Your First Beauty Product Animation in Blender

1. 1.1 Class Introduction: Hi. I am Dav Yasma. I'm a treaty artist located in the Netherlands. Currently, I work full time at IN DG Grip. Here, we work for big clients like Coca Cola, Nestle, but also beauty brands like Loyer Paris and Maybe New York. In this course, you're going to learn how to create a beauty product like this. We will start from a technical drawing and create the jar, cream, and cap. After creating the base meshes, you can choose from two different types of cream. One use a sculpting to get a more realistic and organic look. Other one uses traditional three D modeling techniques for a cleaner and more stylized result. After that, we'll jump into the materials. You will learn how to create photorealistic materials, and we will also cover lighting, where the main focus will be on lighting the label correctly. After that, we'll look at the animations I have created. From each scene, we'll focus on one key technique you can learn and apply yourself. This includes trendy keyframe animations, rigging the cap so it can rotate easily, viscous liquid simulations, a meta boss style animation, and creating an ocean of waves with dynamic paint. This class is perfect for anyone that wants to learn more about product rendering in general. But of course, we'll focus a little bit more on the beauty side of the product, right? So lipstick, bascara, those kinds of, products will all fall into this category. This class is geared a little bit more towards the intermediate blender user. So if you already, of course, have blender, installed on your computer or laptop and maybe already created some project, know a little bit how to animate, then I would highly suggest you look into this course. For your class project, you will either create two clean steel shots of the product, one that has a cap on and one that has the cap off where we can see the nicely created cream. And if you have some extra time, I would love to see a short animation inspired by some of the scenes that we have broken down together. The end of this class, you have created some amazing renders and maybe even animations ready to be shown in your new portfolio, or maybe you're already working on a client project that is totally fine. So I'm super excited to get into the first lesson, so let's jump right in. 2. 1.2 Modeling Base: Welcome to the first three D modeling video of this course. In this video, we're going to take a look at the technical drawing and also start modeling the base mesh. Before we can do that, we need to look at a few things and we need to prepare our scene. So first of all, I am working in Blender 4.3 0.2. It is not very important in which version you are, but if you are a beginner, it might be handy to have the exact same version because in older or newer versions, certain symbols, the UI, everything might have a different spot, and you don't really want to jump to Google or I don't know, hat TIPT to keep searching what is happening and where it should be. So if you go toblender.org, you can go to the Download, looking for previous versions, and then download any blender version. So, in my case, what did I say, 4.3 0.2, right? So you go to the Blender 4.3, and here you will be able to find our version. Now we should prepare our scene. So first of all, I will delete just everything in here. Go to the scene properties and click on Units and put the unit skill to 0.01. Then let's put the length from meters to millimeters. I do this because when we were working with, like, smaller models, let's say, bottles or tampons, I don't know, you want to work in those millimeters. A lot of times the technical drawings will also kind of showcase millimeter or centimeters. But you're working in a more realistic environment. We don't want to create I said a tampon of 2 meters. It will be a bit big. So yeah, that is the main reason why I create this. And then the unit skills just handy because then the units look the same. If we're working with meters or millimeters, we don't have really a way different unit size. So this is our technical drawing. And as you can see, the technical drawing has some measurements set to it, just to make this course a little bit more easy going and so that everyone can get, similar results, I should say. You are working with clients, you often get the possibility to work with these technical drawings. So I will show you right now how we can implement this into our workflow. First, we go to blender and we make sure that we are in the front view. So if you click on one, you will actually jump to the front view. Now, I also want you to see that I have my screen cast keys on. This means that whatever I am typing, so let's say, one, two, three, four, five, it doesn't matter. I will show up here. And also, if I use shift control or Alt, maybe left mouse click, right mouse click, it will all show here. So if I ever misspeak or if ever you just cannot understand what I'm saying because of my thick accent, then in most cases, you can see what I'm doing and you can just follow right along. So if we are in the front view, we can go to our technical drawing and just drag it into blender, Pam. So we go to the front view first because then it actually gets placed directly there. Because if I add a technical drawing when I'm not in the view that I want to be with, it will be added from there, right? So you can see this is not really what you want. Also, if you are when you add a image, so let me redo this. You can go here and expand this little area. You can turn off put in background. It's not very, like, necessary, but if you don't want to see this entire grid over your image, then that could be handy to do. So how do we start three D modeling? Well, know this is a cylindrical object. And the technical drawing doesn't really show this. Sorry for that, but we know this is a cylindrical object, right? And I like to start with a circle. So if you click on Shift A, mesh, we can go to circle. Here we can already decide if we want more vertices. So I like to work with 40, maybe 60, 80, as long as you can divide it. Let me go to the top view. Horizontally and vertically. So if I delete these, this is just a little tips and tricks, you can see that if I do the X and the Y, it perfectly fits, and we have a vertex on each of these axes. This is just very handy when you work with models that have to be mirrored over. And I work a lot of those kinds of models. So that is just something that I like to do. So yeah, that was just a little tips and tricks. This circle here, needs to be 115 millimeters. So if we expand this, you can click on N, or you can click on this little arrow. You can see the dimensions. Right now, it is a 2000 by 2000 millimeter circle. If you click and drag, you can change multiple of these values at once. So this is going to be one, one, five, and then enter. And you can see that they instantly both change and we have a circle of 115 millimeters. Then we need to extrude this for 78 millimeters. Because we're just going to focus on the glass right now, we don't really have to look at the cap. So if you go to Tap, which is Edit mode, you can select everything with A and then extrude Z, and now we can type our numbers. So 78. Am. And here, if you ever want to do a check, you can select one of these edges. So let's select this edge here. Go to Mesh Edit mode and click on Edge length underneath measurements. And here we can see 78 millimeters. It does get a bit busy with all these numbers, so I like to turn it off again just so it's a bit more pleasing to the eyes. But those are kind of quick checks that you can always do, which can be quite handy if you're working with precise measurements. Now, let me go to wireframe mode and place our actual technical drawing right in here. So the bottom is going to touch the bottom, right? So something like this. And then we just need to scale it so it fits everywhere, and then it should be in the middle, right? So it touches every single corner here. Perfect. So now we essentially can just match all these curvatures that we have. This way, we can get very realistic results. Once you have done this, I would highly recommend you start saving. So I have a little folder. I am going to save probably a lot more than you guys do, but please save in between because if it crashes, you just need to go all the way back. Like, having crashes while doing a course is just the worst. So please keep saving. 3. 1.3 Modeling Base Part 2: So the next step would be extruding this part inwards. But we first need to know how high this is. Well, if you look here, from the bottom to the top part of this glass, we have 60 millimeters. And also, again, this can be done at multiple ways. So I personally like to create a edge loop with CtraR move it all the way down, left click, and then move it up again. So GZ 60. This way, you just always know it's perfectly 60. But you can also, of course, put the edge length on and then click CtR and just move it into place until we reach 60. So here. The first one. So this one is a little bit more accurate, but in both cases, they should work fine. Now, a little caveat. The technical drawing, in this case, is not perfect. Blender is not really good at creating technical drawings at all. And I also made sure that these measurements don't like they are just a little bit rounded up just for our ease of use. So please don't worry that it doesn't really match up here. If you actually work with clients that have really good technical drawings, then it should all match up, right? Our line should be more like here, let's say. But in this case, let's not worry about it too much. We're just going to have fun with it, and yes so let's select both of these edge loops and then extrude it inwards. So how do we do this? Well, if we just extrude, you can see we get this, right? So E is extrusion, and it just wants to extrude along an axis. But if we now we click, everything kind of is still extruded, but snaps back to its original place. Now we can use another command. So let's say I'm going to scale it, so scale I only want to skilled around the X and the Y axis. Skill shift set, which just says like, Hey, don't skill it around the set axis, and then we can move it inwards. So I hope that makes sense. Let me go over it one more time, for all the beginners here. Normally we have this here, then extrude, we're going to snap this extrusion back, but as you can see, it's still there, then scale it. But we don't really want to it to scale all around the Z axis. So then we say no Z, so shift ZT, and that is how we do it. We can delete this top edge loop, and if we go to the front view, we can see what we have here. Perfect. So let's now create this bottom part. It is actually quite hard to see what is happening there. So wireframe mode would be very handy in this case, and we need to follow this line here, right? So we have a little bit of an indentation. Also, this, you can do in 1,000 ways, but let me just grab an extra few out of here. Just so we can see this from another angle. And I'm going to work here. But in this case, you guys can see what is happening if it doesn't make any sense. So I will select the entire bottom edge loop, extrude it, and then scale it down, E and then S, right? And I want to reach around this point, extrude around the Z axis, scale a bit down, root, scale it down. Let's focus on here right now. Then extrude, right click, so it all snaps back into the middle. Click on M and merge at center. So a lot of people are very scared for triangles. I totally understand. If you don't want triangles here, what you could do instead of merging it in the middle, you could delete this vertex, select the entire edge loop, go to phase and do grid fill. When you do a grid film, I personally like that it's also mirrorable again, so you want to kind of offset this to hair, right? So if we want to delete anything of this, which I'm not sure if we're going to do in this course, I don't think so, but you always have the possibility that it gets yeah, mirrored over and over again. So, yeah, I honesty, you can just use triangles here. It will not cause any weird artifacts, and we don't have to animate it in a weird deformation way. But yeah, I wanted to show you both ways. Cool. So we kind of have this shape going on of the entire bottle, and now it is handy to see if this also works with some extra subdivisions, because at this point, it looks very, very blocky. To do this, we go into the Modifier panel, click on Add Modifiers and add a subdivision surface. As you can see, everything gets smoothing out by a lot, and we kind of lose our main shape. The main shape is still there. But because we get extra subdivisions, yeah, we just lose this. So we want to add some supporting edge loops. What I like to do is I first like to create already some edge loops in here, just create a more dense geometry, and later on, we can also use this for our artwork, but that is besides the point. So let's just add these here. Let's also adds maybe four here. And let's add one or two here. So as you can see, the more geometry that I'm creating, the more this model starts to retain its original shape. It is still a little bit blocky. We could put the level skew part up to two and then right click on the model to use a shade smooth, just so everything is nice and smooth, and this we can also use for good rendering. Now, this already is starting to look decent. Probably an extra supporting edge loop would do good here, so we kind of match a similar kind of rounding here to this object. Just play around with it a little bit, so it makes sense, and then we can go on to the bottom. As you can see, this doesn't make any sense yet. I'll probably create maybe two edge loops here and then create some extra supporting edge loops to make sure that the shape fits the technical drawing underneath. So we'll just call this video for right now. We have a very nice outline of our model. Everything makes sense according to the technical drawing. And the only thing that we want to now take care of in the next video is some thickness. You can see that we have a certain amount of thickness here, and also we have a thread on the top, which is maybe the most difficult modeling part of this entire course, but I'm sure we all will be able to make this as well. So I see you guys there. 4. 1.4 Modeling Thread: In this video, we are going to create the thread on top of this jar. So how do we do this? And why do we do this? Well, first of all, we, of course, have a cap that needs to be tightly screwed on top. And if we look at some Google images, you can see that there are multiple ways that we can create thread. These are a little bit harder to create, but something like this, we are going to do. First of all, we're going to go into this yeah, base mesh, this jar, and we will select these inner vertices here. Make sure they are the ones that are from your front view because that is going to come in very handy later. Then click on Shift D to duplicate it, and right click, so it's now Spec, then click on P to separate the selection. Now you can see we have a circle, which in honesty we can just rename to jar and we have a circle one, which is going to be the thread. Later on, we'll join them together, but for right now, we're just going to focus on the thread. We need here or what we have here is, of course, just this little part of geometry. We are going to add a screw modifier. This screw modifier needs to be before the subdivision surface. And if you remember correctly, the jar had 40 vertices, right? So the circle that we created in the beginning had 40 vertices. We need to go into the screw modifier of the thread and also put the steps in the viewboard to 40 so it matches the jar. As you can see, because we created this geometry from the actual geometry of the jar, I already will fit perfectly on top. So this is a great way in which you can do this. Now, we need to edit this. And when you edit this, you need to ensure that you don't really move it around the X axis, in this case, right? We only want to move it maybe around the Z axis or the Y axis whenever we want to change anything to create this profile. So how do we create the profile? Well, I'm just going to add some extra geometry in here. So I'm going to subdivide this. I'll add two as a number of cuts. And we're going to move these new vertices around. And I'm going to do that around the Y axis, right? And here you can see that I am going to try to match this shape. GY. And it's okay if it doesn't totally match, right? We're just doing this to learn. But yeah, you can move it around the Y axis, and, of course, I can scale them around the Z axis as well. And here I want it to be a bit sharper. So I think adding an extra subdivision here and here will do wonders, and this actually looks really good. These outer vertices don't really do anything, so I could kind of delete them, and that makes it easier to put two screws next to each other. I will show you now why. So to actually get this screw effect, we need to put the screw millimeters up. Let's just keep it at 15 for right now, and we can apply this. So apply. And I want to make sure that actually fits inside this area. So I'll probably delete it until here, and then delete this entire part. And we want to fix this up. So how do we do this? We are going to select these edges, click two times on G, and then we can move them around the edge. We'll do that again here, two times on G, and then we just fill this and fill this. Perfect. Let's do the same here. Then I want to scale these a bit down. So if I select these ones, if I just skill them now, it's going to look a little bit weird. So I'm going to skill them around the cursor, so that is in the middle and then do skill shift set. Otherwise it's skills down, but shift set, then I can just make a nice and smooth transition. Let me also scale these a bit down. Yeah, this looks way better, in my opinion. Look at that. Perfect. Now, we're going to duplicate this, rotate Z 180. So let's join all of this together. What we need to do is we go into the jar. We can delete these inner vertices, then grab both of the threads, and then last jar, then click a Control J to join them. So how are we going to join this? Well, these vertices here are nice and square, and we can just click on F to fill them up. Here on the bottom, this sort of part. I'll move the mid up and then fill this. You can see we have a weird shading artifact, but we will fix that later. That's filled all the way up until here. Then we're going to do the same here. Fill all the way until here. And on the top, same story. Just fill until here. Same here. Until here. Et's quickly fix this little weird artifact. This is probably because the normals are a bit weird. So if you select everything with A, go to mesh normals and then recalculate outside and everything is fixed. The only thing now we need to fix is this geometry like we have a few gaps in here. So how do we join these together? Well, there are multiple ways, and in all honesty, as long as you do not get any significant artifacts, loads of techniques are just correct. But what I like to do here is I will just fill these up, then this and then these. Now you can see we have, of course, two triangles, which, I mean, it's not a huge deal in this case, but you can always create an extra edge loop here in the middle. Let me scale this a bit. Up here or down. And yeah, I mean, there is literally not really an artifact that you can see. Maybe if you really look good, you can see a little bit here. But in general, it's not really noticeable, right? So this is a great way to still keep quads around everywhere. And yeah, looks decent. So let's just do it like that. And here we have a beautiful thread, right? So in the next part, we'll create some thickness, and we will create the thread for the cap. I see you guys there. 5. 1.5 Modeling Glass Jar: In the last video, we created the thread. And in this video, we're going to create the thickness. So there's a thickness of three millimeter around the entire bottle. Maybe we can make it a bit thicker on the bottom in a lot of jars and bottles that happens, especially when you go to glass. Like glass bottles have it a lot. Um, but we'll see later. We can always change to our needs. So how do we create this thickness? Well, select the jar and add a solidify modifier. When you add a solidify modifier or a lot of modifiers, in all honesty, you need to ensure that you apply the scale. Why is this? Well, let me show you. I put the thickness to 3 millimeters, it should be this, right? But you can see that it's not even close, and for some reason here, it is close. It just doesn't make any sense. That is because we have joined some geometry, we have skilled the geometry. We've just been playing a lot around with it. So before we apply any modifiers, make sure you select your jar and then click on A and apply the scale. And instantly you saw something happen, and it actually makes more sense now. Let's also make sure it has an even thickness, and then we can apply the solidify modifier. Cool. So the solidifier modifier is great. It did create some issues for us, and that is mostly geometry related that we can fix right now. So first of all, this looks a bit weird. That is mainly because this geometry doesn't really yeah, make this flow really good, as you can see. So what we can do is we can go to phase selection mode, select this entire phase loop with alt selection, and then extrude it upwards a little bit. Now with contra plus, we can extend our selection and just move it down. Just make sure you don't move it down that far. We kind of just want it to be to its original spot. We don't want to move it down, so some of these edges are starting to intersect. So you can always check a little bit around, but none of it is intersecting. So this looks good. Perfect. We fixed that little issue. Then the next issue will be the thread. We don't really need the thread. But yeah, for us to be working on the inside of the bottle, it's a bit annoying when we can also see the outside the entire time. So what we can do is we can select this entire edge loop, click on H to hide it. Then with L, we can hide this outer island because now it's kind of separated, to sees it as islands, and we can hide that as well. So we just have to focus on the inside of the bottle. And here we can see all the weird, yeah, kind of annoying mistakes that has been happened since the solidify modifier. But we can easily fix them. So let's first get rid of this threaded area. I'm going to select this Edge loop, all the way around. Delete them. We're gonna do the same here. Mm hmm. Delete them, click on L to select the entire threaded area, and then delete that as well. Then we can select both of these circles, then Control E to bridge these edge loops and, of course, add some extra geometry to make it nice and smooth again. Perfect. Now, we have to fix this issue here. So you essentially just want to move stuff down, scale it in, scale it out, can always get your reference image back to see what is happening. A lot of times when you're working on Kind of these areas on the inside of glass, they seem to be a bit more smooth. So yeah, scaling this a bit inwards like this it is not necessarily bad. It creates everything it makes everything a little bit more smooth, like in general, it is when they manufacture them. So it's this fixed, this fixed, then only the bottom we need to fix. At the bottom, if you look at our reference image, you can see it doesn't really have that bump inside anymore. It is just straight. So we can also mimic that. And that also happens a lot with bottles, especially glass bottles, I should say. So what we can do is we can just like move this up, get rid of some of these edge loops here. Maybe it's easy to see if we do not have our subdivision serves on. Perfect. And if I want to flatten this all out, what I can do is select these edge loops that are lower, then select one phase that is at the correct height that I want, go to transform pivot point and move the transform pivot point to active element. Then if I scale it around Z axis and click on zero, it actually matches everything up with this height, right? So what it essentially does is you are putting your pivot point at a certain active element. And this white vertex here is the active element. I can scale it around it. I can move it around it. I can do whatever I want around it. But if you do scale Z and then move to zero, it just flattens it out. And you can do it around every axis, right? I can also do it, I mean, scale Y, scale X, skill Z. So it's a very handy tool. I use it a lot. Just make sure later on you put it back to medium point again because especially in the beginning, it's kind of confusing using it, and then out of nowhere I think it's just out of whack a little bit because she just keeps skating around that element, right? Okay, so this is essentially it. We might want to move it a little bit up. So let me se like this, moved a little bit up. I'm not even sure. Let's do just what the reference image says. And then put the sub divisient surface back on, and I think this looks great. We are a little bit more thick here than in our technical drawing, but I don't think I mind too much. I mean, we can always select it and move it up, right? It's totally up to you what you want, but I don't think it necessarily looks that bad. Let's just do it. Baum. And there we are. The only thing I see here is that this part is a bit too smooth, so we could create an extra supporting edge loop here, and everything looks awesome. So Inside Edit mode, if you click on Old Age, it unhids everything that we have hidden, and here we have our beautiful glass jar all set and done. So here, jar, you can even rename it to glass jar, whatever you want. Maybe you're going to make it plastic, maybe you're going to make it glass. It doesn't matter, but here we have it all finished. And in the next part, we can start with the cap. You can see the cap is quite easy, but of course, the cap also needs some threaded area. Don't worry about it. I'll show you in the next part. 6. 1.6 Modeling Cap: In this video, we are going to create the cap, and the cap actually consists of two objects. We have the white inner plastic with the thread, and we have this wooden outer part. So how are we going to create this? Well, let's go back to our scene here. And one of the main things that I want to talk about is that I do not want to recreate this threaded area anymore. And we also want to have the exact same profile of thread. So what we're going to do is we're going to duplicate this. And in this duplicate, we're going to delete everything that has nothing to do with this threaded area. So delete that delete inside as well. So we just have this left. Now, I want to rotate this for about 90 degrees. This seems to be fine. And I want to select these face loops. Then I will make sure that my pivot point is set at tre cursor, and that one should be nice in the middle. And then I'm going to scale this down. So not just S for scaling, but skill shift set to not scale around the set axis until this is nice and straight. So something like this would work great. Perfect. Then this selection should be hidden. So H, then A to select everything here, get this glass jar back and scale again, skill shift set everything until we cannot see those threats anymore. So somewhere like this. Perfect. Then we can click on Old Age to unhide our selection. And you can see that these corners still have some intersections that we don't want. That is, of course, because we have been scaling. We just need to scale these parts a little bit more up. And again, only around the X and the Y axis, skill shiftset, Soth like this. We're going to do the same here. Skill shiftset. So we have this nice smooth transition. And here we have a perfect thread that fits inside of each other. So it's as simple as that, I should say, so we don't have to recreate it, which is very nice. And now it's just fixing up a little bit. I will move this a little bit more up than root. Let's put this back to medium. So the pivot points back to medium, and then we can just extrude here. Once more, let's not go too high. This should be fine. Add some extra geometry. Here, and I think this is actually fine. So let's now fill this up, extrude, extrude and merge, and then some extra edge loops. We don't really need to fill this up as well because there is going to be wood on top of this, right? So as you can see, very simple. And now we can build from this the wooden part as well. So I'm going to select all of these here, shift the P selection. So I have my cap white plastic. And then this is going to be the cap Wood and for this cap wood, we should get back our technical drawing here. I will move this up. Uh, somewhere around here and create this cap of wood. So I'm just going to extrude around here. I would like it to be very similar to the glass. So I'm just going to check if we're actually there. Yeah, that looks good. Perfect. And then the top Next root, merge at center, create some extra edge loops. Make sure this is as a good transition. I think it looks quite good. I should maybe move this a little bit more I think this looks fine. Yes. So if you're happy with this, then we're finished. So that is the cap wood, cap plastic, and we have our glass jar. And in the next part, we are going to create the cream. I see you guys there. 7. 2.0 Modeling Cream introduction: In the upcoming videos, we are going to create the cream. And as you can see, you guys can choose out of two versions. We have the realistic version or the swirl version. The realistic cream is created by sculpting. And keep in mind that sculpting requires a higher density mesh. So if you want to follow this video, you need to ensure that you at least have a computer capable of having some subdivisions to it, let's say. Our second option, the swirl cream or more stylist cream, however you want to call it, is also an option that clients often choose. And the techniques that we used here will be more kind of modeling based. They are not as high density. So even if you have a kind of a worse PC, you can still follow along. So please choose the cream that you want to recreate and see you guys there. 8. 2.1 Modeling Cream Realistic: In this video, we are going to create the realistic cream, and the cream is sculpted. I myself like to sculpt inside Z brush or set brush. I'm not even sure what the correct pronunciation is. But you can also do this in blender, okay? So either way is fine, and I'm going to show you some ways in which you can get started. But most of what is like what we have to do is work from a reference image. So if you pick a reference image, and I think it's really cool if everyone has a different kind of reference that they like to recreate, and then we just have lots of different kind of creams, and I think it will look awesome. So if you have your reference image, in a lot of sculpting videos or tutorials, I see, like, Yeah, grab just loads of reference images and try to play around with it. In this case, or at least when I created the cream for clients, but also just in this tutorial, it was really helpful to just have one good reference image because you can really try to recreate what we can see right here. And it is okay if it's not perfect. It doesn't need to be like a one on one perfect image, but it just helps to see what is happening in a cream. If you just start to combining them, like, in my opinion, or in my way, it just didn't really look good enough. Um, so yeah, please just look for a nice reference image, see something that you want to recreate, and we can, yeah, start creating from there, right? So all of it doesn't matter which reference image you're going to use, you are going to be able to do this with just the sculpting. So I'm going to hide both of the caps, and we can go inside the glass jar, so just go into Edit mode. Then we're going to select this and expand our selection to, let's say, to here, Shift D, and then P selection to separate this part. And this part is going to be our cream. Perfect. Now, because we duplicated the inside of this jar, the normals will probably be flipped. So if we look here, we can go to geometry and do face orientation, you can see that the outside is red. Go to edit mode, select everything, and then mash normals, recalculate outside. Now the outside is blue, so the normals are facing correctly now. And yeah, that's good. So that's the first thing that you should do. That's cut this inwards and then do a grid fill. Perfect. So how do we start sculpting? First of all, once you have this, you can decide to maybe export it to another program. I personally like to work inside sea brush. Like Blender sculpting just doesn't come anywhere near close to sea brush, and I think it is mainly because Blender cannot handle very high geometry meshes. Uh, because the sculpting is actually decent. It just struggles a lot when you want to add very, very nice and small details. So yes, if you want to work inside Sebush, please export it right now. If you want to do it inside Blender, then stay here and look with me because Blenders sculpting mode doesn't necessarily work very well with the subdivision modifier. We actually need to use a multi resolution modifier. The multi resolution modifier, is quite similar to the subdivisiont surface modifier. What we can do here is we can subdify their model, but it also works with the sculpt mode because the normal subdivisiont surface doesn't do that. Now, we can even go up and down in sculpt levels while sculpting. So very, very handy. Let's go to the sculpting section. You can see here, we have lots of different brushes on the bottom, and we have some setics on the top. We even can look into our tool, and we have some brush settings here. But the main settings as the radius and the strength and the direction will be showcased here anyways, so we're not going to bother with this at all in this course. So let's go back to modifiers. What are these settings here, radius, strength, and all of that shebang? Well, first of all, the radius, as you might think, just increases or decreases the radius of your brush. So very simple. We have our strength, which, again, is very simple, increases or decreases the strength that you have. We also have a little pressure setting next to both of these, and that essentially is an option that you can use if you want to use a drawing tablet. So let me grab my drawing tablet. If you have this setting on, it works with the pressure that you're putting down on your tablet if the tablet has that option. But nowadays I think they all do. So let's say I have my draw brush with a strength set to 0.8, and I have this pressure also on. What I can do is I can draw, and the harder I press, the more strength it will be using. So you can see that the strength is dependent on the pressure put down. The same works for the radius. Let's say, or I press barely on my tablet, then we get this result and the harder I press, the bigger my radius gets. So again, quite simple to use. I do highly recommend it. It's really nice to work with. But if you don't have it, it's not the worst for this course, at least. And we have a plus and a minus, which adds or subtracts detail of your let's say this is clay. So if I want to add extra clay, I just click and drag. And if I want to subtract it, I use this minus. Now, we don't really want to keep clicking plus and minus on this. So holding control will just switch the setting. So if I now click and drag, we have the plus, but if I hold control, you can see that it carves it inwards. And with brushes like the draw sharp, it actually is opposite, right? Like the main setting is the minus, which carves it inside. But if I hold control, it yeah, adds that extra on top. So again, very simple to use, and I think also very simple to understand. So let's just get to the sculpting. So in the beginning, you want to move big parts around. You don't want to focus on all the small details yet. So I often like to use the clay strips or maybe even a grab brush. And we also want to stay decently low in our sculpt level. So let's say we put this to two for right now and we just see what it does. If I use the clay strips, and I'm just going to get some extra detail here. You can see that Cool. We get some height in here, and we're starting to get a certain shape. Now, I'm not looking at any reference for it now because I'm just explaining. But as you can see, this is a great brush to get some decent big shapes done. Also, what you might be able to see is that this brush gives like, it is not totally smoothing out, and it might even give you some extra details for free. So that is also why I like to use this. And I would highly suggest you do not smooth this out yet. A lot of times with beginners, you can see that they love to smooth everything, but take use of this free detail that you get from these brushes because at the end, it will make your life way easier, and we can always smooth it out if it looks weird. You don't have to do that in the beginning at all. So these are the two brushes that I will probably start with. And yeah, let's now just start looking at the video. And if anything comes up during this time that I want to showcase, I will just stop it and I will explain what I'll be doing there. So as you can see, big moves are being done here. It is just adding and subtracting some details. And that is literally it in the beginning. As you can see here, I am creating some of those lines, those a little bit higher placed lines. And let me just quickly show you how I did it in blender as well. So probably my sculpting level would be a bit higher at this point, and I'll start to add those details. You can do it with the draw brush at a small radius or a draw sharp brush, and then you use instead of the subtracting, you do the adding, right? So you use the plus setting. So that is how I created those, maybe even in conjunction with each other, like you add someone here and then next to it, you pull it a bit inwards. Of course, I'm doing it like, very extreme at this point, but that is just the brush that I used, right? So let's go on Now, you can see me creating that little point. And the point, in this case, I actually was able to carve a lot of the other clay out and just move it like that. But what you also can do is use elastic snake hook. So we can just grab some piece and then pull it out. And here you can see we can also create, yeah, that little the little tip of that cream. And yeah, that is kind of it. It's not that hard to do. And I don't really think anything more special is going to happen at this point. It is just looking at the reference. Just have fun of this. I put some music on. Yes, I guess, the more happy I am getting with my initial shape, I will go higher in subdivision levels and just try to get some more details in there, if at least they show at the reference image. So I'll just keep this playing, but I will see you guys in the next video. A a 9. 2.2 Modeling Cream Swirl: In this video, we are going to create the swirl cream. And the swirl cream is not only a bit easier on your computer. So for whoever is following this, if you have kind of a slow computer, the swirl cream is the best choice, but it is also a stylistic choice. If you like that kind of perfect swirl, then this is the way to go. It is quite hard to do it with sculpting. I personally think it's easier to get that kind of result with geometry itself. So let's just get started. We can hide both of these cap parts and then go into the glass jar. Here, I will select this entire edge loop and then just expand it up until something like here, right? We will fill it up until here. Then shift D to duplicate this part and then separate it with P. And here we have this glass jar 001, which will become the cream. So now we can just focus on the swirls. And actually, it is quite simple to create it. What you have to do is go to the top view. And select a certain amount of edges. So the cool thing about these swirls is that they are it's very editable. So if you want four or eight or whatever amount of swirls, you can make it with this technique as long as you have enough geometry here. So, in this case, I'm going to select this edge, then going to skip one, two, three, four edges, and then select the next one, one, two, three, four. And here we have eight edges selected, which means we will have eight swirls. Now, we want to expand the selection. So here, select edge loops so that will expand to edge loops. And from here on, we essentially just move this up. Keep in mind you want to move it up, not down. This will create issues otherwise. And it is very handy to have your proportional editing tool on because then you can create nice and smooth swirls, right? So let's say we do something like this. Keep in mind that this depth here that you have. So if you go out of Edit mode, you can kind of see it. This will become the depth of your swirls. So if they are too extreme, or not extreme enough. Yeah, you can both edit it at this point. Then if you're happy with that, I would highly suggest you select this edge loop and then go to the front view and move the inner part here a little bit up. This creates a bit more volume, and you could choose to do this with maybe a different fall off. So let's say the sphere, right? That creates a different fall off and maybe that is more pleasing to you or any other kind of fall off that you want to use. So very cool. Now, we want to create the extra swirls, which is just rotating this. Now, there is one thing that I need you to understand, and that is, if you rotate this, in this case, with this sphere fall off, you will see that once you go out of added mode, we messed everything up in the cream. And that is because the sphere is quite extreme even on the outer edge loops here. So if you want to use this sphere fall off, make sure you do not move this outer part like too much. It can move a little bit, but do not move it too much. Otherwise, you could always use the smooth. I like it a bit better because it's a bit more less extreme on the outer ends of it, right? So you have a little bit more playability. So I would highly suggest you use yeah, like this smooth fall of here. But again, that's totally up to you. And the cool thing about this, I can rotate this, and you can see that, again, I can choose how extreme or non extreme I want this, right? So let's say I like a bit more subtle. But yeah, you can do whatever you or your client wants. Very cool. So these are the swirls. Then at last, we have this little dollop on top. And I personally would suggest you flatten this area first so skill Z zero. If you don't do this, let me like skip it for now. I didn't do it for now. You could, in some cases, it's not too bad right now, but in some cases, you will get these lines very defined also on this area. So if you don't want that, flatten this and then start to extrude it. And then, of course, rotate it and scaled a bit as well. So we want that nice little doll up on top. And then merge this part. Keep in mind, having some extra geometry here is not that bad. It will create a bit more of a smooth result as well, especially because we're merging it here. Sometimes it might give some weird results. Well, it actually looks decent here. And yeah, if you want to make this transition from the world to this little dolop on top, a bit more, smooth, you just have to select these edge loops. So let's say, I'll select all of these. Click on F three or on Contrav to smooth in the vertices. And here we can smooth in the model a little bit out, and I'll do it with a repeat of four or five. And here you can see that it will start to kind of blend in together a bit better. You can do this multiple times. Maybe you don't like it, maybe you do like it. But you can see that that does help With smoothing it together. Cool. You also could do this for this outside. So let's say, I do not really like this extremeness here. You could also select these and then just smoothing them out a bit, right? And that will yeah, just create a very nice and smooth effect in the swirls. I hope this all just made sense to you and I hope you also can see, the amount of different kind of swirls that you can create with this technique. So that is how you create the cream swirl. 10. 3.0 Modeling fixes+Label: We are almost done with the modeling section. And as you can see, we actually had some decently hard, modeling things to create. We had this threaded area and, of course, the cream. Now, we just need the label, but we also need to ensure that, for instance, your cream does not intersect with your cap. And in my case, it does intersect, right? Because I made it really, really full. However, I still want to keep this very full loop. You don't have to have it, but I want to show you that if you still want this, like, kind of over full, that you can still make both renders, maybe an open one and a closed one. So how do we do this? Well, before we do that, I want to show you that if you have your cream, so I just grabbed one that we created in one of the sections before, that we created it from the inside of this glass jar. And because we duplicated it from the inside, it has the exact same coordinates, right? So, but this means that when we are rendering, you might get some weird flickering or, like, weird results of the materials. We need to ensure that we actually scale or cream a little bit up, so it is a bit inside of the entire glass jar. So make sure it is everywhere. Even at the bottom, I might move a bit down. You can see that it is a little bit inside. And it literally has to just be just 0.01 inside. I'm doing it quite extreme right here. But that is actually quite important. So make sure that you do that. Otherwise, the materials might look quite weird. I am going to continue with this cream, however, just because I worked hard on it and I like it a lot. So I'm just going to delete the other one for now, and this is going to be my cream for the duration of the course. So as I said before, this cream is too big and it will go through the entire cap. However, I want to keep that thickness, like this very full loop, but I want to be able to just quickly turn it on and off for whenever I have the cap on or off. So what you want to do is you want to create a lettuce, scale this up to something around here, and then move it a bit up. To something like this. It doesn't come, and we can always scale it a bit down just so we have the entirety of this cream inside of here. And it's okay if it's a bit longer or a bit bigger, but yeah, keeping the general size is the best. This lattice has an actual, different look for the object data properties. Here we can change the resolution, and you want to put the resolution of this W a bit up. I like to go a bit overboard here, and I will show you later why. But let me do now, let me do just four, and I will show you what the issue is if we don't go up to, let's say, 14. Let's select the cream, go to the modifiers and add a lattice modifier. And we can select this newly created lattice. And whenever you then move in added mode, anything of this lattice, you can see that the cream moves with it. This does not work if you're just in object mode, it has to be in added mode. You can see that if I do not have enough of these edge loops that when I move this down, we get a huge gap here on the inside of the bottle, and that is something that I do not want. So that is why I like to create a decent amount of edge loops here on the top. So whenever I move a few, it is a little bit more yeah. Sharp, let's say. So that is kind of the reason. So how are we able, though, to turn this on or off? Well, we are going to use shape keys. So when you click on Plus on a shape key, it essentially creates an active shape key. Whatever the shape right now is of this object. So we are looking only at the lattice is the basis of the shape key. Then if we click on plus, we can create a key, and we can move certain parts around. So let's say I'll just move this up here. If I move this up here, you saw that I did it, it will save it to the safe key instantly. It is not visible right now because the shape key value set at zero. But if I drag this up, you can see that slowly, we will start to go to the end position of our shape, right? And at one, we are at the end position. So you can see that this shape moved. And I'm just now just going to delete this shape key one and create a new one because I want to do this with just the top here. So I'm just going to scale this down. And move it down to here. So now, as you can see, we get this movement, and everything else is still intact. We still get a decent render going on. This part will not really be visible because we have the cap on top. And now with this shape key to zero or one, we can render both the cap on or the cap off with a click or a drag of a button, right? So that is a very handy way to do this. Awesome. So now that we have that fixed, we can focus on the label. And the label is actually quite simple. We just need to duplicate this part here, then click on P and selection. And here we have our label or artwork. Oh, I wrote that quite well. Artwork. And the artwork needs to be a bit bigger. So what I just did with the cream, you also have to do with the artwork. So that is everything that you need to know about the modeling section. In the next part, we are going to create some nice materials. So this label will have its material, the cream, will have the cap with a nice material. And yeah, that is essentially everything that we need before we can start rendering or even animating this. So I see you guys there. 11. 3.1 Materials Preparing the scene: In this video, we are going to start with the material section, and materials and lighting really go hand in hand together. Like, in my opinion, the lighting is king above all. Like, your model can look a little bit bad, I guess. Your materials don't have to look that perfect. But if your lighting is good, the scene will still look good. If you're lighting sucks, however, you can have the best looking material, the best looking model. Maybe you've even done this before. Like, you have imported models that just look amazing, have been created by someone, you paid money for it, but it still will look bad. Well, guess what? The lighting is the issue. So this is the reason why we start with a very just basic studio lighting setup with a black and white HDRI the strength set good. This way, we can throw our model into any kind of other scene, and it will still look realistic. Right? Because let's say, Oh, I'm going to use a jungle HI, and I'm going to start to create my materials. The reflections from the trees, the sky, and the floor will all just impact the way that you will create your material, right? We have all the green coming in. Then you need to adjust your shader so your colors of your material to make it look like the reference that you are trying to recreate. Issue is, if that all looks good and you throw this in a totally different scene, maybe in a desert, then all the colors will look very weird. But if we just start with a nice studio setup, we can throw it anywhere, and it will look realistic. So that is the reason, and let's get started. So the first thing that we're going to do is hide this lattice and go to the render properties and change our render engine from EV to cycles. I will also use my GPU. Let's go to shading, and I'm also going to hide my lattice because that is not reported for right now. Can even hide the artwork because it's, you know, creating some weird intersections. We don't really need to focus on them right now. So let's start with creating a decent light setup. So let's go to the world to do this. Going to be zooming a little bit out, and then click on Shift A to create an environment texture. Make sure it is an environment texture and not an image texture. We can combine this to the background, and we now, of course, need to ensure that our studio small 03 is imported. And in general, when you use an environment node, it automatically starts working. So if you go to the ended view pot shading, you can see it's already quite well set up. But in some cases, you might want to rotate your HGRI. So now, with this environment map selected, I'm going to click on Control T. Let me also turn on my screen guest keys. So here, control and you can see that the texture coordinate and the mapping node both appeared. You can add them manually as well, but if you want them to appear automatically as well, you need to go to dit preferences, go into add ons and ensure your node wrangular add on is activated. So if you have that, click on Control then these will be automatically added. Now, let's go to the front view. And here we can rotate it around the axis. And what I'm looking for is one kind of key light so that is the brightest light in your scene. And also, I think a darker area is quite nice to also see. So something like this is actually quite fine. So let's do this. So I have it at 9815. We can do 100 to keep it easy, 100 degrees rotate it. Perfect. Now, let's also get a simple material on these. So go back here into object, click on, the glass jar and then click on New. I do not really want to change anything. This is a fine setup, and let's just rename this to the fault. Let's go to the cap Vot and select the same material. And this is just kind of a nice base to set up the materials later. But then at least the lighting will look the same for everyone that is following this course. What do we do now? Well, I need to ensure that what kind of material I am creating right now will not be under or over exposed because then we just lose colors. And it is more of a visual thing. Like, you will not lose colors in the material section itself, per se, but visually, I want to ensure that we're not underexposing what we can see right now. So again, in the render properties, go to color management and change a few transform from AGX to false color. And here it looks like we've eaten some magic mushrooms, right? So it looks a bit weird, but what does this all mean? Well, let's go from object, back to world and play around with the strength of our lighting. Let's put it very high. You can see the color starts to change to dark red and even white. This means that we are over exposing our image. And that is bad because all of this white here is literally just a loss of color. Even if you rent this out and then, you know, if Vote Shop put the brightness lower, it will just be one block of one singular color because all this color is lost. And that is something important that you are trying to avoid. But you can also underexpose an object. If I go to very low, let's say, 0.001, you can see that we have a very, very dark blue color here. So also this will just be all loss of color, and we do not want that. But what do we want? Well, let's just go up in color here. And what you can see is that we have a nice gray color. So gray is the middle ground. And I think if you have at least some gray on your image, then you are heading towards the right kind of setup. And you can see that it is almost impossible to get everything gray, but at least a line of gray is, in general, fine. However, if I now go still here to AGX, it looks all a little bit dark, right? So personally like to go a little bit higher, pushed a little bit. So 0.2, let's say, we still have gray in at least an area, and the like the brighter parts of our image will reach, like the warmer yellow almost towards the orange and maybe even in the highlights a little bit of darker orange. I wouldn't go all the way. Like this is still fine, I think. 0.3 is also still fine. We are reaching the orange, but I don't want to reach red. Like, red is bad. Red is bad. Sometimes when you work with different kinds of materials. So let's say you have a Wooden material and then on top of there's some metal. This will happen a lot because metal just reflects a lot of light. Sometimes I have red in my images as well. It is not the worst, but you're trying to avoid loss of color. So in this case, I think this looks probably very good. Yes. And once we have this decent setup, we can start with our material creation. Like, the material that we're going to create right now, we know how it's going to look in kind of a decent setup. The lining is good. We don't have any over or under exposure. So whenever we are going to use this material in other setups, it will probably work quite decent. 12. 3.2 Materials green Glass: So let's start with our first material. We're going to start with the glass jar. So just select your glass jar and click on Shift H to hide everything else. Let's go back here into the object edited type, shaded type, I should say. And here we have just a default material. So click on the two to duplicate it and rename this to green glass or whatever other color you might want to create. And creating glass is actually quite simple. As you might know. We can normally kind of see through glass, right? So the transmission can be all the way set at one, and it is a bit hard to see what is happening here. That is mostly because the way that our HDRI is turned. But I'm just going to move my entire scene just with the middle mouse button just so I have some kind of backlight in here. And here we can easily see kind of what is happening with this a glass. So the weight of the transmission can just be set all the way at one, and now one important thing is their roughness. So do you want to see just totally through your object, then having a lower roughness like 0.5 is yeah, decently realistic, I would say, totally zero is in general, not realistic, but for product renders that could still be a choice, right? We don't have to go for full realism. We also want to make it look beautiful. But yeah, somewhere, I think a little bit of a higher value than just zero is probably good. But in this case, I wanted more of a frosted look. So 0.5, yeah, matched my reference. So that is why I chose 0.5. Now, the color, you might think, like, Okay, let's just put the color up. Well, while this might work, it's not really realistic. So what I am going to do is, let me put this back. What I want to do is I want to do this with a volume absorption node. So let's drag this principled shader a bit to the left and add a volume absorption. Now, this volume can go into the volume here, and here we can choose a color. So here, let's say we want a darker green, and you want to do this at the color, right? So we want to kind of match this already with your reference. It is going to look a little bit different, as you can see, it's kind of barely visible the color, and it is almost a bit more grayish. That is because the density has to be set higher. And in combination with the color and density, you want to start to get the results that you want. So really look at the reference and play around with these. And I would highly suggest you try to get the color decently close to the color that you want and then start playing around with the density and after that, play around with the color again. Because you don't want to put the density too high. That is essentially what I'm trying to say, because what I could do here is I could put a very light green, as you can see here, and then put the density extremely high. That also works. But as you can see, this little area which is thinner and lit up has a way different kind of green than if I put my density decently low, and my color a bit darker. This is way more realistic. So keep the density to a lower end, I would say 3-10. I mean, you can always play a bit around with it. But don't like, I think going up to the 20s is a bit extreme, especially for, like, a smaller glass jar like this. And, yeah, that's kind of it. So the cool thing here is your thinner parts of your model, have, you can just see that they allow more light to shine through. And it just gives such a beautiful effect. And that is essentially the entire green glass material. 13. 3.3 Materials Cream: In this video, we are going to create the cream material. So let's hide the glass jar and go to the cream and lettuce. Select the lattice and make sure we put the shape key all the way to zero so we can actually see, yeah, the final result of our cream. I'm going to hide it for right now and just select the cream, create a new material, and rename this to cream. Let's go to the rendered viewpd shading, and here we can start to create our material. Now, there is not just one cream material that will work for every single cream out there. There are lots of variables that you can change, but I will just show you which variables we can change, so you can always create your own cream. We start with the base color. In the base color, you can, of course, change your color. And in my reference, it's kind of a creamy color, but there are, of course, creams that might be green or blue, totally red, right? Pink, I've seen. So yeah, just change towards what you have. But in my case, it will be a nice, creamy color, little bit towards the orange, maybe even reddish, right? Somewhere here. Then the next step would be the roughness. Again, the roughness can be totally different across creams. You have some that are very shiny, right, or very reflective and some that are quite rough. In my case, I chose 0.2. Seems like a nice middle ground. Then, the index of refraction, it is a little bit hard to see or to know the index of refraction for every kind of material, I guess, out there. There are libraries of index of refraction, but I doubt that that library has the exact cream that you have. What you could do in some cases is look at the ingredient list, and maybe the top one might be oil. Then you can always think like, Oh, you know what? Let's just take the index of refraction of oil. In this case, oil is quite close to 1.5. But I think if you're a bit off the index of refraction, you're totally fine. No one is going to look at your image and be like, hold on a second, there's something wrong with this image, right? So it doesn't matter as much as you might think, but you could still look a little bit up of, yeah, what it could be made out of and pick that value. The next step is way more important, and that is subsurface scattering. So what is subsurface scattering? Well, one nice way to actually see it. I mean, you probably already have done this before. But if you grab your hand, put it in front of your face, and put a flashlight from your phone or maybe even the sun behind it, you can see that we get all this yeah, extra color that you might have not seen before in your hand, right? So these are I mean, it's your skin, it is the blood. It is all that color is being bounced around, and that is what we can see. So that is subsurface scattering. It is essentially just the light scattering into the material, which could be skin, wax, maybe even marble, milk, and probably also cream, right? So it happens with a lot of organic objects, but also in certain stones, as you can see here, maybe a jade, something like that could also have subsurface scattering. So this with creams, this is very obvious depending on the lining, of course, but it's often very obvious. Well, you have a little tip somewhere, right? The thinnest area is most of the time the most visible once it comes to subsurface scattering, and that will also make it look the most realistic. So how do we edit this? Well, when you want subsurface scattering, you turn the weight all the way up to one. If you don't use it, it is zero. Very seldom, it is used somewhere in between here, so one or zero. Then we have a radius. The radius is a little bit confusing or it looks maybe confusing, but it is very easy. It is just RGB. If I put this one all the way up to, yeah, the max, which is 100,000, you can see that we have a red subsurface scattering. Second one will be green, and the third one will be blue. So RGB. Now, I don't really like to mess around with these values and try to get to the result that I want. What we can actually do here is grab an RGB note, drop the color into the radius. I know it is a little bit weird going from yellow to purple, but it works. So if I now choose any color, we will get that, that color will be scattered around. Now, I cannot see it, but if I put the scale way up, you can see that any color that we choose here will be, yeah, chosen. So quite easy. And what I like to do here is I like to grab this color choose the base color, and in this case, I will go a little bit towards the yellow and also towards the white. So I will make it a little bit of a different color, but it should be very close. Now, with skin, it is a little bit different, right, because there are, like, veins inside, and then you might want to go more towards the red. But in this case, or at least my reference shows that going more towards the lighter colors like white, maybe even a bit yellowish, is a more obvious choice and looks more realistic. The skill is the global skill factor. So yeah, you literally just have to look a little bit of what looks realistic. Try to move a bit around like you're scene because if you make it too big, it can start to look a little bit weird. It depends, of course, which cream it is, but I like that my tip has a little bit of yeah, that subsurface scattering happening and then have a nice bleed into the thicker areas and maybe even have it some on these corners, but I don't want to go too high because this just starts to look a little bit weird, in my opinion. So yeah, just choose a nice value. Maybe, I don't know, 41 seems to look quite nice in my case. We can always change it, of course, but I do like that we have a certain set kind of default set, so we don't have to go back and forth in all of our animations, right? So that is essentially how we finish or how we create our cream material. 14. 3.4 Materials Cap: This video, we are going to create the CAP materials. So there are two materials, the cap white plastic and the CAP vood. Let's start with the white plastic, so we can select it, go to New, and here cap or just white plastic. The white plastic is, I mean, a very simple material. We just have a base color of white. You might want to go a little bit darker so it doesn't really compete with the cream too much. Then the roughness 0.15 should be fine, and then the IR is okay. So as you can see, just a very simple material, mostly because the cap wood is on top anyways. We're not really going to see this cap white plastic a lot anyways. So that is, I guess, the reason. Plus, I mean, white plastic, the plastic material is not that intricate, right? So let's go to the cap Vood. Here, we can create a new material and rename it to Ood. When you have the principal shader selected, you can click on Control Shift N and now we can import the textures that we want. So in this case, I want the roughness, the diffuse, and the normal. I don't really need the displacement of the AEO or the amid occlusion. Then import them, and you can see that they are automatically connected, which is very handy. Now, yes, they are connected nicely, but we have quite of a boring result here. That is because the texture coordinate is set at UV, and I am totally fine with that, but we didn't create any UVs. So let's start to create some UVs. I will go here into the UV editor and change this to the oak veneer diffuse. So let's create these seams, and you want to select an entire loop here on top here on the bottom, Contra E, mark Sam. Then I'll go to the back view, Contra one and select or create an extra entire seam from the top to the bottom. Then select everything with A, U, unwrap, and I'll do unwrap conformal. It's fine. I mean, it's not perfectly straight here. It's a bit hard to see as well. Like this is not perfectly straight, but I don't care too much. You could straighten them out if you want. But if you look at the result, it actually looks quite good. The only thing that I don't really like is that it looks a little bit weird that all of these lines are kind of just straight. So what I'm going to do is I'm going to select this part here, move the bit to the right, and rotate it and scaled a little bit down. So we have, so it's not as straight as it was before. We have a little bit of curve or a rotation in here. Perfect. So if we look at this material, the first thing that we might see is that, yes, it looks good. But if we think about the cap, does a cap have so many small little lines from a tree, right? In a lot of cases, a cap is very small. So all of these thin, small little details, it makes this cap look way too big. So probably we want to put scale a bit down by 0.5, and this gives a more realistic result. Then we have our base color. So even if the wood that we chose does not necessarily have the color that we're trying to mimic, you could still add maybe a hue and saturation note or a brightness and contrast note. Like, there are a lot of notes that you can add here extra to change these colors a little bit, right? So, let's say, I want this color, right? So again, with those kind of notes, you can change a lot. Then let's look at the roughness. So this roughness looks very, very realistic, right? If you think about Wood, this is probably what it looks like. You should look at your reference and see what kind of roughness is shown there. In my case, the entire cap has the same kind of roughness, and that makes sense because they probably send this whole cap down in the factory. And this is why you don't really get a huge difference between roughnesses on the caps, right? Because it all has been sanded down, so they all look quite identical. So probably what you want to do here is or just turn the roughness, like, delete this roughness map and play around with this roughness. Or for a little bit more realism, you can use a color ramp in between these two here. And with this color ramp, we can change a lot, actually. But let's say we are previewing this roughness map, you can see it is black and white. And the black details are the very shiny details, and the white details are the very rough details. So if we go to our color ramp, we can, first of all, make them more sharp or more of them if we drag these around. But if we keep them at the same place and just change the color, we automatically also change the roughness. So here, if you go back to the principal shader, you can see that the roughness has been changed from this to this. Right? So that already looks way better. Now, the cool thing about using a color ramp is that there is still a little bit of difference between this. And so that kind of extra detail that you get, yeah, we still get that, which is very cool. And I think this is, I will keep it at this, but if you want it a little bit less rough, you can, of course, also move this more up towards the black or the brown, right? So we get a bit more of a shiny situation here, which also looks very cool, right? So, make sure that when you want to create this kind of effect, both of these are quite similar to each other. Maybe have a little bit of a difference. So yeah, just for some extra realism. Then as last, we have our normal map. Again, this looks very cool. However, when this is all sanded down and especially like a beauty product like this, are they going to have so many bombs in here? Probably not. Maybe or there's a high chance that the cap is not even wood, right? It might just be some kind of plastic. So the normal map, we should probably put it down. It is okay if you want a little bit of a depth in there, but 0.05, I think, is more than enough. It gives some small details, but that is essentially it. And I think this looks quite realistic. So those are the two cap materials 15. 3.5 Materials Label: In this video, we are going to create the artwork or label. So we can just select the label, create a new material, and rename this to artwork, label. I like to use this little artwork and then underscore something because if you have multiple artworks, then you can easily find them. And yeah, you cannot really confuse them with any of the other materials. So we first of all, need to create an actual label, right? And if you look at my final scene, you can see that I just created a very, very simple one. It's just some text. I think I did it in Photoshop, but I used this as a mask. And this mask is used for a gold material, which, like the black parts are going to be gold, and the white parts are just transparent. So if I put the random fuel portading on, you can see here looks a bit bad because I don't have my label light on. But here we have it, right? Just a very simple gold label. So when you are working with clients, they will, of course, send you the label because they have spent lots of resources to create a nice label. The label needs to be printed. That is kind of the thing that they might be known for. So it is quite important for them to get the label looking correctly and shown correctly on your product. Now, if you're working on personal projects, I do think Canva is a very nice way to just get a quick template. And yeah, this way, you can edit the template, as well. And using this in combination with Google and Pinterest, maybe even Photoshop really makes this label creation a bit more effortless because I don't really like to create labels yeah, so it's just a bit easier. So if we go to templates, you can look for label, and here you can just grab a label, just select it and start to edit it. I will go here and look for a square label. I'm just going to look for a black and white one. I mean, this one should be fine. So here we can customize this template, and we can just I don't know, delete some text, move some text around made with blender. It's not a candle. It is I don't know, soy cream, whatever, right? So you can see that you can just easily edit it. We can make this a bit smaller, and then we can all move this to the middle. Well, we just select everything and move it in the middle, and then we can save it. So if you click on Share, you can go into Download and save it. No. There is a caveat, as you might already know, we are limited to a certain file size, size, which is 600 by 600. That is not big at all. It is really annoying, and that is why I also, you know, used this as a template and then went into Photoshop and created it, actually. But you can also I mean, if you use this a lot, you can try the pro version for sure. It's not that bad. But I mean, I use this once every two months maybe or maybe half a year, just for these projects. So yeah, it's totally up to you if you think it's worth it. NFA is getting better and it's actually quite nice. But yeah, that's just a little caveat. What you can also do is you can download this and then put it in a AI upscaler, right? So that is also thing you could do. So if you have your file, you can go back to your blend file and go into the principal Shader. We can click on Control T to get our texture coordinate, mapping node, and our image texture. And here we're just going to open our newest downloaded image. And this image is going to be used as a set as a mask. But first of all, we need to UV unwrap our label. So if we select the artwork model, go to control one into Edit mode, select this Sam on the back and then do Mark Sam then A unwrap. And that's to angle based. Here we have unwrapped it. You could go to the UV editing part here, then we can easily see it. A rotate 90 degrees. But we cannot see it. So let's move this and change it to the material preview. And here, I want to go to the front view, which is one and just move it in the middle. I think something like this looks fine. Now, the issue is that first of all, the front view, we have this label, but it starts to repeat. So if you go back to the shading, this repeating pattern can be changed by putting this repeat in the image texture node to extend. So we only have it in the front. We can also see that this, especially in the randed viewport, that we are getting a little bit of an intersection between the artwork and a glass jar. So you want to scale up the artwork just a tiny little bit, okay? By them, and there it is. So that is fixed. Now, we have to ensure that this can be used as a mask. And well, the only thing for that is change the color space to non color. So we're just using black and white values. Then I'll move this up. Delete to the principal shader, and we're going to use a metallic BSDF which is new for me and a transparent BSDF. Let's mix them with a mixed shader transparent goes in the bottom, metallic top, Shader goes into the material output, and this here is going to be used as the FAC, which means we can use it as the mask, is just a mask. So now, white values and black values will be separated, and that is why the white values are transparent and the black values have this metallic BSDF. Metallic BSDF is actually also new for me. But if you look on Blenders website about this metallic BSDF, you can see that we can change here to the F 82 tint or the physical conductor, which is done here. And then we can just use these exact values and we get a gold material, which is actually really nice, right? It gives a little bit less of guesswork for us. So I'm just going to do that. I so this is gold, and we can, of course, change the roughness to maybe 0.2. It is a little bit hard to see the actual golden label right now, but that is mostly lighting, right? So we need to kind of trick blender into showing us this lighting. And I will show that in the next video. But for right now, this is just the label material, and it is very easy and simple to create, as you can see. And that is essentially it. So in the next part, we'll go over the lighting and rendering. See you guys there. 16. 3.6 Rendering introduction: In this video, we are going to do the last little step that is needed to create some nice looking renders. So I wouldn't really say it is a material part or it's kind of more of a lighting issue, but let me just try to explain to you visually what is going on and what is the issue. So if we look at our object here, you can see that it will act differently in multiple kind of light setups. So if I rotate this entire HRI, you can see that in every kind of rotation that we create, we have a difference in lighting, which makes a lot of sense. However, one thing that is very, very important for the client is also impacted by this. So you might already know what I mean. But it is essentially the label, right, the artwork on your product. You have to think that your client spends loads of money and time, and it also takes a lot of kind of decision making into creating or outsourcing a label. This label is very important. And from my experience, loads of oh, high quality clients are very, very anal about having their colors, right? The colors of the label look correct. But also, of course, make sure that the label is readable. So, in our case here, I cannot even read what is here, a err right? So from a perspective of a client, this just doesn't make any sense. We can think like, Oh, but it looks cool. We have some dark spots. Yes, in some cases, you can do this, especially when you have animations and you want to kind of make a product appear. But if you just have a singular shot of a product from the front, you want to be able to read everything. And this can be done with lighting. But as soon as you start to animate your product, the lighting gets a little bit iffy, right? Because if your product or the background moves in any kind of way, you can see how big of an impact this has. So how can we ensure that the label is being lit up, in any kind of possible way, right? So if we rotate it, if we move it, we still want to be able to read some of this label. And, of course, now it is extra hard because the label is very thin, and we also have a metallic kind of material. And that just, you know, depending on the background, if I have a black background and then have a metallic kind of material, it will, of course, reflect the black. So how do we do this? Let's just start there. Well, first of all, let's select this lattice and go to here inside the object data properties and put the key all the way to one, just so we do not have any visibility on that. And the second thing is we need a light, right? We need it to light up. So we can use these lights. But I want a little bit more control over this actual light. I would love a little bit of a gradient in the light itself. It just looks very beautiful, in my opinion. So with Shift A, we can add a cylinder. And when you add a cylinder, you can also choose to have a nothing on the cap fill. So essentially, the top and the bottom are open. Great. And we're going to make it a little bit bigger than our object, but not necessarily around the z axis, right? So can be yeah, the same height, can be a bit bigger, that's fine, but we don't want such a huge light. Then our labels only in the front. So I'm actually going to delete this back part here. Yeah, this should be fine. And then work from here. So let's give this a shade smooth. So right click and Shade Smooth, and then we can start to add some materials to this. So this is now named as cylinder. I'm going to rename it to Light underscore label. Oh, of course. And right now, the label is actually called artwork. Yeah, that's fine. Let's do artwork on the square label. I don't think we will have more artworks, but whenever you can kind of separate them, yeah, based on the name. So here, let's go back to Object and select the Light label. We can create a new material. This does not need a principal BSDF, so I'm going to delete that, but we do want an emission. So the emission note essentially just a mid slight, right? So now object, our light label object starts to emit light. And yeah, that is essentially it. Now, I told you that I want some nice gradient in here. So if Shift A, we can add a gradient texture node and this color goes into the color of the emission. And here we can see instantly a gradient appear. Very cool. With Shift A again, we can add a color ramp, and putting a color ramp in between the gradient texture and emission node will give us loads of flexibility. So if you look at this black little stop here and look at this black part on the left here, you can see that whenever I move this, it essentially moves, also in a three D view, right? So you can kind of see all if the stops that you have or want to add T D, mimic the color ramp here. If yours is kind of flipped weirdly, you can select the gradient note and use the control T, and here you can play around with the rotation and all that stuff, right? So, probably it is fine, but I remember in all the versions, it was kind of sometimes weird how the gradient texture got applied to your object. So this is very nice, very nice. But the issue is, it is in the way of the label. We cannot see what it is actually doing. So if we go to the object properties and go down into visibility, we can turn the ray visibility off, but just in the camera section, right? So now, essentially, when I turn this off, this object is, yeah, invisible to the camera. So, very nice. And we can move our stops around wherever we want. So maybe I want a nice let's do an ease, so it's a little bit more of a smooth kind of fall off here, nice and white in the middle. So maybe 0.5. We can always move this. And a darker black or darker gray, I should say, here on the right. So from the front view, if you go entirely black like this left stop is, you can see that the entire label falls away. Right now, I don't really want that. In a lot of cases, probably there will be some lighting in the back. But just to be safe, I'm going to put it a bit up and just see whenever we have a little bit of color. It doesn't need to be fully visible, but we want to be able to read it. So here we have, what is it, 0.02 yeah. So I'm going to do the same here on the other stop 0.02. It is both visible and we can move them around to whatever we want. Maybe I'll move my lighter, like, the white stop a little bit to the right so it's not perfectly straight up front and just something like this, right? So wherever I will move my object now, even if I turn off the entire lighting everywhere, we still have a beautiful yeah visibility on our label. No, another little issue that we have is that this label or this light, I should say, lights up every single object, and I just wanted to impact the label. So what we need to do here is yeah, select the light label. Go into shading, which is still underneath the object inside the object properties section. So what did I say? Shading. Then go to light inking and create a new light linking collection. And what we can do here is we can drag and drop any kind of object. In this case, it's going to be the artwork label in here. And now this yeah, object will be linked to the light. So they are both linked to each other. So now it will only impact this actual label, which is perfect. And depending on kind of the scene, we need to play around with our emission strength as well, right? It still needs to make some kind of sense. But here you can see that we have, yeah, lots of ways to play around with this, and we can make our actual label visible in any kind of light setup because right now, I mean, it doesn't make sense. I have a very dark background. We will probably fix it in some kind of way, but it is still visible. So please play a bit around with the color ramp and the emission let me look at my other scene how bright I did my emission here, label lights. Actually, I had it decently bright. So it might have changed in different scene setups, right? You can still play around with this. But, yeah, we still have to kind of figure that out. It is not, like, a perfect science, but it's just a great way to brighten this label up a little bit more so we have some more visibility. 17. 4.0 Rigging: In this video, we are going to prepare our model to be yeah, rendered animated. And to do that, we need to create a rig. We need to be able to actually move this object wherever we want. So, I mean, most of you guys probably already know how to animate something but if you do it with multiple objects, it is just very annoying because you need to ensure that you select all the same objects the entire time and keep track of all of those keyframes. We are going to create two different controllers, one for the cap, so we can turn, like, rotate or pull off our cap at any time that we want, and one for the entire jar, so we can move it with ease. So let's go to the bottom view. I want to select this middle vertex, Shift S and curse to select it. Then with a nice, let's just do a plain axis. Empty. We can put it here. Control A and skill. And that will be our controller. Sotroller for the jar. Then as cap, we also want to create something, and I like to be visually a bit different. So I will just create a empty and a cube. So that skill is a bit Yeah, something like this is actually not bad. So this is going to be our Controller cap. So let's first start with the cap. The cap white plastic and the cap wood will both go inside of the controller cap. So you can actually not drag it in. I'm used to three dS Max there you can do it. What you have to do is you have to select both of these cap objects, and then as last, the empty. So the controller cap. Then click on Control P to set parent to object. So now, whenever I will move this controller cap, yeah, as you can see, both of these objects are parented and there are children of this controller. So you can just move it around wherever you want. And now, as you might have already guessed, we just have to animate the cap like this one object, and everything will follow. Now, we're going to do the same for this object, however, we're going to select everything and also the controller cap. Then as last, the controller jar so selected as last. So it is nice and light orange, I guess, instead of a bit of more dark orange. Then click achondrop and set parent to object. So now we have all of these objects parented to this empty, and of course, we can still move our cap if needed. They are kind of in a hierarchy. So those objects inside of this parent will still adhere to that position or rotation or skill. So, very good. We can hide both the label light and the what is it called again? The lattice here, and that is essentially it. So this is how we can rig and animate later on this entire object. Very cool. And I highly suggest you start to save this right now, so save as. Let's do rendering jar final. 18. 4.1 Rendering Scene A Trendy animation: So we can finally start rendering. Now, I think it is a bit boring if I just show you a very yeah, basic studio setup and we just render from there. So what I'm going to ask from you is that if you can provide me with one render that is a front view where we can see the label very nicely and the entire product, and one that showcases the cream that you have created, as well. So kind of an open variant. And it doesn't need the cap here on the side. Like, please be a bit, how would you say inventive? Like creative. Try stuff out yourself. I really think if you spend this much time already putting into this course, you should also look at it as a portfolio piece. So your entire product, your cream, everything is already created. You have your materials on here, put some extra time into making maybe a nice background, whatever you want, and think about it as a portfolio piece. It would be a shame to just waste of this time for nothing, right? So what are the next videos going to look like? Well, as I already said, I don't want to just very boringly show you, Oh, here, we're going to create kind of a floor, and then I'm going to put my camera down. That stuff is overdone. You can find that information everywhere. I will quickly go over it. But what I am very, like, way more interested about is I want to showcase to you guys how I created these scenes, right? We have multiple scenes here. All of them have kind of an interesting kind of way to showcase the product. And especially with a product this I want to I don't really want to say boring, but a very simplistic product, we need to play around with maybe the background or yeah, specific animations for the product itself to make it look a bit more interesting in an animation, kind of an animation fashion. So please take some of these ideas if you cannot think about anything. Otherwise, look at Pinterest, Google, whatever you might want, like Instagram and think a bit about the creation of your renders. So let's just start with the first scene. So here we have our scene. And as you can see, we have our product with our label and everything else that we also have here, right? But there are some extra things in the scene as well. We have some props. So we have these rocks here. And you can easily grab some free stuff from Poly haven. So Poly Haven has free HRI textures and models. And here you can just download any kind of yeah, cool looking nature stuff as well. I think I grabbed the tree trunk for another scene, the boulder. Yeah, not sure if I grab this one, but yeah, just some rocks, some tree trunks, and from there on, we can just put them in our scene for free. So adding them to our scene already creates more of an interesting look. Now, I still want my product to be the main focus here, and that is, of course, done with yeah, having in this case, rocks that are not that colorful, but also the lighting is very important. So the way that my light is set up is, of course, we have our little label light here, right. Without that, you can see that it's very readable, so it's very handy for this particular scene as well. And we have some lights here on top. Now, the lights, I didn't really name them correctly. Sorry for that, but all of you have access to any of these scenes, and you can just click Look at the material settings, look whatever I've done and learn from it, right? So let's just hide all of these and see why I chose them. I'm also going to hide the label light. And let's just activate the first light. This light creates some highlights here on the right, and it doesn't seem very special, but let's say our only light would be just a light from the front. It just makes everything look very flat. Having an extra light here from the right already creates some beautiful shadows and some highlights as well, right? We have some nice highlights in this wood here. Even the label, and it also brightens up even the rocks and the side of the it gives kind of a nice gradient lighting on the jar itself as well. So we could see this maybe as the keelte, right? This is the main light in our scene. Then we have a fill light. What the fill light does, it fills up the shadows that you have created with your key light. So you can see that we have some huge shadows here, and I also want to showcase those, and that is done with this light. Then I personally did not really like that the rocks were this dark. It is cool, but it still didn't work that well. So that is why I also created a light in the front, right? We have some more visibility now over the rocks, as well. Now that I look back at it, I think, like, maybe it's a bit too strong. But yeah, that is what Dad did. And as last, we have a huge light here in the back. This is a rim light. It creates a rim around our product and also around some of the props that we have. Rim light can create a nice separation between the background and your product. That, of course, is also dependent on the color of your background. In our case, I actually have quite of a bright background, so it kind of works opposite. It kind of blends our product a bit more in. But there is so much focus on the product anyways that I still like this look a lot. So that is why I kept it in. But that is kind of, I guess, the science behind it. Then of course, we have the label light to pop up that label as well. So very simple light setup. It's just a light from literally every angle. Yeah, and just play around with it and see which kind of highlights you like. It is a bit harder when you also have props because you need to take care of them as well, and make sure that they work with the specific lighting that you're using. Yeah, that is just one little extra challenge. Then I guess the most important thing that I thought about this particular scene, and that is the animation. This very cool just pop off floating effect here that we have. I really, really like that. I've seen it a few times, I think on Instagram, but also on Pinterest, and I just wanted to recreate something like this because I never created anything like it. So it was actually not too hard, but you have to play a little bit around inside of the graph editor with yeah, your animations, your key frames. So what does it look like? Well, let's just very slowly start with the first 20 frames. From frame, well, zero to 20, the only thing that moves is the camera. We create a little bit of a suspense because there's not a lot happening, but there is a focus on the actual product, right? We're zooming in on the product. And the zoom in is done with a camera. And as you can see, the camera will always follow this product. So let me show you how that is done. If we add a camera here, let me zoom this camera a little bit out. I'll just call camera to view, Zoom it bit out. Um, Oh. Something like this, what we can do here is we can select our camera and go here into the constraints. And as object constraint, we can choose as a damp track, maybe the label or in this case, maybe even the lattice, right? So that will also work. And you can see that it kind of snaps weirdly. You have to put it to minus Z in this case. And wherever I will move my jar, my camera will follow. You can see it's always nice in the middle, at least the lattice object right now, but that just works quite well. So very, very cool. That is essentially how the camera, even when it zooms in, or even when the jar starts to move away, it will always start to follow. So that is essentially what the camera here does. Now, for the jar, we have some animation as well. So if a select is empty, you can see that this Again, looks quite simple. We just have three kind of keyframes set. So, very simple. However, let me zoom out a little bit. What you can see here is that the keyframes, yes, they are very simplified, but we are working here with some different interpolations for all of these keyframes. So the main important one for this kind of poppy effect, the pop effect that it pops up is the Ze location, right? So this Baum, is all in this kind of effect. So we go from nothing, stand still, and then jump up instantly. That just creates that effect, right? So if you think about it, it's quite obvious that it does that, but sometimes you are playing around with your interpolations, and sometimes it just doesn't make sense what you think it does. But the more you play around with this, the more you start to understand it. Another way to like that I accentuated this effect is to also move this rock a bit down. So we have a little Z location here on the rock as well. This had a multi purpose effect. First of all, it moved down, so it made the pop effect even bigger. But it also did a second thing, and that is around frame 40, if I hide this, so Z location, you would see that normally it would stay yeah, until here in frame. I thought it was a little bit too much in front. It just caught a little bit too much attention. So that is why I also placed it down. So it is still in view, but it's way lower. So yeah, multipurpose effect. And then as last, of course, we have the rotation of the jar, as well. And that is also quite important because now, first of all, we get a very cool three D effect, right? We are three D artist and creating that effect, sometimes we kind of are not using it. I'm not sure why. Maybe it's just me, but I'm like, Oh, it's a beautiful front view, but there are so many ways in which you can showcase your T D model, which actually is very hard to do as photographers or especially like these animations, what kind of setups they have to do and which we can just do this easily is a superpower that for sure we should showcase in our portfolios as well. So of course, the product, it rotates, it looks cool, and we can also see the label maybe a bit from the side. And I thought it was a very nice entrance, kind of a start, a beginning of the animation because whatever you click to right now, it would work anyways, right? Am. So that is essentially kind of the thought behind this animation. It just looked cool, a little pop effect. I saw it come back more and more often. It's kind of trendy anyways. The focus is always on the product. So I really liked it about this. And, yes. So if you want to do this very I can do it very simplified here. Let's say we have our rock as a cube. Bit down. Here we have our camera and we have, of course, our controller for the jar. So in the first 20 frames, our camera just moves a little bit closer. So let's say we start a bit further away than from frame one, we can click on I, which creates a keyframe. Now, with the newer versions of Blender, when you go to their preferences, you can see that the keyframes are now set at location and rotation. Some cases, it might be only location, only rotation. With holding Shift, you can select multiple, and in this case, I chose location and rotation because skill I'm not going to use anyways, but these two I will use. So that is why I keep them on. And every little diamond here, as you probably already know, has those location and rotations applied to them. So then at frame 20, I want to be a bit closer. So I'm going to zoom a little bit in and I at frame 20. Then our entire animation stops at frame 60. But we can look later if we want to zoom in even more. But you can see that if you play this with space, you can see that from frame zero to 20, we start to zoom in a little bit. Now, at frame 20, we want to move our jar up. So I will be the first keyframe. And then at 60, we have our second one where it is actually moved up. Now, so let's move it up. Let's do something like this. And then I and then here you can see from frame 20 to 60, it starts to move up. So first, the camera goes and then our jar goes. Now, it looks very weird right now because the camera kind of stops abruptly, and then the jar just goes. So that is why you have to start playing around with these graph editors. You have to start playing and start to understand how these work. No, I'm not going to go too much into depth with this in this course, but there are loads of cool videos online, and maybe in the future, I'll make one as well. But just starting to understand how these work. So, for instance, we are now working with this Z location, right? So Z location, we know that this is kind of the issue here. It is way too smooth. It just smooths in too much, and that is why we get such a yeah, non pop but more boring effect. I can rotate this. And make this effect more immediate. So, bam, I just jumps up. Bam. And here we have that effect instantly happening. Very cool, huh? And again, here you could try to do the same with the rock, move the rock a little bit down. So from frame 20 to whatever frame 40, it just goes a bit down, and then we accentuate it even more. Phew. Very cool. And then as last, of course, we can select this one again. A frame 60, I want it to have been rotated a little bit like this. Maybe something like this. I and then play here. Very cool. And again, here, there are so many things that you can do to edit kind of this rotation effect as well. Is it going to slow in the beginning to slow at the end. Like, you can play around with these however much you want and try to get the effect that you desire. So I would really like, if you're starting to animate and you haven't heard about this yet, please play around with this as it will make everything look so much smoother and so much more professional than just a very, if we go back again what I had before, it just looks so amateuristic, I would say, very beginner like, and this already is starting to look way better. So that is everything that I wanted to showcase about this first scene. There is not a lot that is very special about this, but I think it's very cool for you guys to see the kind of light setup that I used, the simplenss of the props, but still it's kind of effective here because it really draws your eyes into or onto the product. And, of course, that cool little animation. As well. So in the next video, we're going to talk a bit more about this animation and make sure that our cream also stands out. So I see you guys there. 19. 4.2 Rendering Scene B Cap rotation: In this video, we are going to take a look at our second scene. So I personally think this is such, yeah, a cool kind of render from it, but, of course, it's an entire animation. So we first have our entire jar rotating. Also, the top screws off, and then we can see our cream. So now that I look back, it's like, Mm, I could have animated the top a little bit better, the cap. But I mean, whatever. So here we have, yeah, the beautiful cream also showing. And when you have a little bit of a back light, and you can see some of the subserve scattering in here, I just love it. Looks really good. So how do we create this? Like, what is kind of what were my challenges here? All honesty, this was not way harder than the scene number one, right? Like this. It's just a very simple animation. But I do think it's very necessary because I really wanted to showcase that cream. We spend a lot of time on it. I'm also just really curious how you guys created your creams. So yeah, it's quite a hard model to create. And once you kind of start to nail it, let's say, it starts to look a little bit realistic. It just makes it look so cool and tridy. So again, here, lighting was a big thing. I didn't really care too much about the lighting in the beginning because, I mean, some of the main lights are essentially all ready. I wouldn't say baked in, but that is kind of the label light that we created to make this already look good, right? So we could skip a lighting step. The most of the lining that I focused upon here was the cream. I just wanted this last shot to look really good. And we can, of course, also just take a look at our light setup. I used what is it? Te lights here, and of course, our label light. If we go into the rando fuel por shading, turn them off, we can kind of see what they're doing as well. So the label light we know, then light number one, in this case, is actually our fill light. It just brightens the scene up a little bit. It's not very visible. It's more about the front light here. So the area 002 creates an extra little light in the front. And the back light here is the most important is rim light that created some very cool subsurface scattering in the tip of the cream and also some very beautiful shadows here as well in the cream. It is a little bit hard to see just in the viewport. So I did have to do some just renders in between just to see what it is looking like. But yeah, that is just what you have to deal with. So here we have our product. And again, here, the animation consists of a lot of things. We have our camera that is moving. That is because I started kind of from a, I guess, a side view mode, right? Here, a side view. I wanted to see the rotation of this can happening, plus the rotation of the cap as well. Right? And then slowly we start to look at the cream itself. So the can or the jar rotation, I mean, it's very simple, right? You just let's put this to 100 frames. We start at frame one or zero. I, then around frame 100, we're just going to rotate this a little bit. Oh, let's not overdo it, actually. And here we have this slow rotation. Now, the same thing kind of goes for the cap. So the cap rotates as well, and it actually rotates a little bit quicker than the jar does, just so you still have the effect of it rotating. So this one again, from frame zero, I to frame 100 and it will go a bit quicker. So maybe something like this. And here you can see that the K rotation and the cap rotation are both working. And then around, I guess, actually, let's move this to frame when does it start to open? Let's look. Around frame 50 is it starts to open up, right? So we could maybe move this a bit closer here to 50. And then from frame 50, so here it rotates, very cool. It rotates off. So you also need to keep in mind, it just doesn't rotate in place, right? When you rotate a cap that has all of like this thread inside, it will also move up, right? So that location also have to be implemented. So it moves down or it rotates and moves up, very cool. And from then on, it starts to kind of open up like this. Aye. So here, rotates, and then it starts to open up. Very cool. Make sure the cap white plastic is also visible. Don't like this. Very cool. Now, the issue here is that our cream is all the way collapsed. It's all the ways squashed and it's actually not showing the way that we want. That is because of our lattice object. So if you put the key to zero, we kind of have that full effect. However, it will still penetrate through this. So we need to animate this key one shape key. So our or sorry, our cap starts to open up around here. So maybe around frame 45, we can start our animation. So right click on the shape key one on this value here, and then it should open up all the way over here and then insert keyframe again. So now if I hide the cap for right now, you can see that in this animation, Sorry, from 1260, it will start to open up, right? It starts to expand like it's normal. And because we place it right here where it starts to open up, it will never penetrate or have any intersection with the cap materials or objects at all. And here we have it in its glory, it's beautiful, beautiful glory. So then, again, the camera setup is actually very similar to what we had before. We have our camera. This camera, we can just Zoom at out here. Our focus, again, we can do the same. We can select our camera, go to the constraints and use a damped track again. Let's try the lattice. Sometimes I create a specific object for my camera to look at, right? Another empty. But in a lot of cases, it actually works quite well if you use existing objects as well. So here, yeah, we might want to animate the camera as well. I'm not sure how I did that here. Let's take a quick peek. So from frame 30, we start to zoom out a little bit, to frame 100 and then we have the entire product plus gap in view. So frame 50, no, 30. I, and then frame 100, we want to look for a beautiful shot, something like this. I, and then you can see that we have this beautiful shot where we can see the yeah, the cream and everything as well. So this is essentially how we created the scene. It is very simple. It's more about lighting. But the animation, I hope you kind of start to understand what we have to think about when we animate something simple. It is just making the camera movements look cool. And, of course, in this case, we have to think a little bit about the cap opening. It is not just rotating. It also moves, of course, a bit up, and then we have an open effect and we want to see the cream. Yeah, that's just everything. Let me just stop rambling about this. I hope you guys learn from this, and I will see you guys in the next video. 20. 4.3 Rendering Scene C Liquid simulation: In this video, we are going to take a look at this scene. So as you can see, kind of the most important thing here is this blob of cream that is being spreaded around. So let's take a look at our scene. Our scene is quite simple. We have some props, and our product is standing on top of those props, and we have, yeah, a light setup here with a camera. Quite easy. Now, this part is a little bit harder, and that is why we're just going to focus on this so all of you can create it. I have another file, which also kind of showcases, like, how we are going to build this. I build it with flip fluids. So that is, yeah, a paid app, but I'm going to show you how to do it in the free version. And there's not really a lot of difference there. Just flip fluids works a little bit easier. So if you ever want to do a lot of fluids and you still want to stay inside blender, then I would highly recommend you look at flip fluids. What essentially is happening here, we have a liquid domain. We have a liquid, which I need to hide this so we can actually see the liquid. This is the liquid, and this liquid is being pushed around by a certain object. In this case, I chose an object that already has some displacement in it, and that creates those lines. If I now think back about this particular scene, I probably wouldn't have done that because it would make way more sense if you actually push it around with your finger, right, instead of a brush or something. So these, yeah, they look very cool. Now you know, at least that you can create also some brush strokes or any other kind of application that might give this detail. But of course, you can also create a more smooth object instead of this one and create more of a finger press, right? So let's just get started. We can kind of delete everything from our scene and just first add our liquid. So that is going to be a UV sphere. Now, this UV sphere will become our liquid. So if we click on F three, we can add a quick liquid. And what this does, it creates a liquid domain, but also our sphere automatically, if we go to physics, has a fluid modifier applied to this. And the fluid modifier, it automatically has some settings as well, type flow. Of course, it's a liquid, and then flow behavior geometry, which all is good. We want that. Then we have a liquid domain. Now, this domain right now in frame one already kind of cached kind of rendered this sphere as a liquid. But if you go to frame zero, you can see what it actually looks like. It is just a cube, and inside of this cube, the entire simulation will be simulated in there. One important thing thinking about this inside blender is that blender is very size dependent. Whenever we make the liquid like, very, very small, even if you think like, Oh, yeah, but it's just a little blob that shouldn't be more than a few centimeters. We do not want to scale this down to a very small value because blender just does not work with small dimensions. So you might think, like, Yeah, but, you know, our cream is for sure not two by two by 2 meters. Very true. That is true, but we just need to keep in mind kind of how blender works with liquids, and that is why we're going to keep it big, and later on, we can export it and then import it into a scene and just scale it down. So we're going to do it like that. But yeah, something very important to know. Also, don't make it too big because then everything starts to act kind of like an ocean because it's huge. But yeah, this should be good. So what do we want to do here? How do we want to start? We first are going to look at this axis here, and I want this axis to be our ground plane. So I'm going to move my liquid domain up so the bottom here matches with this ground plane. Then the top can be a bit smaller, and I'm going to move my liquid somewhere around here. Then, of course, when we think about it, this cream, this liquid, needs to be pushed a certain way. So I am going to scale this up or just move like this phase here to the left, so we have some space here. We do not want to make this too big, not only because of the reasons I stated before, but also because it needs to, like, render everything inside of here, right? Unless you use some kind of adaptive method, it will just take a very long time to cache all of that inside. So keep it as small as you can, and then you will speed up the process also. So now, from the front you we have our sphere and our liquid domain, and everything actually looks quite good. So if I start to play this, whenever you just click on the play animation or space, your liquid simulation will start to simulate, I guess, and we can kind of see what is happening here to the liquid. Now, it looks good. However, it is very water like, right? It is not as viscous as we might want it. So what we're going to do is we're going to select our liquid domain, and we're going to change some settings in the fluid modifier. First of all, resolution is always very important. I'm going to put it to 64, just so I have a little bit more resolution, but you don't want to crank this up too much in the beginning because you want to see what your liquid does. And once you start to get a result that you would like, then you can always crank it up a bit. Keep in mind, though it will make this simulation take a very, very long time to catch. That is also why liquid simulations are kind of annoying to do sometimes, but that's just something we cannot really avoid. Oh, let's go down here. Simulation method. Flip is great at creating splashes, but APIC is a little bit more of a stable behavior. So in this case, we don't really need any splashy effects. So we're going to select API for this simulation method. And then, very important diffusion. Diffusion has, as we said before, it creates our viscosity, and we have some surface tension in here that we can choose. And again, here, we can choose some presets, water, oil or honey. Oil is the thickest one out of all those three. But even with the oil setting, we do not really get a very viscous liquid that we might want. So in those cases that you wanted to stick even more together, you want to use the high viscosity sulfur. And this does a lot. And as you can see, if I start to play this, our sphere will stick together way more than just with these settings. Even if I crank the base up to an insane amount, just use the high viscosity sulfur because then you get effects like this. Very cool. Now. I think the kind of setting that we have right now is not even too bad. We could put it a bit higher if you want it to take or keep a bit more of a rounder shape, that's totally fine. But just to make this tutorial not too long, we're just going to keep it here. And what you want to look for now is that your liquid at one point, should kind of take shape. And what do I mean with this? If we look at our animation here, you can see that this little bulb, this little bulb of cream has a shape to it. And it is not first that circular sphere that falls down. So we actually want to start animating from this point, right? So let's say, in this case, it is frame 100. So from frame 100, we want to start animating this, and then we can press something in here to create this cool effect. So what we're going to do is we're going to create another UV sphere. We're going to move it here, and from frame 100, once the cream has taken shape, we're going to start animating this. So I. And then let's say the animation takes 50 frames, then it will move somewhere around here, A. So this animation mop moves from here to here, and that's great. Now, the issue is, first of all, it doesn't intersect or do anything with this liquid yet, but also it is kind of high, right? It will just scrape it barely. So I want to edit this animation a little bit, and I'm going to do this with the graph editor. So the Zt location here, we can select the last handle of the set location and scale it a bit up. And you can see that now, it will start moving around the Zt axis a bit quicker. So let's say around frame 120, I want it to be actually quite deep in here. So somewhere around this, and that is what it does. Perfect. Now, as last thing, we want this, of course, to be affecting the liquid as well. So select this little sphere, then click on fluid inside of the physics properties. And here we want a type affector. And the effector type collision is perfect. And when you work with these collisions, you kind of want to put the sampling substep a bit higher. Does take way longer to cache this, but it is totally worth it because otherwise, stuff is going to start to intersect, and you need to re cache everything anyways. So just put the sampling a bit higher and everything will start looking way better. So again, now it will start to intersect with this liquid, and we can start to cache this. So what does this mean? If we select the liquid domain, we can see here that we can save our cache, so we can save the simulation. And this way, we don't really need to re render everything when we start playing or when I move anything around. It will just save whatever we have here, and we can always, yeah, grab it from there. So first of all, we need to save this file. And we are in Scene C. This is going to be the liquid simulation And then we can just go here into let's do type A, and I can bake all and everything will just be baked here. You can also, if you want, bake it inside of this one. So here we can rename another folder bake, except and then bake all, and it will start baking the entire simulation. So once this has been baked, we can see our animation here. Looks quite cool. So we're just going to keep this. And I mean, of course, every setting that you do differently, this will interact, right? So probably what I would do now, I would put the viscosity a bit higher, so it keeps it shape a little bit more. I would maybe make this finger a little bit bigger and also put the resolutions a bit higher. But you just have to play a bit around with that because for everyone, this will look different anyways. It is just a bit how simulations work. Even versions might affect it. So even if you copy every single thing that I do will still look a bit different. So let's say this is lovely. This is what we want. Then we can select this liquid domain, file, export, and we can export it as an Alembic file. And here we have the liquid simulation. So selection only, scale is fine, and then we have to think about the frames. So where did our frame stop? I think we were actually fine. It's for sure not longer than 250, right? So we can keep the 250 right now, but lamic files are quite heavy. So what you could do is you could say, like, Hey, around frame 100, our animation kind of block has taken shape, and then we go to frame 70 as our last frame here. So file export, Alembic, selection only 100-170. And we do not want to export hair or export particles. So this is our liquid simulation exported, goes quite quick in this case. Then I'm going to save this just to be sure. And I'm going to open a scene where we have our beautiful jar. So here we can import file import Alembic. And here we can go to our liquid simulation Alembic, and here the beauty is. So place it on top of here. And once you start playing it, it just acts like a hoot. Give it some cool materials. Oh, in this way, actually, it is the cream, so just give it the same material as the cream. And you can see that there is so much fun stuff that you can do with this. So please play around with this. It's really cool. And the Alembic files are also awesome because I can just scale this up, scale this down. The animation will work. I can rotate it. I can even place it on top of this and then, you know, animate this together, it will still just stay in place and just do the animation as we have seen. Uh, it too. Perfect. So that is how you can create the effect that we can see right here. I see you guys in the next video. 21. 4.4 Rendering Scene D Metaball liquid: In this video, you are going to learn how to create this very cool liquid effect here in the back. And the nice thing about this, it looks like a cream or a liquid, something like that, but it is not using any liquid simulations. So let's just look at the final scene here and look what is kind of happening. First of all, you can, of course, check out the camera settings like I have it animated, of course. We have a product here and we have some lighting set up. Now, the next thing is our product. Our product has, I mean, it has moved up a little bit and it is opened, but surrounding the product is this liquid object. And whenever I play this animation, you can see that this liquid looks like it's moving. It's maybe even kind of a melting or whatever it is, it just looks very cool. So this is just done with some modifiers. So let's go here and create it from scratch. So here we have our jar, and I don't really want to do anything very special with this. But in your case, you can, of course, put it in a more interesting spot, look at your camera already a little bit, see what you want to create. And from then on, you can start to create the liquid. And the liquid creation is very simple. So let's get started. Shift A, and we can add a meta ball. And here we have a meta ball. You can scale this metabll up and down. And if you go to the metabola object data properties, we have some settings here. There are not too many what you essentially just need to look at is here, the resolution viewport, because later on, we want to convert this to a mesh. So if you now already see these, yeah, kind of sharper edges, we do not really want that later on once we start to convert this. Probably, well, if we put it to 0.2, it is already way better. But you will see that some of these edges are still visible, and they will be even more, I guess, noticeable once you put a very glossy material on here. So I would go a bit more extreme and maybe to 0.1 that RA looks better. What you can do right now is you can just select this metabll, move it into place, click on Shift D to duplicate it and grab another metabll. And the cool thing about this is that they will start to join together as soon as they get decently close to each other, right? So this way, we can just shift, duplicate, move it around. It will attach to any other metabol here, and we want to create kind of an interesting looking shape. So what I probably would do is grab another screen here. From one, you look from your camera view, and the other one, you're just building this liquid. So shift, building it, building it, and making something interesting, and trying not to create too many intersections as we have here, moving this a bit back. So let's say this is something that we want, right? You can always play around with it as much as you want. But this is kind of the result that we are looking for in this video. Then you want to select all of the metabos, go to object, and then convert to mesh. So now this has become a mesh. Very cool. And as you can see, because we put the resolution quite, I guess, low, we create a very nice and smooth object. Cool. So how do we create that flowy, watery effect? Well, very simple. Go to the modifiers here and add a displacement modifier. Now, we need to create a new texture for this, and you can see that a lot of stars move around. Fair enough, we just let that be for right now because we also need to set the coordinates at something else than local. We want to use object. The reason why we use object is so we can animate it. I am going to add extra empty. So let's do empty cube. And I'll just move it here so we can see what is happening, but it's totally fine if you want to keep it there in the middle. But I'm just going to yeah move it here. So what we want to do is we want to go to the displacement modifier and select this as our object for the coordinate. So whenever I start to move this object, you will see later on, this displacement actually will move with it. Okay? So let's first look at the displacement texture because there is something totally wrong going on with it, as you can see with all these artifacts. So let's go to the texture. Instead of the type being image or movie, we want to change this to clouds. And here we can already see something, and we can start moving this around, right? So the clouds I mean, it makes a very spiky. It looks cool, but it is not really what we're looking for. So we want to put the scale up. Let's do a scale of eight. We'll see later on if we actually like that. Depth of two is fine in this case, and we can go back to the modifiers. So here, we want to play around with the strength as well. So we have strength here. Um and while moving this, we can see exactly what is happening. Now, there is an annoying bit here, and that is all of these artifacts. To get rid of some of these artifacts here, they're actually being caused by the actual geometry. That is because the displacement, of course, doesn't really help, plus the actual geometry that we have already is very messy, right? We have some weird triangles, and they're not always bad, but especially when you have kind of rounder organic objects, you don't really want that, and these artifacts are the sign of that. So you want to remash this, so remash let's put the remash above the displacement modifier, and we can keep it at Fox so that is fine, ensure that you put the smooth shading on. So this already looks so much better. And now if I start to move this, you will see that we might sometimes have very small little artifact. This can be resolved with playing around with the Foxel size as well and the adaptivity. But I think for right now, this is fine art we have, and we have a very cool effect. The last thing that you need to do here, well, you could add another subdivision surface if needed, but in this case, it totally is not needed, so that is fine. And otherwise, we can just start animating this. So we can select empty, click on I frame one, and then let's say this animation goes to frame 50, so it will also. At frame 50 here, and then we go down. I. So as you can see, it starts to play and we get this animation. Very, very cool. Now, this animation right now, it kind of has a slow start. It speeds up and then slows down again. I liked it more when it was continuous, right? Like the whole moving of the liquid doesn't really seem like it stops or slows down, so that you can do also with the graph editor, you can just select, in this case, it's only the z axis of this cube, right click, interpa mode and put it to linear. So now the movement is always linear, so it will always yeah, go at the same speed, right? So here, it will always be at the same speed. Cool. So that is essentially everything that you need to know to create this cool effect. It just takes a little bit of time to understand what the metablls do and how you can maybe go create something that looks appealing in a certain camera position as well. So I would highly suggest first, grab your object, place it somewhere interesting with your camera positioned in an interesting spot, and then start to build the liquid around it. And as you can see, the animation of the liquid is very easy to create. And that is everything that you need to know to create this animation. 22. 4.5 Rendering Scene E Dynamic paint waves: In this video, we are going to take a look at our last scene of the entire animation. And I wanted to see this scene kind of as a kind of a closure in multiple ways. First of all, when we zoom in, the cap closes, right? So a closure in that kind of way. Also, we end up in a beautiful front shot, which also makes me think a little bit of the beginning where we started at. So I just, yeah, like this kind of idea. Those animations, right, the zooming of the camera and just the closing of the cap, you already learned all of this in scene A and B. So we're not really going to go for that. But this entire beautiful ocean of white cream or liquid, that is something more interesting. Another interesting thing that happens with this is that the further our animation kind of progresses, the smaller the waves go, right? So you can see that they are quite big in the beginning and they suck in while the camera also moves towards the jar. This has kind of yeah, created a very cool effect that might not be very noticeable, but, yeah, it looks very, very cool. So let me just quickly show you how we can create this ocean of waves. So let's go to our final scene here, and there are a few things to notice here. First of all, we have an entire big plane. This plane is, in this case, called floor, and this floor has a dynamic paint set to it, and that is how we create the liquid. It is not some kind of yeah, liquid simulation. It is actually being done with a dynamic paint. Now we also have a special object here, which is kind of hidden, and this object controls the waves as well. So what we can see if I play this, this object moves up and down, creating the waves on this, yeah, big floor plane. Now, this is hidden because I, of course, just wanted to have a static rock for our object to stand upon. But that is all happening kind of behind the scenes. And you're going to learn how to do this. But that is how we create this. Then as last, you can see that the animation actually 100-200 goes opposite than we see in our final video. If I play this, you can see that we actually are zooming out. That is because, like, in Blender, it's not that easy to make sure that the waves go inwards. So just creating an animation and then reversing it later on is some of the techniques that you can use a lot with liquid simulations, waves like this. But there are lots of other ways to implement this in your workflow. It's really handy. Let's say you have an explosion, but then you just reverse it. So it makes it look like the objects being created. Like, stuff like that is really cool. So let's just start from a fresh scene. Here we are, and let's create this from scratch. So the first thing that we need is some kind of object for our product to stand upon. So I chose a rock, but in this kind of tutorial, I would just use a cube that's scaled a bit and I'm going to skirt a bit down around the set axis and put my object, so my jar right on top. Something like this. Perfect. So this is our let's say rock. I'm going to rename it rock, whatever kind of prop you have. And we need to duplicate this to create our controller and as last object, we need to create a plane. This is going to be our ocean. I'm going to skill dig this times 100. Keep in mind that this wavy kind of dynamic paint does cost a decent amount of density on your object. So if you have a very slow computer, maybe don't make this entire area too big. We need to give it some decent subdivisions for it to work. So now let's add some subdivisions, otherwise it will not work. Um, let's look. I'm going to do somewhere around this, and we can always add an extra subdivision modifier to create some very smooth details if needed. Now, very cool. Then this object to the plane right now, I'm going to rename it to ocean. And we can go to physics. In physics, we can add the dynamic paint. And this ocean, this ground floor is going to be the canvas. So you can just add canvas and change surface type from paint to waves because we want to create the wavy pattern. Now, here there are some options that we can play around with, but before we can do that, we need to see what our waves look like first. So let's select our controller wave and also add a dynamic paint. But this is going to be a brush, right? You have a canvas and you have a brush that brushes upon it. In this case, we're going to brush some beautiful waves on it. So add brush. And here we can just use it as a mesh volume, that's totally fine. So in my case, you can instantly see it starts to intersect with each other. And if you play this and move around your controller wave and just splash it down, you can see that both of these objects we'll interact with each other. So how can we automate this so I don't need to move up and down with my mouse? Well, we just have to animate the controller wave. So let me hide the rock, so we can just focus on these two objects. We can actually hide everything else. So let's do that. Go to the front view. And the first thing that I want to do is I want to go to frame one and move my controller wave above the ocean, right? So right above it. Click on I or go here and insert a keyframe around the location. We only need to animate this Z location. So here, let's add a graph editor, and we just want to focus on the Zet location. And with the set location, let me go up, select it. Go to modifiers, add modifier, and add a noise modifier. And instantly we start to see, some noise in this graph. Now, if I play this, you can see that our cube here starts to move around. Can change some of these values. So this noise pattern with the skill, which makes it go a little bit slower and the strength, which makes it go a bit more, yeah, up and down, I guess. Like, it makes it go higher around the z axis and lower. Now, you can see that the beginning here around frame zero, it instantly intersects, and that is something that I don't want. I want it to be just like we had without the noise, and that is to be right above so it doesn't intersect instantly. We can do that with restrict frame range. And here we can set a certain start and end position of this animation. So let's say we want to start the frames like creation at frame ten, and we will stop it around frame 240. Then we can see that, Okay, this is cool. However, as you might notice, it will instantly jump here from zero, into the inside, like, way too rapid. I want it to be a bit more smooth. That we can do with the blend in and blend out. So we can blend this animation slowly. If I move this up. You can see that it slowly starts to blend and we don't get such a rapid movement. This can be done for let's do 20 frames for the in and out, right? So it looks way better. Cool. So what does it look like right now? This already looks quite interesting. We actually need to see the waves as well. Very cool. Now, you can change any of this, so the scale that makes it go a bit like slower up and down, and the strength, which will make it go higher up and down. Those we can always play around with. You can even offset it a little bit, right? Also, that is available. Very cool. Now, that is very nice, but the waves might not really look like something interesting yet. And that actually has to do with some of the settings that you might want to add at the ocean plane. So here, as I said, with the surface, we can also change some settings. We can change the speed and time scale, which are both kind of time related. And if I want the waves to be a bit more in slow motion, you might want to play around with this. So maybe we'll put this to 0.2. And here you can see that these waves are way slower, which looks really cool. Also keep in mind that my waves look very regular, and that is mostly because I'm using a very simple shape. If you use a rock like I have here, for instance, it will act way differently, okay? That is mainly shape like that this kind of these kind of waves as well. But that is the time scale. Very cool. You can make it a bit slower. You have some damping. Damping essentially ensures that the waves at one point was get less high, less high, less high, so that the waves are not always the same height and just reach all the way until the end. Because if you have zero damping, is it even possible. Yes. You will see that the waves just will keep continuing without stopping. And yeah, that's kind of what the damping does, right? You can see that they will never flatten out and they will Well, if animation would have kept going another, let's say, 500 frames, they will just have reached all the ends without stopping. So that is why some damping is actually quite nice. It will make the waves kind of dim down like they normally shoot. And we also have some spring. With the spring, you can make the waves reach a little bit higher. This also depends a bit on how deep this controller wave pushes inside or how quick it does it as well, right? So the spring, putting it high and low definitely creates some different kind of effects, as you can see here. So high effects, once you go more towards the one, you can see that it's a little bit more erratic and creates those kind of bigger waves and lower values will keep it kind of more flattened. And we also have a smoothness, which, in general, you can keep it quite smooth. But let's say you have a bout to zero, then you can see what happens. You can see that, um yeah, it doesn't smooth them out as much, which kind of creates a little bit more noise. You can see, like, smaller little details coming up. So yeah, that is what that value does. So playing around with those settings, keeping in mind that the subdivision levels also plays a huge role. So if you add an extra subdivision before this, we will get even more intricate kind of waves. Those three settings in combination, then height your controller wave And then your animation will just play. And once you're totally happy with your waves, make sure you bake your animation. First, save your file, then bake your animation. And yeah, then you can start rendering. So I hope you learned from this, and I want to thank you for watching all of these videos.