How to Make a Rainy Window in Blender

g'day DC's Andrew pricee from blended Google comm and in this video tutorial I'm going to be showing you how to create this Rainey window image that you can see right here so this sort of image can be used for I mean really it's for fun I just thought I'd try and do something a little bit different in this tutorial I don't know what you could use it for like title animation or something like that on I don't know just have some fun with it make something cool looking um this is uh I can get back to it I'll show you what the finished scene looks like in blender this is it that uh now I should say this isn't an animation this is a still image all of these are completely still whoa so we instead of angle there anyway basically the way this is created is um basically a plane with a whole bunch of particles on it and then each one of those particles are if I can get out one of these things so that is roughly excuse the weird angle that I'm looking at it from now but anyway that is that is the rough of it that's that's sort of how it's all pieced together so um yeah we're going to be learning just basically how to make this image going to be doing a bunch of texturing lighting depth-of-field all that good stuff and today is a perfect day because today here in south korea it is very foggy extremely foggy it just happens just some days it's all sunny and then just suddenly it's all foggy and then it's back to normal again it's it's very weird like that anyway let's go ahead and get started with the tutorial I'm going to turn on the screen keys tool okay cool let's get started so let's delete the default cube and the lamp and I'm going to replace that with a plane and of course the plane is going to be rotated by 90 degrees and then I'm going to position the camera dead on to that plane just like this okay so now what I want to do is I want to put the droplets onto this plane here and we're going to be using particles as I said before but the first that you need to do excuse me is to actually model those droplets of course so let's jump to a new layer and for each droplets are we're going to start with a UV sphere like this and I'm going to go into edit mode I'm going to rotate that by 90 degrees so just like that and then I'm going to grab just this one point right there at the end of this fear I'm going to push OH to turn on proportional editing and then I'm going to push this back to be about here now the reason that I'm doing this is because I want the droplet to obviously not go through the glass in any way so I want it to sort of be resting on the glass and I want there to be a little bit of like surface tension so there's a little bit of an edge to it like that and I'm also going to scale it down on the x-axis just like that because you don't want it to bulge out too far or else it will look a little bit too unrealistic okay so this is one droplet one little basic droplet and if we were to just place that all over that plane there it would look fairly unrealistic so we're going to create a duplicate of this and and we're going to be doing some different things to it so what I'm going to do is I'm going to split the view and I'm going to load in a image reference which if I can remember where I saved it to reference CC hello someone's texting me let's go load in this one I think okay cool this is just a Creative Commons image that I pulled off of Flickr anyway so I'm just going to zoom in here I'm just going to focus on one of these droplets and really if you have a look at this you can see that droplets can pretty much appear in any sort of shape but it does always help to at least just try to go off a reference image so I'm just going to try and make this one right here so this is fairly easy you don't have to spend too long on this because as I said we're going to be making quite a few of these little different types of them so it doesn't really matter if you are you know if it doesn't look all that perfect so something like that is fine so I'm going to duplicate that one this one is sort of this guy right here that one's becoming my main sort of servant the main teeth like the template yeah the one to go it off go off okay oh let's do this guy right here so the weird looking thing so push this guy in to be like that let's move this across let's pull this out something like that and you're probably sort of you know at this stage you might be questioning like how is this how these little blobs supposed to create anything that looks remotely cool but really it you'll start to notice that what do we already make that did I just make dye happen to focus on the exact same one but as before I think I did anyway doesn't really matter all that much yeah let's just turn and do this one yeah you won't really notice all you want really I get I guess get to see how all of your efforts and stuff how it all sort of works until you can see it with when we turn them into particles and it all sort of displaces and goes everywhere so yeah so after we've made these droplets these ones that are sort of like still droplets we're going to be making the droplets which look as though they're running down the actual glass face themselves so that's that's what we're going to be doing after this step but yeah you can see they're all just sort of weird little amoeba amiibo is that what you would call it you know little alien type shape things yeah it's kind of weird and I kind of look at what's a good one to go off now yeah this one will do yeah pretty cool can I talk about it's pretty boring when I'm just doing this I'll tell you what I I take the bus to get to work every day you might think that's weird that I work for myself why am i taking the us while the thing is I don't actually work from home I've rented out an office which I have chosen to work in for the shear for the shear point of if you work from home it gets a little bit depressing after a while because you never know when you've stopped work you always feel like you should be working so I've basically rented out a separate apartment from my main apartment here in Korea which I've set up my office in and that's just for the sole purpose of yeah knowing when I finish work but anyway I catch the boss to get to work every day and I don't know how it is in other countries but at least in Australia I don't think it's like this but it here in Korea it's very how could you describe it very rushed in the the point of getting on and off the bus whereby the bus driver really won't wait for you to you know properly disembark the bus I've seen people like get get closed in the door like as the door is shutting like they'll just get closed in there because of he's just pulling away as they're trying to get out of the bus and the funny thing is is that they also don't wait for you to take a seat and that doesn't matter if you're you know a young fit person like myself or you're an old lady as soon as you jump on that bus the door shuts you have to find a seat as quickly as you can because he is going to floor it out of there and I swear it's like a game that they play with each other like the bus drivers to see who can knock over the most amount of passengers in a day it's yeah it's quite a sight to behold it's like musical chairs basically you jump on the bus and then it's like the music stops go and you have to find a chair as quickly as you can or else you are losing it because he's gonna floor that bus out of there and you are just going to go flying into the nearest pole or passenger or whatever else anyway I think we've created enough enough little droplets there and I've talked about enough random stuff so what I should have done actually can I select all of them and then push smooth I can cool awesome I thought I would have I would have to do it one by one okay so smoothing all of those one while at the same time now we need to give it a material of course so let's just select one of these and I think we can actually remove that now that's good so this material let's call this raindrops and the shader I'm going to make it glass that's all we need to do for that pretty easy and actually turn the value of that all the way up tool yeah all the way up to one why is blended doing there maybe somebody can tell me but recently in the latest builds it stalls when you change your value like it doesn't it like for about two seconds it doesn't do anything anyway turn that up to be pure white like I've just done and then select all of them then hit ctrl L and then select materials and now they all have that same material that we've just applied there okay cool now the on the next thing we need to do is select all of them and hit ctrl G and what that will do is create a group and if you push T you can then change the name of the group so let's call this group raindrops alright let's go back to layer one with our plane sitting right here yeah let's go ahead and save it whilst we're at it save that okay so we're going to make those rain droplets appear on our plane here so to do that go to the particles panel add a new particle system change that emitter type to be hair and you can see you've now got needles that are spraying towards the camera which is weird go ahead and check on advanced because I've never been able to use this without using advanced it's I mean I don't know I mean I know you've got to simplify things some users but I find advantage dislike necessary you always need it anyway then go down to rendering and then click on group and then select raindrops and you can see look at that we have like a wall of bricks it looks like and that's because it's sort of rotated on the wrong axis so go ahead click on rotation and it will rotate on the correct axes and then we also want to change the size of it so let's change I think if you turn down this size we're not actually going to get it to the correct sort of size we want so we have to change this velocity size as well it's sort of weird like you've got two values that are changing the size like this one and that one so it's sort of let's set this one to 0.1 just so we know what we're going off and then let's go let's just change this size here to be something like that and I'm going to turn the randomize size up to the point eight like that okay that's not bad and also let's go rotation let's set this to normal and then all look at that it does actually work okay and then we can just change that random there that random size to be something and it's going to rotate them now that might be a problem when we have the little trails of drops that we're going to make next but anyway it looks cool now yeah anyway okay cool let's go back okay so we've created these little droplets here now let's duplicate that one right there now we're going to create that that look which I've already did it's already gone okay I can't show you the image but the look of a droplet which is trailing down the window like an actual droplet that's going down the window so how to create that we're going to start with this guy right here and I'm going to push C and I'm going to select these vertices right here okay and I'm going to push extrude and I'm going to Street it all the way up to be the height that we want our trail to be so you know roughly something like that and then at this stage also because you want to look at that you can see it's also sort of off target so make sure that you've got it so that it is on that green line there because that if it goes beyond that then you've got part of the trail which will go through the glass when it's in the particle system so just make a note of that and then also what I'm going to do I'm going to position the cursor to be just on that position right there and then I'm going to select that point and I change the pivot point to be 3d cursor and then I'm going to scale that in words like that you can see that the effect that it's having there and then I'm going to scale it along the y axes there as well and the z axis I should have just pushed ass I could have saved all that in anyway doesn't matter okay so um yeah like that pretty much that's how we do it then I'm going to hit ctrl R and I'm using the mouse wheel to create a whole bunch of loop cuts and basically however many you want is however much detail you're going to get so roughly something like that should be fine and all we need to do at this point is to create what looks roughly like a trail of rain droplets you know what I mean I have actually got a reference image ready you know I'm going to pause the recording and get a reference image so we can check that hang on ha ha I'm back okay I've got a reference image let me split this let's go open and I found it this guy right here aha there we go okay cool so we essentially modeling this sort of trail this sort of look that you can see right there so I'm essentially turning on proportional editing with OH and if you just change this to bounding box we just rotate this sort of push that around and you move that sort of like that essentially this just comes down to again the amount of effort that you put into you know following a reference image always pays off in the end so I have to rush when I do my tutorials or you know I tend to do it a lot faster than what I would do if I'm working by myself without people watching but you might want to spend a little bit longer sort of following you know how things look the other thing you can do is sort of grab portions you don't have to just rotate edge loops like I'm doing right here you can grab just little portions like this push that in there because you can see parts of this uneven like it's sort of like jaggedy everywhere so you want to sort of emulate that sort of look so parts that are thicker than others maybe that's a little bit weird so something like something like this you know I was thinking when I was looking at the the reference images before of like rainy stuff whenever it's a rainy day and and there's never been like a warning like during the morning when people are leaving the house like there's no clouds it's like a sunny day and then suddenly it's just pouring and then everybody's caught out in the city without an umbrella you know and so everybody goes for that mad dash for whoever's selling an umbrella they have to buy one from them of course you know and so you get these people just just dishing out cash for the umbrellas and I always find it funny in Korea there's you know all these street vendors and stuff with the pot have the umbrellas there and and every time it's raining like I go up to them and I'm like yeah how much how much for an umbrella and I like a three thousand three thousand one which is like three bucks what or like two bucks or something and I'm always like really is that all you're gonna charge me like like if it was me and I happen to be an umbrella vendor and it was a rainy day I'd be like score big time I am jacking up the prices you know supply and demand like I would I would gladly pay ten dollars for an umbrella because that's all you're the one that's got the umbrellas you know and yet you know three bucks okay all right if that's all you're gonna charge me I appreciate it thank you but you could be doing a lot better for yourself let's just say that but I don't know maybe that's why a curry is a sort of nice place when it comes to buying things out of a but then other things are really expensive so I don't I don't know what I'm really talking about anymore um all right I'm hoping you can sort of get what I'm doing without me having to describe it and give commentary for everything giving a squiggly line like that is what we're doing essentially that I'm pretty cool what I might also do is just give this raindrop hear a little bit more of a rounded appearance just so that it looks a little bit cooler so something like that it's pretty cool my phone keeps vibrating because my wife is texting me same time yeah anyway okay so that's cool um it looks alright at the moment we can make it look even better if because if you zoom in here you can see on this rain droplet you've got like what looks like like a frayed edge like it's sort of like jaggedy so we can we can sort of fake that you can sort of see a little bit better here we can fake that using a displacement modifier so if I go here with our modifier stack err and go displace then click on new you can see that on you've got afraid everything it'll look spiky and horrible so one thing we're going to do is we're going to use what you can see here vertex group which will allow us to paint different parts of the mesh to receive the frayed part so that it's not spiky everywhere so that's what I'm going to do right now so if you hit ctrl tab you can see that it's blue at the moment which means that there is no vertex group so let's go to the what do you call that what panel is that called there's no tool it's your object data go to the object data panel then go vertex groups click on the plus button and then go tab mode select everything then with a weight of one go ahead and click on assign now if you go control tab you can see it's red because it's now completely assigned as it's now part of that vertex group so now I'm going to push T which is going to bring up the toolbar this is in white paint mode just as a reminder why did it jump out of that okay white paint mode I'm going to set the weight of this to be zero see see what I mean like there's a delay when I push the button I don't know is different it's a bug in blender at the moment anyway and I'm just going to paint whichever parts of this I don't want that frayed part that sort of squiggly thing to appear so I even don't want it to be down the middle I only want it to be on the edge so I can even paint just this middle part as well if I want to do let's turn it off just so we can sort of see what's happening so if I sort of paint down here it's looking very snake-like isn't it yeah that's cool it's good yeah all right speaking of snakes yeah got another stray player I went to Australia recently hey my home country imagine that going to Australia where I live um for Christmas and I was walking with my wife at nighttime down my home street just going for a walk at nighttime had the dog with us and everything just chilling out just talking just going for a walk and we got to the end of the street did a u-turn to come back around to the house and saw something ahead sliding across the road it's the biggest snake I'd ever seen in my life it was I think must have been like a 2 or 3 meter Python thick massive Python just cruising across the road just slowly slithering along and I don't know it's a completely different vibe to when you I mean I've been to zoos before I've been to reptile parks and you know things like that and I've seen snakes roughly that size behind glass when you see it in the wild it's a completely different experience it's you suddenly feel very vulnerable very scared and you sort of like wonder like what's this thing speed range you know how fast kinetics tolerate will it accelerate at me will it attack me you know and so it's very it's a very interesting experience I mean I basically just kept my distance and we just watched it and it just just slowly gliding across the road until it got to the other edge and then we crossed basically we just had to wait for the snake to cross the road but it was it was a very interesting experience and it was cool because because my wife was there and she's she's obviously Korean and so it was a nice experience for her to see a real snake in the wheel world anyway cool so we've now done the done the white painting I've applied the vertex group as group we also want to change the direction to be Y or is it Y hang on let's first of all apply the rotation so that it's correct let's go is it X or is it Y yes it's gosh I can't even tell yes it's Y okay so we only want it to go left to right basically and then we want to turn down that strength to be something like that and actually if you wanted to you could even give a subsurf modifier put it all of that that looks even better and then if I let's turn up that cloud and that looks pretty good actually that looks a little bit better not bad at all okay I didn't do the subsurf modifier with mine but like for my final image but I think it's actually looks better so that's kind of cool alright we get on 23 minutes that's not bad doing okay for this tutorial so I'm just again going to do what I just did before with all the other droplets just going to create a few little random variations to it so that we don't have them all looking identical to each other just moving different points around like this let's drag this one across here mmm something like that so it looks like electricity like lightning bolts that you know I mean all right to get in there all right yeah and I'll just create a little pot like that so it looks different okay cool so now we've got three of these wool what happened there we've got three of these long ones and then we've got a whole bunch of these droplets now they should all be part of the same group which you can check if you go to the object panel and then you've got it here under rain groups which is cool so I'm going to move that across to get rid of that reference image now let's go back whoo-hoo there we go check it out that's our plane so yeah you could see that we have I turned on that rotation before that random rotation and as I predicted it didn't work very well with the long squiggly ones so actually I didn't do this for mine but I'm gonna do it right now I'm going to move this to a separate group so that we can have the rotation of these droplets whilst having these ones separate to that so they're not doing that thing do I want to do that yeah well whatever we'll do it yeah let's do that okay so let's let's delete this delete this and delete this and I'll call these ctrl G and let's call it long drops which is also Aussie slang for a toilet not even kidding the long drop fun fact okay so I'm just creating another particle system I've just duplicated basically taking the exact same settings we've got from the last one I'm going to push to next to that and then go down here to groups and then just change this to the long drops and then the only thing I'm going to change here is change the random let's change that to be zero and then also we can set the amount of them because currently there's a thousand so let's change that to be let's go 300 is that too many I think that might be too many how many of these ones have we've got yeah we got turns out to be 500 and actually I'm going to turn down the display because it you can see that my blender view at the moment is lagging quite a bit so I'm going to go 50% view on that one actually now let's go 10% view because it's still laggy yeah something like that and then I think for these long drops I think I've got too many of those as well so let's go with let's go with 100 and also oh we've got random size as well so that's cool okay cool alright so now we can actually start positioning the camera so I'm going to move the camera in quite close here to be about there it looks pretty good something like that okay now the point or one thing that we want composition wise is we want there in if you have a look at the camera view now if you go to the with the camera selected go to composition guides and then select thirds this will allow us to see the rule of thirds if you don't know what rule of thirds are go ahead google it right now and you will learn all about it but basically I want there to be a nice rain drop on this top left-hand corner right there so you can see we've got one there so that's good that's fine that's pretty much all I wanted so now that we've got that there that's actually works out quite well okay um so that's fine that's all well and good so I think I need to make sure that the everything here has the same material that's good okay that material is good alright now we're going to get into the lighting and and everything else so for our plane here you can see there's actually no material for that yet so I'm going to give it a new material and the material is glass just like we did for the others and I'm going to set going to change this to node editor and then click on material because we're going to be doing a little bit of some fancy stuff with the glass I tea before that as well we should actually add light to the scene because currently we won't be able to see anything if there's no light so for the light it's actually quite simple I'm just going to add in a circle and then make sure that you've got the fill type to end gone or triangle whatever so there's actually a face there and then I'm going to position that so that it is above the plane roughly about there move that out drag that to be roughly that size that's pretty good and then I'm going to change the emission so I'm going to change the type to emission so this is our mesh light and then I'm going to give it a color which is light blue and let's go 30 strength and again you can sort of play this by ear like I'm using exact measurements here you might be wondering how do I know it's dirty well I I know because I've done the scene before but you know if you're doing it by yourself and it was a new scene you sort of play with the scene and see what looks best I'm cheating because I know how the end result looks that's basically all it is ok I'm changing the background color to be not completely black it's a nice little trick therefore you never go all the way black just go a little bit there yeah now for the glass itself we've got the plane here so let's take a look at it with the rendered view mode viewport shader you can see it looks pretty terrible at the moment by the way also as a little trick if you go to the rendered viewport here if you click on border it'll actually only show you inside the camera viewport there which is really good because you can see currently it's actually rendering what's outside of the camera as well so it's going to slow down your rendering preview but if you check border it's going to render it a lot faster so that's a little trick there for you now you can see there's not actually much there like it's the the light isn't really hitting the glass that well but if you turn up the roughness you can see that the light is actually affecting the glass there so if you turn up the roughness it sort of makes the glass look like it's got this misty sort of effect to it so that's what we want so we're going to be using a few textures to apply over the top of this glass to give it that sort of look sorry too keep the misty look but also have it look as though droplets have sort of cut away at some of that misty type of look so I'm going to be using an image texture that I made myself called rainy texture which I just made in Photoshop using a couple of brushes just dragging down it's quite simple so if I just drag this and connect this into the roughness value you can see that nothing has actually happened we have to UV unwrap the plane so with the plane selected go into edit mode hit you and then select unwrap that and there we go so this is a that's the effect that it's have now the reason it looks quite terrible at the moment is that this is a purely black and white texture so it is using black meaning like zero roughness for wherever there is that rainy part which is good which is what we want however it's because the other value is white it's now using 100% roughness for everything else so what we want to do is we want to combine it with another image texture and the texture that I'm going to use is one that I pulled off CD text just calm it is splatter colored zero zero zero three underscore H so it's fun reading out numbers and so I'm going to take that and I'm going to combine those two together by adding in a mixed RGB node it used to be called just a mixed node now it's a mixed RGB node I'm not exactly sure why they change that and I want this one this new one this splatter texture to be in the top input and then I'll set this to be multiplied now you can see the effect that it's having so it's sort of applying that over the top of the other one so I was looking a little bit better now and I'm gonna change this factor to be one as well so that we get that solid streaky effect going through which is cool and also now because this one is now acting as like this texture here is acting as how much of the rough like the minimum and maximum value of the roughness if that makes sense it'll make sense in a moment okay add in a coloring up node and then drop this in right there now what this will do is it'll this white value here will now become the maximum value of roughness so it'll be essentially like turning down this factor value so with with the white value selected I'm going to turn that down to be about and like that and I'm also going to turn this black down just so that we get some more of the like the texture showing through so it's a little bit more contrasty than it was before I'm going to split this view and I'm going to grab the light at the top and I'm going to pull it out so that we can see the scene a little bit better so you can see the scene is starting to come together very very slowly in fact I'm going to give it a render now just so that we can see how it's going to look let's go 500 samples and the tile size I'm going to go to five six because that's usually the best let's give that a render now see how that looks oh excuse me it's getting a drink mm-hmm all right mm-hmm it's pretty good it's not bad I think these are these other droplets here the ones that were the reason there's a lot more drop of tear than there are up there it's because our particle system for our whatchamacallit our smaller droplets we set the display for that to be fifty percent or ten percent or something like that so the render actually has a lot more droplets than what you would see so let's see if we set that back set that up to 100% yeah that's fine we can keep it like that um there you go you can see how it's sort of all pulling together now and it doesn't look too bad I would say I think you can kind of see like the edge of this light at the top there so I might play around with that a little bit and it looks looks a little bit weird to pull that in a little bit perhaps exactly sure how I did it before anyway it's not too but I guess pull that out roughly there drag that out a little bit yeah that's not too bad yeah out of it I'm sort of messing around now if I wanted to actually what you could do is with the material here selected if you turn down the multiply then you would get a little bit of a fuzzy effect on the yeah this pot here like where the streaks are going through because you've got that set to one which is now giving it a crisp you know 100 percent reflection but if you turn that down you get a little bit of a fuzzy effect so you won't have that ring appearing of the light so that's a little ya little tip there for you okay let's let's do that all right okay whoo all right getting on to 35 minutes all right not bad I've done longer tutorials before that have looked worse so that's not bad okay so now we're going to get into some fun stuff so in the background here we want there to be some lights so like some what looks like car lights or like street lighting Urban's sort of setting that kind of thing and the way we're going to do that is actually by placing in the background physical light sources like mesh lights so way off into the backdrop over here I'm going to add in a UV sphere and I'm going to give it a material of emission and let's set that to be 20 and let's give it a color of orange like that now although if you're looking through the 3d viewport you can see the sphere is right there but if you look through the render view it's not actually there now the reason for that is that the glass itself has an i/o our index of refraction value of one point four five which means that it's bending the reflection which means that what you see here won't reflect over there necessarily so it's slightly off camera so what you need to do is move it like that and then you'll see it in that point so you actually need to it's kind of weird you have to sort of move things in a way that like you can't position things exactly what you want it becomes a more annoying later on trust me okay so essentially what I'm trying to do now is just to create a random assortment of different colors which will create the look of sort of an urban street type scene so I've got an orange light there I'm going to duplicate it and I'm going to give it a new material and then I'm going to give this a yellow color but more white you don't want to go to saturated or it can look kind of fake or kind of bad turn down the strength of that as well I might duplicate that one and I might also let's duplicate that white light that yellow light is maybe push one over here now the reason we're using sort of yellows and oranges is because we've got a blue color over here which is a cooler shoe and then on the right side we want to contrast that with some warmer colors so that's why we're sort of keeping it to that sort of arrangement so let's give it a new material let's go for a reddish color so something like that that's actually not bad and then let's grab one of these orange ones and let's push that there I just turn down the size of it as well I think for mine I use like I don't know like 50 of these little spheres so I use like a range of them like all different sizes some of them really far away from the camera some of them a little bit closer which can call it sort of give you a different sort of look so I'll sort of play with this a little bit let's move that up yes so that's something like that and then you can also just grab them all and like duplicate them maybe rotate them around a little bit push them up I know you can have a bit of fun with it sort of play around with how they're going to look again this is one of those ones where I can't spend an hour on this part of the tutorial because it's going to be really boring for you all but you do want to spend a little bit of time getting the arrangement right of you know getting some nice sort of colors mixed together maybe you want to create the look of like some taillights so maybe double up on some red so let's go let's see for this red one where's this red one got red ones there so if we just create two red lights next to each other it can kind of look like like two taillights together if you sort of know what I mean and then you can get like two headlights so it looks like maybe there's cars over there or something like that you can have a little bit of fun with it yeah like that it's pretty much all there is to it all right so presumably or let's just presume that we've got the lights in the background they're how we want them we've got everything else here set up now the final fun thing to do is the depth of field and this is where it all comes cool I want the focus of our camera to be on this droplet right there now there are ways to set the depth of field for the camera one being you can just set this distance value right here so if you set the limits for that camera wherever that little yellow crosshair is that will define the focus point however it can be hard to sort of get it exactly right so what I find is best is to actually use an empty like so and then place it wherever you want the focal point to be but that can be kind of hard because you've got to sort of line it up with whatever you want in focus but if you do this if you look through the camera view point and then if you click on a snap and then change the snapping point to be face then if I if I just press G it will move that empty directly to that face right there how cool is that so it's now moved it exactly there on that little raindrop so now I can turn that off let's set that back to increment I'll scale that down so that's not taking up so much room and let's call this DAF short for of course depth of field and I'm going to select the camera and then let's go off there we go so now the focal point should be on that droplet right there now we've got to set the amount of focus so I'm going to use f-stop some people wonder why I use f-stop instead of just using radius it doesn't really matter I just use f-stop because I use a camera myself so I'm sort of familiar with the you know the f-stop values I'm going to use an f-stop value of one which is quite a shallow depth of field so quite heavy but for this type of image I think it works quite well so I'm going to give it yeah value of one and let's go ahead and render it and we'll see how that looks that are and you can see the effect that it has there looks a lot nicer now than this ugly blurry looking image we've got up there so cool so it looks pretty good and you could pretty much call this finished if you wanted to but there is one final thing I remembered that we can do and that is to create some smaller tiny little droplets just attached to this to this glass here because although the misty effect does look quite nice there it does look a little bit fake as well so by adding in some tiny little droplets over the surface of the glass it'll look even more realistic so rather than reuse the droplets that we've created already although they are nice they are a little bit too high res for the amount of droplets that we're going to need all over the surface because we're going to be using about 50,000 particles for this next step so really simply what I'm going to do is just right over here I'm just going to add in a ecosphere what's here we can set the subdivision for that for two and I'm just going to grab these vertices right there and just like we did before just position it like that pretty good pretty easy okay and let's go smooth shading and I might just create a few just because I'm feeling like I want to waste more of your time not just to give it a sort of a random sort of look you know so they're not all exactly identical to each other just like what we did before just pushing these all around you know having a bit of fun all right select all of them push ctrl G and then for this group I'm going to call these ones tiny drops okay let's go back to layer number one all right and all right let's give it a new particle system and I'm going to duplicate this current one which is this one right here I'm going to push the number two and I'm going to go down here to where the groups are and I'm going to select tiny drops there you go now you can see we haven't actually given it a material yet so you can actually easily see where they are so that's kind of cool we want to change the seed amount that's important so they are in a different place to where all the other particles are currently and I'm going to select random and then uncheck even distribution so they're just sort of randomly everywhere I use jittered for the rest so because I find jittered you don't get a droplet sort of overlapping each other as much but for the smaller droplets won't won't matter that much and now for the size of it I'm going to turn the size down to something a lot smaller so something like that maybe even smaller than that let's go points here eight perhaps is that small enough maybe smaller once you're a five point zero zero five maybe that's too small mm maybe yes maybe all right and then 50,000 BAM yeah no that's not that's not too small that's too big yeah definitely let's get point zero zero three and that's pretty good okay and that's going to be even less noticeable when we actually give it the material that it needs to have but before we continue just so that blender doesn't choke out on all these particles let's set the rendering amount to ten percent of that and selecting now droplets here and just select one of these droplets that we've created earlier control L then materials so that our newly created droplets now have the correct material back to layer 1 and we're now ready to do the final render go ahead render it and it crashes mm-hmm how wonderful is that I think I saved it did I save it let's check that is it using the right material yes it is oh cool all right I saved it that's why you save it ladies and gentlemen render it ha ha it didn't crash this time ok cool let's see how that looks when it's finished and there we go now I can see actually the droplets are a little bit too big still even though I've turned the size down to something really tiny but let's go point zero zero one five so 1/2 the size that they are currently because I think that till still too big render it again is it going to crash or isn't it no it's going to be fine alright let's check it out and there we go so you can see it's now pretty much finished we might do one final thing in the compositor we're gonna do a vignette of course we're going to do a vignette because I always do vignettes it just wouldn't be right I'm gonna give it a lens distortion ode somebody sent me an email recently and they've taught me a correction on how I do this vignette I have previously been using the math node but apparently you don't need to so I'm going to add ya lens distortion node which I just did then very quickly without showing you lens distortion set the distortion amount to and then add a blur node connect this to there set it to fast Gaussian relative and let's go twenty percent twenty percent and then connect a mix node and connect this to there and then you can actually finally see it in place so before it kind of looks like it's not working because there's no preview there but then when you connect it to something then it works anyway set this to multiply and there we have it I'm going to turn this down to be something less horrendous so maybe a point zero three something like that the vignette by the way of course is just darkening the edges of the frame so that it's the focus is more on the center and then I might also add in a filter node and what this is going to do if I set it to the correct one sharpen it's going to sharpen the image obviously we don't want it just be the default horrendous value of one I'm going to set it to be point zero one so it's gonna just slightly sharpen it to be a little bit sharper than before obviously and you could do a little bit of color grading if you wanted to but I think it looks pretty fine and dandy as it does currently so that's it guys I hope you enjoyed this tutorial if you did enjoy this tutorial if you found it useful please give me a like on on the on the youtube page it's a just a nice easy way to give something back if you wanted to do that that would be great and as always if you make something cool with this tutorial but by all means leave a link to it below if you're watching this on Blender guru and yeah because I always like seeing the cool things you guys create from the tutorials but that's it from me guys thank you very much for watching and I will see you next time have fun

Channel: Blender Guru

Views: 246,060

Keywords: blender, tutorial, cycles

Id: sO8kw0a2ZeI

Length: 49min 31sec (2971 seconds)

Published: Wed Apr 24 2013