Create a Realistic Forest in 30 Minutes | Blender Tutorial

[Music] [Applause] hey everyone steve here welcome back to the channel and today i have a fun video tutorial for you guys how to create some large-scale ariel forests and blender 2.8 so it's gonna be a ton of fun and i also want to mention that there's still a few weeks left guys to donate to team trees every dollar donated will be another tree planted in the next two years we can reach 20 million before the end of the year i'm sure of it so if you can spare a few bucks definitely consider planting a few trees using the team trees link in the video description also a quick thanks to the concierge render farm by coral reef for sponsoring this video concierge render is super fast easy to use and very affordable they have 45 000 gpus available with parallel rendering they support both eevee and cycles in the latest versions of blender also you want to stick around to the end of the video when we render our finished scene out as an animation on the concierge or render farm so for starters we obviously need a landscape and by far the easiest way to do this is using blender's built-in landscape generator all you have to do is go up to the edit preferences and enable the ant landscape generator so go ahead into the add-ons here and enable it right here you can see i already have it enabled and when you're here go ahead and also enable the node wrangler add-on as we'll be using that later on and it'll be helping us in our workflow so go ahead and turn both those on so first off we gotta destroy that default cube by hitting x and delete and then shift a and add in a landscape after adding in the landscape you'll see down in the bottom left corner we have settings for that landscape if we just drop that down there you can see we have all these options and we're just going to go ahead and do a few changes here starting off by scaling along the x and y so just clicking and dragging and grab both those properties and then scale that up to be something much larger i'm going to go up to about a 20. let's pull that all the way up to about a 24. now we can crank the noise scale up to something like a2 here to make those bumps a little bit larger and then the height is obviously too small so we need to start by increasing the maximum here we'll take this up to about a five and then we can adjust the height here until we get a nice scale to the mount end that we're liking now this is a very large scale landscape so i don't actually want the bumps to be that big because i want to kind of be rolling into the distance if you get what i'm saying so i'm just going to leave it about a 1.5 nothing too crazy big and then on the falloff just choose y so you have the landscape continue along the x-axis here on both sides and it only falls off along the y and now you can try some of the different noise patterns here to get a different looking sort of landscape you have some fractal terrains and some other options here all these different noise patterns will give you some cool looking rock patterns depending on what kind of landscape you're going for the default i actually think is really good so i'm just going to leave it right at that and then i'm just going to increase the resolution here of our mesh by selecting both those values and we'll go up to about 256 on this or close to it 240 looks good and there we have it but maybe the noise scale is just a little bit too small so i might take the noise size here and go up to about a 2.5 just to give ourselves a little bit more landscape to work with once you're done tweaking the settings once you click off of that landscape you're going to lose your settings so make sure that you're pretty happy with what the settings that you chose were i like these and i think i'm going to like this landscape and i'm going to go ahead and apply a material to our mountainous landscape here before we get into adding trees and our forests over the landscape so i'm just going to split my window here and open up the shader editor over on the left here and i also want to quick open up our hdr so we can kind of see what the lighting is looking like on our mountain so i'm going to go ahead and delete the lamp in the scene here as we're not using any lamp lighting and then i'm going to go to the world settings here choose color environment texture and open up an hdr for this scene i'll link to the hdr in the description it's from hdr haven it's a very great one go ahead and download it and open it up and here you can see if we switch from object to world we have our hdr loaded here into the background now i'm just going to grab the hdr here and go ctrl t to add in a mapping and texture coordinate node so i can pick my angle now that we're going to kind of be rendering these mountains from and then align the lighting to it so i'm going to pick an angle oh about here or so that i think would be cool to have the camera kind of over our mountains a bit so i'm going to grab our camera then and with that angle selected all i have to do is go alt control 0 and it will snap the camera to that location i'm going to make the focal length of the camera a little bit wider so going to the camera settings here i'm going to change this to about a 30 focal length and then i can grab it along the z axis kind of double tap r to rotate it just so we can get a nice horizon line there and that's perfect that's all we need for our forest scene now we can make sure that we're rendering with the cycles render engine here and then you're gonna wanna change it from cpu over to gpu compute if you have a gpu that you can render on as you're gonna render a lot faster with the gpu i'm actually using an rtx card that nvidia sent over for use on the channel and using blender 2.81 you can go into the preferences here and enable optics under system if you have an rtx card you're going to want to make sure that optics is enabled as this will allow you to render with those rtx cores so in my opinion optics now makes rtx cards the best value for blender as you can enable those rtx core rendering and render so much faster but now with that enabled we're going to switch to rendered view here now and so we can see our hdr there in the background making that a negative 2.5 is perfect and we have some clouds in our landscape as well as the light just sort of hitting the peaks of these mountains actually if you want a little bit more light hitting the mountains you can double tap r and kind of rotate it towards the sun a little bit there so you get a little bit more of the light kind of hitting the mountains which might be something you want to do so now time for some materials first off i'd like to quick add a subsurf modifier to our landscape so i'm just gonna go add modifier and subdivision surface right there to kind of smooth out those shadows that were a little bit harsh there that's perfect and now switching over from world to object in our shader editor here we can add in a new material for that landscape so clicking new there and i'm zooming out you can see i have a principled shader so i'm using a rock material from textures.com i'm just going to shift a image texture and opening up that image texture this is a cliff rock texture i'll include a link to it in the description connecting it up you can see we have our texture affecting the object there but it needs to be unwrapped to have that texture mapped nicely on the mountain so i'm just opening up a new window here switching to the uv editor and then grabbing that new texture that we just opened up there the rock texture there and now we just have to tab into edit mode on our landscape and go u unwrap this will unwrap it in a perfect square onto our uv map here now all we have to do is scale this uv map up to tile our texture across the landscape so i'm just going to scale it to something large like 40. now going shift a i'm going to add in an input geometry node and if you zoom in here you can see we have a pointiness output this i'm going to connect to a color ramp by going shift a adding in a converter color ramp and connecting that up right there if i go ctrl shift and then left click on this you can see that we can see a preview of what this color ramp looks like and if i just crush the blacks and whites in the middle here you can see that we create a mask of black and white the whites being sort of the peaks of the mountain and the black being sort of the crevices where there is no peaks in the geometry by creating something like this i can use that as a mask to mix two different materials together now in blender to give ourselves some rock and grass textures on this landscape so i'm going to go ahead and go shift a add in a shader mix shader connecting this one to the top socket i'm just going to duplicate the principle shader pulling it down a bit lower and connecting it to the bottom socket as well here i'm going to take the color ramp and use this as the mix factor here then going ctrl shift and clicking on that mix factor you can see that we have white along here where the principled shader is on top and then the rock along in the crevices there now this is good but i actually want to flip the inputs here putting the rock in the bottom and the white in the top here so we have the rock face only on the peaks of the mountain here where there wouldn't really be any grass growing because there are sharper edges so go ahead and flip those inputs and then i can go shift a and add in a converter math node dropping right after our color ramp here and changing it to multiply this will allow me to go something like a 2.7 value and increase the intensity of that color amp to bring more rock into our scene then of course you could also tweak your color ramp here and then what i want to do is add in a second texture here going image image texture and this one is going to be a grass texture so just opening up a grass ground right here again from textures.com link in the description connecting that up to the base color of our second principle shader and then we have a nice mix of rock and grass in our scene now what we have to do is add in the rest of these textures to fill out these pbr materials so i'm just going through and duplicating this texture opening up the roughness and normal maps for both of these and then just connecting the roughness map to the roughness on the principled shader here and changing it to non-color same thing for the normal map changing it to non-colored data except for this you want to add in a vector normal map connecting the texture to the color and then the normal to the normal input on your principle shader that will give you some bump in those rocks and that will make it look nice and cool now some of you guys might be asking why i don't use micro displacement for this and i actually did play around with that for a while but i found it was just giving too many errors and issues right now with my scene it's currently in experimental still so it's not a hundred percent um bug free i would say and it was just giving me some weird issues with shading and stuff so i didn't use micro displacement for this and i found that this worked perfectly well in a four scene like this one the last texture i'm just opening up on both of these is the ao pass and for this i just use the color mix rgb switch it to multiply and multiply the ao in the bottom socket here cranking it up to something like a 0.8 and that gives you just a little bit of ao bakedown to that texture which looks kind of cool i'll do that for both the grass and the rock so now that we have our rough mountain laid out with a material on it and an environment texture it's time to start adding some trees now for the tree models that we're going to be using in this forest i'm actually going to use the tree that i just created in a previous one minute video on how to create a low poly tree and blender so go ahead and check out that video there'll be a link up on the screen somewhere and down in the description as well if you can't find it so go ahead and watch that video create a low poly tree or if you're a patreon supporter you automatically get that tree model free for you to download in the perks so go ahead and download that or create it yourself and open it up and we'll be using that as our main tree model so once you have your tree created we're just going to go ahead and go shift right click to place our cursor over the side here and then i'm going to go file down to append all you have to do is locate your low poly tree model where you saved it and go ahead and click on the model then go into object and just select that tree model that you created right there and here we have the low poly tree that we created in that tutorial ready to go all we have to do actually is hit one to go into front view and then rotate that 90 degrees so it's on its side this will actually allow it to be distributed across our mountain a bit easier it's kind of weird but just go ahead and do that rotate it 90 degrees in front of you now here we have the tree again but with the particle system not applied yet and i just did this because i want to show you guys how you can just delete the particle system off of the tree and this is another tree model that you can go ahead and use is kind of a dead tree then so i'm just gonna go ahead and rotate that 90 degrees as well in front view and we have two trees here now that can be used in our forest maybe i'll scale this one along the x a little bit just to make it a little bit more tall and lanky so it's cool to go ahead and create a few variations of trees using the same method that i showed in that one minute tutorial on how to create this low poly tree you can create a few different types of trees maybe like a pine tree or something so you have some more variation in your forest as not all trees are the same type there's plenty of different types of trees now that we have both of these i'm just going to select both of them holding shift and then go ctrl g to create a group with them this group i'm just going to go ahead and name tweeze and with that set up we're ready to go so i'm going to go ahead and grab our camera hit zero to go into camera view here and then grab our landscape here i'm going to go down to our particle settings here let's give ourselves a little bit more room and add in a new particle system we're going to choose hair and advanced and then of course we're going to scroll down and change that from actually rendering hair over to our tree objects so under render go ahead and change render as collection and that collection is going to be the one we just created and that is our tweeze collection so go ahead and open up those you can see we have them a really crazy big right now so we're just going to take that scale way down to about a point zero one and then choose object rotation under the collection settings here and this will allow them to be shooting straight up just like we want now these trees are still a little bit big so i'm just going to go ahead and scale the actual tree models here that we have because these are quite large also so by going s and then point two we'll scale these down about five times so they're much smaller so right now you can see these aren't really being emitted realistically as you can see like this one on the background here is kind of growing out on a 45 degree angle we can fix that by enabling rotation in our particle settings here and then under the rotation settings we're going to change this to be global z after this you can see they're now pointing straight up but of course every tree doesn't grow exactly straight up so we want a little bit of that rotation so give it a little bit of randomized rotation there by giving it a 0.1 and i'll go ahead and give it some phase and random phase as this will allow them to kind of spin around their axes and so you'll see different sides of the trees again giving more variation so right now we have just as many trees without leaves as we do trees with leaves being seen in our scene and that's not very realistic there should only be a small amount of dead trees in our forest so what i'm going to do is i'm going to choose use count right here in our particle settings and dropping that down i can go ahead and give our tree a much larger count something like a 10. so for every 10 live trees now we only have one dead tree and that just gives us much more life to our scene with a little bit of realism still using those dead trees now let's go ahead and give ourselves some scale randomness we'll give this about a .4 as some random tree size and now we can actually speed up our viewport a lot by limiting the trees to just what we see in our camera and not having them all across the landscape or not even seeing them so for this i'm just going to grab our landscape and go over to weight paint mode here in weight paint mode i can hit f to make my brush a bit bigger and we're just going to start painting everything we see in our camera view so here i've roughly painted everything in the camera view now i'm just going to top view and kind of finishing that off so i can get those hills that you can't really see from the camera view to fill in some of those crevices but we're actually going to want to leave some variation now because trees don't grow everywhere you have like some little rivers and stuff running through your trees as well as the rock faces on the peaks of your mountains not usually growing trees so what you can do now is switch from draw to subtract and i'm just going to take away some of the weight paint mode on the peaks of some of these mountains by dragging along there as you can see here and then i'm also going to kind of just make some like river ways through the forest here where you might have like a gully where no trees grow because they're flooded out or something something to think about now i just have to choose that vertex group in our particle settings here under density and you can see that we have all of our trees limited just to our camera view here which is perfect so that's looking great so now it's time to really give our scene a sense of scale and we're going to be doing that with some fog now in the past and i've done fog i've just used blender's internal mist option which is okay for some scenes but not very realistic in general for this i kind of came up with a new method for adding fog to the scene and i'm excited to show you guys how to do it right now so i'm going to start off actually by not using volumetrics a lot of you guys were thinking that i would be using volumetrics when i posted a preview of this tutorial earlier on twitter and instagram instead we're going to be using some textured planes and mapping them across our scene here so here's how you do just that first off i'm going to place my 3d cursor off to the side here and go shift a and add in a plane we'll go ahead and hit period to zoom in just on that plane and i'll scale that plane up along the y axis to make it a little bit more of a rectangle now opening up a new window for that shader editor i'm going to switch to the shader editor on the left here and if your viewport's a little bit sluggish you can go ahead and turn off the visibility of those particle systems by clicking the little screen there and i'll just allow you to have nice and smooth quick viewport motion select that plane and we'll give it a new material so i'm gonna go ahead and delete the principle shader here and we're going to be actually using an emission shader so i'm gonna go shader emission go ahead and connect that up to the surface and then i'm gonna add in a mix shader so shader mix shader i'm gonna drop in a shader transparent shader connect the transparent to the top with the emission shader connected to the bottom and now we need to add in a noise texture to control the amount of emission so i'm going to go ahead and go shift a and add in a texture noise texture for this noise texture we're going to connect it up to a color ramp as we usually do so go ahead and grab the factor of it into a color ramp and ctrl shift click that color amp you can see that we have that texture being displayed on our plane the scale is actually pretty good i might change it to something like a4 and then the detail i'm going to crank up to a 5. the distortion i'm going to go to about a 0.7 to kind of give it a little bit of a wispy sort of mist like look and then you can go ahead and increase the black amount to give yourself some black spots in your texture something like that and then i can go ahead and pull up the white value closer to something like that and then take the amount here down so i'm going to take the intensity of the white value here all the way down to a 0.18 so it's a very dark texture you have just a little bit of that sort of wispiness coming through and that's looking perfect and connected to the mix shader right there as the factor and then ctrl shift click that mix texture and you can see that we have a very foggy plane so there's one last step that we have to do and that's going to be removing the sharp edges of our plane here we don't want it to kind of cut off abruptly and to do that we're going to go ahead and add in a new texture this is going to be a texture gradient texture and we're going to change it from linear to spherical now all we have to do is add a texture coordinate by going shift a input texture coordinate and using the object output as the vector we'll use that as the noise texture as well there and now if we go ctrl shift click on that gradient texture you can see we have our sphere mapped perfectly on to that plane and all we have to do is go shift a add in a color mix node to multiply this sphere over our texture here so i'm changing it from mix to multiplying connecting it to the bottom socket giving it a factor of one and you can see if i control shift click that node we now have that wispiness fading into nothing on the corners so go ahead and control shift click on your shader and we've created the finished mist material all you have to do now is maybe give your mist a little bit of a yellowish or greenish texture something kind of cool as a foggy sort of mist so i'm gonna go ctrl shift click right onto our landscape there and go shift a add in a plane we'll scale this plane up nice and big something like that we want to leave it kind of right in the middle of our plane so we have some mountains above it and some mountains below it this is going to allow the mist to kind of hang there underneath the mountains a little bit and really make the mountains seem larger so this is perfect and all i'm going to do now is grab that plane and add in a new particle system just like we did for the trees i'm going to change it to hair and advanced and then right under render we're going to change it from render as to object and that object is going to be that plane that we created this is going to be plane one as you can see right there by the name plane right there and here you can see that fog plane distributed all across our plane i'm just going to choose rotation like before and then also choose object rotation so it rotates it on the right rotation there we'll give it about a 0.5 scale randomness and increase that scale up a nice amount under rotation i'm changing it to global z and then i'm going to use the phase to make sure that all of these planes are pointing at the camera so by changing the phase here i'm going to make it so they're all aligned nicely with the camera if you go to top view here you can kind of see how they're all facing the camera now and that's perfect obviously with this method you don't have perfect fog from all angles as you might have it looking better from certain angles than other angles using flat planes like this but it is a very great alternative to using volumetrics as it renders much faster so now you can give it just a little bit of random phase and some randomization there to kind of make that fog a little bit more randomized we can go ahead and hit g and move around that plane if you want to pull that fog up a little bit higher you're going to want to uncheck show emitter in the particle settings here so you don't have the emitter showing up as you can see it's still in the viewport though it won't be in our final render but just to get that out of our way i'm going to grab that plane give it a new material and then just take the alpha right here down to zero so we don't see it in the viewport either but what you can see right now is happening is we have these black boxes and this is due to the number of transparent passes not being high enough inside of blender what you can do to fix this though is just go over to your render settings here render properties under light pass you're just going to go down to transparency and give this like a 128 bounces now you can see the fog distributed all across our scene then the last thing you want to do and this will increase your render time even more is grab that fog plane and under the object info under the array visibility here you can uncheck everything transmission volume diffuse glossy and shadow just leaving the camera visibility on but with the fog set up now we are ready to do a render so we just have a little bit of compositing to do once this render finishes here before we can render out the finished animated sequence on this video sponsor concierge render farm all right and there we have it let's get into some compositing so jumping back to our blender scene and switching over to compositing we're just going to choose use nodes and go ctrl shift click that rendered image to bring up a viewer node alt v zooms in v zooms out so i'm gonna start off by doing is actually adding even more mist because you can never go wrong with more mist and it kind of helps to blend our scene here into the horizon so for this i'm gonna go shift a and a vector map value for this one to connect the depth output on our scene to the value input on our map value go ctrl shift to click that and we start off by changing the offset to negative two then i'm gonna choose use minimum and use maximum for the maximum i'm gonna change this to a point nine just to give everything a little bit of fog and then i'm gonna change the size here down to a point zero two to make it so we have a lot more of a scene visible so now we have to clean up that noise and we can actually do that by adding in a filter the speckle to go ahead and drop this after the map value there and you can see that does a great job of cleaning up most of that noise already and then you can see there's still some left in the scene so i'm just going to duplicate that d speckle node and drop it in there a few more times to actually kind of clean up the rest of that noise and then playing around with the threshold on some of these you can actually take out even more of that noise going down to a 0.4 i found to be the sweet spot and a 0.6 on the neighbor so that cleans up our image real nice and all i'm going to do is add in a filter blur drop it right in there change it to fast gaussian and we'll give this just a little bit of blur with a 2 on both the x and y so i'm going to go shift a and add in a color mix node i'm going to change this from mix to add i'm going to use this value that we just created here as the factor and then in the bottom socket here i'm going to choose sort of a nice warm sort of green orange mist color and now by going ctrl shift and looking at what that looks like you can see we have that extra fog added into our scene so this is without and this is width now i want to decrease the amount just a little bit so i'm going to shift d to duplicate this mix node change it to mix from add and then we're gonna connect our original image to the bottom socket here and change this mix amount to about a point six so we have somewhere in the middle a mix of the original render and our added mist and now using intel's open image denoise node we can take out some of the noise in this render by going shift a adding in a filter denoise we'll go ahead and just drop this in here and you can see that this will clean up our image quite a bit with that setup we now have a nice looking scene filled with fog and all that's left to do is a few glows so these glows are really simple all you have to do is go shift a add in a filter glare node we're going to start by adding some streaks in all you have to do is increase the threshold a little bit here we'll give it some color modulation give this about a point eight give it more iterations here we'll go up to five and then under the fade amount we'll make it fade much longer by going 8.99 that's looking pretty cool all i'm gonna do is increase the threshold all the way up to two and then give it an angle offset of about 40. this just gives us some nice sort of glare streaks coming across our scene making it look like there's some imperfections and some glare on the camera which looks pretty cool so now i'm just going to duplicate that glare node and this time change it from streaks over to fog glow for this i'm going to take the threshold all the way down to a point eight and then increase the size up a little bit as you can see here this will give us sort of a nice atmospheric glow to our scene if i let this load a little bit and now i'm just going to duplicate that fog glow one more time this time making it nice and small for some more tight glows and i'll increase the threshold a little bit on it and we're ready for just a little bit of color grading so for this i actually don't like to do too much color grading in general in blender because i like to be able to have that control after the render is finished but in this case i will add just a little bit using a color balance node we're going to drop it right in here and i'm going to change it from lift gamma gain over to offset power slope so we don't ruin any of our values in our scene doing it this way and i'm just going to lift the highlights over here by bringing this up to a nicer higher value and give it a little bit of a touch of blue and then i'm also going to increase the contrast over here by pulling this up a bit this is going to actually increase the blacks a little bit and then giving it a little bit of a blue color which actually gives a little bit of a yellow color that's just the way um power and slope work so just playing around with these values then until you get the right lighting for your scene something that you're happy with but there you have it there's our finished forest scene laid out with all of our trees and blender 2.8 and it's time to render that animation so before you go about rendering your animation you're going to want to make sure you're happy with your render settings pick a good sample count and choose the resolution that you're rendering on obviously the higher resolution the more cost is going to be as the render will take longer i'm going to go at a full hd quality here though so once you're happy then with your resolution and your final render and everything's connected make sure the last node is connected to the composite node in your compositing as you want your composite effects to be affected the final render and then what you're going to do is you're going to go to file external data and pack all into dot blend this is important as it takes all of the textures as you can see down here it just packed eight textures into the blend file so now that we upload these to our render server it will include the textures with it so concierge render is actually really easy to use they have a very simple layout here so all you're going to want to do is head over to your file manager here make sure you save your blender project and then choose add files in the file manager here you're just going to grab your forest scene there and open it up this will go ahead and upload it on the server as you can see i already have it uploaded right here so then you're going to go over to launch render here you have your simple render settings and one thing that i actually really like about this render farm is the preview option they give you a free preview render of your scene so you don't actually get charged anything to do a test render to see what it looks like and this is awesome because so many times you have a render that you're ready to go with and then you do your first render and you realize that ah there's a mistake and you don't want to be spending money for that mistake so doing a free preview render like this i think is an awesome idea and i really like that this render farm does that for the render platform we're using blender 2.81 because we're using that denoising node so with a preview render that's all you have to do everything else is already ready to go you're just going to click render and then if you jump over to your job manager you'll now see that that preview job is in the job id and with concierge render there's actually no wait time you automatically put right into the first and the queue and you have over 500 gpus then at your disposal to start rendering your scene so it's actually crazy fast it only took 20 minutes to render the entire animated sequence you see here at full hd quality and 200 samples it costs just about 47 bucks for the entire sequence which comes out to less than a quarter per frame being rendered and with the free five dollars worth of credit that you get when you join the render farm you can use those to render out some beautiful still images and try out the render farm so you can see here that our preview is done it took just a minute and a half to render here now you're just going to click download zip and here's the finished rendered preview scene so you can see that your animation is going to render out really nicely so you can go ahead and render the full animation now with confidence knowing that it's going to work well so for the full animation then you would just choose blender 2.81 again you would choose animation and then under frame selection you would choose your start frame which would be one and the stop frame is going to be the last frame in your animation so for my original scene i did this at 200 frames so you would choose 200 as advanced choose your sample count i found 200 to be plenty when you're using that denoise node so go ahead and put that in and then all that's left to do is click render and let the render farm do all the work as i said earlier this only took about 20 minutes to render the entire sequence because it works with parallel rendering on over 500 gpus this allows multiple frames to be rendered at the same time on all of those gpus allowing animation rendering to happen really fast another cool feature that the concierge render farm offers is if you save your scene out to dropbox you can sync that file then with your uploaded file here on the render farm and then every single time you make a change to your blender project and save it it's automatically updating on the render farm so you don't have to keep re-uploading your project once you've downloaded your zip file containing all of your images all you have to do is extract that on your desktop and you'll get a folder with all of your images in it as you see here so that's gonna do it though thanks a lot to concierge render for sponsoring this video and i hope you guys had some fun and learn something cool along the way creating some large scale forests and blender this video was a ton of fun to make so i hope you guys enjoyed it if you did leave a like comment subscribe and post your finished results in the comment section below that's gonna do it for me though guys and i'll see you all in a future video [Music] [Applause] you

Channel: CG Geek

Views: 2,232,870

Keywords: Blender, teamtrees, forest, realistc, tutorial, how to, trees, create, blender 2.8, fast, volumetric, fog, unity, unreal, large scale, aerial landscapes, Aerial, UE4

Id: 72LPW4S8bns

Length: 29min 27sec (1767 seconds)

Published: Fri Dec 13 2019