Create an ADVANCED SPACESHIP composite!!!

hey what's up guys and welcome back as you can see our lighting is far from perfect we're still tweaking a few things down in the new place new studio and i don't feel right calling it a student yeah anyways um so i wanted to post something today even though everything's kind of undercover i just spit quite a bit um so yesterday saw the movie dune pretty good movie uh in the ads or the trailer it said like hey it's the next star wars the next lord of the rings i would say so yes um it's lacking the hype by a lot like no one knows what the heck dune is um i like i guess it's the same thing for star wars when it first came out but then just blew up um but dude's not really doing that it's a little bit too contemplative for me um and then but as far as like in lord of the rings and star wars political stuff going on same thing happening in dune pretty good i'd recommend it it's pretty awesome and uh that's so like so that's what inspired today's uh tutorial so we're creating a a giant ship that is rising up and it's kind of dusty kind of foggy not yeah kind of dusty and it's got light some volumetrics anyways so go ahead and uh let's get let's jump in let's get started [Music] okay guys so uh let's get started so today it's a little bit of a bigger note tree um it's a little more advanced um so let's jump in so go ahead open up a new project and um we'll get started so so yeah open a new project i'm actually going to delete this 100 so we can do it all from scratch together and um yeah so okay so here we are project let's go to fusion okay if you hear weird coughing or gagging that is one of my wiener dogs okay always fun always something new right every day okay so what we want to do is go ahead and load in our ship now our ship is pretty um low poly i created it in blender now this actually isn't the original ship i did original ship i did was actually a lot was like super high poly but the the main like the general look of it really wasn't anything impressive but there's like a lot of little details in it i was gonna do something awesome with this where i had i was gonna have uh the ship come and crash into these rocks um but the rigid body is being weird it'll work once and then it won't work and anyway so let's let's keep moving um so yeah created this uh here in blender there's a plenty of uh tutorials on how to model stuff so we are going to move onward um exported it now what we want to do is grab it pull it into fusion perfect we got our fbx mesh go ahead and add a merge 3d we're going to be combining multiple elements then we want is the camera 3d boom and then we want a directional light and we'll put that over here and then we want a renderer and let's go ahead and we're going to change the render from software we're going to change it to opengl and then let's get a blend in here and let's get a reflect node and that should be our main 3d setup um the base of it right now so let's get things set up let's view our render in our right console right here let's do our merge 3d and our left let's go ahead hit command and scroll let's zoom out and hit shift to rotate and what we want to do is pull the camera back super far and then we're going to zoom in it gives this effect that uh it's like extra big and sometimes people want to have the whole ship in view something like this but to really sell the idea that it's really big you want to uh crank the focal lengths up that's huge right there maybe not that much let's go good one is round 324 okay let's go something like right here and we're gonna move the camera forward just a little bit like so let's bring it down and whoop these are a little bit touchy let's go here and then we want to rotate it up just a little bit it's kind of like we're looking up at it point one there we go just a little bit it's just uh it's just some tiny little increments here now let's go to uh we're not going to really do much with our camera anymore so let's scroll over and check out our main hole right here um our main ship oh hi okay here we have our directional light now it doesn't matter where you move it oh hey it's okay just just go to it like uh where you move it doesn't matter i just move it off to the side and if you want to you can put it where you uh you can't put it where uh where you want to so you just so you can have a visual on like hey this is how you do stuff go ahead hit save now you can add an autosaver you go right here you save it and you can add whatever i'm not going to today just just cuz okay so let's go and let's check out our ship we recorded now it is by like it is not a perfect uh a perfect render right here it took like an hour and a half to render it and uh i was getting my car emission oil change stuff um but we want to oh hey i'll show we want the light coming up from the bottom a little bit so let's go ahead and do that let's view our render let's enable lighting shadows and you can see stuff is going weird right now um and i tried fixing the normals and blender but nothing did anything what we're going to do is hit shift space you want to get a replace normals boom and then we just want to go flip and we don't really care too much about the smoothing groups right now we'll keep things a little bit harsher okay awesome that's looking good and our lighting is on our our hole right here okay so let's go to the directional light and let's go ahead and transform or uh rotate yeah transform whatever and let's go upwards like this perfect so pretty good okay be careful just lead you i've got two doxies here and one of them hates uh hates when i'm doing stuff on the computer so it's okay okay so that's looking good now the reason we did the opengl render is so we can do soft shadows with um with a with the directional light so let's go to render oh no we're already good in the render so running the directional lighting we want to come to controls when we go to shadows and we want to come down to the bottom right here softness variable is more accurate but it uh takes a little bit longer variable fast constant i'm sure you can imagine what that is and so now let's go ahead and see what we're looking like okay that's looking pretty good for starters looks like something you'd see in a uh comic movie so um yeah it's looking really good so let's go ahead and let's add in some textures so let's put in a loader let's see here what textures we want to add let's add there's like a sewer drain i think that's the one i used sewer boom that's the main one right there okay sweet and see here let's go to create a bump map map then we'll put the bump map into the reflect right here boom put it into the blend right there click on the bump map change it from height map to bump map and then in the create bump map let's go ahead and crank it up to like 2.3 and let's go ahead and view our material so we're looking better you can see it's shiny you can uh we see we've got text on the front right there so what we can do is add a texture to d to it and then we can move the texture around but then we can also uh okay this is actually really good so a lot of times you'll put a texture on a a mesh in here and you'll see it's not wrapping around all the way and that's if it's like tiled on something so what you want to do is change it from clamp to wrap and then you'll see it and then if you're moving it around you'll want to keep it on on wrap so let's go ahead and crank the scale up and see what it's going to look like for us and let's scale up some more on the u scale let's just line some things up real quick no no no no no no no well you're being difficult today okay yep don't chew the court okay okay just gonna line things up oh my goodness let's do negative one boom wow that doesn't work negative point one normally i like things you know adding up or uh lining up that's the word i'm looking for okay so sometimes you're just i'm it's going to be a little bit of a headache just trying to line things up it doesn't be perfect i mean most of this thing is dark okay so yeah we're gonna leave like that right now i'm sorry guys i swear i've always got junk to my throat so i uh please i apologize okay so now let's add a channel booleans and let's see what uh we can do for the roughness now you can realign the bump map to match this um i'm not really going to worry about it right now um yeah so what i want to do is take the sewer pipe into the channel booleans and we could copy and paste the texture 2d for this um but again i don't really i don't care so we're just going to stick that right here and move the channel booleans right into the reflection intensity material go to the channel booleans and change the alpha to red green blue luminance whatever it just needs an alpha channel in there and let's go ahead and view our material on the left right here and it's looking pretty good it's looking pretty solid so let's go to the reflect and let's add a background and let's put that into the reflection color material okay awesome that's looking good that's looking good for starters now let's go and we need something bright in these areas i think i might put something bright right in this middle section right here so what we want to do is hit shift space add an image plane then the merge 3d hit one so we can see that in our left viewer right here and go ahead and zoom out select the image plane and let's go over to uh lighting and we don't want it affected by lights we just want this bright just because there's not really a uh there's not an emission material or an emission mesh you have in um here in fusion so you have to leave things super bright super bright white and then you add some glows and that's what creates the the emission material okay so to speed things up we are going to disconnect our renderer let's pull this down pull this across and let's get things moving okay what we want to do is i'm going to have it right in this giant spot right here if not the best idea but actually let's change this from image plane let's change it to shape 3d and let's do a let's do a square or a cube whatever all right no let's do it towards no not a tortoise it's an eye kit it's an eye catcher okay so let's pull that forward that's got weird subdivisions circle less subdivisions it's weird okay lighting again we want the affected by lights off and let's pull this upwards to like right here now the reason i change it to a shape is so we can get we can add a reflection to this and it helps add a hint of realism to the light um you'll see what i mean in a second so let's do something like this and let's rotate it something i don't know something like that oh dude and that's just like reverse oh my goodness okay that looks good alright so um lights often times you can see like a little bit of a blue in this case blue but like some sort of color kind of bleeding over on the edges right there what we want to do is add a reflect node shape you can leave the background material blank and we want to hit background we want to put this into our reflection material reflection color perfect and then we want to change this to like a bright blue and let's go to the reflect and let's change the fall off something like that okay let's go ahead and view it in our uh our renderer bam and our renderer okay that's looking good this is the same way you can do uh um add windows in here um you just change it to like a darker color and like like here let me show you like a background in here load perfect and then you change this like a brighter white come on and then you'd add like a sphere map on here and then you could add a bump map but uh to help give things a little more flare to it we're just gonna leave it like this okay um and then yeah we wanted this bright board okay awesome so we are done with this main actually no not quite yet what we're going to do is add an ambient let's go ambient occlusion right here what we want you want to pipe in the camera to it you want to pipe in the renderer to it and then on the render what you want to do is go to output channels select z and normal and then i want to load and what you're going to do is you can see the ambient occlusion pass which is awesome that's great now what you can do is you can either merge it on top or you can just come over here to the output mode and just do color and boom so now what we want to do is take our ambient occlusion and this is where we start adding a lot of interesting not interesting but i'll show you we have to layer things with fast noise and we need to layer things with glow so it's kind of like in in interact not interactive but you'll see okay so after the envy inclusion of course we want to add a blur node and on that blur node you want to crank the blur size up i don't know first off let's view the blur node boom okay and we probably need one uh one viewer right now of course we can always change that if we need to okay so we're cranking the blur up 1.2 looks good and now it's time to add our background so let's go to a background right here and we want this to be of course in the background slot go ahead and view the merge and what we want oh hey uh shoot i almost forgot guys we actually want to add a fog to this so select the merge 3d hit shift space and add a fog 3d and let's just see oh come on for me i'll just give it a second okay on this fog 3d what we want to do change it to exponential 2 and then we want to it's kind of a desert e excuse me area so we want to keep it a little bit warm but we are using white lights and it's in the night time so so let's uh pull everything down so we'll kind of have it like a neutral color instead of blue something like that hey hey hey whoa no no no no killing it okay go ahead let it render okay cool and then we want to crank the density down as well okay it's still a little strong for me for my like so we're going to turn it down like that render out and we'll go a little higher we'll go 0.007 inch dead okay there we go okay so now what we want to do is now that we have it rendered out and we're done with the 3d stuff we'll go to render right click go to modes unselect update and it's going to do a final render then on the ambient inclusion you want to go to modes update and select that or else it's going to be taking forever every single time you add a new node okay so i've got our background on here let's go ahead and get jumping so what we want to do is um go to the background go to solid color go to gradient we want this uh we want the top to be dark and the bottom to be lighter and we'll have it kind of at an angle something like that and then we want to offset it a little bit something like this maybe we'll have the angle a little bit ah now the lighting on the uh thing is pretty even um so we'll leave it like that okay and then we need to bring the darks up something like that bring down pull it right down okay then our wipes you want to pull that down okay so it's looking okay it's looking okay it's not definitely not looking realistic and so this is where we start adding some realism to this so first off let's go ahead and let's add some fast noise to this so fast noise this is going to go right in front now a lot of people have issues with fast noise and that's probably because they're not using it to the best of its ability and actually let's make this a little bit smaller like right here and see the rate down and so in order for us to make it look like it's rising what you do is you just animate it moving upwards and um the smoke just kind of goes on forever but real quick let's add some contrast to this let's bring the brightness down something like that okay pull the contrast down a little bit and something like that there we go holy smokes so doxy is so soft okay uh but what you do is you you want to so if this thing is moving up uh what you want to do is go to the center animate it right here then you're going to go down and then you're just going to click and drag whoop make sure you're on the fast noise and you want to come back over here animate add the keyframe come right here perfect and then you want to pull the fast noise down something like this then it kind of looks like it's rising okay so now what we've got to do is we can start adding some glow to this and this is what adds the realism in this scene here so what we want to do is crank the gamma up gamma gives it a lot more uh like what's it called it gives it a lot more stuff a lot more volume metric to it can create a shine threshold up sun and we want the main brightness really close so then what we want to do is add a soft glow boom crank the threshold up like so move again like that and we're going to crank the glow size out move that game down just a little bit perfect now we want to add a fast noise after this actually so what we're going to do is we're going to create a mask and put the fast noise as a mask so come over here boom gas noise into the soft glow you're lay down lay down come down and perfect and then with fast noise what we want to do let's change the seed rate up a little bit and let's go to the detail crank that up crank the scale up just a little bit and then we'll crank the contrast okay that's looking good and real quick we're gonna do a little bit of color correction right after this thing right here so let's go to brightness contrast what we want to do is we're just going to pull the brightness down and we're going to pull the gain up that looks like garbage right there so doesn't it okay we'll we will tweak the lights in 3d space oh man i had as you can tell as you can see i had a different model when i was doing it initially okay so let's uh tweak the the lights here let's go to let's do our merge 3d and our viewer let's bump it back and what are we seeing going on here no no here choose a side hunt choose a side okay so got that let's go to the directional light let's move it upwards a little more and let's go to this okay let's go to the side a little bit and let's pull the intensity down okay now let's go ahead and view the rendered hmm there's also this model kind of sucks let's be honest here let's be honest here okay uh let's go view our merge 3d let's we're going to change the lights a little bit more we're going to crank it bam go to transform and we're going to crank it down okay not that much something like this i can never go to ambient hit occlusion okay we'll roll with that okay that's looking better okay so now what we want to do is after the soft glow what we want to do let's add some rays some rays all the things here and let's go boom you can use either rays are pretty much they're very similar and let's go let's bring it right to the heart of this boom so it's facing us the decay we want it really big the weight let's pull the weight down a little bit exposure down threshold up okay and then what we want to do is we want to add another glow to it this glow trying to spread out we want to add the h the horizontal to vertical we want it out like this shine threshold pull it up and let's see here that's looking good right now but let's go up to this merge real quick let's change it from normal to screen i really didn't do anything to do that i'm just going to multiply newt oh no about over it okay there we go that's a little better okay and then again we want to crank the game the gamma up bring the opacity up and actually let's hv ratio spread down like that now let's go ahead and add a hot spot to this boom hold up make sure we're viewing the hot spot and let's it's okay crank the size down we're going to crank the aspect up now we don't want it to be a distracting um hot spot well i'll show you so that looks cool it's a little bit distracting but we'll we'll roll with it right now uh so now what we want to do is add some goodness to it so first off we want to come here deselect alpha deselect mix with the blue and the green you want to create the blue up so it has a bluer feel to it almost okay now go to l1 these are the light components of this i'm going to crank the element strength down let's change the color from uh pink or whatever let's change it's like a blue let's change it to a softer perfect and the position let's stretch it out a little bit okay and then for the l2 we'll do the same thing bring the element strength down perfect the position stretch it out a little bit now keep it round then go to l3 do the same exact thing and then this size or sorry the strength on this is going to be low but the size is going to be big and we're going to stretch it out a little bit change it to this and we're going to change the color to a little bit there we go a little bit of blueberry and then we went to elements uh size the same the position same the strength i want you to pull that down a little bit moving the size down a hair okay so now what happens is when this when we animate this to move when you move the hotspot everything moves with it so it's a lens flare we got essentially going on right there and then if you want you can add the secondary strengths like a secondary line right there the size you can always crank it down i'm gonna add things make it look cooler okay so now let's uh let's adjust a few things let's add a few more fast noise in here perfect and we can even add a fast noise to the hot spot if we wanted to um as a mask right here hey let me put a mask in there sometimes it needs it once a bit man so plot a bit map the bitmap into there and put the fast noise into the bitmap okay that's looking better so now with this fast noise what we want to do is crank the detail up a little more create the contrast up bring the brightness down and we'll bring the brightness up a little bit and the scale yeah we'll do something like that actually let's not do the hot spot because the hot spot this is all stuff happening in the lens and you're not we're not really getting dirt in there but we can add it to this glow right behind it and that's looking at it significantly better now one thing that i do want to do is crank the rays and i want to blend the razor in a little more and then after this hots yeah we'll do before the hot spot let's go ahead and add another glow and we'll do a regular glow this time different blue okay and when the glow sides up and the glow we went down the blend up a little bit now we've got this a little more of a volumetric effect going on then let's add the fast noise to that glow as well yep nope let's not do that that's looking good so that's already looking significantly more realistic this bright spot is very very bright let's see if we can do anything about it pull it down just a little bit we want the hot spot main center right here we don't want that to be too strong but we want to glow around it to be really popping so what's this let's check out the spread right here okay that is looking good okay cool okay that's looking pretty good um right now so now let's go ahead and add a brightness contrast and let's uh let's correct these things a little bit more what in the heck is going on oh yeah that's just let's do ford yeah there we go let's just delete it take that okay and again guys it's all it's all about tweets okay looking good um let's see let's crank this glow let's pull the spread back let's bring it back in like that that's good maybe we'll crank the hv ridge here okay that's looking good okay so it is kind of messy right now so let's go ahead and kind of clean it up get the brightness contrast let's go ahead and crank the contrast up a little bit pull a little bit of saturation something a little blue and [Music] um let's actually completely change this to the color corrector node and we're going to push it a little bit to the warmer side make sure you're viewing the color corrector node pushing it to the warmer side um and then let's crank the contrast a little bit something like that and then what we want to do is let's start adding our film grain to this so we want two film grains film grain film grain and then we want to take grab a bitmap for the first one and you can take the color corrector color corrector bitmap and do the film grain and with the bitmaps going to change from alpha to luminance and then the film grain let's go ahead and view so right now it's we have the grain everywhere that we don't want it so what we want to do is invert it now i've got grain where we want it now what we want to do is take the film grain we're going to take it monochrome or we're going to add some color to it that's just it makes it it's kind of like noise we're going to change the master size down something like this and the master strength down and then on the actual film grain we're going to leave it as is now we're going to crank the size down like that bring the roughness up and pull the strength down a little bit okay so now what we want to do is add grain and we do want the bitmap going into this one and what we want to do is grain the grain size we want to pull it down and bring the power up now the difference between the film grain and the uh the uh the actual grain is the great the grain is a little bit more harsh it's meant to be used with a bitmap uh whereas almost like noise to to to your shot it also is used to match the grain in the natural footage so you can change the grain size up like crazy big you can crank the red difference up so you get a little bit more color you can drink the blue up you can do a lot of things with it but for right now i'm just going to pull it down something like that i won't lie this shot looks like garbage but that's okay now what we want to do is add a brightness contrast here and let's add a an ellipse node to it ellipse let's go ahead and crank the soft edge up let's pull it apart like so and let's pull it bigger and we're gonna pull it uh we'll pull it down actually something like this and then we want to pull the brightness down just a hair so make sure we're viewing it as well um it looks like we need to invert like that okay okay so that's looking a lot better and because we have such a big light here it makes sense we'd see light on our front area right here maybe that's one of the things that i'm like man something just looks awful so we've got directional light let's add a point light let's view our merge 3d let's add the point light to it and let's pull it to the front area right here okay it's quadratic and let's pull the intensity down a little bit okay now let's go ahead and view our brightness contrast node see what difference is okay right on so now we've got to tweak all of our clothes okay so this glow clearly was too strong okay let's go to our soft glow and let's gain down if you're reviewing it good night oh rings that's right okay let's view this glow here um select it let's pull the spread out yeah and let's pull the opacity down actually we'll keep it up okay now that was looking good the hot spot yeah i just feel like something is just off you guys something is just off man it's such a big light spot the other ones are so much smaller let's change it we got to change it guys we're going to move it down here to these little this little thing instead of up there just doesn't just doesn't look good so this is where extra planning comes into play and you know we're just going to change and just move this on down right here something like that this shape i'm not going to delete it but let's let's disable it and um yeah let's get the brightness contrast and we're going to have to tweak our hotspot well i'll give i'll tell you what it's already looking way better so oh my shoulders my shoulders okay let's go to the hot spot let's change it down here nice very nice okay and then for our rays let's select the rays let's bring them down okay now that is so much better maybe we'll uh kind of decay that i'm sorry dang looks like we've got even more flare artifacts oh that's a good one that's a good one right there keep it keep it okay boom i like that one right there all right let's zoom in we've got some super strong grain uh let's go film grain what are we looking at that's fine oh man this regular grain is freaking high put that down got a brightness contrast going on now let's go to the film grain i'm gonna pull the string down on that and we should be looking good okay guys that's looking so so so much better uh with a hot spot i'm going to get rid of that secondary strength it's just looking a little weird a little bit distracting it's distracting you know you're doing a bad job okay there we go okay so now it's out of color curves real quick maybe we'll add in another blur actually let's go 0.3 i now set the color curves and should you the colors can really bring to life these objects so let's turn the red crank the reds up a lot more make sure you have only the red selected okay that's looking better let's pull the reds out of the shadows nice select the green and let's pull the greens up in this area come down in the it come down in the shadowy area okay and then the blue let's just pull the blue out of the highlight okay something like that okay so now we can do is to have more of a uh better view of what things are looking like you can add a fake sentiment cinescope and let's add a background of course okay get the rectangle pull the width across like this bring the height to where you want it like right there is good okay so this is our finished shot so far um far from perfect but it isn't looking too bad so now what we want to do is we want to animate it and it's like we just got rid of this shape right here oh yeah and okay so this video's already pretty long we'll go over animating in a different way but pretty much actually no no let's just do it right now i'm not gonna get around to it anyways okay so what we want to do is just view our fbx mesh in here we're going to disconnect our stuff right there and let's go ahead and animate this so we do want it moving up so what we're going to do is move it down for starters let's go ahead make sure you add a keyframe for everything and then what we want to do is we want to pull it up like so oh wait make sure you slide down to the end frame and then pull it up like so um so it's looking good so now we've got our animated things going up it's actually flying freaking fast which is not what we want like really that's ridiculous uh we're gonna pull it down okay cool so now what we want to do is we need to add some micro um tweaks to it so what you want to do is you want to change the rotation a little bit let's go 0.1 there right here let's go 0.1 and right here let's go 0.1 then on the x let's go one that's a little strong let's go point zero three boom then on the zed let's go point zero two and now let's go to right here take this one bring it down to zero this one bring it down to let's go negative one awesome this one will go down to zero point zero two let's crank this one down to zero and point zero three let's bring this one down to negative point zero one okay so now you can see we're getting a little bit of tweaking oh come on get this gracious yeah select oh my goodness pull back okay so you're seeing that it's a little harsh that's okay let's go so i pulled the z down just a little bit 2.6 freaking high that's what negative and then you just do that for the rest of it i won't bore you guys with the rest but then what you want to do is make sure you come over to the spline and we want to smooth things out a little bit so you want to go to fbx mesh you can take all this goodness right here and we select it all and then just hit this little curve right here and then you can tweak things how you would like you can always zoom in on this and tweak it some more and then make sure you get this one this one is the end frame you don't need to smooth it out or else it looks like it's just coming to a stop so just leave it as is and then when you view it um it should be looking pretty good but we want to make sure we can see it in our camera so let's grab our camera 3d and we want to make sure we are following this thing for the most part up so let's leave it how it is right now let's add a rotation to these i think it's just the x rotation we're really going to move our camera that much and then right here let's go ahead and crank our x rotation up even more so nuts i am on the x rotation normally it's like the smallest moves make it go berserk why am i not seeing it oh yeah okay that's always fine so make sure you are viewing the right node guys let's know this lesson of the story moral of storyline that high 2.0 let's go 1.4 okay make sure you hit save and we come to right here and we'll go 1.7 and then we'll let it kind of take off from there boom okay so now let's go ahead connect the uh the reflect node into it boom and then let's scroll down to the merge hit two and pop your shoulder as needed and we should be looking pretty good oh yeah yeah it's times like this when uh you went to uh add your i totally forgot how to point like do it you add your point light and move your point light with it it's normally you would animate the merge 3d and you'd add your point light to that so let's go command s and for the sake of this i'm just going to move it back to where it was right there so you can see things a little bit better and this is the exact process i did with the uh that one the original footage you saw um the only difference is that footage uh i had a higher quality model and that's what that's why it looks so much better right now it's just a giant spot of light you can't even tell what it is and that's uh that's what we don't want so one issue we have to do is we have to fix the rays so you want to pull this up more and [Music] then you've got the hot spot change anyway anyways um that is that's it for this tutorial just remember the better models you have the better it's going to look um and then all for this scenario it's all fast noise and glows and uh and fog so anyways uh long dry but i think you guys got the idea and um yeah i will see you guys in the next tutorial

Channel: RESOLVED

Views: 544

Keywords: Davinci Resolve, Fusion, CGI, Compositing, 3D animation, Black Magic Design, Filmmaking, Camera, VFX

Id: Nfu6aTORnCw

Length: 57min 10sec (3430 seconds)

Published: Fri Oct 29 2021