Create a modern ZEN GARDEN with [Cinema4D + Octane]

boom we're doing it it's happening we're going live let me just do a little Instagram blast real quick so everybody knows we're doing this guy's thank you for joining for the the 4th Punisher VFX livestream we're doing a big we're gonna make something cool today we're gonna figure out exactly what we're doing in a second here once I blast it out on Instagram all right we are live welcome welcome everybody it's time it's time to do it it's time all right you know I should have handle all this stuff beforehand right I should have I cheated out beforehand I am I've the effects dream let's go all right you know this is just this is just taking a minute here let's just hop in alright guys so we're doing it we're gonna figure out what we want to do so last week I made an image that you guys had probably already seen and it is let's see let's see it's of this like tree the Zen garden inside of this concrete little area you know very modern very sleek right and I was inspired by a little short film that my buddy Ethan showed me and it's called the third and the seventh and I'll show you guys what that is right now so the third and the seventh is an amazing amazing little short film here look at this this is so nice so basically this guy I think he uses 3ds Max and he just spent like who knows how long probably a good while this this short is like yeah nearly 13 minutes long and he created all these amazing scenes and shot it in a way that is very like it's very filmic you know he's actually got the film fades going and the stuff looks near photo real the his lighting is incredible oh man little my little cat Gilbert he's crawling all over the keyboard here hey bud so yeah this guy is like going to town here with these lens flares and he's got some film grain goin he's got the film fade going which is different from a normal fade a film fade is when basically the shadows dip out first and the mid-tones and highlights of the last things to leave and same for when you fade in the first thing you'll see is highlights and then mid-tones and shadows and you might see it here you might do a little thing here but yeah you see that right here and look at the fade in if there yeah see how you get the highlights first and then everything else kind of rolls in so his cinematography throughout all of this is just in credible I'll skip around to the middle see see this look this like concrete interior look it's kind of what I was going for with the tree thing so this was the inspiration right this is so beautiful if you guys have a chance to look up the 3rd and the 7th and watch this whole thing it's beautiful so we got the discord going if you guys hadn't signed up for the discord yet please do that it's a place where all of us can get together and you know communicate and chat about 3d stuff visual effects anything that you guys want to learn we can talk about it there and I'll do it here I've heard you guys I know that you want substance designer tutorials I know that you want like how to incorporate like your 3d objects into your live-action plates that you've shot right so we'll definitely do those today however I'm going to do this you know Zen garden concrete thing we'll do another one of those because I really want to get that down but yeah I got the discord link down below in the description of this video I also have a playlist of all the ambient music and chill music that I eat that I listen to when I do V effects and honestly when I'm just doing anything because it's half the music I listen to anyway but uh yeah that playlist that Spotify playlist is in the description for this stream right now so you guys can go go there turn it on I can't play it because if I want to monetize these things I can't have music going on these streams but go there yourself turn on just shuffle play all those jams there and I'll be adding more to that playlist as we go and as I discover more cool ambient music but let's see how are you guys doing everyone is chillin everyone says hello to Gilbert he appreciates you he's down there he knocked my pen tablet down onto the ground um hello hello kouha Kuya asks why I have two versions of After Effects that's because one version runs a plugin called real real steady and it's like a it's like a you know camera stabilization plug-in that only runs for like the oldest version of After Effects so that's why I have to after fixed um let's see it was the thing around my neck these are bone phones these are awesome they're like bone conduction headphones that vibrate you don't put them in your ear you put them you know kind of right right in this area here and it you know vibrates a little bit and yeah you can listen to some cool music and I'll actually I think I'll put on that Spotify playlist all right I'm in sweet yeah cool thing about these is you can hear obviously cuz your ears aren't plugged and you know can run with these you can hike with these you know they're the best I love them so much Michael asks is it good to get started into the 3d world with blender or should I get something else dude 100% blender is the best I personally have never used it but it's the best because it's free and I've seen what you can do with blender and my goodness it's crazy just look up Ian's Hubert or Peter France and these guys and also blender guru these guys are the best they are like prodigies when it comes to blender so don't be discouraged just because it's a free it's a free program doesn't mean it's no good guys milene I or Melanie I don't have the almonds today you know it's never too late they're just over there but I do have my car koffie so my decaf coffee so I'll be good to go what else guys what else what else you got going on is everybody doing VFX during the week you guys working on your craft during the week spending time working on your growing your value working on yourself what do we got going on here muskrat muskrat Mike we got we got uh what do we have going on here actually let me open up my old project file for this tree we're gonna make a cool Zen garden deal let's do open recent yeah so once the scene loads I will render it and you guys I'll give you guys a quick overview of this like Zen interior Zen garden that I did last week break it down really quick it's very simple actually most of the time went into figuring out my composition and building the interior space just because I didn't really know what I wanted to do I was searching and that'll kind of be a similar situation here I have an idea you know we want to do an interior Zen space do I think I'm better than Ren and VFX I know Ren Ren is probably the best compositor I know he's always teaching me different tips and tricks on how to better composite my 3d or even 2d stuff into my footage Ren is incredible he's the one who got me into octane and octane is what you're seeing here this like sort of viewing window so Ren got me into octane ran was the texture master he's been recently doing a lot of his like the effects VFX artist explains the size of the universe or the scale of the universe or you know like how big our atoms are how smaller atoms you know he's doing these kind of videos he's been spending putting more of his time points into that and recently he's been building a drone that he's attached a like a nerf gun to base quickly to fire Nerf darts it's it's crazy that episode is coming out on corridor crew in the next couple weeks all right guys what is my special specialty in 3d or modeling or VFX um I really really love texturing it's just very very fun for me I love modeling as well and I do love compositing I really love the whole process and that's the best part about working at corridor as I get to do everything in the process I don't I wouldn't want to just do one thing I like everything and because I'll get bored doing one thing forever I have to mix it up I need contrast in life um I think which is why I can be music so much because the day-to-day is just like non-stop you know and the ambi music is a good chance to chill out Trevor I'm running a gtx 1070 just one of them i would like to upgrade very soon and get a second 1080 perhaps it's probably pretty cheap at this point right you can run two of them but let's take a look at the scene this viewing window let's just uh let's see here let's bring our scene down to like something real small and you guys can get an idea here of like what this is you saw the picture right so i can pause the viewer lets go in here and hop out of camera view and this is the setup for the scene so i have like a roof here you know if we go into this building come on there we go so you got your tree this is I'm using a plug-in called Forester and it's really cool because you can swap these trees out for basically any tree you want right so you can switch it out for a giant beech tree like this which could be cool or a Barbary tree which looks pretty Japanese actually I might might do that for this for today's image we got palm trees you know that's just up and out of there and for the lighting setup you guys can see down here I have a couple like holes in the roof to allow some natural light into so I have these like little these slits right here where light pours down into the room from and I'm using a sunlight an octane daylight system and that's bringing your Sun down into here I also have an HDRI image that is projected around the whole scene that determines the color color of the light and the shape of the light and everything a little bit I don't give you guys some examples on what that the difference between the that and sunlight is and then I have a right here in area light which is basically just like a giant light panel that is boosting a little bit of this height of the lights here down onto this tree and it took me man it took me almost like something so long just to shape the light in this that was the the biggest part was getting the lighting right so it's a constant play between your you know modeling this this room here because the shape of the room determines the best camera angle you'd want and the camera angle determines the camera angle I guess the lighting too right the lighting determines the camera angle a little bit as well so I was trying to make it you know work and make it aesthetic but I think at the end of the day the biggest thing I didn't like about this image was it felt a little empty on this right side here and it just felt the framing I'm a big fan of symmetry and center frame stuff so maybe today we'll do more of a symmetrical rendering so God rays god rays are basically volumetric light and you could do that let's say make a new scene here we'll render this to our to our viewer down here right so if you add a sunlight like we just did in cinema or an octane you have this line and the line is the direction of your Sun so if I rotate this down straight down that's gonna be like 12 noon pointed right down at that thing and there's actually a checkbox oh oh and real quick so you see how it looks all chunky right here that's because we need to up these segments for the sphere now it's looking nice but let's do um let's hide the daylight I'll show you guys with this HDR is you see in the picture viewer it's just like this scene around your geometry it's lighting your scene based off of an HDR eye picture so if we were to bring the exposure down in the camera you could see how those highlights there's actually detail on the highlights back here right so an HDR I picture is made up of five or six different pictures at varying exposures so you have a lot of light detail in your scene and then you combine that with the sunlight and you see how that HDR I went away now basically what you can do is check the let's see and the sunlight tab you can scroll down and check the sky texture and then now you have both you have the sunlight and the hgri working together and that is what I did for the Zen garden scene right here once that guy's bareback alright so let's see let's start a new scene and build out our room what is the room gonna look like now it's easy to do this when you have reference a lot more difficult when you don't have reference so let's go to good old Google and look up interior zen gardens so something like this is pretty sweet there's a lot of cool stuff in here very peaceful looking yeah this kind of stuff is awesome it's very bright something like this it's kind of like an architectural rendering I this this might be a render who knows this is super cool I like this a lot mmm I'll save this guy this is pretty sweet too very simple this is a good one I'll save that oh this is nice this is very very nice so yeah basically you just want to find references that you guys oh wow that is that is amazing I wish my house looked like this one day basically you want to find references so that it's easier to get to your final image it's a lot more difficult when you're just going off the top of the head it's gonna take a lot longer Oh what this is crazy hmm okay so it'd be really cool to do something with water as well like this is super cool that looks absolutely beautiful let's see what do you guys you guys think so yeah I'm going for a modern style in a minimalist style I like simplicity definitely a lot of that but it's also cool to have something like there's this guy Cornelius Dom Rick and I talked about him on the last stream but basically he has something oh my goodness he has some incredible renders this one here certainly is not simple but you know you can you can tell that like all the detail that went into this totally makes up the image and simplicity is not something he was going for with this one a lot of work went into this image and it really really pays off it looks incredible the detail on this is insane there's like dirt and rocks above the the doorframe here all these different posters that are custom made you know he has daylight and warm light mixing together to give a really really cool look he's got a lot a lot of Easter eggs hidden in here too and he actually on his website gives away some of these models so yeah Cornelius Tamra calm give it a give it a little look see it's a great website great resource he has a lot of good textures and stuff too that he's giving away let's just start building something out here okay so usually what I'll do is I'll drop a person in because that's my scale I'll know how big this room is gonna be and I'll just start building this out with planes hmm so I'm holding holding control and when you drag it'll make a copy so I'm kind of just shaping it with planes right now and then I'll come back over this and start to build it out with maybe maybe a cube or something depending on what is what's best all right so an octane switching between direct lighting and path tracing direct lighting I believe I don't know you maybe only have a couple bounces of light in the scene but when you switch to path tracing that's going to bounce light around a lot more you can see how the sphere you know there's a lot of there's a lot of shadow at the bottom of this thing and a little bit at the top as well these corners is pretty dark compared to the light that's coming from the left side of screen hitting this on the right and if you switch to path tracing you can see how it's a much more realistic lighting setup now there's times when direct lighting and path tracing look very similar but in this case when we're doing an interior scene you're gonna want to use path tracing at the end of the day because that's going to bounce the light around a whole bunch more and you can see the difference between those if you go to compare and enable a be comparison and you want to store this scene switch to direct light and you can you know see the difference between direct lighting and path tracing and I'm sure it's similar for all the other renderers out there if you're using blender it's the e V renderer or if you're using Arnold or redshift you know I'm sure there's very similar toggles there for direct lighting and path tracing but for the sake of setting this up right we're fine with direct lighting we can uncheck that let's save our scene alright let's see maybe let's go for let me go for like a circular setup hmm something like a pool of water in the center of a room or something a circular room like this and I'm just knocking this stuff out I'm just blocking it out really pretty quick here and you know you want to start as general as possible and then get more detailed so first thing I'm going to do is find my frame but only after I build out the scene something like that and that will be they'll be like a pool of water inside there so we can add a cylinder and that will be our water right there and then let's see you can like walk around the outside of this thing but let's put like a roof on this so it'll get taller and then we'll duplicate it again and we'll inset it so that you have like a bit of like a ceiling and if we can get a camera like in here like right at this point and we get a nice little wide-angle view of this let's see actually let's do this right so I'm in camera view right here you can see this little toggle it's checked so we'll uncheck that we'll get out of camera view and then you should see your camera right in there yes if you select your camera let's just zero out all of these settings as well as the rotation so we have just the camera on the ground right down here another little trick if we go back into camera view and we go to options and uncheck the check camera option here we can dip out a camera view but our render will still stay in camera view so we can actually start to see oh wait that's not right that didn't work didn't work how I thought it would work anyway let's keep going so it's easier now to control our camera because we've zeroed out the settings if we go into like our 4 panel view and go to the top we can see what's going on here let's go wide angle on this start with like a 24 and let's get our aspect ratio right 16:9 it's fine this is like 1920 by 1080 your standard like HD video we can lock the ratio and bring that down to 960 by 540 so that we can get a little bit smaller render here even smaller let's go 600 480 by 270 super tiny that's okay because we're still blocking things out so now we want to tilt our camera up so we could do that by hitting our when you have your camera selected and rotating this little guy there now it'd be awesome if we could see the entire ceiling of this thing so it'd be the equivalent of you know basically what we did right there we switched it from a 24 to a 12 and you're getting you know this setup right here which is looking pretty sweet and I think if we light and texture this and throw in a you know a tree in the middle of this little pond right here I think it can look incredible so let's let's start doing that I wonder if a 12 is the right move or if we should just make the geometry bigger at the end of the day I know that the geometry here is going to need to be it needs more segments all right so if you had an object you can just crank those segments to 100 and you can see how like you see this blocky low-poly looking deal here we just need to up the segments now we're getting a bit bit more detail in there let's see if this camera goes back any further going back in the top view select your camera and you'll notice here that if we are in the local view the camera is gonna go down gradually over time that's because we rotated the camera or we tilted the camera up a little bit so you're gonna make sure in cinema you're gonna hit W and that's going to switch between local and world view and that will bring the camera straight back when you're in world view it'll be the same deal in blender I doubt the hotkey is W but you want to switch between local and world view I like this uh this camera angle this 12 this is actually really nice we can maybe 15 no 12 is 12 the move I like it a lot just for just the test it lets literally duplicate everything so let's get out of our camera view zoom out here this is our setup let's group all this stuff and we'll just call that scene control drag to duplicate and we'll move it over to the side here and I'm just gonna do a test and see if I make the actual like architecture larger if it'll give us a different look because that way we'll be able to go from instead of a 12 we can go to like maybe a 24 so let's try something let's see if this works if we see how could we scale this all uniformly let's select our scene let's hit the the enable access tool or l and then you can move the axis around and we'll put it right in the place of the camera you can hit L to turn that off and now when we scale this scene right we had the the null object or this folder selected and we move the axis for that folder and if we have that selected hit T and scale things up that should work let's go into camera view and let's scale things up try again Oh weird okay not doing anything that's hmm probably because everything's relative we should say that to 24 and yeah I guess it's not doing anything because everything is relative you know everything's everything is moving at the same the same rate or the same size right so let's just try scaling up let's see how would we do this we would scale these cylinders and move them forward and up okay and then we would need to scale we would need more room here our outermost cylinder would need to be scaled up and then we move we can move the camera outside of the scene and then move everything besides the camera forward so that our camera is backed up against the wall something like that but we can raise the camera a little bit to see in the into that pool and here's a good example of the local versus world view right this is moving the camera locally that's for that's forward for the camera and that's up for the camera in terms of how its oriented and if you hit W you're going to world view and now that is moving things up and down depending on the world so let's go up a little bit let's come in and honestly I think we had it in our other view here so it's that versus that and I think this is way better so let's delete that test we did this is gonna be our scene okay so definitely michael says we should make a little island inside the pool that grows the tree and the tree should be has hanging lights ooh okay interesting let's um I like that let's do a little island here where the tree will be growing from so we can do that as pretty easily will hop out of camera view and let's I'm hitting s to snap to any object I have selected and it's such a handy tool if you ever get lost if you're you know your viewing window just goes crazy like it just did right there wow this perfect timing hit s and it'll snap it back to your scene if you hit H it'll show all right so if you have like say a cube way over there you hit H it'll frame everything that you have in your in your scene and if you want to go to the cube just hit s you're you're in so like that hit us again you know it's just good good way to navigate and I feel that when you hop into a 3d program for the first time it's very daunting because you feel like you're you know stuck in quicksand you're trying your hardest to get forward and it's not working so that's that's because you don't know how to navigate you literally don't know how to navigate the program same for same for After Effects or Photoshop if you don't know how to navigate the program the new program you're in it's gonna feel very slow and just gonna feel like so much energy is being spent learning how to just move so I think the most important thing when hopping into a new program is learning how to move around the program and if you can get comfortable with moving around the program right then you know then you can start thinking on top of that then you don't have to worry about oh how do I move how do I you know how do I get my viewport right you're thinking about what do I put in my viewport so really make sure you guys understand how to move around in the program that you're using whether it's blender or Maya or 3ds max or Photoshop or substance you know whatever whether you're making music - same deal just know how to navigate around and be comfortable with that so then you can feel like you're running you know you don't to be through be crawling through quicksand anymore okay let's make the little the little island so we will oh we do will duplicate one of these things let's try the cube so I have the cube selected and if I hit T for scale and hold control you'll make a new one and because it's being scaled down it's being scaled on all axes it is disappearing under the water there we'll hit E and bring it up and we'll continue to scale it down all right and and at the end of the day like we might just actually make a little island but this is kind of like a little pedestal for this thing to be on we can switch this out pretty easily for a cylinder I'm holding control so okay here's here's a good tip to let's say in this case we don't need to do that we don't need to hold control because it's in the center of the scene but if you want to spawn a new primitive object in the center of another object you have in the scene all you have to do is hold control and the thing will be spawned right in the center of that so that's another thing too for navigation right let's take this person duplicate them drag them out here for a little test and rotate rotate them all crazy right and what let's say we want to give them a top hat and it's like well I could just we know it's gonna be a cylinder but okay the cylinders are way over there now I'm kind of lost well that's why you hit s snap to it and you're gonna try and drag this cylinder all the way over to this guy and you're gonna try on the line it line it up so that it's on his head and it's already difficult because things are all janky and you guys get it right this is a difficult process you could you do that or select your guy hold ctrl and spawn a sphere right and it's going to spawn right on him and the Orang take the orientation is gonna be correct too so right now we're at world orientation if you hit W will go to local orientation bring it up scale it down right now he's got a funny hat so that is a good way to navigate the program right the easier it is to do stuff the faster you're going to get the idea from your head out onto the screen right into the program so what were you what were we doing we were making a sphere or a cylinder here because we want like a little pedestal for that thing to be on okay next we need a tree we're missing a tree so I'm actually using a plug-in called Forester and it does cost money but it's awesome if you guys are looking for free trees I'm sure you can go to turbosquid dot-com right and type in tree and set the price to free now you have two hundred and twenty two trees that are for free you have blender files you can search by let's see format you can search by obj is a file type that works across all 3d software same deal for FBX that should be universal now you have your your specific file types if you're in 3ds max you'd search for max c 40 obviously maya blender right you have all those different file types but at the end of the day you can just search for FBX and obj and know that that'll work across all platforms so you can download this one this is cool tree it looks really nice same deal here this is kind of like a fortnight II cartoon looking tree and yeah you can just scrub through here and grab a cool-looking train that is free you can also pay for trees if you'd like you got a little bonsai tree a willow tree or something yeah you guys get the idea but I'm gonna use Forester so let's see Forester we will make a forester tree and will render our scene here and it is looking like it needs some leaves let's see here which tree should we do is so this is the one I did last time there's a crazy-looking tree we do a weeping willow and you can always change this later under tree parameters you can set the let's say viewport levels and render levels should have leaves why is it not it leaves how's everybody doing yeah it's tough I feel like anytime you open a new program you feel like you're in quicksand or anytime you're doing something new that's the feeling but the more you practice it the faster you'll get and you want to get to the point where you're flying through the program and that's when I think you when you're flying through a program that I don't know if that's master level but maybe maybe if you're like flying in a jet through the program then maybe that's master level but yeah everyone's gonna start in quicksand and then they're gonna get out of the quicksand and they're gonna be crawling and they're gonna kind of stand up and start walking and then they'll eventually get running and then you'll start sprinting and then you'll be jumping and then then you'll be flying through the program and that's that's what you want to get to it just takes time it looks like this render is not rendering so yes c40 is not responding I'm gonna reboot this Michael thanks for joining trying to find a time that works for everybody so yeah I appreciate you stopping by for a little bit man this will be on my youtube channel it's not gonna be live but the full video will go out onto my punisher channel so you can be able to catch it there Oh Nick yes okay so for sirs awesome and I also have hot for D as well that's basically a a like ocean generator it stands for Houdini ocean something oh I think you have to like apply it to a a plane yeah and it gives you these like super realistic ocean ocean Maps let's see this thing's the best it's free you can up the segments right and you get some really cool like ocean texture here and it's using a displacement map you can turn this up so it's really nice right throw a nice little texture on that and it animates really well - let me see where's the animation on this tie is it time yeah look at that it's so cool I'll see if I can't throw a link to this plug-in into the description of this video after we're done but let's get back to it here we are let's throw our tree in and start texturing this thing alright so I kinda want to go for another concrete vibe all around here so let's get ourselves some concrete textures all right actually you know what before we texture let's light so let's grab an octane daylight system and rotate it down straight 90 boom that's looking cool if you set the if you click the little Sun tab here and set the turbidity to a higher to a higher number that's basically gonna start turning your son into an overcast day so if that goes to five you can start to see you know things are getting smoothed out a little bit you can crank the power and you can see here look look at a look at this render you see how there's no light on the like bottom part of the ceiling if we switch to path tracing it's gonna fill all that stuff in but for the sake of setting up our scene and stuff we can keep that on direct lighting for now let's um let's add an HDRI image so I'm gonna make an octane sky right click it I have hgri link from greyscale gorilla it is the best plug-in for adding HDR eyes quickly to your scene all you have to do is hit the little that little tab here for your environment and click and drag the texture boom into the signal and then now you can launch the browser and look through all of your HDRI images these are all grayscale gorillas HDRI images they are the best I love them they actually later this year they're coming out with a little space HDR I pack and they they hooked it up in the meantime so shout out to to grayscale gorilla there really are the best let's turn off our Sun so we can see what's going on oh come on computer there we go yeah so you can see the HDR I like the space HDR is lighting our scene if we set that to path tracing it'll really get in here and give you a cool super cool look you know we could have a Zen garden in space when it's cool cuz you can like rotate this stuff around you can find the right angle on that wow that's pretty crazy but yeah let's um let's find the right one so we have like some end-of-day HDRI images here this is actually pretty nice going to set my image to linear and you can rotate this around to give you the right lighting you want and kind of get like a center center lighting like that and you want to combine this with your sunlight right so let's change the turbidity back to 2.2 and let's mess with the angle of the Sun so we can like find the best position like that would be pretty sweet right there or something like that it's pretty cool let's go with this for now we can always change it later right now if you want to combine it with your HDRI image you would click little the little daylight tag and scroll down until you see this little checkbox mix sky texture you check that and it's gonna use your sunlight as they like direct source and it's going to use the HDRI image you know - as your sky basically so let's see if we rotate the sky around you can still see how this guy's being used in helping with lighting the scene here and I still want it to be more of an overcast situation so let's take the turbidity of the sky here and set that to like five or something and let's roll with this for now I'm 640 by 360 I'm get a bit more resolution on that how's everybody doing we are making a interior Zen garden space last week I made one and like it turned out really cool and actually you guys liked it a lot but I want to make another one I want to do something a bit more symmetrical with a bit more light involved yeah I don't know if you guys saw the video on corridor crew where we did think it's Valentine's Day Valentine's Day challenge and we had to do make an image in 45 minutes and for some reason my computer blue screen twice it kept crashing and I was only out able to get out an image of like just flowers but you know I I was happy with how it turned out all right so let's start lighting this thing um or texture I'm sorry texturing this thing okay we can do like concrete all around here and well I know we want this little central part here to be like a little water fountain so let's do the water real quick I'm gonna make a glossy material and drop it on there and we'll set the index to zero so it's basically a mirror a reflective mirror and let's grab okay the cylinder that it's on right we'll give it some height segments here so I'll show you guys what I'm talking about I'm sorry not height segments we want let's see what do we want we want to chop this so we want to have different segments coming up to this point and for some reason I don't think this thing a thing you can add with the just the base primitive so we'll hit C make it editable we'll go to our little edge mode here so we're selecting our edges will hit ul I'm sorry we'll hit uh you why is that at the 1k oh yeah KL is the hotkey for that and KL is loop path cut you can go to select and hit loop go to select and hit is it in here somewhere I don't know where it is loop path cut you can also hit shift C and hit loop path cut and it'll be right there KL it's probably under mesh or something anyway if you hit if you click once right here you'll have this little tab up here and you can you know shift around where the cuts gonna be just set it to like 50% and start adding a bunch of cuts that's good hit enter back to selection mode and that will allow us to hopefully we can zoom in here that is going to allow us to add some displacement to this cylinder and you can't displace the geometry without geometry so that's why we added all those cuts if you hold down shift and drop down your modifiers you can throw a displacer on it and in the displacer if you go to shading and you let's throw some noise on and you can see already that gives us kind of like a lake or a pond look ripples in the water you can take the cylinder hold alt and throw a subdivision surface on it and that'll smooth things out even further right and then you can mess with the displacement so we can you know you can up the contrast so it's a bit more extreme or you could just you know keep the contrast at zero and go to the displacer tab go to object and work the strength down or up a little bit and that's just gonna give you a little bit of texture to the lake or to our pond okay so let's um let's crank that a little bit more actually there you go now you can start to see a little bit of texture in there okay so I think the next thing we need to do is grab like a concrete texture and start to color this thing magnificent Ben welcome I'm glad you're joining us thanks for watching the last tutorial and I'm glad he caught us on his live one ooh what do I think about moonlight I think moonlight would be really nice and we can mess with that we can mess with that once we you know get going you always change the lighting but this is actually a good way for us to you know kind of see where we're going and then we can get more specific more specific you can always back up and change the lighting or change the camera angle so let's get some concrete in here okay um a couple options for concrete you know I have the greyscale gorilla everyday materials collection and that is basically like stuff that's preloaded in that you can you know easily drop into your scene some preset textures that are really nice we can do that or we can go to mega scans which I use all the time mega scans is incredible they have this is perfect man it's a gravestone unfortunately but you know we can throw it in somewhere maybe it's a grave site you know they have the best look these textures are incredible and they're all tile able to alright so you can see how they'll little tile if you guys are trying to do you know carrots just a sea of carrots they got you right here super easy here's another Japanese gravestone oh man it'd be really intense to do like scatter a bunch of Japanese gravestones across like you know the water or something some still pond with a tree maybe that's what we'll do and then we can throw some couple worn soccer balls in their dirty styrofoam anyway okay guys I'm getting carried away I literally go to this website all the time to check all their new stuff we need concrete so let's go to do the concrete tab over here and see what they got stained concrete wall okay okay what else do we have you know we have a lot of good barriers and stuff hmm I'm looking for like concrete slab material something like this that's a bit a bit much though smooth blocks that could be interesting concrete wall we can try this let's give this a shot so I'm gonna log in download that and we will implement it into our scene so give me a second while I download this guy's how's everybody doing are you guys following along making your own scene or you just kind of watching okay so we have our texture that we can use so we'll go in here and we'll start dropping these these different images onto our texture so we have all these different tabs and these tabs make up a texture so let's for example let's go in real close so that you guys can see what each one of these objects or each one of these images is doing to build up the texture so zoom in right about there cool so first off we have the albedo image and that's basically just the color image right and the mapping is off it's hard to tell that the mappings off from this image we're so close but I've just done this so many times that I know the mapping is gonna be off so you can either hit projection here when you have your image selected that you just dropped in or you can drag and drop it the projection and throw it in to the projection it's the same same thing and we're gonna want to set that from mesh UV to box and then that will actually have it so the image isn't stretched in weird ways it's not being stretched to the geometry of the of the shape you have it's just you know the image tiled around you know any serve geometry you have and right now it's looking yeah it's looking pretty good let's let's keep going I'm going to take off the diffuse though so you guys can hopefully see what the normal map and the bump map does so I'm a dragon the normal map and the normal map is basically it's going to make it appear as if the geometry is going up or down like it has extra d2 you know it really doesn't have so we'll put that into the normal tab and you should see here all these streaks and that's because the projection is off so we want to just drag this projection tab into the projection tab for the normal and then you can start to see it takes shape and you know it's a bit it's very subtle here and maybe with YouTube compression it's more difficult to see but let's keep going we have the bump map and the bump map is going to give us you know it's very similar to a normal map a normal map is a bit better in the sense that it pushes and pulls pixels a bit more accurately in a bit it pushes and pulls them left and right as well and up and down I believe the bump map is just a fake artificial texture or face fake artificial detail based on a black and white map so we'll put that projection tab on there and well throw it into the bump tab and then you can see a bit more detail comes through let's put our image back on and you can start to see this concrete wall being built up next up we have the roughness and the specular so roughness determines how light bounces off of the object and we talked about this last time basically my phone here let's see so this phone is zero roughness it's it's a hundred percent reflective right you can see very very detailed reflections in the surface of this phone however the back of the phone is still technically reflective but it's a very rough reflection so that's what the roughness map determines is what things are rough versus what things are not so we'll drag in the roughness map here and we'll pipe in our projection pipe the roughness into roughness and same for specular specular determines like the iPhone screen was reflective right but how reflective do you want it to be that's what the specular determines right and finally like those are the basic building blocks of a texture right there but finally we can use a displacement map and the displacement map is actually pretty cool because it's going to actually push and pull geometry so let's throw that projection tab into projection or into the displacement and with this placement for some reason you can't just put it in there but that's that's because this place when it comes with a couple options so I'm gonna grab this displacement node boom right there and we'll pipe that in and we will pipe that into displacement and already it's hard to tell if things look normal or not well let's grab displacement I'll set the mid level to 0.5 because basically it's saying push everything either up or down and you want it to go evenly from the middle so that's what 0.5 is height of 10 centimeters is fine for now level of detail let's crank that to 4k cuz we can and already like so this should be working but I know it's not because I've run into this issue many times the mapping isn't going to work properly I think it's an octane bug so if we come in here we can see the displacement map right here it's stretched thin even though we told it not to do that because we put the projection tab on there it doesn't work for displacement for some reason so there is a workaround though and you're going to have to basically come in here you're going to have to delete the projection tab for all the images now everything lines up properly and you're going to want to control the way the image is displayed across your geometry from the actual texture you've applied here and you're a little like viewer so it's on this tube this tube lights up so you want this texture right here and it's set to UVW mapping we will take that too it is a tube which is cylindrical so we'll try a cylinder that looks ugly let's try cubic that actually looks normal cubic usually looks normal let's zoom in and you can see here that it's actually looking pretty nice you know you have a lot of nice detail you have these little little like marks where I think maybe that's where they poured the concrete from yeah you know it's very subtle but that's giving you your look that's for your walls and stuff we can do like a reflective concrete floor as well so for that let's just grab you know you can use the same image if you'd like but let's um for the sake of speed here I'm just gonna open up this live DB viewer and that's where I'm going to pull some of the greyscale gorillas everyday materials into the scene because it's very fast how's everybody doing everyone hanging in Caleb I'm working on texturing this semi interior Zen garden yeah you can totally UV map stuff in c40 I don't really know how that's something I need to probably research but um yeah you should be like wrap and unwrap stuff I've just never really dug into that too much alright how's it going everybody displacement Ralph says displacement displacement maps do affect the geometry and get a little funky if you don't give it enough to work with exactly so the enough to work with that he's referring to is the actual geometry so maybe what we need to do is give it more give our tube here more segments to work with so we can give it like 25 cap segments and we'd have to make it editable and then we can come around here hit uy as you AR ùl what we're looking for dang I all the sudden just forgot my shortcuts ul UK what was it called as like loop path yeah okay L kale that's what I was looking for yeah we can come in here just make a whole bunch of cuts boom enter and then now the the displacement should be a bit more detailed also remember from two streams ago we were talking about how no edge is sharp there's no such thing as a sharp edge so all of these edges here are super sharp and technically that is not that's not correct so what we'll do is we'll go to our tube here and we'll bevel those edges and the best way I know to do that is instead of you know selecting your edge and beveling it out like yeah that doesn't work either let's try that again you know instead of beveling out your edge like this normally and baking it in to the geometry I want to try and edit as non-invasive as possible that way if there's ever changes you can make them you hold tube or you select tube hold shift and we will use a bevel modifier when you see how it bevels everything we don't want it to bevel everything that's just you know a waste of geometry so you can use angle right here this little checkbox you hit that and it's gonna say well what's the threshold you know I'll only bevel things that are above the or let's say I'll only bevel things above the 94 degree mark and if you set that below 90 you're only bubbling things above that right there that degree and you can you know say oh I want a subdivision of two on that so it's not just like a solid line and that'll give you a more detailed and realistic scene because light is gonna catch that edge and it's gonna look really nice and you see how it catches the bottom - that's because of our Bottari our bevel modifier and when you will do that - basically all of our edges in the scene here so this this tube here right that we have as our like little pond barrier if you hadn't made your primitive object editable yet you can select it and there's actually a little fill it or fillet I don't know how you one of those one of those is proper you check that box and it's going to actually bake in a little bevel for you and and bacon is actually the wrong word you can turn it off right it's fully editable that's why I try and keep my objects I guess as well editable is the right word try and keep them editable for as long as possible and I try to keep things as clean as possible so you don't want to bake in any geometry that you don't need to bake in I think that's just the personal preference other people might do it differently but I do like this really intense bevel here it rounds it off in a really cool way okay let's continue so alright we need to continue texturing I'm going to grab a concrete texture from the Live DB materials thing so actually if you have octane it comes with live DB and you had you just have materials ready to go already we want non-organic and it looks like they don't have they don't have concrete for some reason maybe it's under one of these Carbon paint cloth glass plastic metal so this is all built into octane but recently I added the everyday materials pack from greyscale gorilla and they have concrete so for the sake of the tutorial I'm just gonna grab one of these and I'll do something pretty pretty reflective so we can catch some cool light let's do this one right here concrete 8 let's download that and it's gonna pop up right down in here and we'll drag that onto the floor cool so we can select that and let's hop out of our camera view and get right up onto this floor here so we can see what's going on yeah that's concrete we'll come in here we'll set all of these images we'll throw a projection tab on them and we just want to clean up the projection we'll set it to box that's going to properly distribute the texture across all that we could set the transform we'll set it we'll set it high and see what we're doing here yeah that looks nice then you're getting your your texturing your detail in there I think 5 was good so let's hop back into our camera and we want this floor to be pretty reflective so if we if we go to index which controls the reflectivity of your material and we set it to 1 it's gonna be Chrome and you can see how that gives like a really cool look right it's a very it's a there's there's there's a roughness image here plugged in so if we unplug that you're gonna see how it's basically just a chrome ground and we don't want quite that but we have our roughness tab that spreads the light across the area which is very very nice and it's a bit a bit reflective so we can start to crank the index back up and right when you get higher than one for some reason the image becomes not really reflective at all eight is about as reflective as one because one is fully chrome right so that means eight is just under fully chrome and then you go down and down and down and I think somewhere around here is nice because it still spreads out the the ground and let's get this barrier system here going let's bring it down along with the plane here and the tree so let's actually start cleaning up some of this stuff so we have our ceiling you guys stay organized here because they'll quickly get out of hand we have our wall ceiling our wall we'll have our floor which yeah we have our floor right here and that the ceiling our wall and our floor we can group that and just call that like foundation and then we have like this pond right so we can select all the stuff in the pond this is our water we have our like I don't know pond wall sure there's a better name for that and then we have our tree it'll drop that and call this pond there's our there's our like island there are trees on and then the rest is like seeing stuff and I actually do group all that the lighting and the camera stuff into a folder called scene that way you can just break everything down here and be as organized as possible so next we want to texture this like barrier that's holding our water in all right let's do mm-hmm let's try the same greyscale gorilla material and I think we can brighten it up so let's come into the node editor and we will drag a color correction node right on that little wire that's connecting that it'll pipe right in automatically and we'll just set the will set the Gama up to like 1.5 or sorry other way around 0.8 it's gonna make it a little bit brighter sweet all right let's work on our island a little bit so instead of a little concrete slab like we have here I kind of want it to actually be oops I kind of want it to actually be like you know a rocky kind of surface so I'm going to actually make a new scene real quick and see what I have in terms of rocks so I'm using mega scans again for the rock stuff and you can go to let's see if you just type in like 3d asset you'll get all their 3d stuff which are is actually like geometry involved it's not just you know image textures and they have a lot of really good stuff as you guys can see and we'll find something like this but you know more of an island shape right so we can narrow down our search and call this 3d asset and look for rocks and already we're kind of getting into the territory here this this is perfect and I think I already own this let me double check yeah I believe I do okay so let's build it real quick and this is super fun because it's like 3d Legos we'll grab boom there it is our rocks right here it's kind of it's very similar but I think it's will work so it comes in this is your geometry I'm hitting n and then B on the keyboard to switch the shading style you can do that up here by going to display you see n B and that's just so you guys can see the geometry of this it's pretty low poly right it doesn't look too good but let's let's build this up this is very exciting I'll do a quick HDRI image just so we can like you know see what this thing looks like sure here we go so in the material we're gonna start adding these images again and I'll do the actual like color image the diffuse image last so let's start with the normal map and we can drag this in and look how much of a difference this makes and I'll store this render buffer and enable the a/b comparison when I throw the normal map in here check this out look at how much detail is added just from the normal map isn't that crazy so this is a way like you are gonna save a lot of memory and a lot of computer juice basically and you're not actually going to have this geometry this detailed geometry modeled in to your model here because this is what we're looking at this is what we're working with right but when you start building these things up you get into super intense detail right here and even if we zoom in like you can look at that it's great let's keep going that's yeah that's just a normal map let's do the bump map real quick where's the bump map here we go drag this guy in and we'll pipe this guy let's uh let's do this again right so we'll save our store the render buffer and we'll throw the bump map in and to see what it's actually doing and you see it's giving us an extra layer of detail across the board here let's keep going let's store again and let's bring in our specular map which determines how reflective this is gonna be like if you want it to be um like a shiny wet rocks you know we can we can crank the specular up a whole bunch that's not making the biggest difference but you can still see a difference here like across the top let's store that again and let's throw in our roughness and again that's determining how the reflection is spread out across your geometry and again not the biggest difference because when you're adding the bump and the normal Maps it kind of spreads the reflection out automatically on its own okay what's next what's next we have I think we can just go with the color here and pipe that guy in and we should be seeing unless unless my computer's gonna crash there it is we should be seeing the actual image there and yeah that's a pile of rocks for sure some mossy rocks but here check this out so you see how the edge of everything here is so there's not a lot of detail in the edges right like usually you'd have a little bit of moss coming up here right and that's what the displacement map is for the displacement map is actually going to shift the geometry of your of your your polygons here so we'll grab in the deepest displacement map and remember again with displacement maps you need this little displacement node because that's how we tweak our settings for this for the displacement map and we'll pipe that into displacement and you can already see how the geometry buffs up you know we'll set the store render and that doesn't look good at all because it's being dispersed by ten centimeters that's a lot I think you only really need one and we'll set the mid level to 0.5 what if we set it to two and then we set our level of detail to 4k because it is a 4k image and you can see I mean obviously there's a big difference there because of the the 10 centimeter deal but let's store the render buffer and let's set our height down to like 0.1 so it's nothing's happening and we'll set our global detail to 256 and you can see look at the geometry across this like moss it's actually being displaced and the edge of this thing it's not very obvious but the edge is somewhat being affected like right in here and this is gonna be a lot more apparent when you're applying a displacement texture to say like a sphere and instead of a perfectly you know a perfect edge it's gonna be Y all jagged like rocks and stuff last quick tip for you guys when you're texturing in octane and I'm sure all the other textures have the same deal let's say you have an image that is black and white only like say your roughness or your bump or your displacement you know or your specular all of those images that are black and white are using a little bit more RAM because they actually let me let me rephrase that all of these images you're using to build up this texture is all taking a little bit of RAM away from your computer and memory away from your computer and slowing a computer down just little bit more now with color there's more information in these color nodes right but when you're bringing in black and white images the octane thinks they're color images and it's using as much data and as much RAM and memory as it would be on a colored image but since these are just black and white images you don't need to be using all that computer juice so all you have to do is select your black and white images go to type and set it to float and that will actually spare your computer a little bit of space and be working just a little bit faster it's that builds up it really builds up when you have a whole bunch of materials Gilbert oh what's up bud this guy gets stomping over the keyboard and then it's over how's everybody doing you guys falling along thanks Alex I appreciate you coming in here man it's super fun for me I love I love making these different scenes and whatnot so thanks for coming by I appreciate all you guys for watching you guys are awesome Gilbert is about four months old he's chillin right now and then he got Teddy who's about three years he's a huge cat he's down there on the ground Oh Gilbert chill but yeah Gilbert's been great he's been such a little bud all right go play all right go play okay so now that we have our rock asset built out let's go ahead and place it in our scene so I'm just gonna copy it move over to our our other scene and paste it there it is right in the middle give it a second it's generating the materials down to the bottom left you can see it thinking yes and Gilbert is adopted from a local Petsmart and we are super glad to adopt that little bud he's great okay let's render our scene and see what we got my first instinct is I think we're gonna need to scale these rocks up they're a little small but we shall see we shall see yeah so let's um get out of camera view and let's let's say you forget to go out get off camera view and you just start you know zooming in here you're like oh no my camera was set and it was perfect if you hit ctrl shift Z that will undo camera moves only then you can get out of camera view and select your rocks hit s and it'll snap to it and let's scale these guys up bring them forward and I think that'll that'll probably do the trick here let's bring them up rotate them a little bit them forward yeah something like something like that yeah that looks really cool so I'll put one in the back and I'll duplicate it and put one in the front something like that and then we got a little island there I I'm not really digging the fact that everything looks black and white even though it's a texture discolor or textured his concrete so I think I think we need to add some color into all this somehow hmm so we could I don't know let's see what's the move on this let's try changing out our hgri image here for something with like a bit of sky you know some clouds I'm just kind of cycling through to see what what is nice aid you guys get a chance to look at that Spotify playlist it's in the it's in the description of this video it's like an ambient playlist I put together for you guys hmm see I still just trying to find the right HDRI image oh that's nice that's pretty cool yeah I like that that's nice and then we'll mess with our camera settings a little bit and put on like a vignette just a little bit and let's get let's get a look on here I really like Kodachrome 25 that has a really nice look to it okay so this tree this tree needs help let's throw we need to texture this thing and it also needs to be a tree so let's let's do tree parameters let's go to tree library okay here we go now we're starting to get something oh they have bamboo that's cool it's a really saturated I wonder if we can grow the bamboo like super tall with forester tree parameters tree size tree grow that's so cool that's amazing I have like yet to really mess with this program trunk parameters segments radius trunk displacement trunks scale oh let's set that back to 50 I swear there's like a size or a height thing on here is it not under tree parameters tree size all right let's see bamboos cool but I'm not really feeling it let's go back to the tree library and see what else we got that's actually pretty cool it definitely needs the palm trees cool but don't really like that vibe that's nice it feels like a bonsai tree that's some let's mess with that so it needs leaves that's for sure so let's go to the e there should be like a leaf tab or something fruit leaves there we go start leaf level leaf multiplier see if this works are there even leaves on this thing I feel like yeah there's leaves on in but not a lot there we go like five was good yeah okay so David man I get his last name wrong all the time David are you or David re EV I think it's um he's octane Jesus David David are you yeah David are you so he um he's incredible he has like some of the best octane cinema4d tutorials of all time honestly it's how I learned how to mess with cinema 4d is because of him his website has an incredible resource that's David are you calm let's see David are you calm and this website is the best if you go to resources he has all these cinema4d octane tutorials if you guys are trying to learn this is the best place to do so and he actually had a tutorial on how to do trees in octane and Forester is how I figured out or David is the one who told me about Forester and here's a little tip so basically let's see if we can't replicate this you see how the light is being blocked by these leaves like the light isn't shining through these leaves and we we want the leaves to have a bit of subsurface scattering to them and subsurface scattering is what happens if you like shine a flashlight behind your ear you're gonna see a bit of you know the veins in your ear or the red the light shining through your ear right or like your finger with the flashlight same deal and you have that with leaves you know they're not made of steel you know the light is gonna get through these leaves somehow and currently with the way octane or with foresters setup you don't get that so how do we do that let's come into our leaf material here and first off we need to convert them to octane materials so you'll select those two and you go to materials convert materials and and select materials again remove unused and that is going to change on on me undo that real quick okay something's not working okay I think I just needed to re-render the scene so again let's go into our leaf material and it is set to diffuse versus glossy and now the leaves also have a bit of highlight to them so we're gonna want to mess with that as well we want to combine a reflective leaf that is transparent but first we'll start with the transparency because you can only do with a diffuse material you don't have the option to make things shiny and in a glossy or shiny material you don't have the option to make things transparent like with subsurface scattering so we're gonna start with the subsurface scattering first and that is under transmission it's set to black and it's set to zero and hopefully if we crank this number up you should see the light start to pass through these leaves there you go yeah the light is starting to get through these leaves and if we set this to kind of like a green color and I'll just tab to the leaf color there you can start to see them you know dispersing that kind of that light the light is passing through the leaves like that now you set that to a brighter color and they're gonna you know they're going to disperse that hue of color there so that looks nice but we also want them to be reflective as well we want them to catch the sunlight so what we'll do is make a mix material we're gonna combine both so let's copy if you hold ctrl and drag you'll make a copy of that leaf and let's switch it to instead of a diffuse material we're gonna switch it to a glossy material and let's apply this glossy material and real quick let's do comparison so we'll store the render buffer here and we'll drag our leaf onto our tree and you should see here it should update oh why are we not seeing a difference maybe have to read render the scene there you go okay so this is this like greener leaf is the sunlight passing through our leaves and this darker leaf is our original leaf but with kind of like a highlight a specular highlight on it so you guys can see the difference there let's compare store this render buffer and let's start to crank up the specular so roughness will disperse the reflection so let's crank the roughness and see if we can't get a highlight on these things and I'm failing to you right now let's say we set this leaf to like really reflective maybe bring the roughness down a little bit and this all could be determined too unlike the angle of the Sun so for instance the tree might catch more of a reflection from a certain angle and actually you guys can see it there yeah you can see how the it's catching that reflection there that's what we're going for so we want to combine these two leaves and we'll do that using a mixed material so if you go to materials make a mixed material and it's going to give you material one and material two we'll drag those into that slot there and it's going to on by default makes them half in half and we just need to replace our leaf on the tree with the mixed material leaf and then we can see here how we have more of a just a better looking leaf so let's rerender our scene there you go so this is our leaf looking looking now with our updates and this is just the specular version let me see if I can just do like a before and after here for you guys so I'll duplicate the leaf let's turn this off and put this leaf on here render the scene how's everybody doing right now you guys hanging in there Vegard I I mix you ask a good question he says do you make the models yourself or do you use something like a preset or a mix of both of them when you're making stuff and the answer is both I recognize that it was actually something I learned very recently and I've heard Ian Hubert say this as well as blender guru and they both have the opinion that if you're making a scene like a big scene like we're doing right now it is a combination of a lot of different objects you know we have a pond we have a tree we have you know the the the foundation the walls and everything and this is a very simple example but basically you're not you're not showing that you can make a tree you're not modeling a tree and saying I made this tree you're you're showing a scene that you can compose right so there's no harm and downloading a tree or there's no harm and downloading you know even a person or any model you want there's no harm in downloading in that any of that stuff and people make money through asset packs and whatnot and you bring them all together to make your final image and you know unless you're saying you know I put all this time into modeling this house and bam here's this house I modeled like that's awesome you can certainly do that and that's what we did the last couple streams with that tank right we model the whole tank together and I love modeling so I'm going to be doing it anyway you know but if it's something more specific and unique you might have to model it but if it's something like a bicycle or a car you can download those things very easily and just use them in your scene and get going very quickly so it looks like cinema is crashing again so let's let's try this one more time we'll the 87 says that the ambien tracks make him sleepy I don't know yeah I guess they inspire me more so than put me to sleep and I do listen to them when I go to bed but I love writing and I love directing and I love coming with ideas I love coming up with scenes and the ambient music helps me and inspires me to come up with more scenes and you know it helps me see something in my head the music helps me see something in my head and then eventually I can you know put it out either whether it's on paper or in 3d so yeah that's that's that's why I love that hammy music it's very cinematic okay so it crashed and we're going to have to remake that leaf but I'll do it in two seconds here I really appreciate you guys really do thank you so much I hope that you guys are learning stuff I hope we're learning stuff together please use that discord server join the discord server the link to it is in the description of this stream hop on there and let's just start talking about all the different tutorials we want to see because I'll be here every Saturday from 12:00 to 2:30 doing something cool and new so let's remake this leaf real quick it's gonna be super fast so as a recap all right because you got to do things more than once if you want to learn something we have we're gonna mix two leaves together we want a glassy leaf and a leaf that has light passing through it so the first one will do is the leaf that has light passing through it it's a diffuse material in octane so we're gonna go to the transmission tab and actually that's already set up for us we just crank this float texture up and we set the color to green next thing we're going to want to do is go to duplicate that we're gonna want to go to the basic tab and set it to glossy set it to colossi and we can crank the roughness just a little bit right and we will up the index a little bit as well okay like 1.33 or something and then you use a mixed material to combine those so you can go to material mix material and you guys actually noticed that I have like a little tab here of all the go to octane things that I use and you can make this anything you want in cinema but I've said it's just like an octane tab so I can click these buttons and make new things down here and actually the way you do that it's pretty simple you go to window and you'll go to customize and I believe there is a new palette thing here that you can pull and you should be able to just click and drag this anywhere you want and basically you drop it in there it'll make a fresh tab and then you can you know as you're going through here you wanna have youth yeah sorry getting all mixed up here you can grab anything you want click and drag it and put it into say we look something up with shift C and you just want like a bevel tool you can click and drag that and it'll be placed you see that little white line it'll be placed right up in there and now you will have the bevel tool because you use it a lot as a button right there okay so let's throw our two leaves into our mix material and then let's throw the mixed material onto our tree and then we should be in business so let's wrap this scene up you oh man okay so Mathias actually is a good point you say he says maybe add some plants growing in from the outside of the hole and maybe some green stains on the wall from top down like water flowed into the pool from above that's really nice it's a really really really good idea yeah have some ivy hanging from like this concrete up here would be sweet so that can certainly be done I don't know if we're gonna have time in the stream to do all that but we'll try so you guys can see like the light is being picked up here on this tree a bit better we can go into the leaf with transmission and crank that a little further and that'll kind of brighten up the leaves a bit more all right so our rocks have turned black that's because we just need to relink those materials sometimes that happens you can easily do that by just dragging and dropping the images onto these little image tabs here and everything will be reloaded pretty easily but yeah sometimes that happens if you crave if it crashes or if you close it without saving or something or you know I honestly don't really know why it happens I it's how it happens to me a lot but yeah I'm just really in real inking all of these guys so it's so hard to tell where all of these okay there you go then we have displacement and finally Roughness I believe yeah alright and you can see the leaves are back and the rocks are back alright continuing on here let's just change the light a little bit and let's see about adding some fog because that certainly spices things up so there's a lot of different ways to add fog in cinema 4d one way is to select your octane daylight system and it's actually the little tab here go to medium and hit add fog and you'll see it uh appear down here and when you change the medium radius it'll start to change how your fog how the light in the fog work together so that is there's like a threshold here where the thought is the fog is so thick you can't see anything you can see how the fog is like blocking the Sun here that's pretty cool we have path tracing is gonna be what you want for fog let's see so absorption yeah said it's like just off-white and then scattering is just a little bit darker than that and I'm honestly just messing with these settings to see what works Wow let's stick hmm so that's one way okay you can uncheck that to go back to normal and if we add an octane fog volume this will start to crunch your system pretty intensely but if you play it smart you should be alright so basically the voxel size editor let's crank that to a hundred and you'll see how in the viewport you basically get these like little little sheets right to display what the fog is doing and looking like if you set it to 5 it is well let's save because it might crash our system if you set it to a really little number you see how this is gonna crank up really intensely yeah if you said that to one you're gonna explode so don't do that I'll set it to 100 stretch it out stretch it out bring it down and let's make it taller and now we have a layer of fog inside of our little tree dome and in the viewport it's gone completely black because if you go to medium and you go into this little window here you have your absorption in your scattering you're gonna want to set your density down to like one and even one is intense so try point one and even point one is intense so let's bring the fog down into the room so we're all like everyone's in here together right let's um crank the scattering phase because that'll allow the light to like filter in through the fog a bit more in a direct way so as you crank that up let's try let us try taking the absorption up to let go white like that yep so this the absorption should be a little bit brighter than the scattering and you can see how that's looking a little foggy and if we crank the sunlight settings let's go power of three you can see how that kind of like starts to filter in then from here let's tweak the volume let's go like 0.05 so it comes down a little bit and it's very subtle it's a very subtle thing so I'll you know I feel like that's as far as we'd want to go so I'll uncheck that just so we can get back to dealing with our image and we'll take the sunlight settings down to again um yeah let's see if we can't get some Ivy hanging down from from the outside or maybe just something like maybe we maybe download some of those some of those gravestones from mega scans and put them and line them you know around this thing here it could be interesting or we could do different plants and stuff so let's try that since I already have some plants loaded up pretty quick let's get out of a cane camera view come back here and let's basically set the area where we want to grow the plants so we'll do let's go back into camera view and see we basically needed to go from this point here all the way around at this point there so let's do like from here to there will select this tube that has the geometry where we're going to be wanting to plant the plants on so that's in our foundation our ceiling we'll go to the polygon mode and let's just select like let's select all of all of the whole top piece a quick way to do that would be to select everything control a go into our side view and then deselect everything except well deselect everything except for the little top bit maybe hold control and go to point mode and just get rid of all those points so now we just have that top chunk of points selected hold ctrl again and when you when you when you're holding ctrl and switching between these different modes you're grabbing it's basically saying oh I have all these polygons selected but what if I want to select all those points hold ctrl select points and then all those points will be selected but let's go to polygon holding ctrl and if you hit you P on the keyboard that will break off those polygons into a new little piece of geometry so you can see here how we broke off oh sorry hang on one sec you guys can see here how we broke off just that little ring because that's where we're gonna want the plants to be growing on is right here so let's bring it back down where it was and we're gonna use something called octane scatter and it's going to scatter a certain thing across the surface of any geometry we want we want and in this case it's going to be what we just made right here so let's call this we'll just call that soil because that's gonna be growing our plants all right we'll call it plant ring and now if you don't have octane you can also do this with cinema's cloner so let's do it with that first just show you guys let's just make a cube bring it up scale down a little bit and that'll be like a place holder for our plants you guys get an idea of how this works so basically you're gonna want to clone this cube right so if you hold down alt with the cube selected and go to mograph and hit cloner that's going to clone our cube and the alt thing by the way when you hold alt that's just automatically putting this cube as a child of the cloner here so you can see how the cloner it's a linear cloner and we're just going by three right so your count is three we can set it to five and it's a linear cloner you see the mode right here we want to set it to object which means we're going to clone across an object and looking for an object right here so all we'll do is grab our plant ring I'll delete the bevel on that we'll grab our plant ring drag it into the object there and you can see how they're distributed across you know this area here and if you crank up that number to like 200 you can see how it's distributed distributed across that and we go back into our camera view and you can see if all of these were plants would be pretty cool looking now you can do a cool thing where actually there's a little check box for enable scaling that's fun I guess it scales them all proportionally but if you want to mix things up a little bit um and make things a bit more random you can do something pretty cool select your cloner go to mograph effector and make a random effector where is it there it is and that randomly moves around all of these objects you have in your cloner and by default it has the position affected by 50 centimeters across the XY and Z so we can uncheck that because they're already randomized but the thing I'm seeing is like rotation and scale so what if you want your plants to be a little bit bigger but some of them also smaller check scale and now you have options you can scale it by 2 right so some of them scale up by 2 some of them scaled down by 2 you can do the same across all these different you know at your at your XY and z coordinates and that's actually a cool way to get you some really cool like Griebel textures there let's go back see what we're doing if you want to scale it uniformly which let's say you have a model of a plant and you don't want to stretch it in a way that seems abnormal you can hit uniform scale and uniform scale will just scale everything up or down uniformly right so you can have some plants that are a little bit bigger some plants that are a little bit smaller right absolute scale what does that do absolute scale I believe scales things up only if you have absolute scale unchecked it'll scale things down so I like that and then lastly rotation check rotation and this one I love because you know it affects rotation and it just has a really cool look to it some plants might be going that way some plants might be going that way and some plants are spun all around like that and that'll really give you a natural look when you drop plants in there as opposed to a cube so let me drop some plants in here and see what happens hmm castor oil plants we have dry grass we have dry plants Paspalum these are all words I have no idea I don't know plant names here let's try that and see what we have okay so these plants are models I'm going to need to grab these really quick also from mega scans so if you just type in plant you get you know a whole bunch of different plants you can use and that's what I'm sourcing from for this let's see let's see okay two seconds so I'll pull these plants up oh snap we got ivy we got creeper ivy yes what does that look like okay wonderful yeah so I got some cool Ivy stuff here so basically we will drag this down and you have look at look at this right so this doesn't mean anything this is just a bunch of polygons right but let's build this out real quick we'll throw that down we will render our scene all right that looks like a bunch of nothing and let's just start dragging those pictures onto here and you'll see how quickly this will transform is gonna be awesome so let's see okay so here is our color image and we also have an opacity image and the opacity is really what's going to make this see that looks awesome there it is see how see like how the the opacity totally makes this it's just chipping away at the bits that aren't the leaf right and keeping just the leaf so let's keep let's do our normal our roughness and our bump here so we have our roughness that goes there into the roughness tab we have our normal which gives us a bit more detail in the leaf and then we have our bump which gives us also more detail in the leaf okay so we have that let's actually make this thing a bit shinier okay and let's now that we have our material set up we can actually start dragging and dropping different versions here of these leaves because the pack comes with like 12 different versions same texture works for each one of these and we can do like one more maybe two more which will give us a bit of randomness to all of this yep so just applying the same material and you can see how you get like a lot of cool variation here let's go one last one great sweet okay so I think all these need to be flipped around like that and we'll go through each one of these and it looks like the anchor point is set pretty normally so let's copy all of these into our scene and this will actually be spread across instead of the top like we originally planned they're gonna be spread across the wall so let's go back to our ceiling and let's just select like this little bit here and what you pee again and that will be the bit we copy all of these plants across so we'll re update and we'll call this ivy ring and we'll go to our cloner and instead of let's see instead of the plant ring we are going to drag the ivy ring and you can see how that automatically updates this is like my favorite part I love scattering things and randomizing their position everyone following along we're almost done here Oh Scott what's up dude hey man thanks for joining Scott is an old old old old friend of mine it's actually how I got my name pony sure is because we all we all had this like wrestling this wrestling company after high school where we would get together and just wrestle and it's how I got a scar on my eye this cuz Scott actually had me in a headlock and I he let go and I flew into the corner of a door I'm like bounce off the door so we went hard definitely and everyone had their names we were all really into peer ownage at the time so everyone's name had the word pone in it and I think Scott was the Grandmaster pone and I was the pone sure so welcome dude I think you been what the Marines or the army since and that like it's been his thing but dude I really appreciate you coming down and checking this thing out it's super nerdy just nerding out on cinema4d here so let's replace these cubes with the plants instead so all you have to do is instead of the cube in the cloner you just need to drag these plants into the cloner and they should update let's just delete the cubes and already it's not looking good so how do we fix this let's turn off the randomizer and just see what we're cloning here I'm gonna take the ivy ring and scale it down because maybe okay let's um let's hide the ivy ring and there we go I think now we're getting something so I hid the ivy ring from the renderer by hitting these little buttons right here there's these two buttons and what you can do is either you can click the the first time you click one of these buttons that means it's going to be visible in your renderer or visible to you and then with the second time you click it it's going to turn red and say I don't want to see it now there's two buttons the first one is for viewport and the second one is for a renderer so if I did the first one it's green it's gonna say the same if I hit it red it's gonna go away and disappear for my viewport which I'm actually cool with and you want to do the same in the renderer that's one way of doing it you can also right-click and set it give it an octane object tag ID and go to visibility and say camera visible and it'll also be turned off that way as well but it looks like when you turn it back on with the ID you look at the shadows so you might want to say shadow visibility off as well okay so they look a little small so I think what we can do is scale them up if you select all of them here hit T and scale yep it looks like they're scaling properly that's nice we want them to be connected to the wall so let's go to the ivy ring and scale it up until they're just touching the wall like that it's nice and then let's go to our randomizer let's turn it on and go to the rotation and uncheck the rotation the scale is fine it's scaling things up and down I think that's okay let's set it to 0.25 instead of 5 and for the rotation let's zero all these things and you only want to rotate on the z-axis I believe yeah so there they can be swiveling left and right by like 5 degrees or something nothing too crazy let's go back to the camera view and it's looking like we're getting some weird stuff on the right and left side what is that yeah what is going on there oh we need to turn off the IV ring in the renderer okay so that looks normal they look a little small and patchy we need a lot more so let's select the IV let's scale the IV up like this oh and that's like dripping down I like that that is awesome okay and then if you want to move the position of these things you can use the IV ring like that let's rotate it a little bit that is super cool let's um let's add a lot more so basically what you're gonna want to do o scaling it down adds does what we need it to do you might want to hand place some of them you know so that they're kind of like drooping over the edge as opposed to just hanging like that but I do like you know this kind of movement here where they're dripping down in the foreground so let's um actually scale up the IV ring the thing that the IV is being scattered across we're gonna scale up that geometry just on the y-axis so it's getting taller so that's gonna push the IV up a bit alright and if you go to the cloner you can add a lot more so instead of 200 let's go 300 and I think you just need to kind of like push and pull some of these a little bit because you would want like a top piece that is totally connected to the top you like it wouldn't make sense for Ivy to be just hanging like this without having been like drooped over the side so you know what I'm kind of feeling like it'd be cool to change out the ground for an actual forest floor I think that could be awesome and you and honestly um yeah there's a lot of cool stuff you could do here um we could probably change out this tree for tree with like pink leaves or something like a cherry blossom tree to get more contrast here because the the IB is kind of bleeding into the tree and the trees bleeding into the ivy so we could switch out the tree for something a bit brighter let's try uh let's go to our tree library yeah like what is this one it looks pink here in the in the viewport but it's not showing up oh there we go that is awesome leaves we can maybe change the leaf color let's try and do that I think we can just go in here select both of these leaves if you have them both selected they both have defuse tabs so you can probably throw in a RGB or now color correction let's see yeah color correction and go into that and change the hue and that should start shifting the colors around and the gamma can go or we can take the brightness up to like to saturation with the saturation goes to zero the brightness goes or the gamma goes to like 0.5 and you have like a white you have white leaves here it's actually pretty cool let's make them pink so let's take the saturation to like 0.5 or something she's got to get the humor right so I'm looking down here okay there we go there's a red leaf we'll take the saturation 0.5 and the gamma to like 0.5 as well and that'll start to get us kind of a pink leaf 0.35 and we can change out the back ground for let's see maybe something more overcast or a night scene like this oh that's weird well that's pretty crazy interesting interesting I really appreciate you guys stopping by and I'm glad that you guys are learning stuff from this it's really cool so I'm just trying to get the lighting right and I can mess with this for so long but that's looking pretty good if we want to fix this top row we can make another strip of polygons here across the top and do another round of cloners that just deals with the top ring so let's try that real quick so we'll select our IV ring let's check it out in a viewport let's hold ctrl and scale it up we can hit T to scale it down and we'll line it up just so that it's just on the little top piece let's crunch it down even more so these the IV has no choice but to spawn really just right there on the top we will let's see so that's our top ring we'll call it top ring let's duplicate our cloner first let's turn it off before we duplicate it because we don't to get too crazy let's control drag it will rename these two IV cloner and then we'll call this top IV cloner and we'll tell the top IV cloner to reference top ring here and let's let's turn it on and see what we got [Music] and there you go you can see how the IV is coming from the top and drooping down that's what we want and then now when we turn on our other IV cloner you can really see that stuff droop down like that I think it's awesome really good idea I forget who it was but thank you as an awesome idea oh what's up Eli sup Eli turn those some c40 Eli's another really good friend of mine is uh if it wasn't for Eli I probably would have no muscle mass on my body so Eli taught me how to do that he also works with black rifle coffee guys and yeah just all-around good dude you joined the army because he wanted to be like Solid Snake I am I've been there yeah never joined the army but I've had that feeling for sure it's one of my favorite games ever um alright this is pretty sweet like you know we can keep going we could put lights in the water we could do a lot of cool stuff but at this point we're at two and a half hours I gotta take Gilbert to the vet so I'm gonna keep working on this during this week I'll post it you'll see it on my Instagram follow me @ underscore punisher underscore on instagram if you want to see this image taken to the max let's see join the discord server it's in the description of this video you guys can talk about anything cg we can leave any comments or recommendations on what tutorials we want to do next and i would really really really like to release an asset pack for you guys so that we can you know we can learn how to maybe we can learn how to make an asset pack together but in the meantime if you guys want to help support me i do have a website where I have all my photography from around the world been to Ireland Japan Shanghai Taiwan Indonesia all around California a lot of its film photography and digital photography I got the store up try to get the prices as low as I can for you guys the prints are high-quality archival prints they never fade they really really nice yeah I got cool photos from all around the world so if you guys are feeling feeling helpful then this is a good place to go to and you know we can help support each other and whatnot so until next time guys thank you so much don't forget also there's the playlists for the ambient ambient Spotify playlist in the description for this video but yeah um let's keep going let's make it an awesome zen garden scene I hope to see your guys's tag me on Instagram again that's underscore punisher underscore and yeah keep learning keep growing and i'll see you guys next time peace

Channel: pwnisher

Views: 20,007

Keywords: vfx, visual effects, 3d, modelling, blender, cinema4d, maya, 3dsmax, octane, arnold, education, tutorial, stream, pwnisher, corridor, tank, castle in the sky, studio ghibli, hayao miyazaki, texture

Id: UX5pX2kJGUk

Length: 157min 43sec (9463 seconds)

Published: Sat Feb 15 2020