Create a Moody Underwater Scene from Scratch [Cinema4D + Octane]

good afternoon everybody how is everybody doing thanks for joining the stream here yeah we're doing it here it's raining in LA right now I love the rain it's very very peaceful today so there's a couple announcements while everybody's still rolling in here so the discord channel here is actually taking a little step up here because we got so Demonte as a moderator and he's helping out you know organizing this discord chat and making it awesome and really taking it to the next level here I don't know much about discord and this is my first time actually making a discord channel so I just want to give a sudden want a a shout out here and say thank you so much for stepping up and you know helping helping this go to the next level here because it's really gonna help bring everybody together you know in a fun and organized way so I think that's super cool thanks so much man yeah we're working at it we got some fa Q's going on here we got some rules going we're gonna organize these chat rooms here so if you have cinema4d specific conversations or blender specific conversations we can talk about all that stuff you know in a more organized way we got some emojis coming yeah it's gonna be awesome it's gonna be super sweet so thank you so Demonte for doing that guys I must admit I have no idea what we're gonna do today like for the first time maybe the second time have absolutely no idea what's gonna go down on this stream right now so you know obviously I got cinema 4d open right here and we're gonna make something I know that some of you guys had asked about lighting in the stream suggestions or rather tutorial suggestions a little bit here on the discord and you know some of you asked about lighting and how to light well with spotlights and area lights you know we can certainly talk about that it's no problem but I'd like to ask you guys here who are here live right now what do you guys want to learn today what do you guys want to talk about it is pretty much open we're gonna go for the next two and a half hours or so and we can do whatever we want so let me hear it guys what do y'all want to learn and also really cool that you guys are visiting this livestream from all over the globe we have someone in what is it South Africa someone from let's see where y'all from Austin Austin you still live in Atlanta we got South Africa what else we got guys we got Spain well hopefully everyone's staying staying safe out there because you know the coronavirus is going crazy over the last week or so so hopefully everybody's feeling good inside ready to learn we got Pakistan Argentina Croatia oh my goodness this is awesome India Virginia Portugal Sweden Spain Las Vegas Mexico this is awesome what a this is an international group here Germany Brazil Poland Palestine Palestine Palestine another India Trinidad dang this is cool this is really cool all right so what do you guys want to learn here underwater scene potentially an underwater scene okay hmm play with some dynamics connectors Springs motors that's always fun let's see what else y'all what else what should we do give me give me some suggestions here drawing an octopus making an underwater scene okay hmm I've never done an underwater scene it'd be interesting it could be very interesting actually okay we got fluid simulations octane tune shader [Music] what else y'all what else an exploding head ooh I'd be rough keep the ideas coming okay Athens the lost city a sunken city an abandoned train station I'm always down for abandoned train stations volumetric underwater lights let's see something that shows my sick texturing skills okay I do love texturing I really really do love texturing hmm-hmm-hmm projection mapping on a track shot with some ground shatter oh that's classic one it's actually a really good idea car on the forest road painted train station a shipwreck what can we do in two and a half hours I think we could certainly set up an underwater scene in two and a half hours you know some like coral reef business going on some central subject in the middle some floating something or some like half buried something in the sand with like a nice spotlight shining down on the subject maybe I think that's probably the best bet so far rain scene with abandoned places ah I am a sucker for abandoned stuff in the rain hmm train station but there's a boat instead of a train oh my goodness that's pretty funny yeah just like a an old pirate ship coming through the subway it'd be awesome coronavirus what would the corona buy my girlfriend says no I was thinking about something coronavirus related like someone in a hazmat suit walking through empty streets or something but that might take a little longer than two and half hours Jay quar thank you thank you for joining I'm glad you're able to catch one as well I have no idea what we're doing today but we're gonna do something and we're trying to figure that out right now we have a an underwater scene with volumetric lighting with some like coral and some subject in the middle or something might not be bad okay I'm gonna go with the underwater scene for now I think that's a good idea so if I were to sketch something out yeah let's let's get something out let's open up Photoshop real quick and see what we can do here I want to keep it simple but it'd be cool to tackle the volumetric lighting to eat you that underwater kind of feel you know we can talk about some sort of like spotlight down on a central subject and we can use like cinema 4d scatter or octane scatter for coral and stuff and maybe some fish in there okay let's actually let's try this again let's go 4,500 what's going on here what Oh 4,500 by 3k and just a random like quick tip so I learned through a very very skilled photographer someone I look up to very much that was his name's actually marketed word Harris he's a fantastic photographer I actually did a podcast with him on the corridor podcast and he I took his class at Sammie's camera and one of the things I learned from that class was as a photographer you want to keep your aspect ratios the same throughout your portfolio right you don't want different aspect ratios it just doesn't look as good so I took that and I ran with it and basically everything I post on my Instagram is it's all photography at this point it used to be lifestyle stuff and just ran them whatever but all of the photography is a 3 by 2 ratio so that's why I just did a 3 by 2 scene right here recently I've done some like 16:9 widescreen shots but other than that it's usually on the 3:2 aspect ratio so if you guys are looking to keep your portfolio clean try and keep your aspect ratio of all of your images the same and it look nice and nice and clean hello from Kazakhstan gooo view welcome ok what does the underwater scene gonna look like currently I'm using my my mouse right now because the latest software update on the little pen tablet kind of jacked it up so let's figure this out so we definitely want it to be let's see you know something something like this maybe and in the middle there will be something here I don't know what yet maybe it's like a sword or something or in the sand I I don't know but basically we're gonna want to have a large like volumetric light come down from the heavens and light our scene that's not right and light the scene here so I'm just doing a sketch it's rare that I do this but in this case you know this makes sense basically something like this with maybe it's very plain it's very plain we could have like scattered throughout like a bunch of like you know coral reef stuff going on in the foreground this is supposed to be coral guys I don't really know what coral looks like right now just kind of like sea grass in the foreground maybe there's like steps leading up to this or something you know and I'm certainly open to all of your guy's suggestions here so I will be reading the comments to see you know what y'all are suggesting for this image but muskrat Mike welcome he has a question just curious about people how are our people handling situation what does corridor digital stance what actions you guys taking for all what's going on again weird question not a weird question I think it's relevant question so in LA you have different different businesses closing down people working from home and whatnot so today is obviously Saturday this kind of went down all this week half of the guys were in San Antonio filming so Monday come Monday we're gonna actually figure out what we're gonna do if we're gonna work from home for each or if we're just gonna stay working at work it's a very small group so we'll see but yeah I mean like there's a lot of a lot of people rushing to the grocery store and cleaning out the shelves they're at a chicken we try to get some chicken or out of that out of toilet paper and you can definitely tell that like people aren't really going outside I've been going out but maybe this next week we'll see we still we'll see how things progress but uh yeah now they shut down the NBA I was supposed to go to a basketball game on Monday first basketball game I've ever been to or would have ever been to and they closed that down so that's a bummer but it's all for the best so yeah we'll see how it goes down hopefully all you guys are alright and what kind of vibes are going on for this stream guys we're making an underwater sequence today we're talking about volumetric lighting and how to get that like foggy you know that foggy lighting or you know volume it's volumetric lighting it's basically lighting through fog you have where you can see the light you can see the shape of the light shining down on your subject so we're gonna be doing a little bit of that and I've never done an underwater scene before so this will be interesting we're gonna have some stone steps here with some sort of you know subject in the middle I don't know if it's gonna be a statue or a sword or a robot maybe or something I have no idea there'll be some coral in the foreground and then as far as the background goes I'm not quite sure yet maybe some like rocks or something but we'll see yeah we shall see and yeah um yeah let's just jump let's just jump in let us jump in so this is basically it you know I think we can start setting this thing up so the first thing I'm gonna want to do is set my ground here we have like a little sandy sandy patches here and then I'm gonna want to find this like this pillar here that our subject will sit on top of so let's see if we can't find that on mega scans dot-com it's my go-to website for anything 3d they have the highest quality you can always count on the quality with this place over at this site oh man they came out with some sandbag barriers yes oh man these guys the best so I'm just gonna do a quick search under 3d assets for let's see I'm gonna do a quick su some chains would be cool maybe let's do a search for stairs if they have anything like circular that would be nice is this it that's it well shoot okay maybe what we'll do is make our own stairs maybe let's take another look I bet you they have something like this is kind of in the vibe some old ruins putting a statue up here would be pretty sweet alright we're kind of getting into the zone here with this right here well let's keep going and see what they have yeah let's follow Sun amante's advice here and just search for pillar hmmm I think this guy would be a good start because we can actually duplicate this a couple times so I'm gonna log in and download this and then let's um let's set up our our our ground plane so we'll grab a texture for sand and then we'll start to we'll lay our camera down and we'll lay this pillar down and start to get a feel for like the overall general feel of the setup and the goal here is to start as general as possible and then work our way into the detail so we want to get the lighting down we want to get the feel down and then we'll start doing the micro stuff um and you know every stream I got a shout out the playlist here so I put together like a ambient playlist for you guys it's in the description of this video right now it's a Spotify playlist you can that's what I'm listening to right now on the little bone phones right here and it's just super peaceful music to do some VFX too and hang out so while I download this you guys can check that out alright sweet okay let's bring this model in and you get prompted with this dialog box when you bring in any new model and usually all this default stuff is pretty good here but what I'll do and what I want to make sure of is that the up axis is set to Y and sometimes that'll change depending on the model you bring in and sometimes that'll change depending on the program you're in so you just want to make sure that the up axis for the program you're in is is correct and the model will come in correctly and it'll look nice so we'll load that here render our scene and you know we've done this a million times before I'm gonna make an octane glossy material drag and drop it on the model here and we're gonna go in and you know drop our pictures into the appropriate channels here so we have a diffuse pass we have a normal map and a roughness map and that should be good for what we're doing here I don't think we're going to need much more so there's our diffuse in our normal and normals going to give you all that good detail and our roughness which controls the amount or how how spread out the reflection is of your object here yeah there it is we could go one more step and let's just do that for the sake of this thing yeah and drag in our displacement map here and that is going to actually physically displace the geometry of this model so if you look here on the corner and when we put the place displacement map on we should get some extra detail boom now it looks all chunky and gross there so we didn't need to change our settings first I'm gonna set the mid level to 0.5 and that basically evens out what what geometry gets pushed up and what geometry gets pushed down it's gonna it's gonna happen from the midpoint so you'll get something like this versus like you know everything going like this and then we'll do height let's just sit at the point want to see what that looks like okay and we'll set it to set it to 5 centimeters and let's take the level of detail up to like 4 K and that should give us some more detail and you'll see if I take this on and off we will store the render buffer and let's take that back up to 5 centimeters you guys can see the difference in detail that it gets us so that's physically displacing the geometry of this model and it looks a lot better to me cool so we'll save this and let's make a new scene we can turn off the comparison there and let's let's lay out our ground plane here so there's a whole bunch of different ways that you guys can do that in whatever program you're using whether it be cinema 4d or blender or 3ds max or Maya yeah appreciate you guys appreciate you guys coming into the stream here for any of those people who who are just joining we are making an underground or not an underground we're making an underwater scene here something something like this with like a little pedestal in the middle with a sword or some sort of subject with some like foggy volumetric lighting coming down onto the subject that's what we're doing today so let's set our ground plane up and make sure our scale is right so I'm gonna spawn just a figure here and in c4d the figure the height is basically a little under two meters so this person is basically already set to an average height so that it gives me a good sense of what the scale is gonna be and we'll put them as the subject for now let's hold down the little cube box here and these are all of our primitives in cinema 4d and if we go over to the bottom right and you see the landscape we can do some really cool stuff with this now certainly you can do this with a plane and and displacement maps but um like noise maps and whatnot but this is actually a really cool way to control our ground plane here we can scale this way up so if I go to the top left here and I select a little model box here I can use these uh these little points here and push and pull and stretch the geometry so let's just do this let's make it pretty large and we'll want our camera to be somewhere you know here-ish lined up and centered if we make it like a let's see select our camera let's go with just like a 50 let's render our scene okay obviously we're not underwater we are in some sort of stairwell here so ctrl shift Z to undo camera moves if you guys ever get stuck in cinema 4d let us save our scene because that's the most important thing here don't want to lose our work okay so before we texture the ground let's see if we can't get the lighting right so let's see here for whatever reason I'm kind of feeling like taking the ground plane and kind of just curling it up on the sides so I'm gonna hop out of the camera view here and see if we can't use a bend modifier to do that so I'm gonna hold down shift with the landscape selected and Bend is actually the first thing we see here and I've never had luck with this thing like I'm I'm very confused when I use it so maybe whoa that's crazy okay so it's pulling our it's bending it wow that's actually pretty cool that looks like a crazy wave or something if you gave it like a water texture it's awesome anyway I basically want to like talk oh this thing you know so let's give it a little bit of that and I think there's a way to like there it is yeah to rotate the modifier so we'll go 90 degrees on that and you see how it's there it is it's kind of bending this thing will go to 90 degrees the angle will keep at zero and then we will rotate this another is it gonna work like that 45 degrees I'm gonna undo that let's say um let's crank up the settings there it is there it is so I just cranked I believe the y-axis for the bend and that's going to give us like a nice nice curve there [Music] I mean if you take landscape and then rotate it 45 degrees your object coordinates here landscape coordinates and we rotate it on the right axis I'll find the right one eventually negative 45 degrees and that way it kind of lines up so now what we need to do is just let's Center the axis on this thing so we can have better control over it so I'm gonna select the landscape and let's see if this worked it's the center axis to tool that does not work so let's see if the axis Center tool will work instead so I'm gonna click that and you get prompted with this little dialog box and for those of you guys using c40 and you're not gonna be able to find this because this is a custom button I dropped in here if you hit shift C you can type in axis Center and you can either drag it up into here to make a little custom button or just click it maybe at the double-click it yeah you get prompted with this little box basically if you just with default settings I'm gonna hit execute didn't work so let's check the point's center box here and try execute again still not working let's include children and execute still not working let's try use all objects and execute something happened but it wasn't what we wanted so I'm gonna undo that access to object to maybe it's cuz it's not it's not editable that's probably why it's because it's not editable so let's um let's just manually move this guy in place I'm hitting W to bring up the move tool and I'm just gonna position this guy just about just about there and then let's um let's adjust this this ground plane a little bit to give us a bit more detail here so we'll go to object and we'll start messing with some of these segments here let's do width and height width and depth segments let's go 200 so give us a bit more detail let's go a hundred percent on rough and fine furrows gives us a bit more detail scale what does let's scale gonna do interesting sea level okay plateau level so I'm just gonna messing with this stuff to see what see what looks cool see what works let's bring this down a little bit and I'm hitting s to snap whatever I have selected to the viewport I still think it's a little much so let's um take the the furrows down let's go like seventy five 275 fifty fifty can I save the scene maybe we can duplicate the landscape here so I'm holding down ctrl and dragging out let's delete the bend for now go into this new landscape let's hop out of camera view by clicking this little crosshair button and let's see if we can't just like add I'm gonna undo the rotation and let's go let's go 45 in the opposite direction maybe 35 and position it just on the side here and let's use this one and scale this let's see let's scale this up so we have a bit more detail on the sides hop back into camera view and yeah you have a little bit of detail right there and I think it's gonna be nice when we texture it and it's gonna fall off into the fog and i am i think i'm gonna use fog here because that'll give you the same effect as being underwater i believe at least holding down control dragging and then hit our for rotation and just kind of rotate this into position move it back something like that I like that that's that's pretty nice so let's see if we can't get the lighting right cuz that's what we were trying to do I get sidetracked a lot it's gonna happen I promise but let's get this lighting down everybody doing right bone along okay okay so yeah we could use the mesh poly brush and kind of push and pull polygons as needed I'd say that it would be a like a a micro detail right now so we still want to stay as macro as possible as general as possible and then we'll work down into those details but that's a good suggestion you guys have any more questions everybody follow along and do it okay all right so lighting how are we gonna do this let's see I kind of feel like instead of an image it's gonna be more of a color so I'm just gonna start from scratch I'll delete my octane sky and we just have you know it's just gray I'll make a new one in HDRI environment and if you don't have the custom buttons set up basically in your and if you are using octane you can basically go to materials I lied you can go to objects and right here is an HDR I environment and that's what I made right up here and you're basically given two options you have the ability to use an HDRI image which is this like blue half sphere here or on the left if you click that it's gonna give you the option to just do a color so that's what we'll do and we'll make it let's go to Google real quick and let's look up underwater scene and these are a little too bright for my taste you know this is kind of getting into in terms of color kind of the vibe oh but there's that uh what's the like underwater statues this thing this is crazy yeah this is a really interesting look here this is kind of the color I'm going for with like a grayish blue up top and like a turquoise down down below that feels about right to me so let's try and get that nice gradient right there yeah and you see how the detail falls off into the background that's what the fog will kind of do for us and when we shine a light down through here it'll give us a nice volumetric look all right so maybe what we need to do here is set our octane sky to that color and I wonder if you can just use the color picker here I doubt I doubt it's gonna transfer over boom oh my goodness it does ha that's great sweet ok and then let's just make a save and let's take an area light I'm gonna rotate it 90 degrees bring it up top way up top actually I'm gonna get out of camera view zoom out here bring it up and then let's actually let's make this larger so it's really encompassing the entire area let's go back in obviously that's way too blown out way too intense so we're gonna take the power down to like 10 let's try 1 and I still want that spotlight kind of look so maybe what we need to do is kind of walk that back a little bit I'm gonna hit T and that's gonna bring up our scale option here and I'm just gonna scale it back down hop back into camera view and let's take that light and set it back to like 30 power maybe 15 this is this is good enough for now and we want that like turquoise look right for for the bottom so let's let's bring that image back up and in the little dialog box here for the light I'm gonna scroll down and use light color does that work if I check that I believe the easiest way the easiest way to change the color on the light is to go to texture and we're going to go down to plugins see 40 octane and load an RGB spectrum and that you should be able to control yep the color of the light so with this little dialog box here or this color swatch picker thingy we're going to pick this turquoise color here and that should indeed give us the kind of vibe we're looking for Oliver welcome we're making an underwater scene today we started out the stream having no idea of what we were gonna do but it's an underwater one today we're gonna talk about how to use fog to make it look like a kind of volumetric gross water kind of look I just pulled up this reference right here and we're gonna use this to kind of base the scene around a little bit and you can see here it actually looks like they threw up some underwater lights because these guys are all lit from the right side unless I don't know unless the Sun is coming from that way I have no idea but it definitely looks like there's some lights hitting this thing interesting and here's another thing you see this fall off this like this ramp from this turquoise or from this blue to this greenish color that transition I definitely want to get that as well so maybe maybe these mountains on the side I don't know we'll see maybe that will be something we walk in as we continue the look here and if you see your light and you don't want to see it in the renderer all you have to do is click the little area light tag go to visibility and uncheck camera visible okay so now let's just grab our fog real quick so basically the fog is going to allow us to to have that fall-off that underwater look everything's not clear underwater so that's what the fog is gonna do for us all right so while I set up the fog if you guys have any ideas for the subject of this scene right now we basically have an idea for a pedestal with like a sword in it which I'm not the biggest fan of it's pretty generic the statue the underwater statues are pretty sweet like this this is awesome and maybe we'd be able to cover it in like you know some some greenery or something and then we can talk about like caustics here and caustics our own it's like underwater lighting and how the light gets broken up like that and we might find out a quick workaround like cheap method of doing that but if you guys have any ideas for the subject of this scene start let me know in the comments here and we can we can take a look hey pub G octane fog is not that complicated let me show you it's actually pretty simple so check this out if you go to objects and you roll on down here to octane fog volume let's make one of those you get this box this black box here and the scariest part about octane fog is that it will wreck your system if you're not careful because it's very render intensive so basically let's just pause the renderer for a second let's get out of camera view and zoom up into this box so with the volume selected I'm gonna hit s and that will basically snap the viewport to the object you have selected so we'll zoom on in here and you see how it's basically in the viewport it's a bunch of different cards like this broken up into different you know subdivided like this right and this is a very tiny area we have if we want to do this to our entire scene you know that's gonna it's gonna be pretty intense for the viewport alone so one the first like the first thing I do when I bring in an octane fog volume is I'll select the fog volume and I believe it's under generate yeah okay so the voxel size you have voxel size in the editor and then you have it in the renderer so for the editor it's set to five by default and let's just see what happens if I set this to four it's going to get more detailed you think that a number going lower means oh there's less detail or not as render intensive let's go to three and let's go to two and as soon as you set that to one your computer might explode you can see how it's chopped up a whole bunch here so we want to go the opposite direction the first thing I do is I set it to 100 and right away you just get one card and it's gonna be a lot easier to navigate around your viewport and when you start clicking these little these like little triggers and start pulling these you'll see that it's broken up and a lot more of it's a lot safer right you're not gonna crash your system and and again we're just talking about the viewport not in the renderer itself so let's just kind of set this up so that this volume of fog encompasses our entire scene and you don't have to go way into the background you don't and also notice you see the fog behind the camera that stuff counts too you know like that's taking up computer juice all right so you're gonna want to move this so that it's right up in front of the camera and again you don't need to go that far into the background I'll go a little further scoot it up so we're making the most use of our fog here so right now it's like a low-lying fog and we're gonna want to scale this up and once again be aware that you know you're trying to get it up above the camera and out of view of the camera keep in mind that you have all this lower fog here that's below your camera and it's still being computed so you're gonna want to use that right you only want to use as much fog as you need so I'm gonna bring this up right just so that's right on the ground there and that should actually be plenty for our scene you can set the fog size in the editor to 200 even if you'd like you know but ultimately once I get it set and I feel like it's in the right place of course I'm gonna save the scene and then I actually hide the fog volume from the viewport itself and it's really easy to do that so basically in most programs I know a lot of you guys are using other programs in most programs you're gonna be able to hover over something and it's gonna show you what it does so if I hover over this top little circle here next to the volume it says volume object volume okay it doesn't tell me anything okay yeah it doesn't it doesn't tell me anything at all so in that case you start messing with stuff so this top little light if I turn it if I click it once it turns green that means no matter what it's always gonna be seen in the viewport the top light is for viewport the bottom light is for the renderer okay so if I click it one more time it's going to turn red and that means it's not deleted it's not gone from your scene it's just turned off like leader a little eyedropper it's turned off that way we can navigate our scene a lot easier you know and same if you don't want to see this like you know this bend modifier right here I wonder if we can just do the same yeah we just turn that off in the viewport and you can see a little bit easier so yeah let's hop back into camera view and let's unpause our scene and see what happens here let's rerender it okay there you go the fog is way too thick that's what's happening it's just darkness so let's select our fog and let's go I believe to medium right and in medium you have you have this little white box here and there's a it's a volume medium load it into this channel let's click that once and here you are with your fog options this is how you control your fog here so the density is set to 100 right now it's far too much even if you go down to 50 it's still gonna be far far too much I usually go down to 1 and in this case 1 is still too much so let's try point 1 okay now with 0.1 you're starting to see something so that's that's great and you already have this volumetric effect happening from up top here and I know that's something we're gonna need a change because the light here you can actually see like this square look of this light we want to have more of a global top-down effect on our image here so you know this amount of fog actually doesn't feel too bad to me I'm gonna scoot it back cuz it looks like it might be missing just the foreground I could be wrong let's take the fog volume let's go to our top view and just move it back a little bit yeah that looks about right I don't think it changed much as pretty normal save the scene and you know fog takes a lot longer to render so that's just something you have to deal with if you have more graphics cards then obviously it's gonna go a little bit faster but you know just got to be patient be patient with it it it totally totally is worth it for that atmosphere so everybody following along so far everybody feeling good give me a little thumbs up in the in the chat here oh my goodness Squidward's house if it was like a super dramatic a super dramatic interpretation of spongebob that's really funny actually that's really really funny like an old pineapple house or something or Squidward's old house just like a like a dilapidated broken down Squidward house that's pretty good you guys are awesome heck yeah everyone's doing great dude we got 132 viewers right now that's the most viewers that we've ever had on the stream heck yeah you guys are great everyone's staying inside keeping healthy CG studio asked what GPU I have what graphics card I have I have a 1070 I believe yeah I have 110 70 I would love to get you know a better graphics card at work at corridor I have 220 ATT eyes and it makes rendering a lot easier and a lot faster but yeah the 1070 is doing me right just one of them actually first question da or Die how do you say your name it might be di it might be die who knows but he asks why don't I use a denoiser honestly I really enjoy the film grained look I shoot a lot of film I shoot a lot of 35 millimeter film and I love the grain that it gets you so the D noise are where sometimes it's the right move you know it's the right thing to do in this case I don't really use it it just it smooths things out a bit too much for me and when you have the ability to you know just let something render over and eight or something renderer when you're gone why not just render it normally you know why not just max out the samples and have it go at least that's my mindset with it right okay let's see if we can't start to work in this look a little bit more so the camera tab here in octane you have the camera imager option and usually by default this comes unchecked we'll go ahead and check that and you can load different Luntz and color settings saturation levels and all this and that so I'm gonna load the response here is set to linear my go-to is Kodachrome 25 I love the look and feel of this color setting here and let's set the gamma down to like alright let's go up to 2.5 make it a little bit brighter you know what gamma should say the same let's take the exposure up to like 1.5 1.75 you know so we have a bit richer colors a little bit deeper colors here and we can certainly tweak all the color settings and stuff as we get closer to the final image but right now I'm feeling like the fog feels pretty good let's actually go in here let's go into the fog let's go to absorption and scattering that was another thing I forgot to tell you guys about so the absorption yet to be honest I don't know exactly what these two things do specifically but I know that they work together in how your fog reacts with the light and everything so absorption I usually go with a brighter white so I'll set that to like a point 9 and I'll tab down across the board there and I'm like it just makes things brighter boom just right off the bat let's just try point 8 and scattering we can just keep that at point five and I know these can take certain colors and change the color of your fog and that might be a good way to mess with the color a bit so while we're on it let's just see what happens if I take this down yeah that's gonna give us like a greenish hue to everything so mate that could be a way to get some more color out of our scene and if we're gonna reference that Google image we had yeah it's more like a turquoise foreground with a deeper blue background and right now it's kind of just like one color and I am colorblind but definitely looks like kind of one color here so let's see let's raise our camera up here a little bit and what if we change this to direct lighting was I look like path tracing is always better okay for especially for fog and whatnot but yeah let's see what let's see what happens if we change the color of this here let's do like a let's try and go for that turquoise vibe so that's too that's too green [Music] and it's closer you know the background should certainly be that that blue so let's go back to our octane sky settings and let's let's just crank up okay so the saturation is maxed on this what if we just take the color up a little bit or the brightness up I'm sorry yeah somewhere somewhere in here and then in your camera tab here if you set the saturation a little higher and start messing with like your exposure we can start to get something that feels oh man that's awesome that feels right and I'm just tweaking okay so then we also have the light color here so maybe we can take up the saturation and brightness on the light as well as the power and we're gonna go higher on the light because we can obviously see the light here because we are underwater and we have this volumetric vibe going so let's hop out of camera view and bring our light up a little bit higher and let's make it let's make it a little bit brighter yeah okay what if we M what if we just take our light off and we go to our octane sky here and we turn up the brightness of our background let's turn the light back on so yeah all of this like pushing and pulling of your light intensity and the different colors of everything involved you can mess with this all day so I think right now we're in a pretty good place to start working on the ground let's uh let's get like a nice sand texture going through here it looks a little low-poly right now once we do that let's start getting the subject better situated and then we can start working on like the detail lighting like we want to do like a more intense spotlight on this thing we can also scatter stuff along the ground so I'm still looking for any suggestions you guys have for the subject of this scene or any little ideas that's like the that's the best part about this is reading your guys and suggestions and incorporating a lot of stuff you guys helped me out on the last two streams like immensely figuring out different cool ideas to how to make the image a lot better so really really appreciate you guys yeah so let's get this ground plane going couple different options we can use mega-mega scans and search for a sand here surfaces and it's gonna be something more along the lines of a smooth sandy material versus um you know like a chunky rocky situation so we have like something like this this is not bad we also have something like this which is not bad at all or like this it looks a little compact you know same here maybe not that bad ooh a moon landscape next time that would be sweet yeah I'm down for that but hopefully a next week next Saturday hopefully if he's down excuse me guys I'm drinking too much coffee here Ren is gonna come over and we're gonna do a really fun challenge where we're going to you guys saw the Boston Dynamics video that we did right so basically what we're gonna do or attempt to do next week on next week's stream is recreate you know a little scene from Boston Dynamics live for you guys and basically have the robot playing beat Sabre because Ren loves beat Sabre will get Ren you know playing beats a we're all crazy and we'll record the mocap data and have the robot playing beat Sabre and we'll take it all the way from like the mocap data all the way through to the compositing so if you guys are down to see that go liked this video leave a comment or something and let's get amp for that because I think it could be really really cool we're gonna try and do it in like two and a half hours or so three hours tops and you guys will see the whole process like how to drop the robot in how to render texture track the scene composite the scene and me and Randall just basically switch in and out of the chair here and and do that for you guys so I think that could be really really sweet but yeah let's find that sand we got free sand right here desert sand honestly I don't think it matters too much when it comes down to the exact sand we want to use but let's always check references always always always check references and you can see here it's a pretty smooth sand that's so crazy look at this all right I think this is a good one here let's do this let's also grab some coral and stuff so under 3d plants on mega scans they also have I believe a underwater yep an aquatic section submerged yes this is what we want this kind of stuff here so there's only a small little chunk here I know they have I know they have coral and stuff too I swear let's just try let's try coral oh these are all like cards basically you put it on a plane and it's just like 2d cards and whatnot I think we'll be good here with our our aquatic pack so we have ocean seaweed we can basically download like three of these and just scatter it along the ground as much as we need okay all right so the real name is Andrew all right Andrew nice to meet you thanks for being on the stream here okay Melanie we got how about an Atlantis scene with under with ruins underwater we'll see that might be a little intense for for the stream today because I do have to be out and basically out the door at three o'clock today so we'll see here um Northern Light drone or dome hotel but underwater looks super neat like an underwater observatory that's really cool idea super cool idea King Arthur Excalibur and the rock not bad Timothy today we're making underwater scene and we're taking suggestions for what the subject of the scene should be so I'm all ears man I am all ears um oh man Clarissa says wouldn't the pattern of the sand be determined by the depth and if currents can affect it probably but we're not going that detail here we don't know how deep this is we just don't want to know it's got to look cool coral and see we've looked nice nice pop of color yep shipwreck from the shipwreck scene yes yes sure bikini would be pretty involved maybe maybe next time when we have a bit more time but let's keep going let's get this sand popping off here so I'm gonna make a diffuse material because I know I don't want to bog down the system with more info than it needs here because we gotta got the fog going and I know the the sand will probably not be very reflective so let's find our landscape our ground landscape here and let's up the poly count and actually real quick I'm gonna hop out of camera view and basically do the same thing that we were talking about but for the for the ground here I'm gonna move it up just enough so that the camera is only seeing basically the camera is seeing all of the ground plane and we're not wasting any detail here when we make when we subdivide this ground plane even more so let's go 300 by 300 and you basically need if you go any less than that you just don't want it to look low poly right so I'm just trying to be clear and stay clear of that let's take the octane diffuse and drop it on our landscape and let's hop in here and start dropping some images onto this texture so let's see let's see let's unpack the sand here and let's drag and drop we got a normal we have a displacement map and we have a color and an ambient occlusion map so I'm going to drop that down into the node viewer here and this is our normal let's start with our color pass yeah so let's drug drag that into the diffuse and let's just render a region here so we can see what we're doing and let's turn off the fog so that we can really see what's going on and already it's not bad the scale might be a little large and I think the ripple effect that we're looking for is probably going to be baked into the normal map as well as the displacement map so let's keep going there is the normal map connected yep and I think it's a little large we have a displacement map let's save that for last and finally we have an ami and occlusion pass let's just set up the ambient occlusion pass and that's basically a black and white image just like this that gives us a bit more shadow in the deeper parts of the image as you can see here right so let's just load that in in case we need a bit more detail in the shadows and we need we need that the grooves to pop a bit more so with my with my diffuse pass or my color pass selected basically what you want to do is like if you're an after effects for example right you had this image on top of your color pass you would set this to multiply right to get rid of all the white and to leave the gray levels and it's basically the same thing here in octane or any other node viewer depending on what program you're in should be basically the same so we'll find a multiply node we'll drop it into there and we will drag and drop the ambient occlusion pass into the second texture option and you control it basically with the gamma here so if I bring the gamma down it will get rid of the AO or if I bring the gamma up it will make it more intense as you guys can see down here just by sliding that you get more detail in the grooves and you're faking it it's like a fake effect so let's just um set that to just half for right now or in fact let's let's turn it off and then we can walk it back in as needed right and then finally we have our displacement map so I'm going to make sure I save the scene here and let's add a displacement tag here and you need this displacement tag or this displacement node in between your image and your actual texture because this is how you control your image in the displacement settings so before I even pipe this in I know I want to set the mid level to 0.5 let's take the height just to 5 centimeters for now and then let's take the level of detail to let's max it out at 8 K I'm not sure the image the image is what is the size of this image it is an 8k image so we're gonna set that to 8k let's drag it into there and we should see some movement down here it's very subtle it's very very subtle but let's leave it like that because I know this image down here it's too it's too large so we're gonna have to scale down the texture you can do that in a couple different ways and usually what I do is I would select the image here click on projection and make sure the projection is uniform throughout I'll set it to box usual but I know that with displacement maps in octane and at communicating with cinema4d it doesn't really work as well as we would all like it to so I know that I have to do it a different way so we have all these images piped into the right places and we have the texture applied to our ground and let's do it for the rocks as well and let's actually take those rocks and set the segment's to 300 by 300 I had both of them selected I changed the settings across both which is really cool thing c40 can do so let's just highlight all these textures here and let's set let's set the projection let's leave it the same actually and let's just say tiles let's set that to 3x3 and already you can see look at that it looks so much better that is awesome okay that that might be it that looks really good to me let's try just for the sake of it let's try 4 by 4 yeah sure that's cool I think 4 by 4 is great that that feels really good to me to be honest let's uncheck the render region and let's turn our fog back on and under the fog settings so we can see we can see like the edge here our background we certainly don't want that and our our sand down here is a little too saturated in green we want to kind of go more for this this look if I can find it again yeah this look right here and you have that nice fall off into the background which is definitely what we want so what you do a couple things let's see what would I do I would let's take this area light and let's just adjust the color here so I'm gonna make it brighter okay let's go to the camera tab and let's set our saturation from 1.5 let's just set it to 1 for now I can still see that line there's a couple things we can do there to blend that a bit more let's see it was turn off those maybe yeah that's I think they're fine for now let's take the fog volume let's hop out of camera view let's turn it back on in the viewer and let's move this fog volume up a bit more so that it like the fog trails off into the background a bit more and you don't have to have the fog right in the foreground too much because you know you're gonna see through it anyway it gets more apparent as you go into the background let's go to the fog volume let's go to medium click that little box and the density let's sit at the point - that should start to blend thing a little bit more I'm gonna render region just a vertical strip so we can see what we're seeing and already it looks like that did the trick we still need to get our colors right but that that definitely blurred the foreground into the background okay awesome awesome awesome let's take the absorption let's go more of a blue with it whoa that was very that's very blue ooh okay we're starting to get there and we're starting to get there y'all you see there that blue to the green we still want the foreground to be a little brighter so let's go to let's see let's go to the octane light let's make it even brighter here just the color of it right that's starting to feel right [Music] that's not bad that's not bad at all let's render the region with the light right here so this vertical strip here everybody doing okay bone along all right okay andrew has a question he says do you know how to get away from this visible tiling because I can't find anything to get away from it in cinema 4d yeah actually there's a couple tricks you can do to get away from this tiling look that you're talking about which is basically oh and real quick I'm really happy with this lighting setup here this feels right to me so let's turn off render region let's turn off the fog and let's talk about this tiling that Angie is talking about so if we zoom out and we look down and our ground here and actually I can't see the seam so be honest but usually here um basically what he's asking is when you have a large you have a large area to lay a texture across usually like a ground plane or something you can really see the tiling on the texture and one way I get around that is basically to take the ground plane I'll duplicate the ground plane and I'll rotate the ground plane around let's see let's you'd have to do it so the bend modifier is messing with that a little bit so in this case it would probably be something along the lines of you'd have the group you'd have to group the that the two planes together the two landscapes together but let's just say real quick just for demonstrations sake let's uncheck the bend there let's get rid of these other two right and you have this ground plane and it might be tiling all right but I can kind of see it it's kind of tiling here but if you duplicate it all right Andrew you duplicate that and you throw a new texture on it it's a texture that is kind of similar to your first texture but it's a new that's a new texture okay and you rotate it a little bit like this and you see how like different parts pop out right you're gonna have you're gonna reveal different little chunks from the new texture you just put on and even here with just the same texture applied it kind of breaks up the feeling a little bit more so I'm actually using a bit of elevation with like the terrain here like you can use a displacement map for that or if you just use the landscape object in c40 you have a little bit of terrain like this right you duplicate it you rotate it it's either a new texture or in this case maybe just the same texture and it's a way to break up the visual kind of look of your ground so that's one way to really get rid of the tiling effect that you're talking about another way would be to let's see another way it would be to get a little bit lower to the ground so you're not looking straight down at this ground it's tiling right okay Cody what's up ma'am thanks for joining the stream hope you're doing well I hope you are staying healthy getting away from that coronavirus but thanks for watching I hope you are learning something I hope we're all being entertained here and hopefully it's pretty chill all right so let's let's figure out the subject of our image let's grab the this little pedestal and drop it back into our scene here let's turn off the fog volume for a second hop out a camera view and I just again I hit s to snap the viewport to the subject or to the model I have selected and it's having trouble loading the images so I'm just gonna refresh the scene to make sure it's not that yeah yeah okay so we're good so we have a cool little pedestal thing here let's um let's take the pedestal let's scale it up a little bit and then make sure it's on the ground plane there I'm gonna duplicate it control C control V I'm gonna bring it up scale it down and make sure it's just sitting right in there to give us that like stonestep feel I'm gonna rotate it a little bit so we have a bit of difference between these guys and then I'm gonna do it one more time I think hold control drag it up hit T to scale it down hit R to rotate this guy the other way and I think that gives us a nice little pedestal look here so now it's just what what do we want to put on this thing you know I think the Squidward house is pretty funny I kinda want to do the squid house but like a bunch of statues would be super cool certainly what does God dang it what does Squidward's house look like can we model this quickly it's a very easy model that's a very easy model we basically have an hour can we model it birdhouse in an hour texture it cover it with moss have fish swimming through it let's try that let's try it hopefully it doesn't end up looking like this okay it's good word oh man we got to put like a bunch of clarinets like broken clarinets on the ground too okay let's do this what's the easiest way to do this let's take this let's save it I can't believe we're doing this save it to the desktop let's save our scene let's make a new one I'm gonna hit ctrl N and let's load a little reference image back here so I'm going to make a plane by holding down the cube here I'm gonna hit R click and drag and hold shift to snap to a 90-degree angle and we hit W to bring up the move tool move it back a little bit bring it up a little bit and let's make a new material drag and drop that material double-click that material and under under the diffuse tab let's load an image and the image will load is the one we just downloaded from old Google okay let's try that again what on earth why is it not working I Wow I don't know how to save images from Google guys this is bad let's try it again Squidward house a perfect Squidward house here we go all right that's a JPEG boom we've got a Squidward house but the dimensions are all weird because we need to set the dimensions of the plane to the dimensions of the image so let's check the dimensions of that image real quick 768 by 576 768 by 576 that is the proper dimension of a squidward house right there so let's go into front view hit s and let's set our View mode right here our display to just grout shading and that way we can actually see what we're doing let's make a person for scale about yay okay [Music] we'll move the plane and scale it up so that we get the right scaling this thing's pretty big I'm gonna hit L and move well I can't do that because it's not editable I'll make the plane editable by hitting C okay let's undo that and take the segment's down to just one by one let's make it editable editable now I'm gonna hit L to move the axis down to the bottom center of the door it's this tool over here the enable access tool the shortcut is L and that allows you to move the axis around so we'll go back to model mode and we'll just position this just so and we'll scale it so the person is about a squidward height all right so then we have our size right so now we want to do is save it first save our scene it basically really is the pen tool to just model this thing let's set the plane if we go to basic just click to x-ray that way we can see our grid here and right next to the cube button you have your pen tool okay so I'm gonna hold that down and the pen tool is what we want yep and with zoom in here and we can adjust these points later but we want these two points we're gonna basically trace half of it and then we're gonna make sure these two Center points are right in the middle at zero so let's click there we want to make sure this is a ninety degree angle so we can always come back and adjust it but basically I'm clicking on the corner and this is definitely out of perspective so I'm gonna basically meet it halfway about there and then back boom right on the center point now let's go back to the Select tool let's make sure that these two points are on the same x-axis right we don't want them off-center we want it to be flat so I'm gonna select both of those I'm gonna hit basically the scale button here and if I move the y-axis we want to get it to let's let's deselect plane here let's get rid of the plane go back to our spline and just make sure we have those two points selected hit T for scale and basically you want to move this you can scale it so that it hits zero on the y-axis so if you type in zero you're gonna know that those points are exactly in the same place on the y-axis seven four nine point five to nine and it's the same deal there so we want this point to be on zero it's just off so you set the X to zero and we're basically gonna do like a lathe rap here on this thing to give us the shape just like that base point there and we want that to be at zero zero and we'll go to this point out here we want it to be flat on the ground so we'll set the Y to zero and now if we take if we go into 3d view here I'll select the spline will hold down alt hold down our subdivision and lathe we'd let go on lathe and boom there we go we also could have just scaled down a sphere or a cylinder a little bit but hey we gotta learn something new right so we got that real subdivide it later let's hop back into our front view let's hide the lathe and let's bring back our squidward house and these will just be cubes will just scale cubes around to get us the look here I'm gonna turn the x-ray on and I'm gonna make the cube editable and I'm just gonna scale this down all right so it's about that I'm gonna hold ctrl and move this over here okay I'll hold ctrl again for the nose make sure it's right there move it up scale it up a little bit let's bring our lathe back in so these guys are too deep so we'll bring those down the nose will bring out and we know that the bottom of the nose is a little bit bigger so we'll scale that up and we know that these the ears are inset a little bit so we'll just select the top polygon and bring them in so that it kind of matches the shape of the head okay ooh Milan thank you for the super chat appreciate you brother guys that is a super chat if you guys don't know I got that enabled a few weeks ago it's a cool way to communicate also with all the comments and stuff it's a lot easier to see because it you know highlights and everything so appreciate you brother thank you so much I hope you guys are learning something I hope we're all having fun and I hope this is super chill for you guys oh yeah alright we're doing the Squidward head I feel like this is tough for me you know I feel like I'm rambling the whole time so I hope you guys are doing alright let's keep going so basically we'll add bevels to all this stuff and get the geometry right for all this stuff in a second but we know we want the unibrow across the head here let's take this point here bring it in a little bit and then we have our unibrow so let's select our lathe we'll hit C we'll make it editable so it's just one object I'm gonna hit K L on the keyboard and that's going to give us this exert layer cut tool here and I'm just going to cut the little unibrow into the side of this thing you will as a loop selection with so with polygon mode selected we'll select that and then we want to extrude that out so I believe that's MT as a shortcut yep or you can right-click it and select extrude from right and this little quick menu here and we'll scale that up and out fantastic fantastic all right so let's uh let's cut the door out so what we'll do is we'll go back into our front view and let's hide everything besides the square root house and let's real quick just do a little pen tool on this door here so we can go a little lower because we're gonna bullying out this piece I'm gonna click once let's see if I can't get yeah there it is boom and don't close the spline and let's just adjust this real quick a little point mode grab the move tool and just straighten that out and for cemeteries sake we'll make sure that is zero on the x-axis we'll make sure that is what negative 90 and this is positive 90 let's try 80 and negative eighty okay and then we'll use an extrude function here on this so if we select the spline hold down alt and you hold down this button here the subdivision surface button inside you'll have the extrusion so I'll let go and that gives us basically this piece here with the extrude tool selected here I'll go into the object mode set that to 50 so it's a little thicker maybe 60 okay and we're gonna cut that out of the Squidward building so we just want to whoop cut that hole right there so I'm gonna use Abilene we call these not modifiers they're not objects it's kind of like they're not effectors you know there's something there basically things they're tools right they're tools to help you get a little further on your model so let's select the house and then we have the extrude here so I'm gonna make the extrude editable by hitting C let's select the lathe hold down alt and with this little instance but I'm gonna hold that down let go on that that makes a little bull object and I'll drag the door just inside all right so let's just let's chop up this lathe here so we um gives us a lot more polygons to mess with so I'm just gonna hit that once actually know what let's put it in subdivision surface here looks real bad because we need to come in here and make some edge loops to define better to find this object boom boom looking good looking good so we're just making these cuts to really define the shape of this thing that's gonna give us a lot more polygons to play with when we want to deform this this thing and give it some texture and shape and stuff so I'm still gonna actually make some cuts into this so I'll turn off the subdivision surface so like KL for the little edge loop click once we can set that to 50% and then let's just start adding I think that is plenty let's do the same for up here we'll set it to 50% and we'll just add a couple more cuts perfect so we turned that on that gives us plenty of space to work with fantastic okay um now we just want to even out let's give again there's no such thing as a hard edge right except you want stuff to catch light it needs to have a little rounding to it so this here let's uh hmmm how we can do this without getting everything else let's select this let's group the bool object here hold down shift and let's just give it a little uh let's give it a little bevel we'll check the use angle threshold button and that's kind of doing the job is it doing it to up here as well I don't think it is it's exactly what we want fantastic so let's go like two centimeters one point five is good let's give it two subdivisions that looks pretty good there's a little janky that's happening down here so maybe if we scale up the extrude it'll kind of even that out yeah there we go sweet that's our school birdhouse let's just make sure let's make sure our ears and everything are good all right so let's sum we want to bevel these guys here and we'll turn x-ray off let's get in here and let's go like two and two for the offset and the subdivisions and then we will give these cubes a bit more polygons to work with so same deal you know we can probably just for me to subdivide this stuff yeah maybe we get rid of the bevels and subdivide these we're gonna need to make some cuts what the heck was it I'm working okay that looks good and let's just subdivide this a little bit sweet don't do the same to the other and finally on the nose sweet so this is ready - the door so let's go - mega scans really quick and I'm sure there is a circular door 3d assets door is it huh well I guess technically it is a wooden door and we just slap that thing in there hmm [Music] maybe not under 3d assets I swear there was like just a just a normal old door that would work yeah the old wooden door basically this or something you know this this medieval door looks pretty sweet so let's download this real quick all right oh of course we need the eyes the little portholes but that'll be that should be easy enough let's drop in that door we just downloaded real quick you guys know the drill on this stuff we have done it more than once all right now let's just let's cut this thing up all right it's all one one model here so yeah we basically just want the door nothing else so I'm gonna use the rectangle selection tool and just start selecting things and deleting actually before I do that I'm gonna save this asset because you know probably use it later now we go back and we start deleting the stuff we don't need should basically be basically be it [Music] a little quick cleanup on this let's grab this little piece here on the side yeah that's basically it so let's just copy this into the Squidward House model paste it it should just be inside of the house bring it forward scale it up and I'll just get rid of these excess pieces here and then finally we have our little portholes so that'd be glass and steel but it's basically just tubes so we'll spawn one tube bring it up rotate it 90 degrees and for those of you guys still following along we are making a little Squidward house for an underwater scene that we have loaded up in another window and we're almost done with the Squidward Hut and we'll be dropping it in momentarily so stand by let's uh let's see let's just bring our reference out to the side here then we can start positioning these eyeballs and let's definitely add some height to these guys well kind of popping out but I guess that's kind of how it's done yeah maybe let's rotate these a little bit in yeah okay let's select both of those let's rotational segments 50 let's give it some height segments and some cap segments so we have some geometry to work with when we want to add a little bit of detail to this thing let's give it a fill it here of maybe two segments maybe three segments two centimeters that feels good to me and then finally let's select each one of these guys hold down ctrl and then hold down the primitives button and let's make a disk and that will actually spawn it right on the cylinder or the tube or any object you really you know and it'll put it in the right orientation right so we'll do the same for this other one over here well select the tube hold control and spawn a disk bring it forward scale it down boom scoobert house done okay so what do we do now it's actually scale up the door all right sweet okay so now we need to texture this thing it's definitely like a rocky texture this is great okay let's get rid of let's get rid of our reference here and the figure and let's just drop all of let's drop everything under one group here call it Squidward house and we know we want let's see that would be ear I'm just gonna name all this stuff this is nose other ear this is the just call that house we have our door which is already textured both of these discs would be windows and the tubes would be portholes awesome so let's group the windows as one group and then let's group the house the nose and the ear in another group and the door will just stand alone so okay let's texture this thing real quick here so we want it to be a mossy kind of run-down look but first we need the base look let's let's see what we have on the old mega scans we'll just search for rock we want surfaces ooh coal interesting um so it's kind of like a dark dark rock but it's broken down and dilapidated and whatnot right hmm salt mine wall interesting or something like this yeah this isn't bad Icelandic mossy Rock Wow that's crazy um lava stone interesting interesting let's try uh where was it this mossy rock Icelandic mossy rock let's download this it's a nice crunchy texture there so for those of you guys hopping into the stream we're at an all-time high we got 191 people watching her now basically we're doing a an underwater scene and we are texturing a squid birdhouse right now to drop into our underwater scene which we have pulled up in another tab and once this is textured we'll wrap it up and do the final touches on our scene make it look real nice I appreciate you guys for joining and staying in here guys I know this is a long stream and I know some of you guys don't even have cinema 4d so it does mean a lot that you guys are sticking in here this is awesome this is very very cool very fun for me so I really appreciate you guys okay we're still downloading all right cool that's still going in the meantime what can we do yeah let's get the windows so part of me feels like we can just make these things like chromed out sphere or chromed out little planes here and then the these portholes we can just make like a dilapidated metal or uh like a kind of a gross steel so I'm actually gonna use the grayscale gorilla everyday materials pack I use it a whole bunch and it's a very quick way to texture your stuff so yeah I'm gonna use the live DB viewer and octane for that and see what we can find here and this was made by the man himself Chad Ashley he is incredibly talented we got some rusted metal here I think some rusted metal would look really really nice let's do that let's download that and then I wonder if there's like a moss we could do here as well so like um organics yeah we have grass it's not really grass we're looking for I guess it's more of a well maybe that would work for what we're going for let's just try it grass in grass for why not let's download that and then if there's anything under concrete we might be able to get an interesting Rock texture no would it be under organic still it is all good we are going to move on here because I do have to be out of here in about 20 minutes so let's see let's see let's drop this rusted material on the eyes that looks awesome already yeah that looks great and then let's load up that rock material we just downloaded from mega scans and drop that on to the Squidward house okay let's see let's see let's make a new material glossy material let's go into here and start dropping those those images we got a roughness normal color and displacement will want the displacement for this one as well so we'll drop those in so we have our color let's do that ooh very nice very nice let's drop our roughness and that's going to change the reflection yep let's drop our normal that's gonna give us a lot of detail here yeah and obviously you can see that the way everything is the way the texture is distributed it doesn't look right but we'll fix that and let's make a little displacement node here and we'll set the height to 0.1 and then the mid level to 0.5 and the level of detail to 8k we'll drop that in and let's just make let's get our let's get this material looking right first so I'm going to save this let's click on this material here let's set it to so it's a cubic we should see it update in here maybe I have to rerender the scene there you go sorry it looks a ton better and let's now mess with the displacement so we'll set the height to ten it looks pretty cool definitely looks old and gross for some reason it's getting no no we're good yeah there's the door so this is more of like a bluish color so let's hop in here go to the node editor let's go to our diffuse image here and let's drop in a color correction node and let's just change the hue of this thing yeah already that looks better it makes the door pop a lot more to sweet and then finally I think we're gonna just do a quick mix material on the rock and we want to give basically everything on the top here we want to give it some moss so let's go into how are we gonna do this yeah well make a mix material and we'll drop our rock and we'll drop our grass into that and then we'll drop that onto the house so it's mixing both of those together the mix material needs to be set to cubic as well let's go in here and right now it's being split up fifty-fifty we don't want that we basically want to put it in specific areas of the texture here so it could be in the corners or it could be just on the top let's see what on the top looks like so I'm gonna grab a fall-off node drop drop that into the amount and set that to let's see here we'll set that mode to 90 degree so now everything basically you have one texture just on the top parts in the model and the other texture everywhere else all right so that looks pretty interesting it's certainly hitting the nose a little bit but I think that's okay let's try something else let's do so we have that right we have our fall off we might come up be combining these at the end of the day and then let's throw a dirt on there as well and the dirt let's set the strength to ten let's set the radius to 20 and you can see how the moss is kind of growing inside cracks and crevices we'll set that to a hundred let's try inverting it so it's just on the edges which doesn't look quite right so back radius maybe 50 tolerance we can leave about the same the details yeah we'll leave that about the same as well let's basically see if we can't crunch this down a little bit so I'm gonna drop a gradient into there and just kind of crunch these settings or rather we want to basically break up this dirt node here so I'm gonna do that with noise let's drop the noise into the amount set the projection to box set the contrast to 100 so we can see what we're doing we're gonna scale up the noise let's go to 3 and then let's set the octaves to 8 and the Omega to 1 it's gonna give us more detail into that and that's how we want to basically break up the dirt node so I'm going to use an ad or no I take that back I believe it's a multiply so dirt goes into 1 noise goes into the other and you drop that into the amount well that mixes everything together but that's actually not bad so I'm gonna save that and basically do Oh also you guys will notice the displacement is gone so let's take the displacement node from the rock texture and drop it into the mixed material and that should bring it back yep but now it's all mossy I think it's the dirt node we just need to change the settings on that radius maybe 20 oh I see I see so there's a lot more crevices and cracks and I think it's just using the displacement to bring in those crevices and cracks and stuff so I'm gonna take this dirt node here and combine it with this fall-off map here so that's going to be through a multiply node so what both of those going in to the amount and it's like super mossy and we want to do the same for those portholes so I might honestly just take the same material and drag that onto the windows nice that's seen a lot of time down at the bottom of the ocean perfect all right let's keep moving we are closing in on the end of this thing here so I might tweak the eyes in a minute also we're still getting this error here where the door it's not quite working but yeah there it goes so I feel like technically there'd be moss on the door as well and the windows but we'll see here let's copy the squirt house and paste it into our our underwater scene and see what this looks like everybody's still hanging in I know it's been about two and a half hours now I really do feel like I'm just rambling to myself by the end of this thing so hopefully everyone's good total everyone's still following along all right the house made it it made it underwater here so we need to adjust our light a little bit we'll bring out we'll bring it up scale it up and let's take the square root house and just kind of rotate it off axis a bit here you this is so ridiculous I look so creepy that's awesome that's super-creepy actually so I just want to brighten things up and make sure that we can actually see what's going on here guys so I definitely feel like this is the beginning of this image it's gonna take I think a bit more lighting it's going to take I'd like to scatter some stuff on the ground like some rocks and some see you eating kelp and whatnot I think the eyes are a bit too reflective certainly so we can pull that down a bit so officially this is official Sponge Bob cannon here I want to make I certainly want to make the the house seem a bit more broken down maybe the ice being that reflective is actually pretty sweet let's maybe see if we can't get another octane light off to the side here this will just be a white light maybe the fog is a bit too thick right now but crank up the scattering phase and see if that helps anything I think that just scatters the light a bit more so maybe what I'll do here what I'll do here is have one part of the fog actually be in the foreground that is not as intense so like point one and then I'll control drag it back into the background and try to set that to point to see if that does anything and I'll just do a render region for just a little strip here so this will help actually if we can see let's see there we go there's our fog let's crunch it down and just put it behind the Squidward house and we want this fog to be a bit thicker so it's looking a little bright so our side line might be a little intense top light can come down a little bit and let's give it a little bit of fill light here from the front so let's make a new octane light this will be our fill light back it off just a little bit turn off the visibility this is so ridiculous definitely add some vignette but we'll probably do a bit more of that in post what's up Garrett welcome we're doing a little ocean scene here I'm still tweaking this thing like crazy it's gonna take a few more hours but unfortunately we have to leave in a couple minutes here but yeah I'm just got to keep plugging away this thing keep tweaking the lighting very tedious stuff maybe some boring stuff I don't know I don't know maybe you guys be down for that who knows but I definitely want to scatter some some coral on the ground as well maybe a little bit of depth of field on this thing and just a couple more things to make it feel underwater and a couple more things to make the house itself feel a bit more like broken so I may I might break a piece of the ear off or something I don't know yet maybe the nose too but I do like the the reflectivity of the eyes I think that that feels cool to me definitely add some fish and some floating particles or something and figured its you said when I make stuff and c4d do I add film grain as a layer like I'm blending with actual footage and I do actually yeah once everything's done and rendered I go into Photoshop and do final tweaks there and add some film grain to give it you know make it feel like I was actually there I try to make this stuff as photo-real as possible so yeah that's certainly kind of my style with these renders I know everyone has their their style and you guys should certainly find your style I'm still finding mine but yeah at least I know that I I'm trying to go for photo realism I'm adding film grain to this stuff you know you know if you guys follow me on instagram you'll see I like add the white border and everything to make it feel like you know like a nice a nice framed image or something but it's about all the time we have today these things have they could just get longer and longer and longer and you know I wish I could bring this thing to completion right now with you guys but yeah yeah and I hope you guys learned some stuff doing this and I hope you guys are still working on your scene as well your underwater scene I can't wait to see what you guys do the discord has been updated thanks to sediment a made him a moderator and yeah it's gonna be a lot more organized for you guys so if you hadn't already please join the discord channel the link to that is in the description of this video and if you guys are looking for a fun way to to help me out here or give back I do have a website I always feel awkward bringing this stuff up but hey you know you guys got to know about the website because I'm excited about it like a coolest looks I've got all my images and photography here from around the world shooting film some digital as well and I got the little collections tab here free shipping on orders over here bucks we ship worldwide international and we try to get the the prices down as cheap as possible but I sign it give some music recommendations write a little note on the back send it to you guys usually within a week or two but what I really want to do is start posting some VFX assets I know like the photography stuff is not quite connected with this with the renders and whatnot so I would love to do some sort of like VFX pack for you guys or some texture pack for you guys something a little cheaper I know 40 bucks is a little expensive for for most people for for an image but you know it's basically all I have at this point but I really do appreciate you guys joining thank you so much give this video a thumbs up and a like leave a comment down below let me know what you liked about this let me know what you didn't like about this what we could do better next time and the discord is also a good place for that as well so yes next week fingers crossed Ren will be coming over and we'll be taking we'll be making a boss town dynamics scene from scratch for you guys we're going to apply the robot to mocap data we're going to light the scene we're going to do some 3d motion tracking we're gonna render it and then Ren is going to composite it we're gonna make an HDR eye as well we'll bring it from start to finish for you guys next week that one might go on it I'll probably be like noon to three noon to four but we'll see we'll see how how long that takes we want to keep it reasonable you know but yeah thanks for joining guys I really appreciate you and I'll see everybody next week hopefully with Ren by my side here and y'all stay safe stay healthy I'll see you guys next week peace

Channel: pwnisher

Views: 16,803

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: ECnAGJrRN0c

Length: 156min 48sec (9408 seconds)

Published: Sat Mar 14 2020