Unreal Engine 5 - Sci-Fi Environment Design

1. Introduction: Welcome everybody to my new course. In this course, I'm going to teach you how to create this sci-fi scene from scratch in real life. The first thing that I'm going to teach us how to think and how to get inspired in order to create this scene, how to create a composition for the scene, etc. The second thing that I'm going to teach you is how to block out the scene by using only cubes in Unreal Engine five, this is one of the most important steps. After that, we're going to start scattering some quicksand mega scans assets in order to create the mood of the scene. And finally, we're going to add more mood to the scene, some color. We're going to fix the lightening of the scene, scattered some more objects. In the final stage of our scene, we're going to set up the final cover. We're going to put a post-process effect. Then we're going to take our steel image into Photoshop, apply few filters in order to correct the colors and shadows. And by the end of this course, you're gonna be able to create this scene from scratch, enroll now. 2. Generate ideas and plan the scene: Okay everybody and welcome to my new course. In this course, we're going to be creating this scene in Unreal Engine five. But in this first lecture, I want to talk more about how I got inspired to create this. And what are the basic rules that I follow in order to create this. So the first thing and the process is to Google and search for references and get some ideas. I mainly use Pinterest as a website that I get more ideas from them. The first thing that came up to my mind was I want to create a winter scene and I want to be some kind of sci-fi with an asterisk after maybe a sci-fi vehicle. Then when I think about it, I liked to be in a cave. For example, I put this as a checklist, so I want to have an sci-fi elements. Alright, this is the first step. I want to be in a cave. I wanted to have something interesting as a story. Story. I wanted to have a vehicle. And I want to play with lightening. Lightening, at least for me, is maybe 50 per cent of the scene. Maybe more. To think about how to create the lightning is very important and you have to approach this from the start. When I create this scene, I approach it with first in mind, the lightning. What I want to achieve with the lightning. So let me just delete this one. So this is the first one to create a checklist for yourself guys, create a checklist, pinpoint. Some things like the sci-fi element. I want to cave. I want this extra enough to be there. I want to have a story. I want to have a vehicle. Maybe this vehicle is abandoned, maybe it's broken. Maybe our astronauts get hit by a, by some enemy forces or stuff like that. And in the final lightning, which is one of the most important thing, at least for me. So let me tell you how I approached this scene. The first thing that you need to keep in mind is you need to think about the composition of your sin. So here are some basic rules about composition. In the first picture here. Alright? The steel yard, you have the balance between big and small, as you can see here in our first composition example, you have big tree and a small one, which makes the balance and which makes the eye of our viewer to go first to the big one and then interact with the small one. So this is a good composition that you can use. Here is the same, the same element, a big tree on the left. You always place it on the left side of your image. Somewhere between here. Of course, you can leave some air over here and you need to play some little objects in order to give the picture meaning of scale. Alright? The second is the balance. Alright? Here in the second picture, our left side is perfectly balanced to our right side. Here is the same. So in those images we have the balance in mind. We have what we hear from the left. We should balance it out with the right side of our picture. Let's move on to the circle. The circle is pretty simple. You have in your image, maybe here in the center, a circle, or here, like in the clouds, you have circled clouds. Alright? So this is something that you can do with the circle shape. One of my favorite is the S-curve composition, which leads the eye. Just like that, the S curve, perfect composition, very interesting to create. So you create different shapes. You can create this, or you can create this. Or let's find one more with the S. This one is S curve. As you can see, it's not only the Roto here that you can create with SS, but you can also create your composition of the tree. For example, here we have our crown and it's going over here and creating this perfect S-curve. Here is another example for the OH, over here we have O in the center, which is the space, the airspace between those two elements. This one and this one. Alright, another perfect composition. Here we have the big and the small, big on our right side and small on our left side. Another thing that you can do is triangular composition, just like this one. Or you can use this one to create in the middle space, again a triangle. This is leading di, over here. Triangles, alright, so you have the pyramids of triangle. The other composition that you can use is cross, which is also pretty simple. You have a horizon line and you have something to stick on 90 degrees onto the horizon line. So we have here a few mountains and we have tall trees creating this cross composition. Alright, another pretty interesting, and keep in mind that here we placed our boats on the left side. So if you are going with the rules of three, let me show you. If we go with the rules of three. We place our boats here in this section on this line. Alright? Just to create this composition, I'm going to talk about rules of three. Just, uh, later on. Here we have a little square over here, which is the free space between those two trees, which is perfect for the eye and comparing those trees. The next is the radiating lines in this is so old school. All these compositions are so old school and they go through the ears. Alright? Radiating line. You have your object in the center. And you have radiating lines here, just like those clouds. And some reverse over here and creating this kind of perspective. And of course you need a horizon line. Over here. Here is our horizon line. And here we have our radiating line in a little bit S position. Alright. Just like this. Pretty cool. Another thing is you can make the l rectangle perspective, which is a tall building on the left side or on the right side, Just like this. And you use horizon to create the L-shape, just like here. This is the L composition. You play something on the left, on the right and just creating the L shape of it. Again, a little example of a triangle. And this, what is this guys? This is L composition. We have the trees, we have the horizon line. And this is radiating lines because we have lines over here. And going there, going there. Alright? So those are huge compositions that I want to show you here a little bit more. The one that is very important, at least for me, is the rule of thirds, where you can place objects, for example, you can place objects in that part, in that part, in that part. If you want to give your viewer and extent of it, you can place your object over here or you can place it on the crossing lines over here. And I'm going to show you what I did with the composition in my scene over here. But this is the rule of thirds which I used for my composition. Of course, you have golden triangles, golden spiral, which is one of the most famous and the traditional drawers. You have a lot more diagonals. You have the cross that we've already talked about. You have a facial mass. V arrangements. The L style circle, the pyramid, the S-curve, S-curve is, is pretty good. I think at least I use it a lot. And you have harmonious triangles, golden triangles, etc. Let me show you what I did with my composition. First, I place my object over here in the center, because I want the viewer's eye to go over there. The next thing is, I've created point of interests, which is this tree. So my story is how this tree in this Arctic environment was alive one day. And maybe these are biomass on another planet, nuts on planet Earth. And our cosmonaut, this amazed by this. The next thing that you need to take in mind is that this tree, in order to grow it needs light. I place these three in my light. And my light is going from above, from here. So our tree can grow up when it was alive thanks to this lightening gap in our cave. And the next thing that I want to emphasize in this scene, the background is just a fulfillment in order to create this nice, icy, rocky environment. And the thing that you should keep in mind is that when you create such rock and maybe a cave, you need to leave some parts not with ice because it looks more natural just like this, I left some stones without ice patches. And all those elements are quakes omega scans library, but you need to arrange them perfectly. And of course I'm just creating those. I expect. So here, clean, I spec, clean. And I have a little pattern over here of creating eyes and creating rocks. And of course I'm breaking the pattern over here with another eyes because I want a little bit of difference. Here. Let me just create one more layer. Here. I just create a little thick ice and the angle of it is, let me just show you the angle. The angle is just like that. I didn't want to have it's a straight 90 degrees because it's too boring. So I've created a little bit of an edge here. At the far end. I put a little light there in order to create this this Shine effect on my rock, like this is the end of our cave. Alright guys. So you got to think a little bit of the composition before you start. But of course, through the process you can get more and more ideas. The next thing, let me just get back here. So we've talked about our main character over here. We've talked about our story points, the tree over here on another planet. And we talk about the different things that I did with the background. I intentionally leave here at the bottom, everything in dark, dark, black. Because I want to emphasize over here on this area. But you can see we have some grounds elements and I used vignette effect for this. Here, a place earlier bit of rocks in order to create height in our scene to be super flat ground it just like that. The final thing that adds a little bit touch to our scene is our ship. So we have three elements that are pinpoints in our scene. The first is the cosmos, the second is the story line of why this tree is there. And the third is the vehicle of our cosmos left. So what is the purpose of the vehicle? Adding a little bit more to the story, how he get there, what is his vehicle? Why is he here? Is key from a sci-fi dimension, which is obviously, we don't have this modern vehicle in our world right now. And the other thing that it's pretty cool is I think about how to lighten up the vehicle and the vehicle by creating a little gap whole let me just draw it a little gap WHO and the roof and just put the lightning over our vehicle and just on the front of it because it's looked like a little bit of Dragon. This shape is like a little dragon with Joe over here. And it's pretty nice shape. And I want to emphasize on it in order to get the feel of sci-fi. Recall that the other thing that I did is I've placed here light, which lighten up all the things inside the interior, the steering wheel, etc.. Because I want to show the audience that this is a functional vehicle, that it has some elements, some interior elements. So this was my thought process. So use the rules of thirds and I placed my main character over here in the center. I have a storyline with the tree. I have his vehicle over here, and I place the vehicle on the line on the third over here. I want to center it to that line in order to create this good effect. And that's it, guys. This is my thought process. Of course, it gets deeper and deeper when I think about it. Why I should have, for example, here a little bit state stagey eyes. Just like that. I create a little bit of shapes like this. And this is just break the silhouette of our scene. In order to create different shapes. We have here different shape. We have here different shape. And thinking always about shapes. We have here a different shape. Alright? We have here a little bit of ice. We have here a little bit of different shape. Alright, we have a little small rocks over there beneath our ship. We have a little bit of a level over here, so everything should add to the details. And another important thing is you need to keep the center clean because if I place too much details, for example, here, it's going to distract the viewer. And right now, I have a little bit of detail, a little bit of frog showing under the snow. But in general, I want to keep fresh snow over here without much of details in order to emphasize on those two objects. This is about lecture number one, and this is how I got the point of creating this one. And it turned out pretty good for the time that I've put. Thank you guys for watching the first lecture and I see you in the next lecture when I'm going to explain my process of creating this. See you in the next one. 3. Final scene overview: All right everybody, so we jumped straight to Unreal Engine. And what I want to show you is how I've created the level and how it looks over here. And this is just to show you what we're going to achieve as a final result. So this is my final result over here with the camera movements and everything that I've created. Of course, I've run it through Photoshop filters. But in general, this is my scene. Let me just walk you through it. Just put two for camera movement. So this is my thing. This is my sci-fi astronomy. This is my three. Let me just put the speed for so this is my vehicle. And let me show you the real level, how it looks like. It's pretty ugly over here. Because we are creating a still shot and we don't want anything serious and anything to look good. We want only the short form, this angle from this particular angle to look good. What I did is I've put some 3D objects over here with some spiky ice in order to create this slide over here, as you can see, pretty good light and pretty interesting one for my vehicle. I've done the same over here, some spiky things. And I just lit up this one. The face of our vehicle from this angle, which is this one, it looks it looks like a dragon. It is not obviously. But from this angle, it looks like a dragon with a jar over here, which I get to look pretty nice. The next thing that I did is I put some lightening inside the seat of our ship over here. And I've put just on the right side over here because the right side is mostly visible. The left side is not so much visible. I put two green lights just to add a little bit of elements. And I've put some light pink over here to my cave back in order to give those ice and rocks some lighting up. Alright, so let me just show you what I've used over here. So this is my project and I've put my assets over here. I have a cinematic camera. I have some directional light, exponential height, fog, I have a post-process volume quality, etc. What I use for this level is a used quicksort bridge over here. Quick so bridge. And let me show you which bag data I use. You go to collections, environment's natural and let me see. Use the Arctic, ice and snow. Yeah. I download it. All those photos can see over here. And I use this noise dump as the element of interaction. And I use those cliffs pretty much. And some of the textures over here. Those are pretty much the things that I used. And I used this astronaut left and this vehicle. The astronaut and the vehicles will be included in this course so you can freely download them and just put them in to your scene. Alright? So this is how my scene looks like inside Unreal Engine. Alright, let me just give you one more peak. All right. Pretty **** good. Let me just show you how it will look without post-processing and without exponential fog if I turn off the height ****, you see how the gut it got ugly because you don't have to create that kind of mood. So you always need to use, at least for still images, a little bit of fog to create that kind of mood. And the fork interacts with the lightning pretty good. And this is my post-process. How different the mood of the scene is with post-process. Without post-process, everything is burning. You have pretty intense lightning. This is not some ice level. It's not telling us that this is ice. And it looks pretty ugly, at least for me. And when I turn on the post-process, bam, you have this nice-looking scene with that nice look called ISPOR. And this nice look. Bright lightning over here to emphasize on our character. So in the next videos, I'm going to start explaining on my pre-recorded videos how I achieve it. And you can see it step-by-step, how I did manage to create this. And before that, I want to show you how to manage your asset folders. The first thing that you need to do is you can create a folder, characters and assets, and you can place the astronaut and vehicle over here. I've tried to create some interaction with an alien over here, maybe placed over here. But I didn't like it because it's bright. It's breaking up my story. But I'm going to include this alien to the project also, which you can use and create something with it. Maybe play some, some small aliens. Over here. You can make some small enemies and place them over here. Just like that. In order to create some kind of intense It's up to you guys if you want to use it or not. I'm just going to include it here. Of course, everything here is for personal use. You cannot sell those models because those models are purchased and they're not for reselling. But any way. Create your character and assets folder. Put your astronauts over here and your vehicle of here, the 3D models. And let me just quickly show you how you need to set up the materials. The first thing that you need to do for the astronauts material is you need to connect this texture to the base color and the normal over here. Pretty simple. I'm going to show it in the process. And for the vehicle is the same you have for textures. This one is in the emissive channel and the first one with the orange stuff is in the base color. This one is for the specular and this one is for the norm. I've linked those textures over here. I'm going to show you how to link them. And you're going to create a folder with the name levels. And you're going to place your level over here and you need to download all the mega scans, assets that I've already showed you. This is pretty much how the project looks inside Unreal Engine. And let's just start creating it in the next lecture, guys, thank you for watching. 4. Scene block out: Alright, so let's just get started the business. In this lecture, I'm going to show how I block out the scene. And as you can see, I've already laid out some foundation blocks, and I'm just using Unreal cubes and just killing them in order to create the space where I need the cave to be. And I'm just putting the cubes on top of each other in order to create the roof. And here, as you can see, I've created some pretty nice space and I've already integrated and put my astronaut inside. I'm going to show how you can integrate your 3D model later on. In this video. The blocking phase is pretty important for each project. You need to start with blocking in order to get your scene right because if you straight jump to place your assets, you're going to be lost. And you don't have this guide visually where you need to place the assets. So that's why you need always to block out your scenes. Never skip this step. This is one of the most important steps. You are creating a scene. Now I'm just putting everything into folders. Let me just create a new folder. And I like everything to be arranged, so I place my three objects here in the assets folder. And what you need to do right now is I need to play a little bit with the lightening because I need the lightning to penetrate from the top. So what I will do is I'm going to select this directional light and I'm just going to play with the rotation of it. Of course, you can use Control L on your keyboard and rotate it, but I prefer to use the rotation x, y, and z. This is just my methods of using it. So I'm just tweaking up the lightning in order to get this lighting penetrating from the top. Something like this, maybe because I want my astronauts to give a real good lighting on it. And of course, later on I'm going to play a little bit more. But this is only the blocking face where I need to just block everything out. And as you can see, I'm just simply moving cubes, moving the blocks here and there, and trying to figure out what will be the best position of everything. And this is important because when I go into the later phases where I need to put all the objects, I'm going to use those blocks as a guide. And I'm just going to place my objects over there based on my guides. And of course, always try to tweak some stuff on your lightning. Tried to figure out everything in early stage is not possible because a lot will change with the process. I'm going to create a new folder and call it vehicles. And now I'm going to import my vehicles. I'm going to select my textures and my vehicle FBX file. Just drag and drop, click Import, close this, and double-click on your material. So let me show you how you can connect your material over here. Just select your textures and drag and drop them over here. And you need to plug them into the responding nodes. So the first one is the normal map. I'm going to put it in my normal channel. This is my Diffuse, which gonna go into the base color. This is an emissive channel, so I'm going to need to put it into a massive and this is my specular. Alright, I'm going to click Save. My vehicle is ready. Then I'm going to drag and drop it in the same. Of course, it is pretty small. And I'm going to need to place it near my character in order to scale it up to get the right size of it. My astronauts scale, it's a little bit like that because I want the cave to be massive. This was my thinking process when I start. Once the space is to feel big. And in order to fill the space is big, your character needs to be smaller than that. And I'm going to create the scale of the vehicle. And I'm just matching the seat of the vehicle. If my character will fit in it. He can be seen pretty well. Now, I'm going to place my vehicle over here. In this first stage, as you can see, I'm just blocking out with cubes and I'm just placing my objects. And intentionally I'm not recording the complete process because I want you guys to sit and start your blocking after this lecture. And this is the thought process, and this is my layout, how I wants to be. And I've already told you in my lecture number one that I've already have the picture inside my head, how I want the composition to be. Of course, you can change the composition and you can start creating your own layout of course. So thank you guys for tuning into this lecture. And in the next lecture, we're going to continue. 5. Filling up the blocking with assets - Pass #1: All right, everybody, welcome to this lecture. In the previous one, we block out everything. And in this one, I've had my quick so omega scans back inside my Unreal Engine and I will just start to place all the assets inside. The blackout is you can see the blackout is guiding me on where to place my objects. And I'm just choosing different objects and testing how it will look. My main thing when I start a scene is I'm going to place the snow on the ground, as you can see right now I'm doing this. I'm just tasting different shaders. Of course later on we can change this. And my second step is to start blocking out the wall in front of my Cosmos laughed, because this will be my first checkpoint to see how the scene will feel. And look. I'm doing this by simply drag and drop different assets and try to place them and mix them together. And of course, I'm just testing out a few things with this spaceship to the video is sped up on a 150 per cent, just to save you a little bit of time. Here, I start to block out with using the ice cliffs. And of course you can scale them up how you want. And I usually turn off the snapping option on the scale rotation and transformation because I want to move them freely and have this fidelity in the movement. And as you can see, I'm starting to get some shapes over here. Tasting scaling, of course, testing how it looks. And as in the previous video I've mentioned, it's all about the blackout phase. The first phase. The blackout phase from the previous video is driving me on how to arrange everything here, how to do it. And here I'm just placing a little ice over here in order just to blend the elements. And the most important thing is to test and not give up in test everything, just scale, move, and think logically how this environment will be created, where the ice is placed, etc. Of course, it is a good practice to use a lot of references. Maybe if you have a second monitor, you can load up a lot of ice levels and just use the references in order to create your scene. I'm using some references on my second monitor, of course. And I'm just speaking at them from time to time. Alright. So here I'm placing a little bit of snow, and as you can see here, it starts to blend pretty good. Let me try one more over here. But the problem with the second one is it will start to get pretty repetitive over there. But for start, this is very good. The first thing is populate the scene, try different aspects of the scene. And then you can start and change some of the measures over here, delete them and replace them with another one. And right now, what you see here is I'm just blocking out the wall as I told you before, the first thing that I want to do is I want to block out the wall in fraud in front of my cosmonauts in order just to get the feel of this cave. And here I get pretty decent results very quickly. Let's try and create a little erase over here. This is pretty important because I'm trying to break up the repetitiveness. And as you can see, I'm just duplicating those objects. And I'm just scaling up and down and try to create this kind of effect. I want to have different floors, like build up into the cave. And I want them to be connected with the ice over here. That's why I'm going to place here another eyes. Let me just scale it up. And everything is just testing, scaling, rotating. Keep in mind to turn off the snapping of your tools in order to get this great fidelity. And now as you can see, we have pretty nice blends when I build up these two rays. Alright, pretty good, pretty nice blend. Of course later on, I'm going to change that because I want a little bit different look. But this is the kind of process that you need to go through. You need to test, you need to proceed, you need to delete, you need to scale. And that's how much it is. Of course, like I told you in my first lecture, this is all built up. Before I start building up the level in my mind, I already have a plan and I visualize how I want to look. And this is just the exploring phase where I'm just exploring, contesting different stuff, how they will look over here. And here I want to create a little bit of snowy effects here with those spikes, but it's not going to work. And this is the moment when you realize that you can use this to create the shadow from the roof. Alright, let me. Duplicate one more and fill up here. Maybe place it a little bit of here. Just to break up. And here for a little bit of depth, I'm just going to remove this box. And I'm just going to continue on by placing another objects over here. And as you can see, the process is pretty straightforward. The only thing that can stop you guys is just your initial preparation. If you're not prepared for it and if you don't have a plan, how you want to look, you're going to struggle because you will not know where to place some things. At another important thing, if we want to break up the same elements, you can rotate them downwards, just like I've done with this ice element. And as you can see, we're building up to different ice elements from one. And of course I'm going to add a little bit more details here in order to break it up and remove this repetitiveness. Just like this rotated over here. And if you don't feel like it's looking good, don't force it. Just lead this object, try another one, try another one. Now the thing is that you need to try a lot of things. Firstly, and as you can see pretty fast at blocking out the scene. And later on we're going to polish it. So we are just, we just have in our first lecture the bulking out with boxes. This is the second phase of walking out where we use actual models. And after this phase is done, we're going to read blocket. We're going to delete some objects. We're going to play some new objects. So don't worry, if it's not going to happen from the first block out. You can at least have the big pitch picture inside. And that's the most important thing. And as you can see, I'm tweaking some small stuff here. Still, not very good, but it's getting there. I get the feeling of it. And let me try some other things for the floor. Of course you can do the grout width, Unreal Engine terrain. You can just build up our terrain and apply a shader on it, or maybe apply shader that has multiple variants. And you can sculpt the ground. But I prefer here to use the plane because I can place some of the quirks omega scans in order to break up the floor. But it's a good practice to use Unreal Engine default landscape and just with the brush, tweak it and you can create a multi texture material and then Bates different textures onto this material in order to get a good effect. This is also good, but I'm not using it here. As you can see here, I'm using objects and I'm just rotating them crazy. It doesn't matter on which degree. I'm just testing out how it will look, rotates like that. It is supposed to be downwards, but as you can see, I'm just rotating and trying different stuff. And if it's not going to work, you just delete it and proceed. But you need to iterate fast. As you can see, I'm iterating pretty fast and checking constantly how it will look. Alright, identity like this one. And now I'm going to create my point of interest, the tree. But first, I'm going to need to create this ends. This is, this is guy's pretty straightforward process. The most important thing is to have a good preparation and to iterate fast. Keep in mind that this is my first pass and we're going to iterate a little bit more. Of course, you can multi-select objects and just move them. And after you finish with blocking out your boxes. So I've put here a few things, a few objects, and then I delete my, my box. And this is simply because I've already defined my items or where my objects should be. And I don't need the box anymore. So I'm just deleting them in order to start getting the real scene over there. Because boxes sometimes can cover a host which you will need to fill with objects, of course. And I start to create the roof over here. And as you can see, I'm just rotating the cliffs. And another thing in order to keep the shadow good is you need to go to the material of this cliff. I'm just going to double-click here and you're going to search for to cite. You need to turn this on. And what this will do is because our rock is how when people scan it, they did not scan the back faces and to site will enable the back face. So that's the lightning want penetrates the model. Alright, this is pretty important in order to get this shadow working. And that's what I did. I turn on the, the double side faces on this particular piece of geometry. And you can do for each geometry that you download from quakes omega scans. And also they provide a few other options. And this is my first pass of creating the the top the roof and trying to build up disliking that I told you before that 50% of the scene, at least for me, is how you will build up the lightning. Here. You can see I have few gaps over here that I need to fill up. And that's why I deleted my boxes in order to start creating some final pieces and not having those gaps over there. And of course I'm just blending and copy pasting the previous objects. Let's see how it goes. And I'm going to place this spiky ice and I'm going to turn on the site faces for them to, in order to start and create some pretty cool shadow effects. So let's try and rotate this. And you're going to see it in the shadow. We are creating that some nice spikes over here, just like that. Place them over there. And of course you can rotate and you can blend. I'm here blending the shadows. I'm not watching the actual geometry here. I'm just watching what is happening on the ground. How is the shadow blending? And as you can see here, I start to get the feel of it that this might work and it will look pretty, pretty good. And let me just block out a little bit more. Let me just rotate this and let me blend the shadows. I'm just blending the sheriffs and I'm just building up the roof of the cave and it's still pretty rough. See that? How roof is not looking good. But think like that. We won't see it at all because I'm going to place my camera at the floor level and I'm just going to ignore the roof. Alright. So it looks pretty nice right now. But I need to build up more of these shadows. And I'm just going to place this one too. In order to create those spikes. You can of course use scale rotate everything that you want over here. And if you watch the four closely, you can see that I'm burning up these shadows and blending between them. And I don't care that I have this geometry which is not looking good at the top. And right now I build up a little interesting shadow over here. Let me place this pile of snow there. And I'm just trying to blend in with the rest of the snow. And if it's not blending in, you can of course delete it and place and other objects. Just get rid of it. Don't, don't push it. Let's see how it looks now. It looks pretty good. And let me try another object over here. And I'm going to try and place this to my aircrafts, the vehicle. But I think it's not looking that good because this is more of a human human Snow created like from a machine or something like this. Maybe this cat fit but something like this. Just a little bit like that. It looks like our ship just dig into the snow. That's at least my idea when I build up this. And of course you can tweak everything. This is the first phase of blocking out, and it turns out pretty good, I think for the first pass. And in the next video we're going to continue on and create the next pairs. So here I'm just creating some final touches. In order to blend. The ground. Here will be my camera around here. I'm still deciding where my camera will go. You can set up a bookmark for your camera with control 0 on your keyboard. And after you click Control 0, when you place your camera, you can click 0 and your camera will be focused at that point. So this is pretty handy called key that you can use. And finally, let's place this PRO here and just close this video. And this scene will turn out to look pretty good. Thank you for watching. Bye. 6. Adding details and further block out with assets - Pass #2: All right, everybody, welcome to the next video. In this video, I'm going to continue on with the scattering of the objects. And I'm going to start tweaking up a little bit of the fog. Of course, everything about the folk, the settings. You can get access to them through the resources file that I've included in this course. You can just get the final setting for the exponential. Hi folks. Here. I'm just experimenting with different values and different setup of the fork. And it's a good practice to tweak and try to fine-tune old settings in order to get your final result. And I'm just playing with them in order to try different setup of the mood, different colors of it. And I highly encourage you guys to try very different style of the fog. This is how you can end up with some cool results without even thinking about them. So always try different stuff, different colors like bright yellow, for example, or just right now, I'm just testing the bluish color because I want to feel cold this scene. And of course I just set up this exponential height for pretty quickly in order just to get the mood and I'm going to continue scatter the objects and fine tune everything. So here I'm just placing some more scans, meshes over here in order to create a little fall off between the grounds and the rocks over there. I want to blend them in order to look good. Alright, so from this distance, this blending is pretty fine. And of course guys continue on breaking up everything, but don't put too much details everywhere because you're going to have a little too populated scene, which will drive the eye crazy. I'm just placing few more stuff over here. I intentionally recorded all the process because I want you guys to see the complete process without cutting all the parts that I'm exploring. As you can see, I've test with different stuff, I taste with different angles. And this is just part of the process creating environments for steel image. As you can see, I'm just moving and tweaking with more fine tuning right now as I've already had my first pass. And I'm just exploring how my second pass is going to look like. Alright? So I'm just using the scale rotate and move to most of the time. And let me try different shaders for the ground. I'm just selecting my plane. And here I'm just trying different textures in order to see how they blend with the rest of the snow. Of course, this is a good practice. Test everything. And you can also tell the texture from the material settings. Here I put 44 and the texture is start tiling. As you can see here on the ground. I'm just saying this is an icy ground and I'm just testing, I'm just changing now the tiling 234, but it's not looking pretty good. So I'm just gonna go and try some other stuff. This is a granite. This is the eyes that I've put. This maybe like a lake, river. I see Lake which is not working great with my projects. So this is just the experimental phase where you try different stuff in order to see if it's going to work or not. So just try everything that came up through your mind in order to get the result that you want. Of course, that's why I download it's pretty much all the assets in order to have this huge rich library with from which I can just check the materials, explore, and test in order to get my final results. Alright. So I'm just going to stick maybe with this one, and I'm just going to try and change it to five or six. You can change the tiling, two different stuff in order to get the fine tiling of the ground, how you like it. Here. I'm just experimenting with the material tiling and I don't like this now, so I'm just going to delete it and just put the spaceship a little bit down. Alright, so this is the final ground that I'm going to have, the texture. And I'm just playing with the color of the material. I'm trying to blend this column with it. Here. I'm just grabbing the cone color and I'm just fine tuning a little bit in order to get and blend them together to look more natural. The other metal that you can use is just place this now over there and just try to blend it with it. This is pretty straightforward process guys, but you need to take each step on different paths. The first path to block out the second pass, to scatter some elements, some Madison based on your block out. This is my third phase of scattering objects and just fine tuning some of the details. So this is pretty much for this lesson. What is the most important thing is you can tell your texture through the material. And the second important thing is try to blend your meshes together and try not to put a lot of dense detail across your scene. So thank you guys for watching this one. I'm waiting you and the next one. 7. Setting up fog and continue with assets block out polishing - Pass #3: Welcome everybody to part six. In this part, we're going to continue scatter some object across our scene. And we're going to get some more final look of our scene. I've sped up the video a little bit like 50 per cent more in order just to save you some time. But here, I'm just trying to blend the snow into the ground a little bit more. Of course, this will all fade out when we tweak up the fog. But I need to create some good edges over here. From this angle. I'm constantly checking my angle of view. Right? Now I'm placing some more big objects. That's it guys. Pretty much straightforward process the parties to tweak everything and to have the good composition of it does the most important thing. Right now I'm just trying to create some rock around my camera, around the focus of my camera. And let me just check it out how it looks here. It looks pretty, pretty saturated over here. And later on, I'm just going to remove some objects and we'll fix them up. Here. I'm trying to scale up and just blends a little bit more. This rocks. Just like that. This is still exploring phase. I mean, I'm just still exploring how things should look like here and what the composition of different elements should be. And later on, when we progress, you're going to see that everything will look a little bit more cool. And I've worked a little bit more on the folk. And of course you can find all the settings of my fork, of my lightening of my post-process effect inside the Resources folder. And this will save a lot of time for you guys. Just to set up those things with my final settings right here, I'm just trying to place some interesting snow over here. And I'm just going to tweak a little bit the angle of the spaceship in order to make good contact with the ground and in order to have a little bit of shadow. And I'm just trying to create some interesting color variation with that black rock over here and the snow of it, but it's not working, so I'm just deleting it and continue on with the iterations of my ideas guys. So I hope you are enjoying the process of creating this, and I hope you learned something. Now, what I'm doing is I'm just setting up everything to look good from this angle. Alright? I'm just rotating a scaling. Pretty straightforward. So right now, as you can see, we have few problems. The astronaut is not a perfect place, alright? And the spaceship looks good. But I need to add details on the left side in order to create this cool variations because I duplicate it to same elements. And when you put, you're over here. And I scale it up in order to give it a little bit of depth, you can see that it blends perfectly and it breaks up the repetitiveness inside. Here I'm working a little bit of the background over here. As you can see, I did delete my my background boxes and I'm just tweaking up. I've also set up a short key with control 0 in order to have my camera over here. And when I put 0 on my keyboard, I'm just going to go there. Let me finish up a little bit. The roof over here now because I want to create a little bit more shadow over there. I'm just testing how this shadow is looking. And of course, when I'm placing objects like this, I'm always looking at the ground. I don't care where the object actually is because we are creating a still image. We're not creating a game level. Because in a game level where you can walk through the scene, he began to be noticing every strange thing that we did for the same. Alright. I'm just creating here a little bit more spikes because this will be a little bit seen from our angle, how the shadows are falling off the wall. Alright, I'm just going to jump to my bookmark over here, and I'm just going to tweak it up. And I'm just going to create my bookmark width control 0. So I'm placing my camera over here with a little speed of the camera. As you can see, I'm using the camera speeds of two in order to create it. And just press Control 0 in order to set up my camera angle. Let me just tweak up those elements over here. But right now it's not looking pretty good. And I'm just exploring how I can create this scene at this angle to look good. And how the elements can blend. Of course. And pretty straightforward guys placing some stuff over here and here I'm going to break up the ground with this duplication. And I'm just going to scale in order to create not repetitiveness in my grounds. And all those black spots, we will add additional detail to the background. And of course, like I said before, you can always use a landscape and just paint over everything with brushes. But I use this method over here because at least for me it's quicker to setup. And let me just tweak a little bit more here and just play some interesting rocks. Let me try and break up a little bit. The CEO at over here, if this is going to work. As you can see, I'm just using the rotation and moving but without the snapping because I have full control of each rotation angle, of course. And I'm not just snapping to 15 degrees or two centimeters, etc. Let me just set up my speed for and let me just work a little bit more on the lighting because I want to reveal the spaceship. As I told you in my first lecture, the lighting is pretty important. And I want to create this shadow effect over here on my spaceship. And I'm going to be tweaking this until the end of the level, until we are ready with it, until we're satisfied with it. You will need to constantly check the lighting from below once you've created it. And as you can see over here, I'm just tweaking up in order to create this nice spiky effects on my ship, I click 0. And now you can see how I lit up the scene. But it's not my 100% satisfaction with the lightning. So I'm gonna be tweaking it a little bit more. The next thing is those boxes and just create the back of it. Because when you use the gray box, the lightning balances and you only have white balance from the GI, from the Global Illumination. And when, when we put those rocks behind it, we get this rocky scour onto our snow and ice because our global illumination is bouncing off the scour and just giving our other assets variation of the cars. So that's why you need to get rid of all your gray boxes and just place elements of it in all for the global illumination too. In a perfect way. Here I'm finishing up a little bit my light pink over here. And I'm getting there of my original idea, as you can see, but it's still, the scene is pretty noisy without all those assets in here. Important thing that I've mentioned in the previous video, always try different colors with your with your lightning and with the fog and different settings because you never know when you're going to hit a great combination. Of course. You can also test purple, purple, maybe green in all these plant maybe have some green gas, purple gas. You can just find, tune and change the lightning. You can simply not use my cars. Of course you can do whatever you like. I'm just playing with the source angle with the with the color of the fog, with the directional light, of course. And I'm just going to move a little bit more of the roof in order to create a little more interesting enlightening. And I'm going to move it a little bit out just like that because they want lightning to penetrate a little bit to my Cosmos. Laughed a little bit more. Alright, We're getting there. It's still not finished because has to do few more passes on it. But we are getting it and we're getting some good results over here. And the picture in my head is getting executed step-by-step. Here it's pretty noisy. And as you can see, we have pretty much the same detail. And I want to lower it down and move it like that in order to help the focus of the eye of the viewer in the center. As I mentioned before, I'm gonna be using the rule of thirds in my composition. So that's what I'm aiming for, and that's why I need to move my cosmos after astronauts in the center of the scene and place it above the snow. Let me just check it out over here. Now, it looks pretty decent. Of course we have some more work to do, maybe another few passes in order to get the lighting and everything perfectly. And most of the time, when I scattered all the objects, I start playing with the lighting. And that's one of the important steps because the lighting is like 50% of your scene. As I've mentioned before. This is pretty much about these paths. And we're going to continue on iterating in the next video. Thank you guys for watching. I'll see you in the next one. 8. Testing ideas on the fly, adding a beast - Pass #4: In this part guys, I just hate the idea of external planet where there might be some violent form like in this beast, which is watching our astronauts over here. And I'm just experimenting, placing this beast across my scene where I can create an intense moment of it. Of course, the beast is in the resource folder and you can use it in your scene in order to create this type of action. And I was trying to find out if this will work or not. And I end up deleting it and placing the tree, which is my other and first idea. But I was just interested if this is going to work or not. So this is the idea to test different stuff and to explore and experiment. And of course I'm just trying to place him over here and just play with the scale. This is pretty good. Of course, you can use this and create some kind of your interpretation of the astronaut, the beast, and the vehicle. Of course, I highly encourage you not to copy, base my scene and to create your own idea. Of course, you can use those three models. And this will be a good practice for you guys to create something different, something that you have inside your mind. And of course, here I'm just trying different camera setup with the beast. I want to look over his shoulder in order to create intense moment, but it's not working good for me. And that's why I'm trying different angles. Maybe I can put it to the side of the shape inside of the ship. Maybe I can scale it up or scaling down. Maybe I can make, make a swarm of it. For example, you can scale down this beast to be little tiny beasts. And you can place, for example, ten or 13 or across the sea, which will create an intense modes like there is some swarm. Maybe they're getting out from some eggs and maybe there is a queen bees which are making those creatures. So there's a lot of possibilities, of course, to create this kind of intense moment and this kind of creature. Here, I'm just testing out everything in order to see if this will fit or not. And of course, I'm just playing with it. I'm just placing it over here. It looks good. It's not looking bad, but this is not compliant with my initial idea of the, of the cosmos laughed and some objects that this planet has to offer something interesting. But I was, Let's try this, but I was like that. Let's try this. Let's try something different. It might work or it might not work. And I'm just continuing on creating and putting objects inside my scene in order to refine everything. In here. I'm just trying to put snow under the beast hint over here in order to look realistic. Just like that. And as you can see here, it looks good. Maybe place a layer of snow back at a tail. Scale it up a little bit, move it just like that for the backlog. For the right leg. In order to look good. I need to support it. Let me just draw it like that. Or maybe scale it a little bit more. I'm just testing here if this is going to work or not. And this is looking nice. At the moment, you have this intense moment, you have this idea of an enemy bees watching our main character. The side of his spaceship where he cannot run back and gets his spaceship to flee or to run away from that beast, or maybe get his equipment, his shotgun, or his space rifle. The other thing that I need to refine is to finish up the level and to tweak up some of the things that I don't like in the scene, which is maybe the lightning, the space ship position. And every object here. I'm just observing it and trying to figure out what I like and what I don't like. So when you create the scene and you think You like it, take a moment, take maybe a minute or two and think each inch of this this picture is, this item fits there is this profit, there is this element feet. They're just take a moment just to watch your, your scene. And think about if something is out of it. And think about the player, where it will go. Here, I'm going to tweak up a little bit the angle of my lights in order just again to test different things. And this is pretty good practices to test alongside because there are some good things that might come up. And it is called happy accidents where You have a brilliant idea just by tweaking and testing some things. Alright. So here I'm just tweaking up a little bit more lightning. Alright, looking pretty good. I think this is the right angle. And one more thing is, I need to tweak a polar with the wolves in order to get that bouncing of GI global illumination and get that car. And I will start and tweak up a little bit more the roof lights in order to blend my my spiky mountains. Let me just move this a little bit back. Or it is the other one. Alright, I'm going to move it a little bit back in order to let up our beast. Okay. I'm just tweaking some more stuff. I'm just deleting some stuff that I think are not looking good on my screen. This is the moment where I think about how can I clean up my scene and how can I make the elements to pop out and to stick there in the scene to look more natural. Here. I have a problem with the lightning as it's not looking too good. I have here this spiky ice and it's not covering the shadows good. So we need to fix this. Let me just put them a little bit back. That's it guys. Pretty much straightforward. And I'm just showing you how I managed to try different ideas, how I test, testing on each step and I do the iterations pretty fast. You don't settle on one item, just try different stuff and you're going to find out that in the end, you're going to give a great result, guys, I'm sure about it. Another reminder, try to create your own scene. Don't copy mine. I would love to see your sees inspired by this one, by this course. Alright, let me just finish up a little bit. The lightning over here. I think it has a little light on my wall, which I once not to have over here. So I'm just going to duplicate one spike over here and just finish it up like that. This is looking pretty good and I need to fill this gap over here in order to have my GI working good. And let's fine-tune little bit the foreground here. Of course I'm going to dim this. I'm going to use vignette effect in order to create this. And I'm just continuing tweaking those things over here. Alright? The most important thing is not to give up and always try and fix things that you don't like on the scene. The more time you spent on scene, the more the scene we will look good. Here is my initial idea of creating a three over here in order to create this effect. And I'm going to try and create a red light across my beast because it has some emissive channel. So those emissive spots from my beast will emit a little red light. I'm just going to place a few lights over here and tweak the radius and tweak the intensity of the light over here. Of course, I'm going to make it look very subtle. And just to add a little bit of the environment effect over here. And I'm going to turn off the shadows. Maybe just leave one shadow over here. And I'm just tweaking up to give it a little bit of red, reddish to the environment around it. In this way, I'm just faking his emissive channel, his emissive intensity spreading from his body. Something like this. And let me just tweak. This is pretty much about this one. I'm going to wrap it up and we're going to see each other in the next video. Thank you guys for watching. 9. Removing the beast and further polishing - Pass #5: Alright everybody, welcome to part eight. Again, I've just speed up the video with 50% in order to be a little bit more quicker. And now in this part we're going to find tune more of the objects inside our scene in order to create this, this kind of feel, to look more final. And right now I'm just testing the scale of our main character to see how the scale will fit in the scene. Let me just try and scale it up accordingly to the beast. In this chapter, I'm going to realize that the beast, it is not appropriate for my scene because the storytelling we will not be good. So at the end of this chapter, I'm just going to remove it. But again, I highly encourage you guys to try it out and try to find a sweet spot for it. Maybe create a swarm. Like I told you before. Right now what I'm doing is I'm just fixing some of the stuffs that I don't like. I'm just testing some things with the lightning changing temperatures in order to create different moods. As you can see here, I'm just trying to figure out what color should I use somewhere in the blue gamma. As you can see over here, because I want to have this coat effect, this cold feeling inside my scene. I'm just testing, tweaking. And one thing that I've mentioned before is I always test with extremes. What this means is I just don't slides in the blue gamma and testing blue, purple, yellow, everything just to find out if I can create some happy accidents. And maybe like some other cover two. And again, just a reminder, always. Create everything in folders, group everything in folders in order you're seeing to be clean. As you can see everything. There is geometry or inside my assets folder. Here I'm just playing with the clouds and I'm going to finish up and fix some issues on lightning. Here. I'm just testing some stuff. I'm just checking out if everything is looking good. And this is again, another path of just scattering objects, fine-tuning the objects in order to be more clean. And just a reminder, always try to create a clean scene. Don't overextend with placing too much objects in your scene and just test and observe everything. Now, I'm just testing and creating another different angle for my camera. Of course, it's a good method to place your camera from the bottom and not from eyesight of a player. Because when you place camera near the ground, it is more immersive and the angle is more good and more interesting. Here again, I'm just moving some of my roof parts and just checking out on the ground how my light will look. Alright. I'm going to speed up the camera in order to get to that point that I can move faster. And I'm just watching my ground below and just fine-tuning the light. In order to create this interesting lights, you need to pay a lot of attention to the lightning in order to create that kind of good mood. As I've mentioned it all over this course. And I'm just going to keep repeating it that the lightning is very, very important in order to create the mood of your scene. Here, I'm just filling up the gaps at the background over here and fixing some issues where it alright. Let me just add a little light over here because I want to fill up a little bit light pink over here in order not to lose the details of the rocks through the fog. Alright. And I'm just pushing a little bit intensity. Dislike that. Maybe make it a little here, which I'm just experimenting guys with different colors, with different things. And I'm just turning off the shadows in order to fake a bounce light and get that details from the rock. Just like that. Let me just put a little bit yellowish like that. Tune down the intensity. I just want a soft, subtle shadow. Nothing too powerful. Let me just move it a little bit like that. And I can play with the radius, with the intensity and the color in here. I'm going to tweak a little bit more the fog. Let me just see. And always when you try a change, some stuff on your scene like the lightning fog, maybe scatter the objects. Always go back to your original view where you're going to render your piece of art and just see it from that angle in order to get the picture of it. Alright, The most important thing that you need to tweak is the exponential height, fog, and the directional light. Those two things are the base foundation of what you're seeing We will look like, alright? And the final touch, of course, is the post-process. Because we are the post-process, you can achieve the great cowering that we're going to have at the end of the video. And of course everything will be described in one of the final videos, I'm going to show you my settings for the exponential height fork of the directional light of the post-process. And you're going to have this as the screenshots in the resource folder. Alright, so here I'm keep, I'm pushing my height folk and I'm keep experimenting with the scale, with the view distance, with how dense the foregut is. And I'm just playing with the settings. Alright, here I have Q-point lights. Those are the green and those are the red over here. And I just need to turn down the intensity because it is too much and we have a lot of reddish over here on the snow. I'm just going to find some areas that I don't like in order to blend more. In here as you can see, we have a clean scene. We have a clean view of our astronauts, clean view of our object. And it's getting more and more good. In order with the composition. Just going to need to move this column over here and try if I can create some shadows on the left, but this will block my vehicle and I'm just going to get rid of it, of course, because they want to see my vehicle there. Alright. So here is how my scene loop without the fog. And when you turn on the fog, you get completely different. And Locke, and I'm just going to through AI and fine-tune my fog density. And it is around the values of 0.2 zeros, three or two in order to create that mood. Alright, pretty straight, straightforward process guys. I'm just playing with it. And lets me put 00 for, I think this is pretty good for my folk. And right now I'm going to start experimenting with the post-process. I'm going to put on auto exposure. And I'm going to fine-tune my auto exposure to 0.6. Maybe, something like this. Alright, right now the thing that is of is that beast which is not looking good inside machine. And I'm going to get rid of it at the end of our video over here. And I'm just going to create and test different stuff on my lenses, on my exposures. The most important thing in the post-process volume or the color corrections, which is, which are the highlights, the contrast. And let's continue on by fixing some of the objects over here. Let's duplicate this pillar. Let's Play Store here and create a good angle of it in order to add more detail at the edge here. Because at least for me it's too repetitive. And I'm just scaling up in order to blend them together. And you don't want to have any artifacts between the blending. So I just want to blend it something like this. You see that my foundation, the bottom is a little bit off, so I'm going to tweak it up like that. And I have a little artifact when they connect with the rock up here. So I'm just going to fix it by moving it over here. And as you can see, we've added another interesting layer of detail at the left column. And I'm going to fix the roof here. I'm going to make a little bit of leveling, going down. By scaling it up. Let's try to rotate it. Let's try a sharp edge over here. If it's going to work. Let me just rotate it, scale it a little bit. But that's too alien. Alright. Maybe, maybe we can play store here at the bottom. Now. I'm just testing different stuff. And let's place another column over here. Just like that. And the roof in order to create this a little bit of IC, I seen as over here at the Rock, because it is too repetitive. And I need to blend it with the rest of the roof. Alright? So we keep scattering and fixing some of the objects. Let me just focus a little bit more on the ground and on the right side of my scene. Let's add a little bit of details over here. Because it is too repetitive. And I'm just going to add a little slope over here in order to break up the ground. Carefully. Rocks. Maybe just like this. Creating a leveling. Let's test it and rotate it over here. I'm just creating an interesting point. And this will add a little bit more details to the ground, at least at the foreground. I think that looks good. At this moment. Let me just check with another objects and try to play something on the right side. But as I noticed at the final version, adding some elements on the left side is going to block my spaceship. And I'm going to lose this interesting points of the spaceship, which I'm not going to do. Alright? So I'm just placing this and this should be deleted because it's blocking the view on my left side. And right now what is offset is the beast that is, it is not suiting up pretty good with my spaceship, but I'm gonna get rid of it later on. I'm just going to try and test another angle. Let me just I'm just testing different angles right now to see if I can place my camera at different angle, creating a different experience. Maybe at the bottom of the beast, maybe at his side. Let's try his site. Or maybe top. As you can see, at least for me, those angles are not working. And my initial first tango was the best at this point. But this is the way in order to experiment and find different angles where you can render your scene. Of course, you can create different angles. You can create a couple of renders and just put them in your portfolio. Now the problem, let's try a little close-up of our astronauts. That's not going to work. So I'm just going to go back to my original. And maybe I'm just going to tweak it a little bit. Now. I'm just taking a little bit of time to observe the scene and think about what can be changed and what points of interests are not good and not suitable for my scene. And that is something that I've mentioned in the previous videos. At some point stop or scattering objects and just observe everything to see where some places are not looking good and other places are good, looking good. And I have this idea to create a little rock and place my camera on it. I'm just testing it out right here. If this look good. But in the end, I think this is not looking good. And my first initial setup with the grounds was the best. Right now, I'm just going to try to find another angle to some, going to fix some of the things that I don't like over here. Alright, I'm just going to move this a little bit over here in order to get that rock. And I'm just going to place this up. Alright, the next step for me is again, to start and play with the fog up and back process where you go your test, you scatter some object, we fixed some, some objects on your scene. Then you go back to your lightning and start creating different, lightening, different moods. Tweaking up the angles of the lightning, tweaking up the shadows, et cetera. I'm just testing out a little more stuff and light pink over here. Those are the three important things. The exponential chi form the directional light and the post-process. Here I'm just playing with the bulk density and height fell off in order to try and get the best result of my talk. I don't want it to be too dense in order to lose details, but I want to be enough in order to feel my scene. And I found out that 0.0034 are the best numbers for me. And right now we're getting somewhere like the mood, how it looks. And I don't like the beasts, so I'm just going to delete it or just try to place it on my scene somewhere else in order to create some other ideas and experiences. But in yet, I'm just going to remove it because I think it is off for my scene and for my idea. But of course guys, and highly encourage you to create your own idea and maybe use the beast and show me your great idea. With that in mind. As you can see, I'm here, I'm scaling it and creating it to be like a little. And as I mentioned before, you can duplicate maybe ten of those and just create an immersive swarm of them. This is pretty much for this path. And we're going to continue fine-tuning everything in the next video. And I think everything is getting to look good right now. We are losing a lot of detail at the background, but we're going to fix that with adding some point lights. And those points slides will give us details in our backgrounds, in the rocks in the background. The reason that we are using, that we are losing details is because of the density of the fork. So thank you guys for watching this one. I'm pointing you in my next video. 10. Final composition and Fog, Light and Post Process setup: All right everybody. So this is our final video where we're going to finally tweak everything out and creates everything to look final. Here, I've sped up the video on 50 per cent. And those are, those will be some of the final touches that we're going to make. This video will be a little bit longer, but it has a lot of elements in order to finalize your scene. So as you see here, I'm just trying to finalize everything. And I'm just trying to finalize the lightening first. Let me just go up there and fix some spaces, Some places that we don't like the lighting. I'm just going to move this a little bit back. And of course again, I'm just watching how the shadow is interacting with my surface at the bottom. I'm just tweaking. What I want to do is I want to place this shadow and I want to lit only a little bit of the right side of my ship and don't get too far away from the ship because I want this lightning to just hover on the right side of the ship and don't get too far away from the ship. And I want not to have so much exaggerated spikes here, enlightening. And that's why I'm just staring this up here. As you can see, I have achieved almost what I want. Just a little lightning over the right place of the ship and not too far away from the ship. This lightning, we'll emphasize on the ship in here and fine tuning everything by moving them a little bit. Let me just check out again the lightening. The next thing is I want to check out the lightning from different angles. 11. Final words and touches in Photoshop: Finally, when you are ready with your shot, you created the camera angle and you finished everything here. You set up the lightning, you set up everything. You go over here to the three dots, to three lines over here, and you go to the high resolution screenshot here. And here you can multiply the size of the resolution. So you can create very high resolution screenshot. But right now I'm using one. And you can create a screenshot from here, I click capture. It, it shows the directory where my screenshot it is taken. So you can click over here and go to your folder. And after that, I've touched a little bit in Photoshop, but very little. So I've put a brightness over here. We had five of brightness. I have pulled a photo filter, cooling filter, MBB with eight per cent density. And I played a little bit with the hue and saturation, which is plus 20, to give a little bit more powerful scene. So if I turn them off, you can see that I lose some color. And I just adjust those things in order to get the final image. So thank you guys for enrolling in this course. I will be glad to see your final results, so share them with me. And I'll be happy to give my feedback again. Thank you so much for supporting. And I hope this course was pretty helpful for you in order to establish your mindset and give you an idea of how you can create a perfect looking still images. Thank you guys again, I see you in my next course.