Eevee Spacecraft Hangar - Episode 93 - Blender 2.93

is that better i think so feel a bit safer now in frame hello everyone and welcome to episode 93 of the 10 minute modeling challenge it's gonna happen this week i'm pretty sure i'm at 199 964 subscribers so since we're going to hit that 200k pretty soon i'm gonna schedule the 24 hour live stream i'm not exactly sure on the date yet but let's set it for probably a saturday it's going to be the best and it might be not this one but the next one because ludum there is uh in two days so i'll probably do it the weekend after that maybe it's going to be really exciting so but i'll make sure that i'll announce it in the discord and i'll put a little mini video up as well on youtube so you know when the data so you can save that one for the live stream it's going to be fun just editing my video right now episode 93 of the 10 minute modeling challenge and i've finished the editing i'm just going to add the music now and i'm just refreshing my studio page here because i'm on 199 996 subscribers so it wouldn't be totally unlikely that we hit the 200k now as i'm putting music to this stuff a year let's see now a year and a half ago i was it took me nine years to get to 10 000 subscribers but mostly my videos then were about my music and some assets and stuff but when i started to do more regular youtube videos um especially the 10 minute modeling challenge that's what really kicked it up i think but i had a few serious attempts at some in youtube videos before that but keeping that regular flow and having a lot of new people coming in doing the premieres every week with this is going to be the 93rd consecutive week of the 10 minute modeling challenge videos now it's paid off in the long run so far 200 000 subscribers and we're still aiming for that a gold star play button out of one million don't know when or if it will happen but i'm having fun getting there so should we refresh one more time 199 999 we're still there oh i'm going to keep refreshing up i should really be compiling the video because it's supposed to air in three and a half hours now and the hd processing of the youtube is a bit slower recently so what it just happened on the even on the dot 200 000 subscribers thank you so much again for subscribing super super super super thankful it means a lot and i'll just keep making content keep putting some more videos out there we're going to reach episode 100 soon of the 10 minute modeling challenge and also thanks a lot to my patreons patreon.com fancy a lot of you have come through my youtube channel [Music] i've been doing a lot of stuff in blender recently and i'm really excited i'm learning a lot about ev and rendering and lighting and stuff so we're going to continue on that path and for this video i'm going to do a revisit an older topic but do it with a new twist so we're doing a lot of the lighting and uh like trying to get the vibes correct in ev rendering because i want that speed that eevee offers even though i love cycles i i want to try to achieve really good results with eb as much as i can since it's so much faster so we're going to spin off an old clone we're going to take a spaceship from the past but we're going to put it in like a little spaceship hanger and then play around a little bit with the lights and see if we can get some cool vibes going there if you stay to the end of the video i'm gonna run through this uh setup a little bit more in detail because i've made some changes i've put a standard or average size human in here and a 1 by 1 by 1 meter cube so i get the references so i'm gonna probably keep this in my future start scenes as well just so i have something quickly to go about you can place this little character over here and there and say that they can get through passages and that the windows are on the correct height and things but if you stay to the end of the video make sure that you check out the setup because i'll run through all the settings with my materials and how i've set up ambient occlusion and screen space reflections because we're going to try to get some nice reflections going on in the scene now so we get the the mood a lot better now in eb when we render it so again stay to the end of the video and check out how this scene was set up if you want to see that one okay with that said we're going to do a spacecraft in a spacecraft or a spaceship hangar and we're going to try to get some cool lightings going there some metallic surfaces and some i don't know pulse twisted boxes maybe some octagon type of boxes or just square boxes i don't know ready steady go when we're off i'm gonna shift d to duplicate that one hide it so we get it for later hey to select everything in edit mode oh we need to go to auto mirror of course we're gonna do a spaceship always need to be symmetry let's put it over his head there literally and and let's start the usual maneuvers here e to extrude e to extrude e to extrude s to scale i'm just doing some so i've got some more geometry here ctrl r for some reason loop cut and my spaceships always tend to look the same this is not going to be any different i need to like read up a little bit on or like google spaceship design so i can get some different um looks on them but never mind i'm gonna do something like a carrier shift that can carry something i feel like doing it and set all tests to scale on normals e to extrude i'm gonna have these things coming down here that can collect like something maybe some sort of an arm or something ctrl r that's gonna be different at least but it still needs wing even though it's a spacecraft here e to extrude sd scale it always needs wings it looks cooler i think uh so e takes through that on scale control r let's should we do like we'll rotate this i think i usually do that too but rotate and maybe even more e to extrude s to scale so transporter ship here we come and i also like to put these things so like all the extra long face normals and then should we scale this down we should scale g to move that forward and here as well let's just do scale and bring it back there we go and here let's do something with the front here i'll bring this up so i get a little bit wider maybe and then b took through over his head here again he's lucky he's got clearance there he took straight he should move actually so he doesn't get hurt in the process ctrl r should we do like this get some alt s i'll do like a all test to scale that along their normals to get a little bit more detail there for reflections we're going to do a lot of reflections in a minute so g to move that on should we put it there we should i don't know and then alt s select all of this and now we need uh some sort of a cockpit type of thing here so let's go all the way back to there e to extrude s to scale this d to move that on and i'm gonna put the cockpits maybe further back actually i like that i like it when it's further back get that center of gravity over the collection point here e to extra so actually i'm gonna do all the way to here then so we'll do e to extrude s to scale g to move that on so we're going to do some reflective curved surfaces here for the reflections too so we're going to light this thing in a minute so but we need engines always need engines so let's grab that phase shift d to duplicate it scale it up and put the engines here e to extrude and there we go ctrl r alt s oh no i'll just do scale on the z axis for now and then ctrl r let's manually brew brew no let's scale it on the x-axis too there i should do and then e to extrude s to scale the intakes here again not necessary on a spaceship but it needs to take in something maybe space particles or something so they can accelerate them e to extrude s to scale item set e to extrude g to move that on and we should make the whole spaceship a little bit different color here actually we should make it like a steely blue type of thing nicer reflections let's get the front a bit longer maybe um let's bring this in i'm not sure i'm just tweaking some minor tweaks uh we need more intakes don't we the unnecessary intakes we need more of so let's get one going here maybe just there a small one here height inset need to extrude and go dark there can be that one and here we need darker sections on this one don't we let's do uh alt select there alt shift select the control plus get that down to a darker blue there and here's the thing now we need should we do another intake we should let's put something here all the extra long phase normals oh we need fins as well always room for fins uh item set e to x oh we need boundary i to insert b for boundary to get that center thing e to extrude that on black and here is where i'm going to shade these smooth model control r control r we need a little bit more detail ctrl r alt s and we'll bring this one forward a bit this is just so we get the when we put the lighting in and the bonus material we want a little bit more stuff to reflect here so select a bunch of these and now i'm going to go to face this is rarely do this but shade smooth for that one so we'll see it'll make more sense in a minute i think we have 457 okay let's just keep going with the thing here should we do i'm going to put like a stand on it like it's parked so eat extrude and here let's do something watch your head there yeah you just made it i don't know it looks like a pregnant pregnant spaceship now and you need to extrude that on even more intakes we're gonna set a new world record here in unnecessary intakes oh yeah this is okay okay so i'm gonna do like it's landed now so we need like some legs for it don't we that i don't think i've done that in any episodes before so that's going to be in a first so let's do it in set e to extrude and go like dark there or something gg to slide this one down and here i'm going to do shift d scale e to extrude s to scale it down and it's going to have some weird feet here it needs to make it all the way down to the ground here so e to extrude scale z0 it's a little trick to get that one flat it's gonna have to be good enough that and then all the extra long individual faces now let's make some like weird looking feet here just so i'll select the top edges there bring those up wrong edges select select select and move them down there we go we can't be too picky with this one unfortunately so let's just do it looks like some weird cartoon foot never mind and i should bring this foot forward as well so control plus bring it to there shifty we've got clipping enabled so i can just slide this in and merge those into one foot bring it up to there and let's just i need to put a face here face or f to cap that one uh rotate this one could be to extrude s to scale the skinnier in the front here uh e to extrude rotate but okay we don't have time for details here so that's going to have to do move that one forward and i just put some more details on it but that intake is going to cause us a problem so maybe that's the intake to to get air flow around this think i don't know what i'm talking about do you know what i'm talking about nope trying to make stuff that doesn't make sense makes sense uh so eat extra this one here's where the like the foot comes down oh i've got two minutes so we should colorize it a little bit should that do okay that should do and we need to just get this foot here i'm wasting a lot of time here never mind okay let's colorize a little bit so this one obviously needs to be black because it's cool with like shaded black stuff c to circle select maybe faster there we go g all the way up here to black and then we we should put oh we don't have any fins we always need fins on a ship uh so shift d to duplicate scale e to extrude as the scale g and put the slant on them always looks cooler all right and since we can we can put scale uh little microphone series scale y scale x oh no uh okay period no comma normal scale x e to extrude s to scale when you do fins it's pretty good to have that uh should we put something here as well eat extrude of course we should scale scale x because now we're on on those ones there and we've got one minute okay colors we need colors of some sort we'll go from there to there should that be cool i think so eye to inset all test to scale bring it in slightly for no particular reason g let's make it orange orange and blue probably works yeah um should we we need some here maybe two as well i'll do what i'd normally do actually so we'll do it instead again i'll test to scale it down uh g orange should we put some panels on i think so maybe here there it inset all tests to scale we'll put one here eye to inset alt s to scale i've got 45 seconds let's just put some paneling on there i to inset alt s to scale should we put some something it looks a bit too weird here in the back so but it's going to be in the back so you can't really see it so we've got the landing thing here should we put something here as well like here's where he can it's like a micro transport ship for a change even though it looks like a fighter let's just put a dark area here and we've got 22 seconds we could pretend that there's like some sort of a like a grabbing arm thing here e to extrude heat extrude as the scale eat extrude it's actually gonna connect in a post now i'll put like a box there or something that's like connected to each extrude need to extrude as the scale it's gonna be picking something up there so i don't know why i look surprised i knew that was coming all right so time is up here's our weird like uh a combination of a spaceship and a and a carrier of some sort and we've got this little reference guy here so we know that this is a really small ship first of all we should move the camera back so let's move the camera back to there maybe one thing i'm reacting on is that it's very uh chubby the ship so i want it to be maybe it'll be a little bit wider and i think we can just get away with a selecting everything moving it out like this maybe it will work instantly that looks a little bit cooler except this foot got giant so let's take that shift l on the on the leg there because we don't want to make that any wider than it already is and then move it wider looks cooler doesn't it so maybe like this and let's maybe we'll scale it okay comma global scale on the x-axis make the whole thing a little bit wider i'm guessing that looks a bit better a bit wider yeah i think i like that look a little bit more it's a bit compact as well should we make it a little bit longer we could have proportional on here oh select a few front phrases g a y axis scale up the proportional i tend to use proportional even on uh like low poly stuff so i don't i'm not too afraid of using it maybe this is slightly too skinny in the front here is it those wings there nah it's all right we're not going to be tinkering too much anyway what we could do put some lights here because we've got the emissive texture so on the lower right quadrant i'll run through the settings of the materials in a minute but we've got some lights already set up there oh these are hovering in in air how to fix that though so if you've seen this channel before we're up we're allowed some post uh post modeling tinkering here so i'm just going to bring the like this whole thing up so the engines connect there that makes a little bit more sense maybe we can move the whole engine in and the fin there oh i deleted it my mistake there so that that's a bit better i guess and they're not really that straight either but that's okay the bonus material now is going to be trying to convert this uh c now into something a little bit prettier than this dark doll thing okay spoiler alert if you don't want to see what the end result looks like look away now this is what the end result is going to look like after we've gone through the rest of the modeling and some setting up of the lights and the reflections and ambient occlusion so stick around if you want to see it all the way to the end and now you can look back if you looked away i've only got a few lights set up i've got this blue light from the side here if we check out the settings we've got a spotlight from the right here uh 900 or 900 000 watts that's a strong lights but it's quite far away and i've got a red one from the left there seven hundred thousand and a little backlight orange so that's why it's lighting up like this now to make this uh take it a little bit to the next level i'm going to put like i'll enable this original cube here and let's rename this one called space craft or something i don't know why don't call it spaceship but hardly ever say spacecraft let's move it up to here and let's move this little guy up to and then we'll just put him there for now and this one i'm going to convert into like a little docking area so scale this one shift z so we don't scale it on the z axis and let's make a little pad like this maybe bring it back to there and then we can place this one down again it was just to get it something get it something to stand on and i've got a few materials already so it can be yeah that one that one will be good should we make a little bit wider scale said there we go and then i'm just going to put some random stuff here in the back so we get or should we put a light on first no i need a roof this is going to be like a space hangar let's pretend that this is inside like a mother ship or something let's just do this e to extrude this one e to extrude so we get like a side wall there actually i'll do it all the way around so e to x e to extrude but i don't think i'll put a sidewall on here because i want to be able to see it so but let's do sidewalls here then e to extrude this and then i'll do ctrl r it's going to be like a smaller area here ctrl r let's just put a few control r again and here could be like an entrance thing oh i've got this thing going okay i need to make this thicker shift selector there oh i've got proportional so let's move that into there should we do this to shift i want to have like so it looks like some doors so i'm not going to carry it carry care too much about the like the surroundings i'm just going to render from like one angle or something so here now i can do e to extrude here ctrl r just some more details ctrl r a few times ctrl r control r in here as well uh e to extrude this one in well let's just make some fake stuff so it makes more sense and then here need to extrude this one ctrl r and there we go so now we've got at least a little start here let's put some objects here in the here as well shift d to duplicate and should we do like let's make that smaller e to extrude one meter that's too small two meters it's going to be some great things so maybe actually you know what we'll do here's we're gonna put what it's gonna carry here so it can carry these type of boxes of some sort so i'm just gonna put a box there and it's like some i don't know survey boxes or mini transport pods i don't know what it is but let's do l to select the link to i to inset item set again for individual and then alt extrude long phase normals down and then maybe s or comma or no period unless to individual origins scale those down so we get that like weird look on it scale the whole thing up a little bit and that could be grabbing onto these ledges here by the looks of it and then let's colorize these so we'll go in again for like this metallic blue style type of look instead and then i'm gonna select these faces and make them dark maybe should we get the bottom all set to see through so i could see through should we make that should those be red maybe okay it's a bit dark but we're gonna light this in just a minute now just a moment so before we light it should we put like some sort of a fake ceiling on here so shift d let's pretend that there's like a floor on top here as well e to extrude that on i'll test this or scale shift set to scale on the z axis and here i'm gonna put some roof lights now i think that's gonna make a big difference now so shifty to duplicate this one and let's put a face there scale x axis move that on in e to extrude it i to inset and e to extrude and here again i think i'll do this whole top roof or ceiling thing like this blue as well and here i've got the emissive materials now so this face it's going to be like a light thing so i'm going to grab select this face g to move it down to here and that's gonna start putting some some fake lighting first of all because this is uh the emission now but we're gonna put some area lights here as well let's bring it down to here so we're already starting to get that blue light there should we move the camera back slightly more no we shouldn't we'll bring the ceiling down a little bit more instead to there oh we can move the camera back slightly at least comma so we can do local and slide back slide it up a little bit there maybe okay so we still haven't put a light on because this is just the emission so that lights it up a little bit but it doesn't light it up enough so if we do shift right click here and do shift a and let's add a light and let's put an area light here and shift space g why don't i see the moving handle on it am i playing an animation no where did the light go oh there we go it's disable i don't know why i put it in the ground collection ground selection to major tom ground control ground selection that's uh so now if we move this one down to there scale on the x-axis and scale on the y-axis there so we'll roughly match that one and then bring crank the strength of the light up here should we do like 2000 watts that should be good and this is this one is in the back here so let's duplicate that in a second uh i'm going to just separate this into a separate object and let's call it light ceiling light and then i'm going to select this one first we'll do right click set origin origin to center of mass so we get the origin here a little bit easier to see and move grab this light shift click that one ctrl p and parent that one so that when i move this object now it's going to be there and now we can just duplicate this one shift d to duplicate uh shift d to duplicate oh i need to grab the light too so shift select both of those shifty to duplicate and shift d to duplicate and that's it we've got a few a little bit more lighting going on we can do a test render f12 that makes it look a little bit more interesting but not really that good because the backgrounds and stuff is not detailed enough so to finish off now i'm just going to put some more emissive lights on it and i'm going to put some junk in the back so it just makes a little bit more sense i can duplicate this one a bunch of times so shifty let's just stack a few of these here in the back rotate said shifty i'm not going to keep these as separate objects is just to have some some sort of some stuff in the background here rotate said so i don't really care if it's separate objects shifty shifty rotates that and then here on the walls and stuff we'll just do a bunch of weird like wall features so i'm gonna put scale y and let's bring this one down e to extrude that one and then ctrl r e to extrude bring it down b to extrude bring that down and then for some more interesting stuff i think i'll do select the edges there and let's bevel those for some reflections control b and just duplicate this one to over here okay i have to move those boxes in a minute rotate zed 90 okay rotate z180 let's move these boxes out that got squashed and some more feature i'm just going to do like loads of weird stuff here so let's do alt select there i to insert i again because i want individual alt s no item set again alt s and then go dark here on the texture there go and then we'll put some sliding door here shift d to duplicate that one scale x e to extrude and we can put well i'll do the same thing here some more details just iten set item set item set again alt test is extrude g black this one we should colorize instead let's make that the steel blue look blue steel shift the scale by e to extrude and here i'll select linked g there maybe we'll put little lights on the spacecraft itself too so this could be first should we put here maybe i to inset e to extrude and then change it to the emissive part here should we do like a pink light here for the cyber look i think so pink and orange to the orange light instead let's do an orange light and i think i'm going to put a little area light here too so shift right click light right click or shift a and add area light and rotate around the y-axis rotate around the x-axis scale it down a bit move it in i'm not going to be too picky to get it right in place it's just to test it out a little bit scale y scale x i know there's some stuff that you can do to align it with a surface and stuff but let's just keep it simple for now and change that to orange and then put a little light there it puts a little twist in the cut in the floor there to get a little bit more interesting maybe and then should we put one here as well like these could literally be some sort of a search lighty things and so g emissive orange did i make that emissive orange yeah i did copy this one shift d and i'll just like rotate around the y axis g to move it into place slide it back to there rotate g rotate x g rotate on the z axis and g so a couple of lights there so what i'm going to do now is i'm going to spend a little bit of time to model this and the only thing i'm going to do is the same thing that i've just done now i'll just repeat it but i'll put a little bit fast forward just to not drag this out too long so i'm going to do exactly the same operations now i'm going to take faces i'm going to do shift d to duplicate them press s to scale them e to extrude them s to scale them again and just move them and tweak them and let's see what else should i do i should be able to i'll rotate them i'll colorize them so if like let's pick another one here i to inset e to extrude and then i'll change the color so on the top left here g to move that on to like a black color so i'm going to be doing this operation over and over and over again taking faces duplicating them and moving them into place and another thing i'm going to do is i'm going to change the colors here on the top left and then i'm going to put some emissive stuff every here and there and the thing i do for that one is i'll take for example uh let's put a little panel here so i'll do shift d to duplicate this whole thing scale it scale it on the x axis bring it over here scale z scale up scale x excessive scaling here and then this is going to be a panel and now we've got this little reference human here so we know roughly it needs to be all the way down here for them to access it and e to extrude i to inset e to extrude and then i'll put it where you can't see it so let's move it here actually to this wall no ah you can't see it okay let's let's just put it there anyway because what i was going to show is i'm going to change this one to i could put this one to black for example and then we'll put something on the screen here and then i'll select this face do shift d to duplicate that one scale it down e to extrude it and then l and then i'm going to change this one to an emissive color so on the left side here while that those faces are selected i'll drag it down to the lower right quadrant for this material and put it onto like let's put it onto this blue color there and let's move this into space so we can actually see it so tab into edit mode ll and then move it and now you can see that that's actually lit up here let's do f12 for a render so that one's actually lighting up now and if i want to emphasis a little info and if i want to emphasize the light i'll put a little area light there to cover that one too so i'll just keep doing that now over and over again on this scene and i'll put a little bit on fast forward because it's literally just repeating the same process over and over again and put in more and more detail one thing that i i'd advise is to try to cover the whole scene with the same amount of details so you don't end up with like a large area with a single color unless this may be the floor but even the floor i think will look better if you do some paneling and stuff so again sit back relax and we'll fast forward this a little bit and then we'll see how much of a difference it makes by just doing the operation a bunch of times okay here's another check actually i'm going to repeat something here so i'm going to do shift d x minus one okay minus two that's two meters apart then shift r now i'll just repeat that process over and over again so repetitive stuff and symmetry usually looks good so keep that in mind and shift r just repeats the last operation that i did i also switch a lot if i press period here between medium point and individual origins because if i have a medium point here and i press scale on the z axis i can actually scale like a thing and another thing i do a lot of course is control r for the loop cuts and just use the mouse wheel to go up and down scale z and if it doesn't scale it's probably because you're still on individual origins there scale it doesn't have any impact but period change at the medium point there that's how you get them to scale independent or together like this then scale y l blue steel i can't do that so there we go i'll select links shift the y and we'll put this four meters apart shift bar a few times there we go when we've got the lighting going as well it's pretty good to bevel edges every here and there so when they look straight like this it doesn't reflect the light as much as stuff that is beveled so another thing to do is to try to put a lot of little beveled edges here and there and i think i'll do the same on different panels and stuff and just babble it and get little panels going so let's see the difference that that makes actually that's just l to select the linked control b to bevel that whole thing same thing for this one l to select the link to control b to bevel them and let's see what difference that makes see the light shines off and reflects it a little bit more there it is set twice as well if you toggle between i uh and i double the lie then you go between individual faces and i again it does them uniformly like this alt s to scale is pretty good as well because then if i just press s to scale it'll scale it like this but alt s scales it in the direction of the normal so you automatically get these little beveled edges then if you do all this item set alt s i to inset all tests so that's how we can get those floor panels going a little bit [Music] so [Music] [Music] do [Music] so [Music] [Music] [Music] [Music] i'm going to take this light away as well i just realized that it's cluttering the image a little bit maybe with the light so i want to keep the light focus on the aircraft itself so i'm going to take away this front light here makes it a little bit darker around it and i think i might move these so they're uniformly above the spaceship just to put the focus on the spaceship itself or spacecraft whatever the difference is i think that's pretty good actually let's try that f12 i think the red stuff on the crates annoyed me a little bit so i decided to go away from that and just make them a little bit of the same color scheme there and i'm going to bevel them too so l to select all the links and let's do a little cheat bevel here ctrl b a lot of unnecessary geometry here for this one but never mind there we go just to get the lights off them a little bit better let's see even if i like the metallic look a lot of this scene uh with the reflections one thing that i'm thinking about is that it makes the spaceship blur in a little bit so i'm thinking we could darken all the walls so i'll select everything on this object here which includes all the walls and stuff and we've got the wall colors up here and if we move these into a darker one let's just shift them to here i think the overall is that it gives a little bit more emphasis on the spaceship itself so let's try to render this one i think it's a little bit easier to see that the spaceship is there if the walls are a little bit darker like that i don't know if i necessarily i really like the way they were shining before but i think just for this scene i'll keep it for now um so that you can see a little bit more on the spaceship so by darkening that a little bit like that one more thing we can do is just put a little animation on this one maybe to get slight camera movement so i'll go into the animations tab here zed and render we can see this view here as well i'll grab the camera here and then we'll just animate it and i've set up my hotkey for camera fly movement i don't know what the default key is but i've set mine to shift f so we can go to frame number one here and then i'll do shift f on the left side here and we can move the camera to here maybe and then i'll do i to insert a location rotation keyframe and then i'll just scroll to shift f and let's move the camera to over here just to get a bit of movement and then i to insert location rotation and then we press play now we'll get a little bit of a movement in the scene so again this is like very low poly look the scene itself so it'll do it'll probably look a little bit better if it's scaled down in a small preview on full screen it still looks quite polygony and stuff but you could add a little bit more detail and and just it just takes it one more iteration of detail to bring it up to like a 1080p i think look now it looks pretty good in like half that size maybe but again twice the amount of detail but that will take like four times more time to make than this one i'd say i'm gonna upload this file as well like i've done with the previous 10 minute modeling challenge videos to my patreon site so patreon.com infensia the tutorial tier will be able to download this but i'll run through the way i've set this up i'll try to cover all the different settings to get the scene to look like this but again the file can be downloaded from my patreon so thanks a lot and the support helps a lot so there are a few things in the scene that's important to know and a few of them are lights the second one are the materials and then we've got a little bit of stuff on compositing and also some ambient inclusion and stuff so i want to run through everything so first of all let's go to the material tab my main material here if we pick the spaceship and i go to the shading tab is that i've set up a few things first of all you might recognize my palette here which is if i change the view here so piped into my base color is my albedo texture and it's this whole big palette thing here top left one here is to set basically just a plain color so when it when you see me instead of uv unwrapping so when i whenever i just have a face here and i select where the uv should be i can pick a color here on this gradient texture on the right here i've set up transparency well i haven't really used that in this scene maybe we'll do that next week and on the bottom right here i've used a few of those and basically looks the same here but for the lower right quadrant i've got this texture set up so the emission texture and you can see that it's black all the way up here and it's because all the surfaces are actually emissive but they're missing nothing so black but in the lower right quadrant i've got these different strengths so the further to the left in this cell of the color the stronger it'll be and that's why some of the stuff like the ceiling lights and stuff light up in the scene because i've placed them to the left in the blue area here where it's quite strong and you can see that this emission is piped in here into emission and then the strength is all the way up to 20. so it produces a really strong emission light here you might notice that oh one more thing that we haven't really used today is the alpha and that's plugged into this alpha channel so that's a pretty much i'll show you that one too here's the opacity texture and it's the top right quadrant you see if it's white here it's full opacity so it's or full opaque so it's solid but the further to the right in a cell up on this texture here the further to the right in this color the more transparent it'll be so i can actually control by creating surfaces that way if they should be transparent or emissive there's one more thing here i've set up is ambient occlusion and to get that to work i can show you what it looks like with and without so zed here go to rendered if we unplug this and go let's see rendered why is this all pale there we go i had it selected let's get rid of that cursor if i go straight from the albedo color here into base color and then let it load you might not be able to see that much of a difference but let's find a spot here let's try again go here and look in these areas here it's very subtle now maybe i can actually emphasize it by dragging this gradient here if i go all the way here you see that it's a lot of dark areas around and this is a little bit like the cavity setting in the workbench renderer ambient occlusion basically looks where there um it fakes where shadows should be so it's got a lot of limitations i'd say but usually you can get quite a good result if you use it so if i go all the way to black here you can see it's really exaggerating that effect i've set it up so that you it does a color ramp so it does a little slight shading it's a little bit difficult to see if you disable it like this but there is a slight difference here so it looks just a little bit better in the shaded areas and to do that i've i've pressed shift a here and searched for the ambient occlusion node and i've plugged the ao here into the factor or whatever that is uh into a color ramp and that's just because i can translate then the ambient occlusion and control it a little bit more with the gradient ramp here and then this one is taking the ambient occlusion and mixing it with a multiply so it takes so it takes my albedo texture here and it multiplies it by the ambient occlusion and if you if i change the factory you can see especially up here for example that in those cavity areas there it'll actually apply some some nice shading to it so i think that's pretty important and i'll uh in order to get the amblin occlusion to work here in eevee then first of all i'm you can use it in compositing as well but there's some downside to use it in the composite node i spent quite a lot of time before applying the ambient occlusion here as a post-processing effect but it had some negative sides that i didn't really like especially if you're on a render with transparent background so i decided to go for the one where i actually run it straight into the material here so i can control it that way instead for the ambient occlusion to show up here or even work in the rendering tab you have to go to the render settings here or render properties and you have to enable ambient occlusion here and that has to be enabled and then there are a few settings i've set mine here to six meters with a factor of one and then you can increase the quality here as well if you want to do a trace precision which we can actually do and i've also enabled bloom here and bloom makes those nice blurry if i if i disable bloom and press f12 you can see that all those nice lighting lit up areas around the lights are all disappeared so it just becomes uh quite boring so i'd say that bloom again let's check it with that adds this little nice uh blooming effect to it and you can control that my settings are set to these if you want to look on the screen here but you can control the intensity of it and some radiuses and what color it should be you can actually also apply something similar to the bloom in the post processing in compositing here there's a node called glare node and if we take that one i'll plug it into there and instead of streaks here we'll go to fog glow and then we can actually preview it here in this uh background that i've set up by i've got this view actually let's do this there if it's just like this is the normal look for it but if i do shift a here search here for view we can add the viewer node and then we can plug the effect here it goes straight into compositing but we can drag this so we can see the effect here and i have to enable this backdrop as well then we can see it in real time and you can zoom in and out here with v zooms it out and shift v no alt v zooms it in again so you can actually see the post processing here on the fly so with the glare here we can actually control um a little bit with the fog low you could do threshold change the threshold and change the size of it and here a few different settings high low medium so if you want that foggy look you could even go for maybe some post processing here okay so just be aware then that you could actually use uh this glare node either in combination or instead of bloom and uh it could help you out a little bit and here's where you could also unplug the ambient occlusion in and apply it here let's see if i do shift a mix and then we'll do the image here and then ambient occlusion multiply this one and then plug that into here then you can see you can actually apply the ambient occlusion in here as well but there are some pros and cons to that if you want to do it in because it applies the ambient occlusion here after it's applied the bloom but before we put the glare on so there are some different ways you can like play around with this i guess to get it to look the way you want we can leave it like this for now actually so now i've applying ambient occlusion both in the material stage and in the compositing here and we're actually got bloom and we've got the glare node i haven't really used it this way before but i'm actually quite pleased with the results so if i just plug it if we bypass the compositing all together here this is what it looks like but if we have the compositing then it gets quite a nice atmosphere to it and some extra glow and stuff for i guess we could uh leave it like that for now and again this blend file if you're a patreon on patreon.com if you go under the tutorial tier you'll be able to download this file because i'll be uploading this one today okay and if the ambient occlusion node doesn't show up here at all then it's because in render layers here you need to have the ambient occlusion ticked here so if you go to the view layer properties then this one is not enabled by default and you can see that that just disappeared from the node there so it's important that you have that one ticked under run under the layers here oh yeah another one is screen space reflection and this one we can actually increase the quality a little bit on two since we're not running big animations so with with them without screen space if i disable screen space reflection here then you can see all the reflections that we had from the surfaces and so the spaceship reflecting in the base here you still get some light reflections but the the reflections from from the from the objects will disappear to a big degree so screen space reflection let's render with that one again and see the difference let's go up the quality as well we'll do full res resolution trace and trace precision max so in the material here the to get the screen space reflection to work properly then not only does it need to be enabled but you have to keep pay attention a little bit to these settings in your material so the metallic value here is how reflective the surface should be so if i bring this one all the way down then you can see that a lot of the reflections disappear and if i bring it all the way to the top then it becomes very reflective and it's like nearly like solid metal here so but another parameter that's important here is the roughness so if i bring this one down the roughness you can see it becomes like a mirror and all the light is sort of eaten up it doesn't absorb anywhere so that's why it becomes so dark if you want it very reflective you need to bring it down to here you get like nearly like a super polished look but be careful with the metallic so you're not too high because then it'll just become like black it's not too high because then i'll just become like it's all absorbed by the lights but you can slide it down maybe so you can have a low metallic look this one's pretty cool too it's um like really shiny and specular as well is how much light should be bounced off when you're looking from a perspective but we're not using too much of that at the moment so i'll just leave that as it is so this is eevee alone when you're rendering it and i usually like to apply that cavity look too so should we do one test as well where we're doing like i'll press let's up the render sampling here to 124 press f12 let's render this one save eevee render and then switch to workbench trusted old workbench save cycles oh no work bench and let's try to combine these so in so i loaded up the ev render here in photoshop and let's drag the workbench render in on top of it and then change from the blending mode here to color dodge and then change so it's not fully that strong and that could also be quite an interesting effect then i'm not sure if it actually needs it anymore so but i think the eevee render enough is going to be enough but it's one way to make a little bit more interesting i guess [Music] all right that's gonna be it for this week thanks a lot for watching i hope you enjoyed this episode it was fun to revisit uh the good old spacecraft or spaceship theme again i'm sure i'll be doing that plenty in the future and next week maybe i'll try to do a little bit more about the alpha materials because that's another tricky area a little bit in ev rendering and i've learned a little bit about how to get decent results with the alpha transparency and uh without having to go with that blurry alpha hash look but if that makes no sense that's fine we'll cover that in a future video so thank you once again hit the like button if you liked the video and subscribe if you haven't already and i'll see you next week for another episode of the 10 minute modeling challenge until then bye for now [Music] you

Channel: Imphenzia

Views: 10,870

Keywords: eevee, blender, spacecraft, hangar, screen space reflections, ambient occlsion, shader, emission, compositing, bloom, glare, imphenzia, 10 minute modeling challenge, lowpoly, space

Id: WMyyF1Ypwkk

Length: 58min 20sec (3500 seconds)

Published: Thu Sep 30 2021