How to Make Animated Stylized Abstract Art in Blender With CG Geek | MSI

[Music] [Applause] [Applause] [Music] hey everyone good to see you my name is steve [Music] my name is steve and i created cg geek where i teach all sorts of random 3d graphics art animation anything regarding 3d i'm pretty much a fan of or i guess i would say a geek of so today i'm here with msi to create a tutorial for you guys on how to create some cool abstract art [Music] now why am i here you might ask and not on my regular channel cg geek and that is because i am a judge this year for the msi creator 2021 awards there's a contest running right now and it's called tech meets aesthetics it's a great theme for a contest and there's all sorts of categories and prizes that can be won i'll be a judge for the 3d creation category contests are a ton of fun and this one is one you won't want to miss so head over to the msi creator awards 2020 with the link there'll be one in the description and start thinking about things you might want to create for the tech meets aesthetics msi contest msi sent over their rtx 3090 supreme x edition this graphics card is incredible it's got a triple fan cooler which leaves room for overclocking but also keeps the gpu really cool at all times it looks super sweet with all the rgb as you can see behind me there and it will render incredibly fast inside of blender because blender has been optimized to use optics which takes advantage of all those rtx cores and renders things really fast so i'm excited to see just how fast it renders the scene we'll be creating today so hope you guys are excited to sit back learn something new and create something cool maybe a new wallpaper for your phone or desktop like i'm doing here or maybe animate it and you can do all kinds of cool things with it then so i feel like that's enough talking now so let's get going and start creating alright so let's start having some fun in blender putting our tech to the test and creating some cool abstract art so i have a brand new version of blended 2.92 loaded up here and i just kind of want to show you guys the basics of how i set up my scene in blender specifically for the scene we're going to be creating today so for starters i'm going to be making sure that i'm rendering with cycles so clicking over here and changing it to the render engine cycles that's what we're going to be rendering with today because there's a few features that will only work with that render engine bringing ourselves a little more room here and then we're going to jump over to edit and preferences here we want to make sure that we can render with our gpu because that's going to be worlds faster especially with optics and rtx rendering so i'm going to jump over to system and we're going to change it to optics right here and then you can see we have the geforce rtx 3090 loaded in there perfect all we have to do now is change the device over here to gpu compute and then i like to enable a few add-ons here in blender with the node wrangler make sure you have that checked because there's a few shortcuts that we'll be using that for but after you have that set up we're ready to start rocking and rolling inside of blender so for starters in our scene now i'm going to select the cube i'm going to delete it like we do most often we don't need a default cube in this scene and instead we're going to add in a plane so i'm going to go shift a and click add in plane and with this plane we're going to scale it up real big i'm going to go s to scale on my keyboard and then 90 to scale all the way up to 90 as you can see we get a big cube out of that so just scaling it down along the x-axis by hitting s and x something around there will work pretty well and now we can go ahead and position our camera as this is going to be important for the scene so i'm going to grab the camera right there as you can see it's real small now we can go ahead and scale it up just so it's easier to see doesn't actually change any settings it's just for the viewport there and then if i hit three on our number pad this is important to get your alignment just like i have here you can go alt r and clear the rotation of the camera so now all you have to do is zoom out a little bit and as you can see on our background grid here where we have these different grid square sections this will help you kind of align the camera to the exact same spot that i am so i'm going to go ahead and rotate it towards our plane which is sitting right there i'm going to position it about two of these grid cubes over so right around there and if you hit zero now you can jump to your camera view and as you can see right now you can't see the plane and that's because we need to jump to our camera settings and change a few settings here starting with the clip end we want to give that a thousand meters so it can fit everything in the viewframe there you go we can see it now and then we're going to change the focal length we're going to go all the way up to about 105 millimeters so we have a much more zoomed in camera view here 105 might be a little strong as you can see there so maybe we'll drop that down to about 95. perfect and now we can go ahead and position our camera a little bit more accurately so as you can see we're going for a very zoomed in camera view here i'm just pulling it back a bit further in camera if you can just hit g to move your camera and then r and x to rotate it along the x-axis here to kind of position it right about there and that's pretty much exactly how we want it positioned so the corners are going right about to the corners there and as you can see we have a nice zoomed in camera view exactly what we want for our abstract art here and once you have your orientation set up something similar to this it's perfect we're ready to start adding in some abstractness to the scene so i'm going to go ahead and click shift and right click to position my 3d cursor off camera there and i'm going to go shift a add in a new mesh and this will be a cylinder whenever you add in a new mesh you can see what we have a little add menu pop in the little corner here i'm going to drop that up so it's bigger and we can change a few settings here starting with the vertices i'm going to change it down to 16 because we don't need that many vertices for the size of these cylinders and then i'm going to change the cap fill type to nothing we don't need it filled we don't need none of that perfect so now if i hit period on my number pad it's important because you have two different periods on a full-size keyboard but period in the number pad it will zoom right into that cylinder that we just added and we can change a few things here starting by tabbing into edit mode and then going g and z to move that up along the z axis and if you hold ctrl it will snap it right to the origin point being at the bottom of your cylinder there the origin points that little orange dot you see there that's exactly what we want because we want the cylinder to be sitting basically on the floor so that's perfect but we can smooth things out a little bit by right clicking and choosing shade smooth we got a nice smooth cylinder there and then if i hit s and z i can scale it up as much as i want along the z axis we can always change this later so i'm just going to leave it something around there now i want to add a little bit of thickness to our cylinder so i'm going to tab into edit mode i'm going to hit a to select all of our vertices here and then i'm going to go e to extrude and i'm going to scale it but as you can see it scales it down along these z axis i don't want that i just want to scale it on the x and y axis so what i'm going to do is i'm going to go shift z and it basically scales it on everything but is that axis so now you can see i can scale it to add some thickness to that cylinder without scaling the z-axis so we'll give it something thick like that so we have a nice sort of cylinder look going on there and now i'm going to duplicate this we're going to shift d pulling it over to the right there and then s and z to scale it up a little bit taller so we have two cylinders at a different size for a little variation now we'll put those aside and work on our color scheme so grabbing our plane here i can go ahead and delete the lamp that comes in the default scene we don't need it so it's time to create a little bit of a color scheme here for abstract art and that is going to be through shaders so to do this i'm just going to grab the corner of my window here and split it down i'm going to change the top window by clicking the little option in the corner here to the shader editor in the shader editor i'm going to hit end to close off that little window there i'll select my plane in 3d view here click new and you can see we have a new basic printable shader and this is actually going to be the shader that we'll work with for this material scheme so we'll start with a procedural texture on this plane to determine where we want the different colors to be distributed and to do this i'll go shift a and add in a texture magic texture right there we'll drop it in here i'll zoom in so you guys can see this a little bit better i'm going to change a few of these settings starting with the depth i'm going to crank this up to four and if i switch to a rendered view here real quick so you can see the changes that i'm making and then i go control shift and click that magic texture you can see that's the node wrangler add-on that we enabled giving us the shortcut there we can see what we're getting here on our plane we have this magic texture that looks a little wonky but it's something to work with so for starters we want to make these texture here less repeated so i'm going to take the scale up a bit by going to a 1.5 value on the scale and then i'm going to increase the distortion here to 2 and as you can see that gives us some nice cool swirls on our magic texture so next i'm going to go shift a and just add in an input texture coordinate i'll drop it right in there i'm going to choose uv for the vector and as you can see that changes the mapping of our texture there to use the uv coordinates and that looks a little bit better as well and now it's time for us to really control the colors on this magic texture and to do that we're going to go shift a and add in a converter color ramp we can drop it right in there and as you can see we kind of lost all of our color because now it's just a black and white image but we can add whatever sort of color now we want to this here as long as we connect the factor to the color ramp it will be using whatever colors we add here now under the magic texture so it's pretty cool so you can get creative here and use whatever sort of color scheme you want or you could use a website like the one i have here it's called colors.co and every time you hit the spacebar it just randomizes a different color scheme that works well together so all of these would make for really cool abstract art um scenes you could say so any of these color schemes could work really well but the color scheme that i'm actually using for this scene today is going to be the color scheme that msi is actually using for their creator awards this year so what you can do is you can just open up an image like that i'll show you how to do that real quick here by splitting our window and in this window we're going to change it to the uv editor and i'm just going to open up the image that we're using and here i'm just going to open up the msi creator awards image and as you can see it's got a really cool color scheme going with it and so it works really well for the colors on this abstract tutorial now you might be thinking it might take a while to add all of these different colors to the color ramp here but we have a shortcut that's going to make this a breeze so what you can do is you can click the little drop down here and choose eyedropper and then all you need to do is click and drag and any colors that your eyedropper goes over it's going to be added to your color amp so i'm just dragging through all of these colors here getting most of them in our scene and as soon as i let go you can see bam we have all of the colors added to our color ramp there ready to go and that's a super nice shortcut just makes things really quick if you want to grab colors from a different image and plug them into a color ramp so here i'm just going to change it from linear to constant and as you can see we have some cool abstract art already going on our scene here with that color ramp now you might notice that some colors aren't really showing up as much as others and you have a lot of a certain color so you might want to come in here then and adjust some of your colors to pull in some more color that you might be missing right now from the scene so i'm going to pull in and say a little bit more of the darker there and you can make this bigger if you need a little bit more space i might go a little bit less on the cyan and add in just a little bit more of the dark blues here as well but something like that is looking pretty cool and will be totally usable now for our scene so moving forward all we need to do is connect the color to the base color of our principled shader here and then i can go ctrl s and connect back to our principal shader as you can see nothing's really being lit right now because we don't have any lighting in our scene just yet but with that base set up guys it's time for the fun to begin so i can go ahead and close off our extra windows here by just dragging it over and closing off the window that we had previously opened for the time being because we're getting into the abstract part of this tutorial so this is going to be done mainly through the particle system so i can jump over to the particles here we'll click the plus button there to add a new particle system and we're going to change it from emitter to hair we'll also choose advanced and now i'm just going to scroll down and under render i'm going to check that and here we're going to choose those cylinders to render so we want the hair here that you can already see on our scene being rendered as these cylinders so what i have to do first is hit b and select both of those cylinders and then go ctrl g to add in a new collection to our scene and as you can see down the corner here we have a new collection i can just name these whatever i want like cool thingies that's not even how you spell cool thing is there we go and then in the render settings here i can change it to render ask collection and then if i scroll down a little bit we can instance the collection cool thingies and now you can see we now have the cylinders spread across our plane they're not on the right rotation right now though so what we'll have to do is we just check the rotation button there under the orientation axis just choose none so it's pointing them all up the way we want them so just a few quick changes now to the particle system the scale we're going to go for 0.25 along with a 0.2 on the random scale for a little bit more variation there and now i'm going to increase the amount to be something pretty large by adding another zero to the number there and now it's time for the abstract particle distribution and what we do for that is we're going to scroll all the way down to the textures tab and i'm going to click new texture and as you can see nothing really happens as soon as you do that so you might be wondering like oh what did i do did i mess up nope all you have to do is go to the texture tab right here and change it from a texture type of image or movie over to something a bit cooler so i'm going to choose muse grave as you can see right here i think i'm pronouncing that right musgrave it's just a highly flexible noise texture that we can get some cool results out of so i'm going to change the type here to be rigid multi-fractional and that just gives me a little bit more detail for what i'm going to work with and there's just a few settings here to get the look like i'm looking for these signs i'm going to go up to a 0.45 then i'm just going to take the offset down a little bit to about a 0.7 so we get more blacks in the scene then i'm going to crank the gain to be something stronger like a 2.5 or something around there is what i found to look pretty cool but you guys can play around with these settings of course and come up with whatever you want now under the mapping coordinates here we want to change it from generated over to uv as well so it's using the same uv map that everything else is using on the scene there as you can see i just checked it there to make sure it's using the right one and i'm going to change the influence so open that window there and i'm just going to uncheck general time and instead check hair length and here boom you can see we have some really cool particle distribution happening right off the bat now you can see that in the lowest areas here you can't really see any particles because they're a little too small so i'm going to change the hair length influence to be a 0.8 instead of a full one and as you can see that just kind of makes those look quite a bit better but otherwise this is looking really cool and if i hit zero to go to camera view you can see we have what is looking like a pretty cool particle distribution here happening already here you can play around the scale a little bit of your cylinders by scaling them up along the z here if you want to be a little bit taller and we can also add a few more particles to the scene by jumping to our particle settings i'm going to give this 15 000 particles and that's looking pretty sweet now it's time to start rendering these cylinders just like we are the plane here so if i switch to rendered view you can see that well we don't really see any color everything's sort of bland so here's what we can do to really easily give all of these particles the same material that we added to the ground and i'm just going to switch to rendered view here so you can see what i'm doing i think this time we open up in hdr for some lighting in our scene so i'm going to switch the world settings here and as you can see right now the scene is just being lit by sort of a gray color that's not very cool so i'm going to check that little box there and we're going to go environment texture and here i'm going to open up a texture downloaded from the internet i got it from hdrhaven.com really cool website with a bunch of free hdris that you guys should definitely check out if you're looking for some environment lighting so i'm gonna go ahead and open that up now the hdr i went with this scene that worked really well and i didn't actually have to tweak it at all it's called mili road so go ahead and download that from hdr haven i download it in 4k quality just go ahead and open it up and as you can see we immediately have a much nicer looking render as those particles are now being rendered with some hdr lighting and things like quite a bit cooler and also you can see how fast our viewport is rendering this really quickly on that msi rtx 3090 this is where it really pays off to have a powerful gpu because you can get your results so much more instantaneously okay so let's add some color to them particles for this i'm going to split our window again so we can open up the shader editor one more time switch again to the shader editor here and i'm just going to select one of those cylinders and we're actually going to start off by giving it the same material that we gave the plane so i'm going to click right here and you can see that material we already created is right there i'm going to check it and as you can see we have some color in the particles there i'm going to hit 2 though to make it it's separate material so you see this little 2 here next to the material name if you click that it makes basically a duplicate of that material so it's now its own material and it's called material zero zero two this is gonna be the same material we give to our other cylinder so go ahead and do that give it material two and as you can see they're all being rendered right now but as a single color we want it to be rendered as a texture so what we can do is if you look on your texture coordinate box there's a little option called from instancer this will take the uv coordinates from the plane instead of from the cylinder itself and let it render the same way the plane is being rendered so when i check this here boom all of a sudden we get our colors being rendered on those particles and it's really cool it's a really cool effect and this is something that can only be done in cycles so that's why i had you guys switch to the cycles render right away in the beginning of the tutorial because we need cycles rendering to be able to use that currently doesn't work in ev the real-time engine unfortunately now playing around with some shader settings we can get some really cool results on these cylinders starting off what i want to do is i want to add some subsurface scattering now this will typically slow down your rendering process quite a bit because subsurface scattering essentially is what you see when you hold your hand up to the light and you know how you can kind of see some light through the fleshiness of your skin that's subsurface scattering it kind of lets light penetrate the object a little bit and then you kind of get that glowy sort of organic look to anything and i found that look really cool when i added that to these cylinders that's what i'm going to do here and i can do that by just enabling subsurface right here i'll give it 0.5 and as you can see it's adding it but it's adding it as a white color and so it's kind of taking the color out of our scene a little bit and it's not exactly what we want right now so what i'm going to do is i'm going to take the color from our color wrap and also plug it into the subsurface color but this is a little bit too rich and vibrant for my liking now so the way i can fix this is by adding in another node by going shift e adding in a color hue saturation node and we'll just drop it right in there to the subsurface color here i'll just take the saturation down from 1 to about 0.8 so it's making the subsurface color a little less saturated and then i'm going to also make it a bit brighter by increasing the value to 1.4 here and as you can see that just gives it a little bit more of an organic subsurface effect and we can make this effect a little bit more extreme by going to the subsurface radius option here and increasing some of these values like the red one which is the top value i'll boost that all the way up to five and you can see we just get more subsurface scattering happening then i'll also increase the green value which is the second one here to be about a point four and then finally the blue value to about a point two so basically making those numbers more intense and as you can see that just makes our rendering look pretty sweet i think so just a few more settings now in our principal shader starting with the roughness this is sort of the glossy reflection how sharp it should be i found it look cool taking it down a little bit to about 0.3 so we have a little bit more shininess on our particles and then the final one here which is pretty cool is the transmission we're going to give this a 0.5 and as you can see that darkens our particles up a little bit but it gives it a little bit of like a glass type of look really cool looking i think so i gave it a 0.5 value for this sort of unique abstract shader and i just thought it looked pretty cool again it's going to take a hit to your rendering so it really helps to have something that's rendering fast so the rtx 3090 is obviously amazing for projects like this you can get by with slower hardware if you need to and you can just set some of these settings a bit lower or turn them off completely but you won't necessarily get to play around with some of the cool effects that we have here so the last effect that i want to add to these particles here is a pretty cool one it's adding a bit of edge lighting to these to kind of give them a little bit of a stroke effect almost like they're outlined a little bit and to do that i'm going to go shift a add in a diffuse shader right here shader diffuse and now i need a mix shader so i'll go shift a shader mix shader we'll drop it right in here so the principle shader is in top and then the diffuse will connect to the bottom socket there and as you can see that's just adding a bit of a diffuse shader we don't want that so we need to add in a new node for the factor and that is going to be an input for now node right here go ahead and add the fresnel node i want to take the ior value if i go ctrl shift and click this you can see what it's looking like i'm going to take the ior value down to be something a bit smaller so i'm going to take it down all the way to about a .85 and as you can see this just adds a bit of white to the edge and a bit of black to the center now if we use this as a factor that means it will just add a little bit of the diffuse here to the edges of those particles and it'll look really cool so i'll take the factor into the factor of our mix shader there ctrl shift click that last node to connect it to our material output and there you have it we have that sort of outline effect glowing edge whatever you want to call it on those particles so we're getting towards the end of the tutorial now guys i hope you have a cool result that you're getting excited to render out as you can see this is looking pretty sweet we might actually want to zoom in our camera just a little bit closer to get some details on there so i will boost the focal length up to about a 1.5 so when you zoom in to the viewport here and let it render a little bit you can see just how cool some of those colors and particles are looking when they interact with each other and now the final effect which is pretty cool and i'm going to show you guys two different ways of doing this so if you have faster hardware you can do the second way but if you have slower hardware maybe you just want to stick with the first way and that is for adding depth to the scene so it's kind of like a mist i guess you could call it but anytime you have something that is supposed to be of scale a little bit of mist makes things look so much cooler and i found with this scene particularly it just looked really great to add in some we'll call it mist so to do this i'll first show you the easy way and that is i'm just going to switch to solid view here because we don't need to see it rendered or we want snappy viewport speed and that is grabbing your camera and under the camera settings here on the side here you're going to scroll down to viewport display and check mist as you can see we now have an option on the camera here that will show us how far the mist is currently traveling and if you want to adjust the mist we're going to have to go to the world settings here and as you can see we currently don't have any settings for mist and that's because it first needs to be enabled in the view layer properties so click the view layer properties here and just enable mist there right under the z pass and once you do that if you go to the world settings again you can see that we now have an option for the missed pass so i'm going to click the missed pass there and this is just going to control where the mist starts and ends in our scene so i want to start right about the edge of our plane there so i'm just going to pull this value to be something really large all the way down to about there so it starts right about the beginning of our plane there a little bit past the beginning of the plane then i'll take the depth and make that continue on just past the ending of our plane here of particles and with that setting enabled now if i was to do a render here real quick i'll show you guys what i set up my render settings for when i'm rendering on the gpu i like to render on a bigger tile size it doesn't make a ton of difference what tile size you render with but i like to go 256 when i'm rendering on a gpu and i'll leave the sample count pretty low because this is a test render so i'll leave it at 128 and then the last thing i want to do is enable denoising so under denoising here check the render option and we'll change it from nlm to optics because i'm using an optics card and i find it just gives some of the best results using optics i'll use the optix denoiser there and so with our file saved it's time to do our first test render i'm going to hit f12 and we'll see what sort of results we get so there you have it this is rendering super fast on the msi supreme rtx 3090 and it's actually staying quite quiet and cool on that gpu with the triple fan setup it's doing a great job of keeping that powerful gpu nice and cool and actually quite quiet as i'm rendering here i can't barely hear it and it rendered the whole thing in less than two minutes one minute and 40 seconds there with all that subsurface scattering and glass reflections going on that's pretty impressive and here now i'll show you how we can add the mist to the scene that we just enabled so to do it we're gonna have to jump to our compositing tab here click use nodes and you can see we have a node now with our finished render layer there i'll hit n to close off these options on the right because i don't need them and i'll go shift a and add in a color mix node we're just going to drop that right in there and if i go ctrl shift click that mix node it will add in a viewer node for us so we can see just what we're seeing here and if i jump to our render layer you can see we have our rendered scene there and then i can jump through the layers by clicking again holding control and shift and if we go down to the mist layer you can see here is the mist we just rendered out it's a nice pass looks like it's ready to be added to the scene and all we need to do is add it in as the factor to our mix node and we can change the color here to be slightly bluish just a little bit and if i jump to that now you can see we have the mist added to our scene it's really strong so i definitely recommend taking down the value here of the mist all you need to do is duplicate your mix node here and connect the original image to the bottom socket and now the factor will control just the amount of mist you have added to the scene so you can give this a very subtle amount like a 0.91 or something to give you a little bit of mist but that's the fast way of rendering mist in blender now here's the cooler way which requires some more rendering time but will give you guys some really cool results so jumping back to our layout here we can give ourselves a little bit more room in the bottom window here i'm going to go shift s and snap my cursor to the world origin right in the middle there so now i'm going to go shift a and add in a new mesh this time it's just going to be a cube we'll scale it up a little bit if i hit one to go in the side view here you can see that we just want to kind of rest it right on top of the ground plane there so something around there just moving up along the z axis now i'm going to hit s and shift z to scale it up just along the x and y axis again like we did with the cylinder and once it's consuming the whole plane as you can see here we just need to add a simple material to that cube so pulling the window down so we have a little bit more room in our shader editor i'll click new material we're going to delete the principal shader here by hitting x and deleting it and then i'll go shift a and add in a new shader the principled volume shader so this is going to be adding mist using volumetrics which is a little bit longer to render but gives you some really cool effects so connecting the volume to the volume output now on your material shader make sure you choose the volume output there we can choose a density and a few of the settings here to get some really cool missed results so for the density we want to go very small because as you can see in rendered view right now it is very dense fog right now so i'm going to take the density all the way down to a .01 but this adds a really cool sort of realistic volumetric mist that you can see you get sort of these god rays coming through the sunlight kind of casting these god rays which looks really cool on the scene here and it just looks really great without much work at all of course it might take a little bit longer to render but i really think it's worth it for that extra sort of god ray effect and you can change the color here a little bit make it again slightly bluish if you want i think it just looks kind of cool to look like a little bit of a bluey fog and then the other option might be to scale the fog down a little bit so it's sort of sitting in the crevices making the taller peaks on our abstract art here look a little bit well taller i guess so i'll scale it down along the z there a little bit and we'll see what that looks like once we jump to rendered view that's looking pretty cool and you might want to take the amount down even a bit more because it's still kind of strong so maybe you go a .008 or something for a really sort of shallow effect here so once you're pretty happy with that though we have made it just about to the end of this tutorial i'll reposition my camera here just a little bit to get sort of an angle that i think looks pretty cool that looks pretty sweet i think and we're ready to do a bit of a final render so you might want to increase your sample count here if you're going for your absolute final render maybe increase the resolution to something like 4k right here as well for now i'm just gonna leave it 1080 and at 128 samples because we want speed and a quick bonus tip you can increase the strength of your hdr environment to something like two and this will just make everything a bit brighter and make those colors pop even more so i'm gonna go ahead and save the scene we'll hit f12 to let it render and we'll see what sort of results we're getting and there we have our render with the volume metrics it only took about um only took about 30 longer as you can see here with the volume metrics added to it i think it's really worth it for the extra cool sort of god rays that you get now now you might want to turn down the amount of mist that you have added in the compositor here because you have that volumetric mist you don't need too much of both of them so i'll turn that down a little bit something like a .95 looks pretty good and the last thing would be to add a little bit of glows to the scene and that's a really easy effect to add here in the blender compositor i'll show you how to do it right now you just go shift a and add in a filter glare node we'll drop it right in there with the viewer node and as you can see this adds kind of a cool effect for some glare on the scene but we're going to go for more of a glow for this particular scene so i'll change it from streaks to fog glow and then to see what we're really doing you might want to change your mix value to one and you can as you can see with the threshold right now this is all of the information that is getting glows added to it i'm gonna take the threshold down a bit so we have more parts of the scene glowing highlights on our render so i'll leave the size at eight and i'll take the threshold all the way down to about a point four as you can see there and i think that's looking pretty cool so now if i change the mix back to zero you can see we have some glows added to the scene if i select that glare note and hit m to mute it temporarily you can see that's the effect that we're getting added to the scene without it and with it it just looks kind of cool makes it a little bit extra extra poppy and then you can duplicate this glare note if you want cha take the threshold down to a bit of a smaller value we'll go down to about a point two and make it a smaller amount of glow something like that might be kind of cool maybe take the mix down a little bit so it's not adding it too much we'll go a negative 0.4 but as you can see with that one now again we have just another bit of overall glow added to the scene but there is the final render you can connect the last node output here to your composite node if you want to save this out as an image or some of you guys might want to render this out as an animation and the way you can do that because it's all controlled with a texture you can jump back to your layout here i'll just jump back to our 3d view as well make this a full window and we'll hide our volumetric cube by hitting h for now what you can do is you can jump to your texture settings for those particles and you can just animate the value right here of the size so you can see on frame one i might hover over this value and hit i to add a new keyframe and as you scrub along here i'll jump to frame 250 for this example i'll give it a bit of a different scale here so i'll pull it all the way up to about a point six value hit i again and if i play this back now in the viewport you can see that we have these cylinders moving up and down at different values as the texture changes so it's really cool looking and you can get some really cool effects playing around with this another value you can animate if you scroll down a little bit is the mapping of say the x-axis here so if you change that you can see that we get different results sort of like waves moving over our um our scene here which is pretty cool so you could again go to frame one add in a keyframe jump to the end frame give it a pretty small value of like point five and hit i again to add in the second keyframe and as you played it back you would see you get even more sort of like waves coming over your scene and this is how you sort of get the animated result that you guys saw at the beginning of this video so another way to use this scene and do something kind of creative otherwise you can just use it as sort of a desktop wallpaper or background or the background to your phone screen maybe or maybe an animated background who knows you can do whatever you guys want with this scene but that brings us now to the end of the tutorial i hope you guys had fun creating some abstract art along with me and blender thanks a lot to msi for making this possible sending over their super fast rtx 3090 supreme edition the thing is a beast it renders scenes like this no problem at all and yeah definitely join the msi creator awards 2021 tech meets aesthetics you guys have till the end of may to get your submissions and it's a really cool contest and you can win some really cool tech like the gpu that i'm using to render this scene for example along with some really sweet prizes so head over to the msi creator awards with the link in the description you won't want to miss out on this contest it's going to be a lot of fun whether you win or lose it's not about that but it's about how you improve as an artist and it's a great opportunity to motivate you to create something pretty cool but that'll do it for me guys if you want to see more tutorial content and fun 3d stuff head over to cg geek to see more of what i do but thanks for watching guys have a great day and i'll see you all later bye

Channel: MSI Global

Views: 75,803

Keywords:

Id: RonQp9F4bY4

Length: 35min 11sec (2111 seconds)

Published: Fri Apr 23 2021