aluminum texture to them. So I'm going to do the same thing for these ones too. So let's sample that material. Pushed her iminium lie and then go to Color, decrease the lightness. That's about okay. That looks pretty good, right? So that's fine. Then we have this texture on the floor. So this is the only texture that I've imported from Cinema 4D. As a texture is not looking bad, but we're going to look to adjust that in the next video for now though, I just want to make sure that the detailing of it looks okay. It kinda looks okay, but thinking is to be slightly smaller. So I'm going to sample that texture too. And then in this case, I'm just going to reduce the scale slightly. That's about, that's about why. Looks quite good. Okay. I can now add, let's look at the edging on the artwork because that's also needs to be a plus ten ammonium. So let's just add that onto that. And same thing. Decrease the lightness. Something like that. That's fine. And same for these lights. The spotlights over here. Worst aluminium. Right. And I think I might keep those as aluminium. Yes, because I don't want them to be I don't want them to be a feature. So they're quite good as a lighter material, so that's fine. And let's look at the glass outside. So on here. Twin motion also had some black material that you can apply on to landscape and vegetation. So let's try and find some of those. Trying to find some class. So I'm gonna go down to ground and I'm going to select nature. And in here you've got a few selections of course, and flowing in Just external landscaping materials. So I'm going to maybe just try and apply this one here. That looks pretty good. Let's try that one. I think that's a bit too rough for me. I'm going to stick to this one and I'm going to reduce the scale of it. And that looks about right. So 0.3 rant about 0.3, so that's fine. So basically my plan is to add some more 3D planting on top of the class, but just to give it a little bit more realism or doesn't want to keep it clean. So I've added some glass to that surface just to add a bit more realism to it. And the next material we can look at will be done the lighting, we've done the floor. They've done the class. And this class also needs to be that, which is fine. Okay. I'm going to need to fix this area later because it looks like this has got a different UV mapping. So let's look at updating that later. Let's decrease that back to 0.3. And I think that's about it for the basic materials in the scene. I mean, I could I could keep going and keep playing around with materials. I could add stuff like glass or wood, can play around with different wooden floors just to just to show you what it looks like. Two different flowing. You can add metals, Briggs, all sorts of materials. One more thing I forgot to do was to add material onto the water, which is quite important for our model. So let's sample this material. And let's go to our materials palette up here. And I'm gonna go down to water. And I think I'm just going to add the basic pull water. That's pretty good. There you go. Boom. Looking really nice. It's got some nice texture. I've also got a surface below the water. And I'm thinking of applying some sort of natural ground muddy type crown onto the base of it. So let's hide this water material. And as you can see, I've got a surface down here. I'm going to sample its material. And let's maybe add some, go back to ground, maybe add nature. Let's add some pebbles or something a bit more interesting to look up down there. Let's go for maybe those pebbles, striders. Let's scale up the texture. Yeah, that's pretty good. That's quite good. Let me see. If I unhide my water. Yeah, I like that. That's really nice. I really like that. Right? That's pretty good. I like that. That's looking very sweet. So next, we will have a look at adding a couple of more details and also looking at the lighting on our scene. 10. 09 Adjusting materials pt2: So continuing on from our last video about materials, I mentioned that I was going to carry on and updating this flow material to a polished concrete look. So let's get back into this material and let's have a look at what we've got. So all we have here on this floor is a texture map, which is like a flat image. What you can also do to make your vendors more realistic is each material normally has more than one channel. So at the moment we only have the texture channel for this material. We can also add the reflection channel, and we can also add a bump. So what the reflection channel does is it refers up the reflection of your material so it doesn't look too polished. So usually immaterial has some sort of roughness to it in reality. So each material has one of those channels added to them. So I'm going to show you what this material that I want to apply onto this floor looks like. So I'm gonna go to the color channel. I want to go to mall and texture. And I'm going to go to Open, and I'm going to find a texture that I've downloaded earlier. Want to click on this one which is the albedo. So here's my texture on the floor. Going to scale it up and down just to see a little bit. That's, that's kinda okay. And I'm going to go to its reflection channel. I'm going to click on More. And in here, I'm also going to add a image which is the roughness image. And automatically there you can see it. It's not perfectly polished because of the image, which is what you would get in real life. So it's a bit too polished. But you can see the effect of having a map, a reflection map onto your textures. So we can do is just a reflection. So it's not as polished as it was. So that's kinda like get a little bit of flexion of flow, which is what it will be in real life. We can see that the roughness of it can also increase the roughness by increasing the mental illness as well as in China after medical illness and turn it on. It doesn't need to be a metal, so I keep that of the reflection. It's fine. So now let's add a bump channel. And what bumped does is it adds a little bit of three-dimensional to your materials. So if I go to bump and go two more, I'm going to put two normal map and I'm going to open these purple look in map, which is what you normally get, a new one, you download a material. So I want to open up. You can't really see a difference because it's meant to be a polished flow. So you're not gonna see anything much in terms of whiteness on this material. I'm going to try and pump sets. And so you can see maybe if I've warmed up to 500 is still can't see much, but you can kind of get their little bumps on the floor as a bump it up. Let's try. You want to go to 30% MAC, little bit of a difference. Now go back to a 100. There you go. So you will see a difference in the final render. It because I have the they display settings on media. You can't quite get the detail, but you will see that in the final render. So that's quite good for flow. Quite happy with that. The other thing I forgot to do last time was to change the material on these benches. So these benches will need to be, I'm thinking something like bronze, bronze type material. Just to keep it a bit more, add a bit more color to it. Patched slightly warm brown, just looking quite good. That's pretty good. I like that. Maybe decrease the flexion slightly too. Reflective. There you go. That's looking pretty well. We just move that up a bit So it's on the floor. There you go. That's quite good, right? So we've adjusted the materials, we've added a bit more detail to our materials. And let's finally have a look at these whales sample the material. And again, I want it to be some kind of metal. So let's go for it. Go for a slightly warm comb. We'll do it to travel. I think that's quite good. I mentioned they're quite small. It's a small object, so you're not really gone. I appreciate that. So that kinda works. Yeah, that's fine. That's pretty good. Okay. So we've now got our materials, our basic materials on our motto. And I'm pretty happy with it. I think it's so looking good. So let's have a look at looking at more of the landscaping in the next video. 11. 10 Working with lights: So in our previous video, we had a look at adding some materials, some final touches to our materials. And what we're going to have a look at now is adding a couple of more finishing touches to our lighting sepsis. And in particular, the neon surface on these slides and the reflectors on these slides, and also maybe those latitude. So let's start with the sticky wax and let's add a material on their surfaces. They look more like lights. So let's go down to this panel, to my materials, and we're going to go down to neon's. And what you do is you can just drag a near material onto the darker part of these lights and boom, there you go. My lights now look like light. So when I go closer to them, the glow, when I'm further away, they just look like they are emitting light. So as you can see, it automatically updated those up here. And also, let's test this, what these ones look like. There you go as well. So these are all the same materials. So they will got the they've all got the emissive material is applied onto them, which is good. And now I would like to add some lighting to my scene as in action, Just not just services. So I think what I wanna do for that scene is to in order to see the light because it's daylight, you're not going to see the lighting detail. So what I'm going to have to do is I'm going to go to my lighting settings and I'm going to take the sun intensity down to almost 0 y. So you only see, you barely see the light. Let's take it up to one. Maybe 0.5 is really, really dark outside. Alright. Let's do one. Go. So to add some lighting, just go back to your panel on the side. And instead of materials, you go to lights. And I'm going to add a couple of spotlights. I mean, you've got you've got choices. These are IES lights, which give you an accurate sort of pattern over lighting from actual manufacturers. So if you want it to be very accurate, you could. I'm just going to add very basic. Let's try a couple of these to see which ones look best. So let's go for as cough or I7. And I'm basically going to try and match the position of each light onto the scene. I'm just going to add it in, drop it in, focus. And I'm gonna go and move my lights around. It kind of matches the position of my lights. As you can see, is kind of this very bright. So I want to decrease its intensity. Take it down to something like ten, maybe. Let's try ten. Tens, pretty good. Fifteen. Fifteen is quite good. So what I'm gonna do now I want to copy and paste it. So I'm going to press Shift, Shift and move my right hand. Scroll back to undo. Press Shift instance, that's fine. So create another one next to it. Something like so. That's fine. Shift instance. And the hard part is basically just positioning those lights accurately in your model. But this is not too bad. So let's do the same thing for the other side on the shift instance, yes. Down there. Press F focus, right? You go press Shift. Instance. Yes. Shift again, and it's put on the last one in. So I've now got my lights for my artworks. She's looking pretty good. I like that. So now let's add some spotlights for these bigger lights up here. So let's go to lighten add. I think I'm going to add just a basic spotlight for this one. Cylinder drag and drop it. Just about there. That's quite good, is close enough to my light. I'm going to move it around just a little bit. I said it doesn't have to be a 100% accurate, but you can just for the sake of doing it properly. That's one light. Let's add another one. Shift instance. That's correct. Move it into place. All right. These ones are a bit trickier because they are on an angle going up. So it's not just a case of more than it on one axis, but I'm going to pop up as well. So that's pretty good. I mean, it doesn't have to be a 100%, but I think that's that will do it. So I understood the rest of those lights. Shift instance? Yes. That slight shift? Shift again? Yes. Keep going. We're almost at shift instance down. I'm going to adjust the position of these slides later on anyway, but just for now, I'm just going to put them in position. So I've got them in place. The last one into position. By the way, to see your lights, you see the icons. For your lines. All you need to do is press G on the keyboard so she will unhide every single little preview of where your symbols and your lighting is. Key to hide those symbols. So that's quite useful if you want to know where your light's actually is in your scene. So that will do for now. Let's just leave it as that with no water a bit. So now I've got one. I think. I can add a couple more lights in the center just to add more lighting in that area. Could do. Let's see what we can do for that area. We do another spotlight, generic spotlight, just to light the center of the stage. Can do one here. And we can also maybe do one behind it. Where the tree is. There you go. That's quite cool. That's quite nice. Just in there. Yeah, that's nice. Okay. So our lighting being done or maybe elicit a couple more, Let's add a couple more in. The water. Might be nice to have some light chain. Spotlights and the water. Swift distances. Let's decrease intense dominance. Fine. Let's just go for that shift. Instance. Instance. One more over there at the back. And that is looking pretty nice. That's quite good. I'm liking this. Well, I'm also gonna go ahead and do is add shadows to these lights. Because at the moment, as you can see, when the light hits objects, it doesn't cost any shadow, which is not very realistic. So I'm going to hit G on my keyboard to unhide my icons. And I'm going to select those lights, which are all my spotlights down here. And I'm going to go to shadows and I want to turn them on. And there you go. As you can see, we now have shadows where they need to be. 12. 11 Getting better reflections: So we've had to look at adjusting our lighting in the scene, which looks really good at the moment. So what I'm going to do now is I want to go back to my sun intensity and I'm going to bump it back up so we can see our scene clearly again. So let's go back to sound intensity. Raise it up to ten. Just fine. Oh, maybe let's go back up to 15. Yeah, let's change quite a bit. Okay, so now let's look at what we can do to increase the quality of our reflections. As you can see, our materials are apart from the water and maybe the flow. Everything else kind of has a kind of a flat look to it. When I saw all our materials, even though we've increased the reflections, they all looking pretty flat. And that's because motion is a game engine and game engine. This reputation of not being very good at reflection because obviously reflections are costly. On your machine. It takes a while to calculate reflections. And so what the way around this is, twin motion has something called flushing probes. So if you go down to your library under Tools, you'll find something called reflection prompts. So when you click on that, you either have a spherical one or a box one. We're going to use the box one because that's the most basic one. We're going to drop it in. And as soon as I drop it in, you can see the flexion getting more sharper. So if I scale this up to kind of cover the whole scene, Let's click on that. And it's good to size as n increases the size of it. And as you can see, as I, as I increase the size of the reflections are getting a lot more clear, right? So I want to make sure it goes across the whole of my scene. I don't need it to go too far out because I kinda like the effect. I get down here. So I'm just going to keep it to one about this size as far, okay, so now I'm getting much better reflection inside this cube. Let's have a look at water. As you can see. This reflecting everything in the water to flow is reflecting everything else even better than we had before down here too. So it's a lot more accurate as reflection. So that's how you get reflection to be a more accurate in your scenes. You're kinda stop your scenes looking very game-like. So that's how you fix that issue. 13. 12 Tools overview The Context Tab: Okay, so now that we've discussed everything to do with this panel right here, this one on the left, at least most of it. And we've discussed what these tools were down here. We can now focus on what we have down in this panel here. So we've kind of touched on the import panel, which is very straightforward. That's your FBX import. Now the next tool is the context. And the context panel lets you add various things like ours, vegetation, and Abbott. So let's start with the part two. So the path tool lets you add. It basically lets you generate various types of content, like people, cars, bicycles, and you can add also custom paths if you want to. So let's, for example, let's start with a character path. I'm going to select the character down here. And to make it work, you need to select your pen tool. And in the corner, if I click on the Pen tool is now activated, I can draw a path on the floor to determine where I want my people to walk. Let's just go like this and I want to click Escape. And now I can see my people are being generated and they are walking along my path. So what you can do with this is also changed the various attributes on those people. So you can have all different types of people. So at the moment I've got African and Asian and Caucasian. I'm going to leave it at that. But you can actually take out African, can take our Asian or I can leave African and take out Caucasian and Asian. So however you feel your model needs to be populated, you can change the various attributes of your people. Also, next way we have clothing. And what clothing is, what type of people or what type of attire your people are wearing. You have street, which is going to be very casual attire. You will have office. There will be traced as if they were going into an office. You have travel which is kind of like shovel-ready people. Then you have beach as people were on a beach somewhere. And you also have traditional Middle East in which if this project was some way in Qatar or Abu Dhabi, Dubai, I would use this to make it a bit more contextual. Then next to your clothing, you have the width, and that is the width of your part. So if I increase the width of my bar, you can see that now more than one person can be walking alongside the other. As you can see here. That allows you to have more people, which is a bit more natural in my opinion. I want to decrease that a little bit. That's why I'm gonna I'm gonna make it four meters. That's kind of okay for this scene. And next to width is the density. Basically for meaning they can have more people on your path at once. And next to density we have reversed, meaning you can have your people walk on the reverse side. It's pretty straight forward and next to reverse we have walk on or off. So you can basically let your pupil stand mutually and looking around your scene, which is kinda fitting for we have here we have an art gallery, so maybe we have more people standing around and walk into much. And that is the path tool. I'm going to delete my path down here. Then next two parts, we have vegetation paint, and this is also very straightforward. So what you need to do is select. This is basically this panel down here. It says drop a model here to start painting it on a surface. And what that means is you can drag and drop a kind of a variety of brands that you want to use on your model. So let's say that I wanted to go back and say that I wanted some grass and flowers. Let's say that I wanted these type of world-class. I want to use that one. Drag and drop it in here. And I can also add more to it. So let's say I want some weeds. I'm going to add some weight in my palette. And I'm also going to add these violets here just for explanation purpose. So once you've got your palette of these three types of brands you want to add in your scene. You just go to your paintbrush down there. And you can see how big my pen Bush's is a bit too big for this scene. So I want to decrease it down here, down to about two meters. And I'm going to start painting on my floor. And as you can see, it's populated my scene with grass, with the wheat and with the violet. So that's how that works now campaigns anyway, I want to basically. Alright, so I'll just go back and let's try another set of vegetation. Want to go to vegetation? This time I'm gonna go to Bush's. I want to add some tropical poms. And I'm going to add some banana bonds. So I'm going to use these two things. And I'm going to populate my circular path, circular quasi path on the outside. Actually let me just add them, just also add some. So maybe let's go for something like that, which is kind of a more of a 3D superclass. Drag and drop in here. And second, Let's try this one. My long lost wife. So let's go for long glass. So I'm gonna do now is I'm going to go to my brush and I'm going to start painting on my path. And as you can see, my path is getting populated with those selection that I have down here. So I'm just going to carry on and complete this path and populate it with some vegetation. You go. Obviously you can also go down and kind of make it work for your scene or maybe add a bit more variations on Nepal. But just to show you how that works, I'm just going to keep it quite simple for now. So here is our path populated with tropical poms, banana plants, and long glass. That's how you use vegetation. You can also add, make it more dense if you wanted to. But for now, I think that would do the job. That's cool. So this is the vegetation paint. You can also scatter which position y. So if I had some trees that I wanted to scatter around my scene, I can just drag and drop them here. And then I just but go back to vegetation scatter. So it's gotta add. There you go. So I've just created my trees around the whole scene, right? That's how that works. That's more for NFV doing things like forest or very dense vegetation areas. I won't use that for the scene today, but it's actually quite useful. Want to add some vegetation on a bigger plane or a bigger area of a scene. I want to delete that one. Keep the vegetation kinda like that. I might tweak it later on just to make it look a bit more interesting. Well, that's those two for now. And last but not least, is the urban tab. And urban basically lets you pick an area in the world, wherever you want you can search for, let's say London. And then it will search London for you. A club, a map of London. Not working right now, but normally does. And basically what it does is you can grab a piece of your landscape and it will populate your scene with white mice model of the actual area you've picked. So that is the context app for you. And let's move on to the next tab in the next video. 14. 13 Tools overview The Settings Tab: Okay, so the Settings tab, next to, after the context tab, you have the Settings tab, which kind of allows you to modify a few things that are actually quite important for your scene. So the first one is to render. If I click on Wendover, you have pathways which is not supported on our version. Then you have GI, you can turn it on and off. And basically GI is to do with how light bounces around your scene. You generally want it on because it makes your scene look a lot better. On n, you can also adjust the details of your shadow down here. So how soft they are in harsh sharp. I'm going to leave it at 400 because I think it works for this scene or you are welcome to change the setting to work for you. So that is a wonderful option. Then next to it you have the lighting tool and lighting to allows you to modify obviously delighting settings on your scene. And the first one you have is kind of on and off. You can turn the sky dome on, which basically turns on a costume sky dome that you would import as an EXE file or as another map basically for your skies, if you have a custom map that you want it, you want your sin to reflect the light on. You can use that. In the sky dome setting. I'm going to keep it off for now. We might revisit it later. But you can see how it changes my scene, add to Cloud to it, and makes it a little bit. It looks a bit different from what we had it before. So I'm gonna go back to where we had it before, next to skydive. And we have the exposure to an exposure obviously exposes sin as you increase the exposure or decreases, you reduce it. So I'll just keep it to one. That's normal. Maybe not. Let's go back to 0.515 squared. And then we have white balance, which is what controls the temperature of your scene. You can go to cool, all the way up to really warm. So I want to keep it right about here. So it's a bit cooler than what we had before. Then next to white balance, we have the sun intensity. And the sun intensity makes your son brighter. Obviously. I'm going to keep it to about 20. But now then you have the moon intensity, which doesn't change much because we have our sunlight on. So to see how that effects might see and now we'll have to go to my time of the day. So if I go to time of the day up here, if I change it down to say the morning. The evening, actually, sorry. So late night. And then you'll see that if I change my moon intensity, it will change the brightness of my scene depending on how intensities. And then we have your general ambient lighting, which we kind of touched on earlier to brighten up your shadow areas of your scene, but want to keep it to a normal level of one for now. So that's the renderer. And we've covered Wendover. We've just done lighting. Next is the location, and we kinda touched on location a little bit earlier. This is where you can adjust the time of the day to rotate your son. I'm sunset or sunrise and vice versa. You can also change the month of the year to be more accurate. And then you can change the North offset compass if you're not happy with the angle of your son. That's pretty straight forward. We can also add a background. We've touched on that a little bit earlier. You can add Ireland. You can add a European city, you can add water font, mountains. But for this scene, I'm going to keep it to none and might go back to mountain. Let's give it a mountain because it looks quite cool for this scene. Martin is good and you can also rotate it. So if I rotate it down here, you can see here why it doesn't make a difference for our scene now. So I'm going to keep it to 0. And going back to our Settings tab, we're going to look at whether next, sort of whether we've also seen a little bit earlier, but then it allows you to change the weather ever seen so rainy day to really rainy day, and then back to sunny. So this is very straightforward is to whether you can also adjust the season. And all these settings basically work with whatever you have that's been generated in your scene for the season. If I go to winter, you can see that my plans are being affected by n, my tree up here has lost its leaves, which is obviously is winter time, so you won't have any leaves on. So that's how that works. So let's leaves the back and then back to normal. So you're going to just add on here, which is pretty cool. You can also just the growth of your plant. That's cool. And you can also add some effect, the wind speed, which you can't really see it here. But if I zoom out and focus on my plants, you can see as I adjust the wind speed, my plants adjust, move a bit faster down here. I can also adjust the direction of the wind. We see better on a tree actually. You go see the wind is moving really fast. If I decrease, that, slows down, the direction of the wind. Could change that here. I can ask them smug, which is pretty cool. And smog is basically like an atmospheric fog, which are, makes you seem look a bit more realistic in my opinion. So I'm going to ask for a smartphone. Like so. You can have some particles if you wanted to. You can also add the ocean. And that's basically for if you do an air ocean scene. If I go to enable, is going to enable my ocean. There you go. And basically my gallery is being swamped in the sea, which is pretty cool, but that's not the effect we are looking for. So that's that you can adjust the height of the ocean as well. We underwater now, which is pretty cool. I want to go back down to a normal level, something that you can adjust the type of water. You have. Atlantic water, ocean basically, you have a large river, clear tropical sea, and all different types of water, muddy water, tropical river. But we don't need water for now, so I'm just going to turn that off. So that's that. And going back to whether we then have the last option on our tab, which is camera. And the camera basically, once you've chosen a view for your sin, for your vendor, you can basically adjust your camera settings. You can adjust the field of view, which is basically how distorted the CNAs. It basically works like a normal camera. You have the depth of field, you can add that on and I'll show you how that works. It's got closer to the plants down here. And as I adjust my depth of field, I'm gonna go to mall and a distance basically affect how blurry your depth of field is. Pretty cool. That's depth of field than we have parallelism, which is basically, we should use that for architectural scenes because it keeps your vertical lines straight. If I turn it on, you will see that this line is not straight. So that's pretty cool. Then you have your vignetting, which is the darker corners, which is like a very camera. It's an effect that every camera has been eating, which they kinda darkens the corners of your visual. Then you have lens flare. Depending on where you are in your scene, you can adjust your lens flare. Of course, clippings, we want to clip your scene because something on a font that you don't want to see, you can clip it. And you've also got visual effect, which is things like gradient contrast, saturation. The normal stuff. Basically. You can add some filters, copper. You can have black and white filters and all sorts of different filters. I go back to my nun, and that is the camera scene for you, the camera tool for you. That is the Settings tab, which is very straightforward. So we're going to look at the next tab on the next video. 15. 14 Tools overview The Media Tab: Okay, So since the last video app, spend some time placing some landscape and various other objects. And basically all these objects have come from the library. So I've got some box in here. I've got a bit more bland, so I've added some flowers on the ground. I've added the landscape object. And I've brought back our old friend, Adrian here. So this is starting to look quite polished. I've changed the tree in there as well. So now that you've placed your objects in the way you want them, now you can start, we can start talking about exporting our scene. To look a bit more finished as various options that you can help export your scenes. So now that we've got our objects placed properly, we can start thinking about composition. We can start thinking about animation. You can start thinking about our screen shots and maybe VRs and stuff like that. So just one more thing before we start. Make sure you don't confuse this tab here, which is the Media tab with the tab we looked at earlier, which is that one hair on the eye. This can allow you to export stuff like a screenshot. So this is a basic screenshots. If I click on that, it will take a screenshot and Siri on my desktop. So if I go to my desktop down here, so here my screenshots that I just taken. And also in that tab, you can change the time of the day we looked at earlier. You can do a basic walk through pedestrian mode or in drawn more, you can export to VR. Just very basically, you have your views. So this is just a, let's just say this is a work in progress type of Expo. Want to show your client what you're working on very quickly without having to go to all kinds of settings. This tab is ideal, but I want to talk to you about how to export things for final result and which is what these diaries, this tab, the media tab, almost kinda does the same thing as your Quick Export tab. So this will give you something much better than the screen screenshot. You can create an image which takes a shot of your current view. And if you adjust your current view and then hit this create image. If you move your camera again, you can update your image by clicking on this refresh button and you see you can refresh your image. If I'm going to think about how I want my scene to look, I want to go down. Maybe let's go down here. Here. Maybe. I want to say a little bit of the outside as it curves in. And then I'm going to update that. That kind of takes a quick snapshot of your scene. But that's not the final look white. So you can go down. You can go to more, and you can change the lighting, you can change the time. It tends to weather. So basically everything that you could do in real-time, you can do with that just before you export it. So let's change the lighting. Exchange exposure. Maybe let's go something a bit warmer. Let's change the exposure is change the ambient. And as I'm doing this, all these changes only affect my, my views. If I go back to my view to image, all these changes only affect your screenshot down and you preview up here, this is a button called Quick Media mode. So if I quit the Media mode, it will go back to my original settings. Why so everything I did just now only affected my screenshot here. If I go back container image, there you go. It goes back to what I had before. So if I go back to more, I can change all kinds of stuff related to this image and it won't affect my global setting. Some just go back there. So let me change something else. Let's go for location. Maybe let's go for time. Will the day go for acne evening shots? Write and quit media mode. Seconds is go back to that quick median mode. Now I'm back to my global setting. I go back to image. My image is still here and that's the night shots. Let's change something else. Let's go for maybe camera settings. Let's change the actually let me go back to go back to the shot daylight time of the day. Let's go for something a bit so you can see a bit better. Okay, go back. I'm going to go to moles. So the camera settings, you've got an O focal length, right? You've got depth of field, it's on, you've got parallelism, which basically straighten my line. So all these things are done per camera. So that's like a very, very big benefits. You don't have to be going back and forth. Visual effects. We've looked at that before. You can change the format, the output size, full HD. You can change it to 16 k for k, k. Or we can set a custom size for you want to keep it to two k. What else do we have here? Format where there's all these have touched upon earlier. So I'm just going to adjust a couple of settings here just to make my view look a little bit better. So this is all about thinking about composition. Alright, so I want to move a bit closer. That's kinda nice and just capture these two curves up here. I'm going to maybe make my scene a little bit cooler, a little bit too warm. So I'm looking for my white balance, which is lighting white balance. I'm going to make it look cooler like that. That's quite nice. So that's kinda cool. What else can I look at? Gi? Lighting and exposure? Take my supportive back to five. I'm going to go back to my camera lens and maybe adjust to vignette just a little bit darker in the corners. Lens flare, I don't think I'm in the right position to see anything happening on there, which is fine. I think that looks pretty good. I like this shot. So everything I've just done on my, on this image has been saved locally onto this shot. So when I go back through my equipment media mode, it will take me back to what I had before. So I can just keep going. And maybe take another shot, maybe down here. Let's have a bit more foliage in there. And then do the same thing I'm gonna do is create image. There you go. And yet so let me just go back to median mode to another one. Maybe from the inside. From down here. Nice one. Maybe you just have this one as a night shot. That will be quite cool. So I'm gonna go back to location, time of the day. Let's go to an evening. Something like that. For these shots. That's quite cool. So quit median mode, right? So now I've got my three shots. I've got this one, this one, and this one. Perfect. So overall, that looks, that looks great. So now these, these three views are all available and can still adjust them as necessary. I changed my view here. Let's make it a bit more. Let's move it down a bit, trying to get some depth of field in S. And maybe that's why I considered work kind of blurred a little bit at the front and maybe move down a little bit more. Up. Ms. Move back. Then I'm going to refresh my view. There you go. That's cool. We can do whatever you want down here. So we can talk about how we can export these shots a bit later on. But these are, this is how you save your shot for your scene. 16. 15 Tools overview Camera settings: So let's carry on with our camera settings and let's go back to the Media tab. I'm going to select this shot that I did earlier, and I'm gonna go to more. And we've looked at a few options here, but we haven't really gone deep into the camera settings. So I'm gonna go to camera. We've looked at focal length, basically zooming in and out, obviously in. Right? That's like a normal camera. And take it back to 21 depth of field we touched on a little bit earlier. I want to turn it on and off so you can see the difference up here. So the reason why I chose this view is because it's perfect for depth of field. So we have objects that are really close to the camera. So if we turn on and off, that's off. So the rock is in focus and I want to turn, turn it on. You can see kinda blurry is a bit more realistic as things closer to you are blurred, meaning you focusing on a distance. So that's quite cool. Parallelism, we've touched on that earlier, want to keep it on to all my vertical lines are straight vignetting. We have also touched upon earlier lens flare to earn a clipping. I'm not trying to keep anything on my sin and visual effects. I mean, this is not I wouldn't use it too much, but if you want to give your vendors stylized looks, you can go to filters and you can add you can add in an hour. I don't know what you would use most of these four, but I would something like something like hatching maybe just make it, give it a retro sketch look that's pretty interesting in line or so maybe if you wanted to trace it somehow, I don't know why you would use half tone for them. It's cool sort of visual look. But I usually go for more photorealistic type of output. So I don't, I don't really use them in sci-fi is interesting. Wireless very metaphors like Look, just pretty cool. But I'm gonna go back to none. Keep it that way. And that was filters. Clay render. That's also a weird one. I mean, I wouldn't really use it much, but it's interesting. I want to turn it on just to see what it looks like. Today is basically turns your whole scene into a clay soil or effect. We're just using one color for the whole model. I guess it could be useful if you want it to do some architectural studies and you can change the color. As well as this go for something more. Something white, stand up, nice and wide. So that's pretty cool. That's nice. I mean, again, it's not something I would use much, but it's interesting. So I'm gonna turn it back off and go back to my normal sin. I think that's it for now. I think we've looked at most of the camera settings and let's keep going. 17. 16 Create a Panorama: And the next thing is on the Media tab is next two images, panorama. So I'm not gonna talk too much about panorama, but it's pretty straightforward. You can also select panorama. You can create one. And basically what it does is it creates a 3D image of your scene from the point of view of your camera. So that's good. Two more I could do the same thing as with an image. I can change the location, whether the light chain change the lights and just to show you quickly a lower sun intensity, I'm going to go maybe lower the ambient, change, the white balance. Go back and I can refresh it. And that's it. Nice, only affected my panoramas if I quit media mode, I go back to my normal setting. So that's my panorama. And also again, I can change the camera, tend to visual effects and depth of field and so on and so on. So it's very similar to the image tab. That's how you create a panorama, basically, A36 vendor of your scene. 18. 17 Create Videos: Okay, So next to Panorama we have video. And the video allows you to obviously create a video. So the way you use video is I want to create one view, a creates a snapshot of the first frame of your video, right? And so you can move your camera to the next shot that you want your video to reach. So I want to go back here, looking back at my sin. And I'm going to click on the Plus to create another shot. From the hair. I want my camera to go, let's say on the side here. And I'm going to create another shot. So now I've got three key frames, and my camera is basically going to move from one key frame to the next and to the next. So if you see the bar, the pink bar inside is just color. So if it's callback can see how a camera moves from one key shot, the next. So it starts from here and it goes to the next one, and then to the final one. So that's a very, very cool, very easy quick way of doing this. Usually you have to spend ages two and losing other softwares, but that's, that's really good. And you can go to Settings. Same thing. You can adjust the lighting just to location the weather, the camera settings, and all that jazz. So let's go for something different. Go and change the lighting. Something like that. That's fine. And that's it. So stuff on their second shots. Shots. So that's basically how you do. I create a video shot in between motion is very straightforward. You can also play up here. You can play your video. You can pause, you can go back to the first frame, go to the last frame. Can collapse, expand, it, can add video parts. So that's how you test this plus sign is basically what this one is. I want to go back. So that's it. I'm just delete this one, just added one by mistake that I see 123. Play. Second keyframe. Smooth transition to the last key frame. Let's just do another quick video just for composition sake, I'm going to create a new video. And I want to move this camera towards the tree there in the middle I want to make, I want to basically see the, the leaves moving. I want to do is still shots. And I want to see the trees, the leaves moving from this tree on the floor. So something like that. It's quite good. I want to hit a tree and I want to see how the leaves kind of affected the wind effects the leaves from the tree on a floor. So that's pretty good. I didn't save my view. Cinnamon just go back to my shot. So something like that. I'm going to do a refresh. And I'm going to basically affect the wind speed. The trees, the leaves move a bit better, essay and a direction maybe see going. Yes, that's fine. I'm not much of a difference. I'm going to add another keyframe. So let's play that. Then you go. And then another one just to make it a little bit longer as the still shots. So here's my still shots, which is quite good. And that's it. That's how you create videos in motion. 19. 18 Working With Phasing and Scene States: So the next tab next to video is facing titled phasing. Title basically works with something called sin state. So I'm basically what that, how that works is you normally have this TAB growth statistics. Once you click on Statistics, you have the option to create since date and what states do is to capture it version of what you have on your screen and save it as a sin y. So since work with phase and title, so let's start with since dates first. So we add a sin state. You go to since date, and then you open up this tab. This tab is basically empty. And where you're going to do is add the various scenes that you want to save into this tab. So what I want to do now, I want to create a buildup of my scene. So various states of my model, from nothing to this final state of memorial. So the way you do that is you have nothing to start with. I would like to hide everything in my scene. So I want to go to this group gallery or forward is what I imported as an FBX. I'm going to hide it. Why? So everything is hidden apart from the Vox and the prompting and stuff like that. So I'm going to hide those as well when a high debentures I'm going to hide I'm basically going to hide everything. Go down. When I hide that. And I'm highlighting everything in my scene I want to hide except the crown and maybe the trees. So all my spotlight say hidden flexion. All of that is hidden. Want to keep the trees on. I'm going to hide the box. Hi The vegetation. Keep that on. That's my main ground. Keep the trees. Daisy's my kid to and what is this that are Anita want to delete that? So here's my first this is how one my breakdown of my scene to start with that oh, done properly. I want to go back to since date and I'm going to do plus. That adds in using state to my scene state. This is the first one. Then I want to add my vegetation. Maybe I want to add that works. And maybe the digital works as a second scene stains to add another since that's my works. And I want to add the vegetation. Yes. And maybe say this vegetation and maybe the bench is at the bench and the other one. That's fine. And also lets unhide my gallery, but I won't show all of this. I'm going to go inside my gallery model. I'm going to hide the white wall. I'm going to hide the foot where I want to hide all of it except the basic stuff. So I want to keep I want to keep this stays on. I'm going to keep water on a hide, the spotlights, keep the walkway on a hide. That so what was my seconds? So I'm going to add the walkway, the benches, and the vegetation. I don't want the art, so I'm gonna hide the art. And I say, let's create my 13. And now, when I scroll through my scene stages seem at first one is nothing. Then you have the box, then you have the rest of it. So I'm going to keep going until I get to my final state and hide the art metro region. That's quite good. That's my next state. Then I'm going to unhide the other artworks. I want to unhide the water pond, the concrete flow. That's my next date. And the walkway are the rest of the art. The lighting sticks in the middle. White walls. The foot. Well, actually let's let's do that first. Then let's add the white wall last and final since they, so that to that, to that, to that low light. And then finally, the big wars. So I've got seven since States. So with this now I want to go to My Media tab. And I'm going to go down to my facing titles. And I'm going to add a, I'm going to uncheck all of these. I want to go to my first, since I want to go create phasing. So this first phase, which is this one here, I'm going to go to my second phase ticket. And then I want to go to the end of my first phase. And then I'm going to say Create, create phase. So that's my next phase. I'm gonna go to the end and say, Can we go back to my state number two, create phase. And then just carry on doing that. Step three, create phase. Then all the way to the end. For create phase. Go all the way to the end. Number five and number six, create space. So now I've got my six phases from one to seven. And that's basically how you create your facing. I also want this animation to work with my camera angles. Why? So basically, if you want it this year, I wanted my cameras in here, my video cameras to work with my sin state. So as the scene builds up, my cameras can correlate to those. I can go to my video. Let's just pick this one, for example, which y, which is the one that had the three different keyframes. And I want to basically say that as this video plays, I want all my sin state to unravel. And then all the way to the end. So how would I do that? I'll just go to my video. And for each for each cameras, for each keyframes are basically, I'm going to add a since this, if I go to mall and go to cameras, since they at the end in here, you can add a scene state. So for the first one, I would like to add my first and states. Then go back. Two cameras. Go back to my video on this keyframe. This section. I would like to have a difference in state. I want to go to the second one is time, right? Maybe the third one to kinda a bit more of a buildup on this one, that's fine. Then go back to video. And then on this one, I would like to have a the last since date. Just as an example, and we're going to go through all of these ones. So I want to go to the last one. Yes. And that's fine. So as my video starts, there's nothing on the second keyframe. You see this more. And then on the last one, there you go. This is a very basic way of doing it. If you wanted to do something more accurate, I will spend a lot more time and basically make sure that all my all my sin state and all my sections and all my lighting and everything correlates. But this is how you link your videos to your sins date, to your facing. This is a very useful thing to do if you wanted to. List one, explain to your client how your scene has been built up, right? You can also add various lighting settings and with these since date if you wanted to. But this is a very basic, very crude explanation of it. And obviously you can have a little fun working with these. And yes, let's go to the next video. 20. 19 Create a Presentation: So next we have the presentation option, which basically allows you to create a very basic presentation of your sin, of your project. Once you go to presentation, you can create a presentation. And then once you've got this blank tab that you can add various types of media onto your presentation. I basically have it as one final thing, the composition of one final projects. So you can add media by clicking up here. And it basically gives you all the options you've saved earlier. You ImageJ is Japan Obama's annual videos. I'm going to start with this one. I'm basically going to add this image as my first slide, then my second slide. Then this image three asthma, third slide. Then I'm not going to add any panoramas to the presentation, but I'm going to add my video. So I'm going to add video one next, video two as my final shot. So with that, here's my video. You can scroll all the way back. And when you play back, a will go through each of you media as a video with a nice transition in-between. It's just going through my media. So we have the same stage and placing on this one. And then our last shot is the tree with the leaves blowing. This is how you create a presentation. 21. 20 Create a Panorama Set: And then the last tab in the media tab is the panorama set, which we won't really cover here because we don't have a set of panoramas. We wanted to go one, but let's, let's create another one just for explanation sake. So we're going to do one. And I'm gonna go back. And I'm going to go move my camera. And I'm going to create another one here. So the panoramas set basically allows you to combine all these panoramas. See if I go to Create Panorama set. I can similar to the presentation oxygen. I can add medius. So it would only present my panoramas as options. I can add my 3D panoramas to my panorama set. And that creates a nice set for me on my panoramas. 123. And that's basically, you can just explore is set of panoramas. This way. 22. 21 Export your project: Okay, So we've finished with the immediate tab, and now we have the final tab, which is the export tab. And this is going to be very simple. The Export tab basically allows you to export all the things you've saved in immediate tab selectively. So you can either export all of it or you can just export the ones you like to export. So at first we have the image export. So it says it's currently empty, meaning you have nothing, no image to export. So I'm going to go to click on empty to go in my images, I'm going to select the ones I would like to export. I would like to export my three images. I can either select them separately or I can just go to Select All. Then that's fine. I'm going to go back. It says multimedia, multiple images selected as panorama. I would like to export the first panorama. So I want to just select it and that's it. Videos, I would like to export the two videos. I want to select both videos. Presentation. We're going to want to just select that as well, just to show you. And that's it. Once you have everything you want to export, you can then go to start export. And obviously you can go with two more for more options for each of your export. I'm just going to show you the basic, the basic way of exporting. So this is all standard export. These are two K images, PNGs. You can change it to jpegs if you want to. Refinement, you can. Does the quality of your image, you can go too high. You can just go back to export for your videos. You can also change the format mp4. Refinements. Want to say, hi, crunchy, go back. For my images. Let's go to as far as a PNG. That's fine. So there's all sorts of different options you can click on on the mall for each sections of your export. And basically all you have to do is click on Export and choose a path for your export. I want to say desktop. I'm going to add a new folder. I'm going to call it twin motion TM, Select Folder. And I'm going to export my presentation. It might take awhile depending on what you have, I'm export it in your Media tab. But that is basically all you have to do to export your files. So once I've exported all my files, they will show up in my folder that I've saved them into. So here's my TM folder I created earlier. So it's got my presentation in there. It's got my images, 123, It's got my panorama, and my two videos. So these are all my exported files. Video. And this is exported with higher quality than we had in twin motion. So that's pretty good. We have our images, we have a panorama. Second video. Very nice. Excuse the leaves moving now on a floor. That's really cool. And we also have the presenter. And the presenter is basically an executable file that you can open in any computer, which doesn't need to have twin motion installed on it. And it'll basically allow the presenter or whoever is using the file to navigate your presentation as if they weren't with motion, which is very powerful. So let's go for the twin motion presents Alice double-click on it to open it. And it's going to open up a separate application. All your selected presented asset that we used earlier. So it's just loading up. Here it is. Here's my twin motion application. So you see I've got my image 123 and also got my videos. Now what twin motion also did was, if you remember that we saved all our scene state on the side and twist motion. It incorporated all the same state within each of my images. So in here you can see that if I click on image one, there's nothing there. But then if I scroll to all my sin state, it goes back to my normal scene. So each image has the same state embedded in it, which is pretty cool. And here's my third image. I could do the same thing. And my video, which is what I had earlier, I can play it without any since they are my last, since they can also play with anything else. So that's really interesting, is really cool. And l can also change the time of the day in here for every single one of my shots. Here, I can go to town with the day and I could just change it on the fly without having twin motion installed on your computer. So that's really powerful, powerful feature of motion to allow anyone to be doing this, to be able to do this on your scene. So that's the end. Also. If I go to my image, I can also navigate to the motion as if I was into motion with my WASD keys. I can move around my scene and that is fantastic. That's amazing that anyone can be doing this once you've exported your model as a separate application, using the presenter option in the export tab. For any of these options, I can navigate around my scene. That's pretty powerful. So let's say that's the presenter. That's how you export your scene. And that is my project. Complete. 23. 22 The Path To Becoming a virtual Architectural Designer: So we come to the end of our course here that we've built up in twin motion. But I get a lot of question I'm starting to get a lot of questions from people asking me how they can do this in a more professional way. Basically how to become a virtual kind of like an architectural designer. Where you can use these cues to pretty much export, which must then export and present to your clients and to your peers. People online. With the rise of the blockchain and Web three and N of t is this is becoming uneven mole, sought-after skill because you can now export your scenes and your stuff as 3D models that other people can now buy and own. Eyes back. Collectives. So how do you then, how do you learn the whole sort of skill as a package? What are the steps to learn these things? So this is not a straightforward thing. Obviously, it takes time to learn these things. And I put together a little PDF for you to have a look at, which shows you the various types of software and what it would do for you to reach this level of detail, to reach this stage of being able to share your project with other people online. So here's the architectural, virtual architectural design, a learning path, basically listing or the major software you can use. So I personally use Cinema 4D. But before that, I used to use today's max. So I'd recommend either now these either 3ds Max or Cinema 4D. I currently use Cinema 4D. Doubled into Blender. Blender isn't very much used in professional settings. So if you want to work for a company either in London or New York or any other big city. They tend to use softwares like Cinema 4D and 3ds Max. I personally prefer cinema 4D because for these type of work, I allowed you to do some pretty powerful things that 3ds Max wouldn't necessarily allow you to do. But if you want to stick to architectural visualization and just export your project to be viewed. I'm onscreen and stuff. I think 3ds Max is also a very good option, but Cinema 4D is to me a little bit more powerful for this type of work. Then you have software for editing and compositing. So these are things like Photoshop, illustrator, After Effects and Premier Pro. So these are software you use to enhance your workflow or to mesh with any of these to create better output if you want, if you will, then the next set of software has to do with experiencing your 3D model. So how do you create experiences? So this is what we've just learned. Using twin motion, you can create experiences for your clients or your customers. You can also use Unreal Engine, which is a lot more path or does it, there's a lot more tools. And the learning curve is a lot steeper with Unreal Engine. Then you have things like Unity, which is very similar to Unreal Engine. And these allow you to create games and interactions and all that kinda stuff. So a lot more powerful. Then you have things like panel to VR, which I've used a lot during the past year because these allow you to export panoramas as you've seen in twin motion, you can explore panoramas and you can stitch those panoramas together to create sort of like a interactive 362, which is not as, which is not in real time. Basically allow you to create, to stitch together a series of images to create the impression of a, a inexperience, a virtual live experience. This is like the, not the cheaper version, but the next best version. To create experiences in line after 2D motion or unreal or unity. And final, finally, we have share. And basically what I mean by share is now you can now share your models online to be bought by other people, and to be collected by other people on Web three. Platforms like some namespace, mono, gallery, sandbox, crypto, voxel, and spatial. And basically these allow you to export your spaces for other people to be able to share with more than one person in this space. In here. If you experience a space which is just one person, one camera, looking around the space. But in using these platforms online, These allow you to create experiences that can accommodate a hundreds, sometimes thousands of people at once, and that are also interactive. So this is the next phase of virtual experiences which I encourage you to go and learn. And these have to do with NFT and blockchain and etc. So that's the whole list of par. And these are the various softwares you may or may not need to learn, but they are pretty much essential to your learning to become a, an architectural designer who keeps their work online. So with that, you can download this PDF if you want to create a link in the course for that. And yes, Thanks for watching. 24. 23 Stay Connected: So last but not least, I would like to tell you about how you can stay connected with me online. I have created a YouTube channel called The Art of 3D experience. And this is where I share information related to what I do in terms of an architectural 3D design and new and various ways to create projects with tips and tricks that you might find interesting. So we can head over to YouTube. And the title is The Art of 3D experience. And for all your Questions and related issues, you can message me on YouTube to. Apart from that, you can connect with me personally on Twitter. I have a Twitter account. I can also connect with me on my website, Frank, to where my.com, That's why I share all my stuff related to know all things, all things creative that I like to double into. You can find that on my website and yes, thanks for watching and I'll see you later.