Create This with Twinmotion 2023

hi everybody David here with via render thanks for taking the time to check out this video in this video we're going to be taking a look at the new 2023 twin motion preview number two now this just came out um over here in the US today and so we're going to take a look at that and we're going to work through a project this is the second of what I'm referring to as the build this with me projects where I'll take you through step by step the creation of an architectural visualization render from start to finish and because we're going to be looking at the new version of twin motion I'll talk about some of the differences and changes as well all right let's go ahead and begin and we'll start by jumping over to SketchUp to take a look at the model that we're going to use for the scene along the way I'll give you some tips and tricks and some advice and setting up everything from your materials to your actual camera and a little bit of post-production in photo shop all right let's go ahead and get started and I'll see you in SketchUp okay everybody so here we are in SketchUp and you can see we've got a pretty traditional A-frame style build here now please note I did not build this SketchUp model um I really just want to get into the Twin motion part of this course so I I kind of just grabbed one from the warehouse and it's a really beautiful model whoever made this um I did add just a few little elements we have a bed on the inside and I've just added some generic kitchen equipment as well all of these objects came from the warehouse all in all it's a pretty nicely built model it's actually really nicely built I think and well kind of work very well for the finished look and feel overall what we're going for in this image is something akin to an isolated cabin that's actually situated not necessarily on water but perhaps out on a jetty or perhaps attached to the mainland via little Causeway so so we want the shot to feel a little bit like this small pocket of warmth in a very sort of cold environment or at least something a little bit more Rocky and sort of visually appealing so let's go ahead and we'll send this over to Twin motion we can actually just delete our scale measurement here we don't need that anymore and the only other change I've made is to lift the model up just a little bit off of the green axis you want to get it just slightly above the ground plane to give ourselves some breathing room now we may end up trying a variety of different techniques to put our ground layer and the water layer in but for now it's good enough to just have the build lifted right up all right let's go ahead and turn on our data spin so you can get the data Smith I believe from I think epic uh you can access it I think through really just by going to the epics website or just searching for twin motion and you'll find the data Smith we've gone ahead and installed it here and you'll notice we've got a few different options but the one that we're going to click on is export to data Smith file this will become very important and I'm going to go and place that on my just tuned motion A-frame folder and that's pretty much it for this point let's fire up twin motion so here you can see this is the Epic installer or the really kind of like the Epic store um the marketplace library and the twin motion so if you've used unreal at all then you're quite familiar with this and you'll notice that here we have the twin motion launcher and if we use the drop down menu you can see we've got different versions going on here and you can go back quite a ways but this is the one that we're going to utilize now the more recent newish twin motion this has replaced preview number one which was kind of actually pretty recent so I'm kind of impressed with that and Preview 2 has like I said just come out today so let's go and launch it all right the first thing you'll notice is the splash screen these are really really nice they're effectively pre-made scenes that you can utilize in your really in your renders going forward if any of you have used key shopping in the past you'll be very familiar with this this sort of basic lighting Studio lighting setup I haven't used the other ones I've just so far just used the default I did have a poke around at the basic lighting setup before which is a really really nice Studio lighting setup which will work if you're into product visualization which is something that twin motion has been pivoting to a lot more recently a lot of their presentation material seems to utilize really product uh look and feel really just you know 3D versions of products and product development which is kind of really cool if you've ever used keyshot in the past then you kind of know what we're talking about however we're pretty happy though with just using the normal scene so I'm going to hit new scene and this is what we get all right looks pretty interesting this is slightly different than the old flap sort of plane that you would have gotten which had that Urban Skyline it's slightly different in terms of responsiveness the keypad one two three four and five will still work to speed up or slow down your camera I'm gonna hit three on the keyboard three and four will give us a nice speed for our initial shots but now let's go ahead and in the next section we're going to import our SketchUp model all right everyone so I do want to just talk about the interface a little bit if any of you had previously watched the video that I recorded on Twin motion users moving to D5 and what you can expect you might recall that one of my biggest issues with the twin motion was the interface now the interface has changed quite a lot in the last number of years but it still relied more recently on nested menus so in other words menus that were hidden with inside other menus which were further inside other menus Now it worked pretty well if you were used to it but could also be somewhat nightmarish if you're trying to learn twin motion for the first time and just not knowing for example where to go ahead and maybe load up your height map you had to go within a menu within a menu within a menu so the interface now has been massively overhauled it does keep the same sort of dark gray interface color scheme which is really really nice and seems to become the general Trend uh really over the last 10 years it seems like most programs are switching to a dark mode version and I really do like it okay over here on the left we have all the standard content that you would have gotten before so we have our materials we've got lots of different materials in here that we can mess around with and these are the standard materials that come with twin motion we've also got vegetation trees flowers things like that they have increased I believe some newer models recently they're still I want to say they're okay-ish please don't be mad at me twin motion fans they're they're okay-ish is the best way I can describe that I wouldn't exclusively rely on them but I think they'll work for a lot of standard projects it's not hundreds of trees though you're not looking at you know 600 different types even though they have increased the amount they're they're still somewhat lagging behind some other libraries we also have objects including things like home living room chairs a lot of decorative elements and they really have recently added a lot of newer models really over the last two years it seems like they've taken that to heart criticism and feedback and really the assets have improved quite a bit I don't think they're as good as the D5 asset Library just yet but they are definitely improving and they are ahead of a lot of what you get in lumion all right we also have access to important things here the mega scans Library which we're going to utilize quite a lot and I think almost everyone involved in visualization let's probably use this at least in the last year maybe even the last two years I will use this a lot to actually build our scene the sketchfab library it's very unlikely we'll actually utilize this I mentioned this in my previous video I don't really know what architectural visualization people would actually really use this there's too much content there not enough quality controls and it might be just really difficult to find exactly what you want and since we're going for an outdoor shot it's really unlikely that we're going to need to access a lot of this content in seeing that if we find something cool during the process of making this uh tutorial then we'll probably go ahead and put it in there all right over here on the right then you'll see we still have the actual scene layout we have everything from our starting ground starting landscape and we have this but it seems to be the default starting with objects in your scene now um I'm not sure yet if this is customizable if you can edit this and then save it um but for now I think this is a pretty good we can go ahead and just select all of these we can either hit delete and get rid of it or we can do Ctrl Z and manually delete the parts that we don't actually want also I may be mistaken on this but I do think that this starting interface is looking a little bit more Unreal Engine like but I'm not hugely familiar with the Unreal Engine at the moment but I do think that's sort of the direction there there seems to be an increased push for Synergy between the two so that if you're familiar with one ecosystem you might have an easier time switching to the other and I will um I will actually talk about that in another video about some of the changes under the hood here as well all right I'm gonna move the little icon up here and down here on the bottom we have some of the tabs that you're going to spend a lot of time on including the import the actual materials populate is going to be if you're going to put trees really if you want to use either pots or if you want to use brushes to paste in your trees and Landscape finally we have media which is where we're going to store our camera shots and if we do a little video this is probably where we'll start setting that up and lastly our export tab okay let's in the next section let's go ahead and bring in our actual model and as we work through this we'll continue to dive a little bit more into each of these tabs and take just a little bit more time to look at the settings all right let's go ahead and bring in our model all right everyone just two more things that I want to mention before we use the data Smith to bring in our SketchUp model and the first is Library you can actually turn that on and off so let's just get to know that you have this available right here the other one that I like to have on is the stats now previous users of twin motion will notice that this seems to have moved from the right hand side where it was under the scene graph and has moved to the bottom left corner which is actually probably a better place for it since it did take up quite a bit of space on the right so we've got some empty space over here on the left now to get our SketchUp scene in we are going to go to import which will be right down here in the bottom and you'll see click here to import file or create a data Smith direct link I'm going to click here and the direct link settings source is already set to the SketchUp A-frame model in terms of import options I'm going to leave Collapse by material on that way you know for example in SketchUp if something has a wooden material on it twin motion should recognize that all as one object I'm going to keep full Precision UVS on not hugely sure that this will make a big difference since I don't think that SketchUp generates UVS automatically but everything else looks pretty good let's import it you may be wondering why nothing has happened curiously sometimes in the data Smith you do want to actually first go over here yep make sure that's good and we can also go and manage connections here and you can see A-frame twin motion it's all good so what we will do is hit the direct link auto sync and I'm going to then manually just click in here to force this to update let's go back to Twin motion there we go and here is our model I'm going to hit Ctrl p on my keyboard and this will bring up the settings quality and appearance tabs now I'm going to concentrate on the quality right now you'll notice that overall the viewport isn't set to the best it's because I have everything set to low I'm going to put that too high and I'm going to leave all of these settings on as they currently are the viewport resolution scaling and the quality of the path Tracer I'm going to leave those on for now click OK all right and you can see now we've gotten our shadows back that looks really really nice so far it's a little bit bouncy but that could also be just because I'm recording as well so I think that'll work just fine what works you can see we've got a really good selection of different wood materials that we can utilize but because this is going to be an exterior shot let's just grab this and drag it straight out all right if we look on the right now you will see that we have details have appeared for this material we can add grunge and you can kind of see the effect this is going to have and the grunge is really just going to be procedural noise that will help break up a texture we can also adjust the color separately or independent of the material I'm going to make that just a little bit lighter and I think all in all that looks pretty good some of these new settings I'm looking forward to experimenting with haven't really adjusted saturation or lifter gain so I'm kind of curious how these will actually work but for our function right now just interior wood flooring this looks pretty good we can also adjust the UV how this is actually applied and you can see we have options to stretch on the X or Y so if we needed to distort our texture to get it to fit our object a little bit better we can also use offset X and offset Y which will kind of move the texture to the left or to the right or up or down turn that off all right the roughness slider will determine effectively the reflectivity is the best way to put it every material in real life is to some degree varying levels of roughness in other words how much light actually gets reflected off of it in addition we have the metallic slider down here because most materials are either metal or they're not we can leave this at zero now for the exterior wood material especially on the Walking area where you would get a lot of people walking and it's exposed to the elements I want a wood material that's a little bit more worn for this I've gone to the quixel bridge now again if you're not aware a brief overview quick slow started Life as a procedural texture generator that was really an add-on for Photoshop back when a lot of really textured assets for video games were really made in Photoshop sort of a little bit before substance painter and quixel mixer had become sort of commonplace now pixel has long since been acquired by epic and as a part of the Epic ecosystem so Unreal Engine twin motion and the bridge itself I'm going to spend a huge amount of time on this but we are going to go over here to the left two surfaces and I'm going to look for you can see we've got a lot of different surfaces here a lot of different options to choose from I'm going to click on wood and I am going to click then on Plank now I can try plank or I can also try log but really like I'm not doing a log cabin I'm not actually a big fan of that look so I think we'll stick with plank okay so you can see we've got a fantastic Arrangement here of different wood materials that we can download I'm going to look for something that's suitably worn for this shot yeah um let's try these guys now you may also be familiar with the idea that you can download and Export these materials that is definitely one way you can do that and you can manually extract the texture maps and then load them up into twin motion but there is a faster way to do this now I'll go through these steps a little bit more when we get to the landscape but if you go up to the little dots right here you can see we've got copy asset ID I'm going to click on that and I'm going to bounce back to Twin motion here and I am here in the materials tab but anywhere in the library will work just click on the search bar and do a control V to paste you do not have to be in the mega scans tab for this and hit enter and there we go I can go ahead and just download this now and I can drag this straight onto the surface and there we go it's a really really fast efficient way to do this and it saves you time having to go all the way back into the actual Mega scans surfaces wood log and looking through all of it like that I just prefer to work on a separate tab I just think the images are just a little bit bigger and easier to work with okay let me use the eyedropper tool up here the material picker and I'm going to click on this surface and now I am going to make a few little tweaks to this I am going to increase the grunge quite a bit I think that I just want to add a little bit of wear and tear here and we also do need to adjust the scale I think right now this wooden material is maybe just a little bit too small you will notice that it does seem to be a very unbroken pattern and it is tiling quite a bit that's something we will kind of address we'll try and break this up by adding some furniture and some decorative elements and that will hopefully help break up that all right so there is our nice wood material on top pretty happy with the overall look of this liking how rough it is and I think all of this looks pretty nice one thing to note with twin motion and I just want to mention this because just as I was about to record this I ran into it is the two things really the preview model the preview version that we're using 20 2023 preview two a lot of the preview versions are unstable and I mean that in the best possible way they they are preview versions and one way you can kind of run into issues is not saving so I think now is probably a good time to go ahead and do a quick control s and if we do a control P here and look at our settings we do have options under save for auto save mine is currently set to 15 minutes depending on the complexity of your scene and depending on what you're working with you know could probably be good to maybe put this down a little bit so I'm going to put this down to about every seven minutes as the releases get more sort of concurrent and up to date and more hopefully stable you could probably put this back to the 15 minute tabs but since we're working on a preview model I am going to go ahead and just put that to seven click OK the other thing to notice is navigation we can use the wasd keys to move around and the Q and E keys to move up and down but one reason that I mentioned this is I have a tendency to get stuck in the walk mode so if we go up here to the little I you can see we've got options for the song time of day camera things like that but I'm going to click on this pedestrian mode and drone mode for some reason and I haven't figured this out exactly yet you will often bounce into pedestrian mode and when you do that the W I'm sorry the Q and E Keys no longer work and that will stop you from lifting the camera up and down I'm going to click on that and if this does happen to you just do this put it back to drone mode and now the Q and e-keys will work just fine all right so now that we've got the material set up let me just have a quick peruse and look at that I've gone ahead and just put some dark wood as the under base under our actual build on basically the roof area we've put shingles they're effectively like laminate tiles that would be piled up now this section right here is not completely accurate you can kind of see a little bit of a problem there if this was you know for production I probably wouldn't leave this I would try and build the roof as correctly as possible but considering our camera maybe all the way back here I think we can probably get away with it for the areas around the door I've simply just used a white Plaster with a grunge applied now for the sections on the inside for something like this which again the camera is going to be pretty far away just hit t on the keyboard select it and what we can do is just go turn off these and I'm just looking for the roughness and just drag that back a little bit give the impression that it's sort of a plastic surface we can also go materials metal and really anywhere where we've got this kind of shiny metal let's just add some Chrome and that will work pretty nicely a lot of the objects in here really shouldn't be that visible so we can just apply some pretty quick default standard materials through them we shouldn't have to spend too much time fixing these up because you know realistically they're not going to be that visible all right so all in all I think that looks pretty good stuff like this I'll probably just get rid of as we go forward there's no point in keeping like really what is effectively just stuff that's going to drag down your scene so that'll that'll work for the inside I do plan on leaving the bed the bed model itself is pretty good by all accounts and so we'll leave that as is and we'll try and put up some lights maybe on the inside just to highlight the bed okay let us begin to move on and we're going to introduce some really some terrain models that we'll get from the mega scans Library all right I'll see you in the next section moving on from the materials it's time to start adding some context I go to the library go to Mega scans and I can try pasting in control V and there we go this is a gigantic Tundra terrain and I'm just going to bounce over to the bridge here really quickly you can see I'm in the collections and this was actually the tundra collection and this was the environment that we're going to build our kind of around our model to start with we're going to mess around with these two here the gigantic Tundra terrain and we're going to approach this from a working big too small so we're going to get the largest areas in first and then we'll add some supplementary kind of areas of rock and stone and then we'll add sort of our what I would consider like secondary and tertiary details so trees would be considered secondary and then the tertiary will be the smaller details so effectively the plants and birds and rocks and things kind of approach just really the small little things that help sell the story and click download and this may take a while depends a little bit on the speed of your connection and I am going to place it right here okay so if I pull the camera back you can see this is really really nice it is quite large which is exactly what we wanted so I'm going to select that and just move it out of the way and that way we'll be able to see where our house build is which is somewhere over there now you'll notice I'm running into a little bit of a problem here I do still have the original ground plane so you know we can keep that friend now but we can always just move it out of the way or move it down and I'm going to move it down okay so the tundra build a large scale land I'm gonna look for an area maybe a little bit more watery and we can see can we position really this to just sort of match up to our house okay select this I'm going to move this around a little bit remember I do want the house to be sort of out a little bit I want it to feel like the house is actually out on the water not just necessarily a part of it but really positioned quite far out into the water all right just something that you may find useful to know the embedded Mega scans materials are to the best my knowledge limited to 2K texture maps and you can see that right here this is a tree stump that I downloaded directly from within twin motion this is the exact same tree stump but downloaded from the bridge and loaded in to Twin motion now in many ways when all the maps are put on it's kind of hard to tell however just know that this one on the right has an 8K diffuse texture map and the one on the left obviously is limited to that 2K and you can kind of see it when we zoom in you do get that blurriness going on and if we zoom in on the 8K one yeah you can kind of see just the level of fidelity is still kind of sharper now why does this matter well we downloaded an environment directly from within twin motion which meant it was capped at 2K so what we ended up doing is manually downloading this texture map from the bridge and loading in the 8K so you can see it's the same thing the only thing that's going to be a little bit different is the texture map here so I've got 4K in there right now and I'm going to click on the texture details click open go to 8K and let that load up and you can see a little pop there that tells you it worked and now when we hover over it we have an 8K environment map now I'm not gonna have a huge amount of impact on performance I would be happy with an AK map for a big area like that for something close to the camera you really just got to use good judgment I think and try try not to have a huge amount of anything above 2K in your scene as it will slow things down quite a bit alright hopefully that helps you let's move on so you can see we've gone and added quite a bit more of these Tundra Rocky ground objects and I think collectively they all work really well together and you can see if we go and put our camera just back here to where I think we're going to position it all in all the ground looks pretty good it's not super high resolution but I have changed the resolution of this one right here to be 4K instead of the standard 2K that comes when you download from within twin motion so putting our camera sorry about the bounciness there putting our camera back in kind of a position that we like I think that looks pretty good okay everything is nicely lined up this might be a good idea to go and save a camera shot down here on the bottom we've got import materials you see all the materials that we've used in the scene and some of which that we're not using anything anymore the ones that have a tick mark are currently being used the other ones like this chest not you can go and delete that will kind of speed up your performance a little bit too but let's go over the media and click here to add an image now I'm not going to do anything to this just yet it's good enough just to know that I have this shot saved now the next thing we're going to do is experiment with water if you remember there's our saving every seven minutes just popped up there if you remember we move the ground plane out of the way so we're going to experiment a little bit to see what looks best when it comes to adding water to your scene and we look at the path Tracer settings as well here is our ground plane the starting ground I can toggle it on and off over on the scene tab on the right and you will notice it is sitting quite a bit Above the Rest of the soil that we brought in so we can bring this down you want a nice little transition nice blend as best you can but I don't want it to be overpowering okay looks good and what I'm using is I think right now we're just using the river water when I do that you can see the options over here change to the river and so we can adjust the water depth and we can also adjust the turbidity in my case though I want to take down the wave intensity I don't want it to look like it's moving too fast you can see we've got quite a lot of control here let's put this back to let's see how that looks yeah I think so looks pretty nice now I haven't had a chance to experiment with the caustic size and caustic intensity sliders yet I'm not really sure what they're going to do might leave that for another day but let's hit or on the keyboard to turn on the path tracer yeah not looking too bad at all may end up adjusting the water a little bit and turn that off and just see I want to look really close on The River's Edge bearing in mind we haven't adjusted the sawn or the environment or anything else just looking at the water settings now if I put the path tracer to medium see if we get a better result yeah it's looking a little bit flat we may tweak that a little bit but ultimately I'm not too you know pretty happy with that actually not too unhappy one thing that is bothering me is this in the background and that's the starting landscape and so what I'm going to do is just turn that off if we go back to our stored camera you can see we're going to just kind of turn this off and I am then going to just refresh here so refresh update the image to match the current status yes I do not want that sort of starting landscape in the background and populate some of that with trees but I don't want you know kind of whatever this is just kind of floating there all right it's time to add some sort of tertiary or I'm sorry secondary details to this right now looking at our scene we've got a nice bumpy area over here on the left I think that looks pretty nice all in all and turn back on that starting ground go back to our stored camera and I do want to refresh that I want to make sure that the starting ground is always there if we lift the camera up just a little Dash and see a nice transition here from the water it's not perfect and there's going to be some limitations with the path Tracer when it comes to grass in general this seems to be a known issue going back a little bit but over here on the right I do want to break up some of this area it's just a little bit kind of too a little bit too clean okay so let's Place one of these rocks we've gone to the library vegetation and we're just going to use some standard rocks here these aren't these aren't like you know uh Crystal Mega scan rocks or anything like that these are just standard little ones go up to the top here and you can see I can hit on my keyboard I have the options for 7 8 and 9 and 9 is going to scale so go ahead and click that and just bring this down just a little bit hit eight again to get back to my move too and I'm just gonna crash these in here you know you just want to look like there's a sort of naturalistic fall off it doesn't have to be too perfect just you wouldn't get kind of a very smooth transition here so just something like that will work and again anywhere where you get really these smooth areas nature generally abhors a vacuum and so we want to try and kind of you know break up some of those areas just a little bit too smooth we can go ahead and place one of these larger rocks but I don't know that they look as good okay you can also go back to our Mega scans search for tundra t-u-n-d-r-a and let's see what we've got here let's grab one of these little Tundra Boulders and just place that in again hit nine on the keyboard and scale it down okay I'm gonna look for maybe just a hero Rock if I can get one something kind of a little bit larger let's see let's see you look good hit download okay and not entirely sure why my downloads have stopped probably a good signal to go ahead and turn off twin motion and turn it back on again when in doubt let's do that Ctrl s to save and we'll restart all right everybody if you've made it to this point what about the halfway mark right about now so I've gone ahead and made just a few little alterations and this is something you're just gonna have to kind of make up as you go along I've added a few rocks over here just to break up the line where the water actually meets really just the edge of the ground you don't you want to try and avoid a really obvious transition so we just put a few rocks there to break it up now these were just duplicates of the ones that we've already downloaded and just rotate it a little bit so you avoid any sense of sameness now we've also gone ahead and just sprinkled a few weeds so these are just going to be under vegetation and grass and flowers and we've got everything from Little Heather down here daisies and the tall grasses and all of these you just manually place them in your scene you can brush them in and we might talk about that at a later date but for our purposes here just adding little sprigs of greenery to give the impression of life in your shot no matter how desolate the area you're always going to get some level of sort of greenery or sparsity that kind of grows now I've also added one or two trees I do want to avoid having really having a huge amount of trees in this shot I do want to go for something that as we said gives off a little bit more of a sort of lonely feel or isolated so you've got this like pocket of warmth coming from the home in a generally sort of Spartan very Rocky landscape environment instead so I've added one or two and if we go now and just I'm gonna turn on the path Tracer hit the r key on your keyboard by the way there are known limitations from the older versions of twin motion we're guarding how water behaves uh more specifically the lack of depth um I don't see that that's actually changed in this one there is a workaround you can do where you apply a basically a shiny flat mirror-like material and then you add a normal map with Ripples and bumps in it to give the impression basically of depth and variation on the surface I'm pretty okay with the result that I'm getting so far it might not be completely photorealistic per se but I think artistically it's not bad at all all right with that being said let's add our last bit of decoration the lights inside and I think we'll be good to render after we change the environment a bit all right all right everyone I've gone back to just the regular library and you can see in the top left and under just where we've been kind of previously before we do have objects so I'm going to click on this and you'll notice we get some more options obviously the city objects are not really going to be pertinent to us right now but if we go to home you'll see we get quite a lot of stuff I am going to place uh just a couple of these objects in here so for example the living room let's go into our model again we shouldn't really be seeing a huge amount in the model I don't necessarily want that but we can add like at minimum just add some sort of maybe sofa or chair all right I'm going to place that you can always just hit right click on the mouse to deselect and I'm just going to spin this little fella here okay doesn't have to be perfect theoretically it won't really be that visible anyway we just want to make sure there's something in here to give some semblance of life also add maybe just a small little table if we can find something suitable hmm okay let's pick this little guy and I'm going to place this right here just by the door just so it looks like there's something in the shot maybe a little seating area just to the left of the kitchen these high tables could look pretty nice as well we'll download them I'm not spending a huge amount of time set decorating this on the inside in fact I'm not really too pushed about how the inside looks at all I just want to have something there again hit nine on the keyboard to scale this guy down just something that a person could sit at and then I'm gonna hit eight on the keyboard hold down shift to drag out a duplicate It'll ask you if you do that if you want to make a copy or an instance I'm just going to do instance so any changes I make to one will apply to the other two all right that's good enough we really don't want a huge amount of stuff in here all right um plants oh it's nice to just add like a plant and plant in the scene so we'll grab this little Orchard looks very nice place it there just a little bit of decoration place this here again none of this should really be too visible from the outside just on the off chance that our light picks up something now going outside of the living room Electronics and Appliances if we're going to spend more time in here I'd do more but all we need is something like that you can already see the bed upstairs so let's pop out of here go to home and we'll go to backyard and we'll add some stuff here by the way I haven't used looked at these before so I kind of have to we're going to make this up as we go along just something that fits with the shot oh yeah that looks really nice okay I don't know if I want to add too much sort of decorative stuff out here wood pile definitely always looks good I'm going to pile that up on the left there yeah and I'll leave the other side empty um I do this little garden storage kind of looks nice really just anything that you can think to add to the shot that will sort of help a little bit I'll bring that in and just place that there all right so I was able to grab two benches these are from Lucas Design Associates you can get them on the warehouse and it's kind of nice I can really just go in here hit t on the keyboard select this part which is going to be the metal part and I'm not going to really assign a material I'm just going to adjust some of the details here including the roughness and whether something is metallic or not same with the wood it's easy enough to just select that and you know I can probably tweak this but that's really okay maybe just drop the roughness down a little bit should still work next thing I'm going to do is just add some planters over here and I think that will be sort of it so for those I'm going to go back to not the home back to the library back to the mega scans and I'm gonna look for 3D objects and what we can do is look for props maybe and see what we have I'd like to add at least maybe just something kind of a little bit more rustic that will help try and give the impression that you know this is still kind of a lived in space and yeah let's do these bourbon barrels it's a small thing but I think they look pretty cool yeah okay very much like the look of that that's really really cool okay and then other than that is there anything we can maybe add let's grab the rusty metal tube and we might put some Greenery in that Library vegetation grass let's do bushes and let's see if we can't maybe decorate it just a little bit just to try and sort of give the impression that you know there's there's a little bit of life here and I'm gonna put let's see how this guy looks um it is coming in fine might lift it up you do get kind of this sort of issue where Greenery might come through the pot a little bit you want to try and avoid that definitely but this will work nicely we just want something in there just so it doesn't feel too empty and put another one there all right we run into any issues there we can always Photoshop it out all right last thing we're going to do here is add a few little lights and I'm gonna go up here to lights and let's see what we can do in terms of adding something to the inside I'm not going to spend a huge amount of time on this I just want to make it look like there's light on the inside put one light here apologies for the dog barking in the background there we go now I don't know how strong these lights are going to be by default most lights and most 3D programs tend to be a lot stronger than they need to be let's just hit or on the keyboard I have let's put our let's put the path Tracer down to low again I'll put my camera right back here all that matters is how it looks from the camera it's a little bit slower than I'm I want to drop the bounces just a little bit okay and what we're gonna do to see this in a different lighting environment is to actually change the ambience and that's going to be right up here otherwise we won't be able to tell how well that light is working so in the next video let's change the ambience okay everyone we're going to change the ambience but before I do that I want to mention something about the sort of environment Lighting in Twin motion strictly speaking there's three ways to kind of light your scene what they call the dynamic sky so if we go up here and click on the sun and you can adjust really just the standard this is very similar to d5's Geo and Sky system you can just kind of really rotate the time of day and if I move this over to the left here you can see then under the ambience tab here we also have options that will allow us to adjust the weather and the seasons as well this is sort of like procedurally generated kind of fake snow and fake rain and things like that you know it's been a huge amount of time on this but just be mindful now the other thing that sort of separate to this is the HDR environments and these are on your left right here now Loosely speaking they used to be like a dynamic um it was kind of a Sky Dome that seems to be gone so now we have skies and then if we back out of that we've got indoor and outdoor these are hdri backgrounds that you could use for particular shots and then you've got the studio lighting here I believe it's a simplified sort of lighting system but for our purposes just to see how the light is actually working we can go up here go to the Sun and just drop the time of day all right I'm gonna bring that right down okay so you can kind of see here that looks really really nice hit or on the keyboard and obviously the light that we placed in is really really really strong so just hit or again really quickly to undo that and we're going to zoom in here we can also go to the right scroll down to the scene tab or we can just click on this and open up lights and you can see I've got my two IES lights that we placed in the scene the attenuation is going to determine the fall off and you can see that when you do select them the options over here on the right change this is really really nice because really everything is at your fingertips and so I don't have to go into menus I'm going to plug that a little bit down all right and the intensity itself again don't go off the viewport here let's just turn on the path Tracer and see how it looks I want it to just look like there's a soft glow in there just a little bit I don't want it to look overwhelmingly like bright we can also adjust the temperature here on the right to make it just appear a little warmer it's gonna be probably a little too bright what I think I'll do is Select this light and move him back there we go all right you can see we're getting a bit of a spotlight effect going on in there that's not too bad let's go back to our library and we'll go back to lights and I am just going to put a soft area light in here I'm going to place it about there just at the back of the home if I need to I can move it forward a little bit and again that area light probably by default is you know they all tend to be very very strong let's drop the intensity down quite a bit might be easier to just type in a value here and I'm going to do a hundred is that realistically accurate not necessarily no but again with the camera pulled back the question is how will these look now I'm going to do Ctrl p go back to the path tracer and you'll notice here on the very very low precept these samples are eight I'm going to drop this down to four and the bounces I'm also gonna put down to about four that's pretty low pretty low but it'll give you a good idea of how things are looking and it should be there we go a little bit faster bearing in mind this is not a nighttime shot we're just gonna find it at Sky that we like the look of this is just to give the impression of a glow or warmth coming from the home so it looks a little bit more lived in and I think that will work just fine I'm going to undo that I'm going to place one more area light upstairs probably the bed is the the place that you know really we could make it the nicest warmth effect coming from that's going to be this one here again let's put that down to about 70. and I might put a nice little soft find a nice little yeah a little IES nice little soft one here just right there select that and again put this down to maybe about 50. and we'll make it nice and warm and that will look I think very nice indeed now if we get a little bit of bleeding through I think that'll be okay all right let's now go pick a sky that we like the look of in order to get the mood we want in this let's go back to skies and here's where we're gonna have a lot of different choices about how we want this to look do we want it to be clear do we want it to be cloudy and really I'm just going to try a bunch of different skies and see what really what fits what tracks and what looks good you know at the end of the day it's you're just trying to sell a story give an idea of a mood or atmosphere and so we can do that we can just try different things and see what fits oh well yeah what I do love about this is just the Shadows that we're getting it's looking really really really nice indeed a little bit too bright for our purposes so let's just step back here hdri environments skies and maybe just try something a little bit cloudier maybe and just see what looks good I don't want this to be excessively dingy or dark so let's try to find something with a nice bit of contrast how about this guy here low Sun overcast and you know we could always you know go to Media add new images and make sure that you know we've got different skies in different ones of these images so for this one let's drag this guy out here and we'll see it might take another while and so we could end up with effectively the same image the only thing that's different is going to be the overall Skylight that you're going to get if you're coming from lumion this is very similar to the real Skies that looks really really nice I'm gonna make one more and you've got quite a lot of options here and a lot of choices in terms of the move that you're trying to go for now back to the Cloudy just a little bit and see what works and I'm going to try I'm kind of leaning on this I do like the way this is actually hitting the the sort of tundra environment but we'll try one more we'll leave maybe image one as our working file the one that we're going to mess with but where did my little Sky go let's see what we can do yeah I don't necessarily let's let's drag this guy out and just see yeah I think this all in all these will look pretty good once we have our overall Sky we can look at really kind of adjusting the other settings I kind of like both of these quite a bit I'm still going back to image two as my preferred one and I'm just going to move this over to the left just so you guys can see all right so on image two I'm going to hit the orky get our let's see what the real sky looks like so definitely a lot darker when we hit the path Tracer probably just a little bit too dark so what we can do is go back out of that just hit or again do kind of like the light that we're getting in this version so let's try making some changes and see what we can do all right I'm gonna go to render and let's see what we can fix here all right everyone took me a minute just to find the setting that I was looking for we noticed when we turn on the path Tracer that this shot is effectively a little too dark now this was sort of true of the earlier versions of twin motion 2. you generally had to crank really the ambient lighting and the intensity of what was at the time the sky dome but is now the sort of basically the hdri environments so here we are again for that we were just sort of under path Tracer here I'm back to the environment and you can see we've got this is where we've got our options we could tweak the exposure but I'd prefer not to generally speaking you if you can kind of avoid just overly cranking exposure on really anything you want to avoid that one exception is D5 the auto exposure you actually want to turn that off but for this we'll come back to these settings in a moment but with just the hdri can we take up the intensity on the Sky Dome and if we do that can we bring back the look and feel that we had in the raster version so let's go ahead and put this at about eight and you can see we're getting that Haze effect that we had earlier and I think it's looking pretty nice one issue is however that the sun is really behind the entire really the build you can see it right here that's looking nice yeah we are getting the light is probably a little bit too strong on these Reflections here but overall it's starting to look kind of akin to what I really wanted out of this which is kind of a very desolate shot there's now I think that looks pretty good I may drop the intensity back down here put that bike down to five now that the sun is coming from another angle you don't need as much uh the intensity doesn't need to be as cranked because you are actually getting more direct light from the brightest part of the hdri which is going to be that sun right there all right I think that looks pretty good I think we can go ahead and do a control s very much liking the look of this shot so far and I'm going to turn off the there we go control s and we'll save that looks nice now the other things we can do in here is to go back to the details tab again I mentioned don't crank the exposure you don't really kind of want to do that you want to just go ahead and just leave that back is sort of at the midpoint you know um I would always I would always assume exposure is kind of like the The Last Resort if your image is too short like if it's too dark so maybe just leave that alone but let's see what else we can do we can also crank up the sun intensity now this will be in my what I understand is the brightest pixels on the hdri are acting as a pseudo Sun so we can go ahead and do that we can adjust the sun's size which will also adjust the Shadows namely sort of the softness of the shadows and it'll give you a nice kind of hazy quality you want to avoid really sharp hard Shadows so I think that will look quite nice Moon won't make any difference and the white balance down here is effective with that do you want the image to be warmer or cooler pretty simple I'm gonna put it back to I'll put it I'll move it actually a little bit to the blue it's gotten it very orange because of the Sun that we're actually using and then the ambient is just that how much ambient light you have in the environment so I'm going to turn off the path Tracer and you can see if we kind of Crank that we can see the effect that it actually has and so somewhere here amongst these settings is that sort of sweet spot for lighting the intensity of the Sky Dome hdri or what was called the Skydome HRI the sun intensity and the ambient and then the sun size for those soft Shadows again I'm trying to get back that nice hazy quality that we had okay so the only thing that's bothering me is the glass here and one of the issues might be that if we spin our camera there just isn't anything really here there's nothing you know there's nothing stopping that sort of pillar of light hitting the glass and so I think we'll need to add um just a little bit of maybe some rocks or some trees back here and I think they will help break up some of that really strong pronounced light but if we just go back to our our safe shot and hit yeah it's slowly refining I quite like it I'm gonna make some more tweaks here but really we're at that point where it's really just picking and choosing the things that you want in your shot I'm also going to try and set up a comparable shot here using this Sky Dome as well and that way we'll have kind of a nice warmer one and a much kind of cooler shot and once we do that we can determine which one we like the best and which one we want to bring into Photoshop all right let me make some more tweaks to this and I'll see you in a moment okay everybody we're at the end stage here and between the two renders I think I'd prefer this one more there's just a nice contrast and I think we'll make that a little darker in Photoshop and maybe lighten up this area overall just up to two shots I think this is just the one I kind of prefer the most it's got to make a few changes here but other than that I kind of feel like we're done I'm gonna go ahead and start wrapping things up here really quickly okay we can get rid of the library we're done with that I'm gonna move this to the left again sorry about this and I'm going to click on Ambience one last time and just go through now the settings for this image right here so we're happy with the environment that's all good we can just minimize all of these all right and I'm gonna click on the camera focal length actually pretty happy with how this is set up so I may just leave it but you can adjust this slider here if you wanted to have something a little bit more zoomed in I'm not going to go through focal length um I think you know a lot of people are kind of comfortable with that already all right so leaving it there depth of field I am going to enable it um we may or may not actually use it we may find that the depth of field is maybe too strong or kind of ruins a lot of the image I have had extremely mixed results with depth of field in Twin Motion in the past and so you know sometimes you might just be better painting this in Photoshop it might be a little bit easier but you can always go in here pick focus and just click on for example right here and you can then see you can adjust these sliders adjust the aperture as well I'm going to leave it off because I'd actually rather paint it by hand but there you go all right in terms of camera effects you do want parallelism on which is basically it's going to line up basically two-point perspective it'll straighten the edges of the shot vignetting lens flare all of that stuff you're probably better off doing in Photoshop anyway I'm gonna go to render here and I'm going to make sure it's set to path Tracer and in terms of quality I'm just going to use the default high if any of you watched the previous video where we looked at the path to Tracer settings weirdly enough just the high was fine for most things so I'm just gonna leave it at that hi everybody welcome back I did have a slight crash as I was recording the last clip and so I've gone ahead and just picked this up the next day we were talking however about some of the camera and render settings so let's pick it back up there I'm going to move the little icon out of the way and more specifically we're talking about the camera settings now we just left off saying depth of fields to leave that off and we had moved on to sort of camera effects and the render settings now one thing to note is the anti-aliasing filter this is on the path tracer and you can see we've got our path Tracer settings right here I'm not going to go back over those again but the anti-aliasing filter so anti-aliasing it if you're not aware is effectively just a smoothing technique it's not a new one it's kind of an old one actually but it just Smooths out the jagged edges that you tend to get in sort of pixel images now one thing to note is in Twin motion it can give you a very smooth result if that's what you're going for but if you don't want that and you actually want a sharper result let's go ahead and bring this down to one drop it all the way down so one is going to be the lowest setting and I'm just going to type it in here and just hit enter there we go and that means that the image is going to be as sharp as you can possibly make it now when I looked at the image again this morning I did make a few changes I added a few more trees and just sort of moved them around and I also vary the age of the trees a little bit and in total now we have three different Skies set up the only thing that's really different about these is just the sky that we're using nothing else beyond that and it's really just mood now one curious thing that I did find if we go back to camera well let's go back to environment really quickly you'll notice that there's an option for the Horizon now yesterday when we were working on this The Horizon was not enabled but if you turn it on you can actually pick different really just horizon line images now those are really great because they do allow you to hide the sort of imaginary infinite horizon line that you get in renders and you always want to hide that you nothing ruins a render or says you don't really know what you're doing quite like seeing that horizon line um curious little Quirk here at the moment though is that these are because this is you know a preview release these are kind of buggy and so I'm kind of having to turn them on and turn them off in each specific shot which is kind of odd um because it didn't do that yesterday so there you go if we go ahead and turn these on and then turn it off we can refresh so it just means that I'll be careful when I render each of these three images out so all in all we've got three really nice shots and this is probably the one that I'm going to stick with and probably the one I'm going to render out and bring into Photoshop just because I like that contrast between sort of the dark sky and the left and the lighter blue on the right okay speaking of renderings let's go ahead and send this out we're pretty much done with all of this and our camera is set up nicely we've got embarrassed vignette parallelism is on and so the next thing to do here is maybe if we want to add any effects I generally won't do this in the rendering software whether that's lumion or D5 or twin motion or whatever I do think it's easier and better to just do this in Photoshop and everything that you render out is for the most part going to go to photoshop every still image is definitely going to go to photoshop alright I am going to refresh this image one more time and so the last thing then is go to the image settings for your export and you can see we've got different options out here for full HD I'm gonna put this to 4K 4K should be good enough for this right now and also click on the details here and do tile rendering if you were going to do like a 16k um export or just really large images and then Stitch it together or not though we're just going to do a nice little 4K image all right let me go ahead and pause there and then we'll export this out in a second all right everyone now that we're good to go I'm just going to click on image number three here again I will once more turn off this environment tab this uh I mean we can leave it on for this one it's not crazy um but I think that's good enough right there and we can go just make sure that everything is good output size is all good all right let's go ahead and hit export and we're going to hit export and we're going to export image number three I'm gonna go to local just make sure that we're saving it really on our computer and not to the cloud instead and image and I'm going to click add and we'll do image three I'm going to turn off there we go make sure that's good and let me turn off the real time I don't really need that and I can get rid of this one as well I think this is there we go image three that's the one we want all right that's it and I'm gonna just move this up and start export I am set to PNG um is there a refinement of high okay and then everything else is good let's start the export and just save it to wherever it's going to go all right and we'll take a look at this as soon as it's done hi everybody welcome back to the last section in this part we are now in Photoshop and we're gonna do our post production and so you'll notice if you look on the bottom left of the corner of the screen I did go ahead and render these out at 8K this is still my favorite image of all three the others look nice but there's just something about the lighting in this that really just appeals to me I think it just looks good all right we will work on it in 8k and then scale it down and we end up putting some borders on the bottom or on the sides too and I don't have any sort of post-production planned I have no sort of idea what I necessarily want to do here let's kind of right click and see what happens so I'll duplicate this layer there we go I'll add a quick levels adjustment just to really just kind of ask Photoshop to look at the image and analyze it all right looks good up to filter and we'll do camera Raw you can see it's going to take a little bit of time to load but you also get a really good idea of how the image looks in the histogram over here all right I'm going to run through just some of my favorite of these are basically Lightroom presets if you will load it up into Photoshop cozy is looking pretty nice right now and I'm just gonna find something that I kind of like the look of maybe try and blend between a couple of different versions and just see kind of what works see what color scheme we kind of want to sort of you know add to the image add cozy and I'm going to drop this down just a little bit here all right I'm going to duplicate background one as well that'll be layer one bring it to the top of the stack and again go filter camera and just see if there's again another look that we can blend between and I'll try and hopefully link out to these presets I tried doing it previously before but the store on uh Etsy oddly enough of all places had closed so I kind of lost the ability to link out to them either way though these will work just fine I think pump there we go drop that to about 50. all right so now we've got two different layers here both with different effects on and I kind of like doing this you can get a really nice sort of blend between these two things just by dropping down the strength here on the layers and as such you can kind of just mix and match a little bit the effects that you want I'm going to duplicate our very low background here and I'm going to just call this bkg just type that in bkg and overall pretty happy with the look that we've got so far I'm going to I'll just strengthen these again I just want to see how this top one looks all right select these merge layers right click and not that we'll duplicate them instead and watch while my Photoshop crashes all right and we're back so I click and merge these layers and I duplicate them one more time and I'm going to go up to filter hold the camera raw again and now we'll actually get into sort of the nitty-gritty of just tweaking the color values a little bit I think a lot of the post-production here is going to be done with the burn and Dodge tools as well all right I'm not gonna mess with this too much take up the highlights darken the Shadows wee bit and we can adjust the bright and the whites and the blacks here and just make that a little bit more dramatic not too bad do add a little bit of texture a little bit of clarity and we can mess with the dehaze value to kind of blow out that image a little bit take the Vibrance up and drop the saturation you can kind of see saturation is uh think of Vibrance as kind of a smarter version of saturation so we take that up and then overall drop the saturation down and that'll strip out some of that sort of CGI almost painterly look and bring back a little bit more realism okay go back to the curves just see where things are overall pretty good pretty happy let's lift up that S curve just a little bit yeah all right I think that looks good let's see the color grading next I'm sorry color mixer and I'm going to add some of these greens and blues back in just a little bit just darken these you can see if we zoom in there we go you can see by grabbing the green saturation cider you're going to make these trees just a little bit more saturated luminance will like lighten or darken them so we actually might want to take that down yeah that looks good I'll bring back a little bit of the oranges and we're going to bring back some of the yeah bring back that orange just a little bit and strengthen the Reds and lastly we'll work on the blues here I don't want to overly do this just a little Dash will work and there we go just sort of blew up the sky all right looks good click ok so you can see here's our if we toggle these on there's the original and there's the one we've made changes to on the very top which I think looks pretty good right click duplicate this again there we go duplicate layer and I'm going to go over to the burn and Dodge tools here and I'm gonna grab the burn tool put on a pretty soft I'm going to take up the exposure and what I'm kind of going to try and do is try and let's get in some mid tones and make sure we're on yeah burn I just want to darken this a little bit over here yeah it's it is working it's very very slow this image is probably a little bit too large you know working with 8K right now it's probably a little bit too large and then what I'm going to do is switch the Dodge tool and I am going to pick out the highlights make this brush a little bit bigger and just try and blow out a little bit of that if we can probably a little too strong let me grab my paintbrush and just change add a new layer and we're going to make it a soft fluffy paintbrush soft round will work fine scale that back up and I'm going to change the blend mode here to let's just do a little bit of a screen kind of see the effect that has yeah that works really nicely we've got a nice transition from sort of the orange to the blues right let's merge that back down and I'm gonna just wrap this up pretty quickly I don't want to spend a huge amount of time on post-production for this I'm gonna scale the image down by going image image size and I'm going to put the resolution to 150 but change the percent to so let's put that to if we put it to 100 we're back so let's put it to 50. and that should give us a 4K image with Photoshop figuring out how to keep all those lovely details in and if we zoom in again there we go now things are going to be a little bit more responsive we get all the nice kind of range going on but everything should be a little bit more responsive right click duplicate this layer filter blur gaussian blur okay that's a little strong but we can add a paintbrush and add a mask on the bottom right scale up your brush and we're just going to paint visibility back in okay undo that we're on our paintbrush for some reason it's viewing the mask which is not what I actually want let me figure out how to fix that all right sorry about that I had the image set to display quick mask so I'm just going to brush out all that blur I know we just put it on there but let's just brush it out completely and we're going to drop the opacity of our brush down to about 60 and we're gonna paint back in just a little dash of that blur just a little bit around the edges and every so softly now I know this is looking still looking very very strong around the edges but it's ever so softly and what we'll do then is scale our brush down just go into the nooks and crannies here in the back and it doesn't have to be perfect because what we will end up doing is dropping the opacity of this mask so you can just see it's a slight very slight blur that's all a little little Dash that'll that'll work okay and I'm gonna merge this down in a I think it's a good point to go ahead and just merge all of these guys down duplicate layer one more time I'm gonna do one more other I'll do go back up to camera raw really quickly and I'll do one more just sort of filter pass just see how things look I'll go back to the Cozy one that we liked and again just try and get some of that kind of that nice kind of that orange glow back a little bit click okay and again you can kind of see the difference from our original here to the tweaked one and the last thing to do is oh not delete we'll duplicate that one more time and we're going to go to actually we'll duplicate it two more times and we'll go filter other high pass put that at one percent change the blend mode to Overlay right click merge it down and then go filter lens correction custom add a little dash of distortion in and just fix the cyan magenta Fringe and I think that'll be good enough all right with that being said last thing we can do is go filter noise and actually just add a little dash of noise not a huge amount put this to two maybe and click enter and there we go all right we can always maybe add in you know if you wanted to add in maybe some rectangles like this or just to act as a framing device on the back or on the sides this could work too just brush these in and because it's on its own layer Ctrl C control V and move this over to the right here okay and merge down okay looking nice so I'm going to go ahead and just leave that there for now let me just stop recording and I'll see you guys all right everybody with that finished we are done with this uh build this with me tutorial hopefully it's giving you a good idea of how the newest version of twin motion is going to work and gives you a good idea of the newer interface as well a couple of things I have noticed about it obviously it's a preview version which means your propensity for having a crash or having weird bugs or little quirks is a little bit higher so that is just something that you have to be mindful of would I you know use this professionally right now for a project uh no probably not just because there was a couple of other little odd behaviors that popped up in between some of the video clips that you've seen and my concern would be that one of them would be some sort of catastrophic bug or failure so no I probably wouldn't use it for production is the new interface much better yes uh absolutely it's way more logical way easier to use more accessible and I'm going to say a lot more responsive it's sort of weird but you don't realize how much time you lose going into menus to find something like how to load up your height map over time it's a cumulative loss and it's quite substantial and so having all these options readily available just speeds things up I did find the interface much much smoother too and it's just better and you know the other thing I noticed was the path tracing doing the 8K images individually really didn't take a huge amount of time I think they averaged about four minutes for 8K which is maybe maybe maybe about a minute maybe a minute and a half longer than D5 doing a comparable 8K render obviously there's a lot of variables and factors there but overall um this twin motion 2023 Preview 2 it's really really good all right I'm gonna go ahead and leave it there um if you've made it to the end of the video thank you so much for watching and hopefully I'll see you soon and we've got another couple of videos coming out this week thank you so much and I'll see you in the next one

Channel: ViaRender

Views: 12,015

Keywords:

Id: kIX2U8QRDuU

Length: 83min 29sec (5009 seconds)

Published: Thu Mar 16 2023