Blender Oceans

this video is brought to you by squarespace the best place to build a beautiful website so when i say ocean i do not mean adding a new plane with a notion modifier with extra resolution alignments and a drive around the time parameter which would look like this the materials set to a glassy sdf with the watery color and an ir 1.3 along with any traffic matrix even to get more realistic lighting and inserting and some foam batting and a new data layer with some coverage which we can access through an attribute node and filter to make this part of the bsdf color no that's not what i mean by blender ocean i want something that actually looks realistic which means we'll need to capture some real-life footage and that means it's finally time for me to come out of hiding so yeah surprise it's a mad painting tutorial but specifically for oceans that you can do with pretty much any body of water that's you know bigger than a puddle and while you could do this in traditional compositing i thought it's boring so instead i'm going to show you the wonders of viewport compositing and then that's a dramatic way of saying we're going to be projecting our layers onto some spheres in the viewport which i know i know is a weird way to work but it's essentially real time and much more interactive unlike the compositing tab where you gotta sacrifice your first born and like deep fry your testicles just to get this thing to be moderately responsive but anyways viewport compositing is actually a fun way to work where you can replicate most effects you can do normal compositing and yeah sometimes it's a bit tricky but like with my actually no no you're right maybe this is actually too hard we better quit while we're ahead i'm calling it we're wrapping up here we'll try an easier effect next time [Applause] hey stop talking look at how much time's left in the video clearly i'm still gonna teach you how to make oceans just be a bit patient okay just a dumb bit let me have my dumb little joke but what isn't the joke is that this video is sponsored by squarespace and squarespace is a platform that lets you make beautiful websites without needing to know how to code you can just pick a template start dragging stuff around and you've created a website in fact my website www.cgmatter.com was in fact made with squarespace and squarespace has features like analytics which are super important because you need to know who is going to your website how many people those are email campaigns so you can send out your personal or brand message directed at your audience and you can already get this super affordably with an annual subscription that is less than 10 a month but i'm about to make that deal substantially sweeter after you go to squarespace to try your free trial you can use my link in the description to save 10 on your first purchase of a website or domain now let me teach you how to actually make this ocean uh without baiting you again yeah so like i was talking about go film some footage of any water you have near where you live and i don't want to hear any excuses the guys like climbing out on these rocks almost split my face open just to get some stupid shots more up close just whatever means necessary get your footage of some water and then we can begin and just like any other effect it seems that tracking is always at the beginning of the story which is a shame because i hate talking about it but i think i can keep it simple so this is the footage i'm deciding that we're gonna use because it has a very well defined horizon line and yeah there's objects like this one that should be in the foreground in our compositing workflow which is tricky but you know what we'll get back to that for our purposes all that matters is dragging in our footage directly to import it hitting these two buttons to get started picking a feature and control clicking to add a tracker use alt as to make sure our search window is big enough and then alt and right left arrow to check forwards and backwards respectively and then we're just gonna be repeating this process over and over again until we have like eight trackers throughout the shots but some tricks to speed up your workflow you can click this to automatically detect features use the annotation tool to constrain where we want these trackers because of course you wouldn't want to track something like the water that's moving all the time it doesn't make sense so let's keep that out of our selection repeatingly using this process as a sort of manual auto hybrid tracking and when you're done you can have blender calculate an initial camera solve and don't worry you will get a super high tracking error for this like really anything above one pixel air is like pretty much unusable again don't worry about this this is normal we fix it by enabling tripod because i filmed this using a tripod overlooking the harbor but even if you did technically move while filming as long as you're only tracking super distant points like those buildings over there there's effectively no parallax making it very very very close to a tripod shot but anyways also enable some of these other settings resolved for the camera and wow that's a much lower pixel error that's actually going to be usable for what we're trying to do okay finally we're done with tracking i swear every time i talk about it i enter some kind of fever dream where i really don't want to be there but also i don't have a phase lens projection is the next step in this process and you can see it's kind of weird that the moving camera stabilizes the footage on the geometry but that's actually gonna be super useful in a bit hint and the knife tool that's what it's gonna be good for but also the distance of our sphere from the camera doesn't seem to matter which is great if we want to start stacking lawyers for compositing not have them overlap on top but you know i think i'm getting a bit sidetracked here the process i found the easiest was just adding in a sphere centered at the camera this is gonna be tracked to the motion and we can use view coordinates to reorient it so the horizon has an edge loop then creating a material like this that will play the footage in real time which might not look the best but if you either set the coordinates to windowed making sure to only keep the faces that actually show up in the shot that will work but only from the camera view or if we add in a uv project modifier from the camera's point of view with a bit of extra geometry then we've isolated our footage correctly which again looks perfect from the camera view next added in another sphere further in the background and loaded in an hdri texture from hdri haven just so we can get a matching sky meeting at the horizon line which of course brings back the issue of the foreground geometry that gets cut off by the horizon but again don't worry we already know how to take care of this it's just going to be another sphere in the foreground with the projected video and bust out that knife tool because we're eyes holding the entire thing keeping only those faces and would you look at that it's tracked on perfectly final thing is i thought it'd be cool to add in some haze to really blend these elements together in a procedural way and of course the sphere has to be behind our foreground section and here's the node network i decided on which basically just controls the haze distribution using the color ramp and we can also choose the haze color by the way if any of these steps aren't working for you and you're getting these solid black sections of the sphere without transparency it's because you have to set the material blend mode to alpha blend for eevee or just switch over to cycles instead probably should have mentioned that a bit earlier but oh well at least we have our finished composite which we can render out with some motion blur which by the way we get for free from this process because of the tracking and for the actual very lame 2d compositing i thought that oceans usually look like this very cold and uninviting places so i just dropped the gamma a bit to wash this out and also mix this with some tone mapping to make it even more bleak but yeah that's the secret to blender oceans you can use this technique really on any footage that has a distant horizon line which is pretty cool

Channel: CGMatter

Views: 112,136

Keywords: blender, tutorial, ocean, water, simulation, fluid, matte painting, tracking, beginner, easy, 3d, vfx, animation, animated, 2.92, 2.9

Id: CTxmjQauM_U

Length: 6min 27sec (387 seconds)

Published: Wed Dec 16 2020