KeyShot 10.1 Collision Detection & Simulation?!

[Music] hey there will gibbons here and it's been a minute but i am excited to be back with a new tutorial today keyshot just released 10.1 and they snuck some features into there such as settle as well as collision detection which are going to make setting up scenes a breeze today's tutorial is going to focus on how to use the tool really quickly and then i'm going to walk you through step by step on how to create this scene here collision is a pretty big deal while it's not a full-on physics simulation that can be animated or baked it will allow you to create things like piles of stuff or stacking objects in your scene or filling objects with other objects it also allows you to take an object that's a little bit oddly shaped and get it to lay on the ground in a plausible way and it does so very quickly and efficiently so without further ado let's dive into today's tutorial as with most of my keyshot tutorials i've included the project files so you can follow along step by step to get the files just head on over to willgibbons.com learn enter your email address and click on the button that says take me to the file vault first we'll begin by importing our glass chalice and a key shot with a tessellation of 0.3 because it's a curvy object when i hover over the chalice and hit ctrl d as in delta i'll activate the move tool and lift the chalice off the ground now when i expand the advanced tab of the new move tool in keyshot 10 and hit snap to ground you'll see it doesn't actually hit the ground it stops before hitting the ground now when i open the geometry view with the o key we see a bounding box around our chalice the bounding box is actually what keyshot is using to collide with the ground plane or other objects and therefore we are not actually to able to get the results we want using the traditional snap to ground tool now when i click on the collision checkbox in keyshot 10.1 it takes a moment to essentially shrink wrap this bounding box so it actually matches the shape of our object once i've done that i should be able to simply move it in the direction i want and it should actually collide with the nearest surface as expected yep so you can see it's doing exactly what we want here now to take this a step further we can actually use the new settle button that keyshot just introduced and keyshot 10.1 in order to do this we're going to click on the as part and then click settle and then it drops the object onto the ground and it comes to a rest this is going to save us tons of time in setting up scenes whether you want to let objects interact with each other or just place an odd shaped object on the ground as we've done here okay so to fill our chalice with m ms we need to import our m m and i'm going to do this at a tessellation of 0.2 because i'm going to make a bunch of m ms and i don't want too many triangles in my scene i'll grab that m m and hit ctrl d and then move it up above the chalice next we're going to want to select that chalice go to the scene tree right click and duplicate it and we'll actually leave it where it's at for now i then want to go ahead and select it and let's rename this one to small so we remember which one is which and then from there we're going to the position sub tab and scaling it down to 0.99 percent once we've done that we're going to grab the move tool and nudge it up just so the rim of the small chalice is aligned with the rim of the large chalice just trust me on this one here we'll go ahead and hide the large chalice for now we'll come back to it later so if we go back to the m m hover over it and hit ctrl d to get into the move tool we can turn on collision and click settle this is going to drop the m m into the chalice and settle it i just wanted to make sure it's working here so we're going to repeat this process but with a bunch more m ms and to make this a little more interesting i'll select it and go ahead and give it a blue color all right from there we're going to select the m m in the scene tree right click and choose make pattern and in this case the pattern or the array that you choose to make is going to depend on your machine the more you add the slower things will go i have a pretty beefy machine so i'm not too worried about it go ahead and set the spacing so you have just a little space between each m m next we're going to want to select all the m ms to do this go ahead and hold shift and left click and drag your mouse to make a bounding box selection once you've done that hit ctrl d on the keyboard to enter the move tool once again and make sure that you have the checkbox for collision as well as as parts selected so each m m is treated individually then click settle once you do this they are going to drop into the chalice and kind of bounce around they are settling at this point you can click your mouse once again to stop the settling behavior and then click ok to accept their position very nice at this point you have a chalice full of blue m m's pretty good let's go ahead and take care of that material on the chalice though we'll set our lighting to the three panels straight 4k i'll hit c to put a solid color white background up and then i'll change the material on the chalice to a white solid glass but it looks a little too dark so let's pop into the lighting tab and go into the product lighting preset and oh look at those little dots see those little circles on the edges of the m ms that's not good that's where our m ms are actually sticking into the material of the glass so fear not we're going to fix this go ahead and hit shift and left click to copy that glass material hide the chalice and turn on the large chalice and shift right click to paste the glass material on the large chalice and now we see that we've taken care of our intersection problem this is why i wanted a smaller chalice to do the collision with and then the big chalice is the one that will leave visible now at this point if you do have any rogue m ms protruding into the glass you just need to turn off the chalice and hit the move tool on a single m m and just nudge it back a little bit so it's no longer sticking into the surface hey there will gibbons here and i'm excited to announce my latest course the keyshot rendering master class now there are a few things that make the master class special in my mind and i want to share those with you the first is format i built a big library of feature-based lessons that also is accompanied by project-based lessons so by the time you're done you will have built four portfolio worthy renderings it's got over 15 hours of recorded content over 100 videos 14 chapters 12 quizzes and a whole bunch of project files so whether you're self-taught and hoping to fill some knowledge gaps and level up your skills or if you're at the very beginning of your journey hoping to learn as fast as you possibly can this course is for you i'm super excited to see you in chapter one of the keyshot rendering master class so this is the image i made before recording this tutorial and i want to walk you through the steps i followed to get there so we are back down to a solitary m m that is pulled up above our glass chalice the small version i'm going to turn that off right now and we're going to focus on the material of the m m first so let's go into our camera tab and i'll create a new camera and set it to have a top view because i want to work on the top where the m will appear i've set my perspective to 100 instead of 50 to kind of flatten it out a little bit and i will go ahead and save my camera here and then i want to move it off to the side a little bit and i'll lock it and then from here i want to make sure that i've got a environment with more contrast than our startup environment so i'm using the three panels straight 4k and to work on this m m let's double click on it and change its material to plastic who doesn't love plastic m m's oh we want the shiny appearance that's why we're doing that so then we want to pop into the material graph okay we'll go ahead and move these nodes over next go ahead and drag the m m logo i have included in the project files into the material graph we want to use this kind of as a stencil so i want to take my plastic hold alt left click and drag to duplicate this plastic and we're going to go to the first plastic and change its color from gray to in my case i'll go with blue i have already saved a swatch of blue green orange yellow red and brown and i pulled these from a reference image i found online so you can use the color picker in the eyedropper tool to select those colors in keyshot if you'd like i've just saved those already to speed things up a bit now we'll add our plastic label and it becomes gray let's actually go ahead and select our plastic and change it to uh white instead of gray and we want our m m logo plugged into the opacity all right nothing seems to happen and that's because this is too big so let's go to set it to planar we want to center it on part that's very important and we want to set our scene units and using units instead of dpi and i'll type in something like 14 or so that looks pretty good and i want to turn off repeat horizontal and vertical so we have no repeat and i want to rotate it so we'll go negative 90. and that looks pretty good i may go just a touch bigger on the size so again what we're doing is using this texture as a stencil where it's black it's hiding the plastic and where it's white we see the plastic now we want to kind of add some wear and tear to this interestingly enough if we go ahead and go to our textures and we find something called fragile this is a texture that is included with keyshot as well as friction i like both of these they look kind of organic and worn out if we want we can select our connector for the opacity and go to utilities color composite and you'll notice as soon as we do this we see the outer edges of our texture logo this is a little bit annoying what we want with our color composite is to set the background color to black instead of white so now when we look at this it's the whole m m's black with just the white logo that's what we want now if we want to go ahead and selectively wear away some of this white we are going to just use another color composite even if it's a little crowded that's just the way we're going to do it now we can take our fragile and plug this in a background and when we set our color composite to multiply it takes the dark pixels from our fragile texture and it darkens them multiplies them over the white pixels of our texture map and we can do the same with this other friction one as well the issue i have here is that i want these uh kind of cracks or whatever to be a little bigger so we'll go ahead and scale them up a bit and i want them to be a little bit more contrasty and we can do that by using a color two number so when we use our color to number if i preview this you're going to see our kind of texture without any changes but if we take our input from and increase it we start to make those dark areas darker if we take our output 2 and we increase it we'll make those bright areas brighter so now it looks like instead of like a cracking paint it just has some kind of holes in it some almost looks like chips instead which looks a little bit better in my opinion and then we can do the same thing with this friction texture map as well so we just have to unfortunately use yet again another color composite so we'll go ahead and go to the right utilities color composite pop this in as well and once again just set this guy to multiply and now we see even more chaotic kind of scratches and wear and this texture map again can be increased in scale depending on what your preferences are and with our color composite we can scale one of them back if we need to so we can have less or more of it so again this is just you know however you like it i'm going to go ahead and use one more color uh to number because i really like being able to control how much of this is kind of worn away so i'm going to increase the input from to kind of wear this away a little bit more and increase the output 2 a little bit just to increase the contrast looking good and finally you see how the edges are still pretty intact i want to use a bigger texture to kind of erode those now i'm going to go right click in here and grab a texture called granite it's the procedural texture that looks pretty or organic if you ask me we'll double click on it and make it a scale of 10 and set its color to white so now it's just like a gray scale if i preview it with c on the keyboard we see it we're going to do the exact same thing as we have done yep just a ton of these kind of color composites that's just kind of the way we have to do this for now maybe there's a better way but this is the way i'm doing it so i'll set this to multiply and you see it looks too soft it doesn't quite match we want it to look more like a crunchy or granular so we're going to use again a color composite to do sorry color to number same thing as we've been doing when we preview it you'll see here if we increase that input from we kind of start to get those black areas and kind of burn them out a little bit and then take the output two and increase this quite a bit for a three maybe and now you see we are kind of wearing it away it still looks too soft so i'm just going to keep playing with these values until they get really kind of hard the way i think it should look naturally and then i'm going to take that granite and play with its position and scale till i'm happy with it maybe something like that and if you want you can always move the texture just to get a different distribution i think that looks pretty good something like that and then if you want to not have it totally worn away what you could do with that colored number is instead of pure black we can get those to be more gray by taking the output from up a little bit and that fills them in so you'll see as we increase that output from it kind of fills it in a little bit so it's not totally chipped away a hundred percent but like kind of pretty close um and yeah that's that's pretty much it uh the rest is just you know making this the way you you want it to look you know just whatever you think looks good and maybe i'll take this texture up a little bit too make them a little bit bigger good enough for me for now so yes a little bit crazy now we want this to also look like it has a little bit of grain as well as some waviness so we're going to right click and go down to our textures and get a bump so that's a noise texture we want this going into the bump of our base plastic it's going to make it a little wobbly looking a little hard to tell from this angle but it is working if we preview it that's what it looks like we also want to add a little bit of roughness so i'm just going to use a uniform roughness on our plastic so we'll type in 0.05 just a little bit and we want the same kind of appearance on the label plastic as well so 0.05 and our um yeah and then maybe let's let's go ahead and change our camera angle a little bit so we can see how this is looking so if i go to my free camera and kind of move around we'll get an idea of what this is looking like now if your camera is kind of not aligned with this right click and say set camera target now we can tumble around this more easily okay so this is not looking quite as glossy as i want so i'm going to do .02 maybe that's looking a little better and again you can play with different lighting environments this one's maybe not as high contrast i think i might have played with this one before this uh kitchen um that gives you an idea of how this material is looking so in this case maybe maybe 0.05 was was good enough yeah i think that's pretty nice and then um i want a little bit of uh noise in the color as well so let's go and duplicate our noise texture by holding alt and click dragging and then what we want to do is turn off sync and scale this guy down maybe one and i can plug this into the diffuse actually we don't want to go directly into the diffuse because if we do it turns gray so we're going to use a color adjust i think and we'll colorize and we'll choose our blue color and see how it gets dark we want to take that noise texture the black value and we're just going to bring this guy on up and that should be pretty good we'll do about 80. and what i want to do in my color adjust is maybe just bring up my value a little bit so it's not darkening the color of the m m too much and of course that noise texture i want it to be smaller to go 0.5 so now we have this kind of bit of variance in there too you could i guess maybe add it to the bump as well this is a little bit overkill but we could go into bump two with it and that looks pretty nice but let's just knock it down a little bit so about 0.5 on that second bump value and i think they were looking pretty good we want these bumps to apply to the label as well so go to our textures double click our plastic go to our textures click on the bump channel and select apply bump to label so now that label is affected by it finally this label is blowing out it's a little too white and it's maybe a little too shiny so for that label this is the plastic label the m label if that's confusing for you you can always name the node call it m label or logo and then you can take your specular down to something like maybe 80. and maybe the actual color of it is also closer to 90 instead of 100 that looks a little too gray so let's go 95. we just don't want it to look too bright white cool i think that's looking good um again i'm not you know i don't want to spend too much time in here but uh this is the mess we created if we click on the align nodes it shook it should look like that what we're gonna do is go ahead and just uh well you'll see what we'll do so we're gonna we'll call this blue m and and now we see it in the preview looks pretty good what we're going to want to do is basically create our pattern and then make a bunch of different color versions of this our color variants now i'll right click show all parts and let's go back and make sure that we turn our large chalice off and again to improve performance we're going to go to our small chalice let's set this to a diffuse material and we also are going to go into performance mode for this next part so now i want to create my pattern i'm going to select my m m in the scene tree but not the individual m m part the model which is the level above it right click go down to make pattern now if your computer is not the beefiest machine you may want to use some smaller numbers i'm using 10 in each axis which will give me a thousand m ms you may need to go to a bit of a smaller number there um i'm going to set my spacing to 25 and 15 in order to kind of make a compact grid now if you were to try to select a row of these this could be kind of difficult so let's get to our camera and we want to set our camera so we had a top down view but we want to create a new camera and this one will be orthographic mode and we want it to be in the front standard view and now you can see we can select individual rows much more easily i recommend locking your camera so we don't actually nudge it during this next phase now if we go to our materials sub tab under our scene tree unfortunately you'll see that when making a pattern your materials are not linked by default this is a bit of an annoyance but it's easy to fix just select the first m m scroll all the way to the bottom hold shift right click and link materials now they're all linked the same now what we want to do if we have six different colors we need to select about um 150 of these each time so the way we're going to do this is shift left click and drag to make a selection and you're going to add to that selection doing the exact same thing in my case i've now selected about 150 of these and we want to right click on them and go to isolate materials to selection what that does if we look at our material sub tab is it keeps all these that are now selected linked to one another but it unlinks them from the rest so now we have two so next we'll double click on an m m and go to the material graph and in order to change the color i want to find the plastic that is not the m label and then we used a color adjust going into that let's double click on it and you'll see the colorize is blue if i set this to a different color like green now they should all change green but it's not going to mess with anything else and this is just going to be a rinse and repeat process so i'm going to fast forward while i do this through the rest of these okay so i'm not sure why we're ending up with duplicates down here but what i want to do is grab anything that's the same color by holding control and clicking then just do link materials and i'll do this until these are all linked up so we don't have any duplicate materials and it should be good also i chose to leave a majority of the m ms up top blue because i like the color better and these will be more visible up top at this point we want to go and do our little settle so we're going to go to our camera go back to our free camera we can scroll out and again i want to make a selection of these by holding shift left click dragging and now with all of them selected we're going to hit ctrl d as in delta and we're going to grab our move tool expand the advanced section we want to turn on collision as well as as parts and this will treat each m m individually and if we click on settle again you may have to wait a little longer depending on your computer and what will happen is the longer you wait the more settled they get once they look like they're in the chalice roughly in the right position or on the ground as you want them you will click on your mouse to stop the settle function so again who knows how long this will take i'll give it a second okay so i let this settle for about a minute or two and typically the longer you let it settle the more resolved it will look and the more correct the final position will be is this going to be a true replacement for something like an actual physics-based simulation i don't think so but maybe again most cases this is going to just approximate things good enough really in my opinion now we want to remember to turn off our small chalice and turn on our big chalice and that way we won't have as many m m's protruding through that surface we'll double click on the big chalice and set it to a solid glass now if you want to add little smudges and bump textures on the glass by all means that will help things look a little bit better that's not necessary for this tutorial so i'm going to skip over that i'm going to turn off performance mode and you will notice it's a little bit noisy if that's the case you can make sure that your denoiser is enabled and you may want to take your denoiser and reduce it so i'm actually going to go into a image style set it to photographic back to linear and i want to take my de-noise blend down to maybe 0.5 for now is fine and the other thing that i want to do is give this a look if we have any m ms that are in the wrong position or sticking out perhaps it's easier to see them in performance mode so in this case we have an m m protruding through the surface that is very unwelcome we are going to take this m m and just nudge it back so after selecting it i can hit control d to get the move tool and just grab the move tool and pull the m m back into the position you want it to be in in this case it's moving very slowly not quite sure why the other thing you could do is hide it turn it off the other thing if we hold ctrl alt left click on our chalice we can hide it maybe that's getting in the way let's try moving this again uh let's turn off all this oh it's the collision button i'm so silly sorry turn off collision drag that back in much better okay and now we can grab say a different one and just nudge this back a little bit here again i'm i'm not going to go crazy doing this for every one of them i just want to make sure it's not sticking out of our glass that would be a bit unfortunate all right so after nudging those m m's back a little bit i'm pretty happy with how this is looking what i want to do next is add a little bit of a backdrop here so we're going to go to our model library and i'm going to go to backdrops and pull a backdrop ramp into my scene and you'll see it's really big we're going to scale this guy down so click on the scale option grab that yellow cube and just left click and drag to the left and then i'll snap to the ground and in my experience i usually like to scale these guys down quite a bit as well as vertically and then make them a little bit wider and then snap to ground again and i'll go ahead and kind of center it a little bit there we go pull forward a bit great so now we'll take this backdrop and choose a color i think i went with something kind of like a light pink ish red color before desaturate that quite a bit depends on how much color you want to bring into this it's valentine's day today or yesterday was i guess so um yeah maybe we'll do something like that now this is looking pretty good but uh what i want to do is have a little more dramatic lighting so i'm going to add a plane for an area light control five we'll do that we're gonna grab this plane pull it up back uh let's see it's moving oops let's undo that not too far i don't know why it's acting like this new move tool in keyshot 10 is good but sometimes it does some weird stuff i'm going to scale this plane up just a little bit bigger give it some rotation so it's almost like a like a soft box and i want to make sure that it's um kind of pointing down at my scene there we go and i'll double click on them and set it to area light and then set the color to something kind of neutral and turn off apply to back geometry a thousand lumens probably not going to be enough let's do something like 5000 and what i want to do is i want to get some illumination on this a backdrop ramp but what really makes these m m's look nice is the specular highlights coming from our environment that has some high contrast bright lights on the ceiling so let's do this let's scale this or not scale turn down the brightness of our hdri we still want some little glints on the m ms from the ceiling light so i'll go down to 0.1 something like that there we go and our light is just a matter of positioning our light the way we want it and what we can do is open the geometry view with o and i want to zoom out and just basically take our light move part and i want to click on the uh or set the chalice as our pivot and then what we can do is rotate this light around you know until we get the light shining it's like maybe this is cool maybe more like a side shot is is what i want and we can bring it down you know just play around the position until you're happy with it maybe more of a side view and i want more light on the front i'm thinking looks a little bit high so let's rotate it down a bit so now we have light blasting in there looks pretty good [Music] and our plane is kind of messing up so i'm going to reset the pivot so i can kind of rotate this so it's actually facing our scene a little bit better this will look hopefully better there we go and yeah at this point it's just going to be up to you to play around with it i'm pretty happy with that i don't want to go so bright on that light that it completely blows out the light-colored m m's like the the yellow ones in particular they may be a little bit bright but if i want to bring in more more light from my environment we can just creep this up a bit or add a second light you know this is not a lighting tutorial so really just up to you to play around at this point i also i think i might have colorized it to add some blue to the shadows that can always be fun this will give us some nice blue light into the scene and at this point we're looking pretty good um i i like to add a little bit of depth of field maybe um [Music] but overall we're looking nice for light uh render settings we'll go ahead and look here i like to render in product mode which is what i've got going on i also would turn caustics on for the scene and the reason is because we have a glass and everything's inside the glass and if you want the light to pass through the glass appropriately we need those caustics on so that's going to help a lot also gi bounces this will uh if we increase these a bit it'll it will slow things down but it'll help illuminate some of these areas between the m m's better now if i'm still seeing some issues where the m m's are intersecting with the glass let me see if i made a mistake here so the small chalice is on let's make sure we have the big chalice on and that should hopefully resolve that much better and if there's anything like you said like i said before if anything is still sticking through just go and edit that m m individually but overall i think we're pretty good and of course i love some depth of field that for a shot like this where these are small objects that's pretty important so back to my camera let's make a new camera and i don't want uh to be an orthographic mode i want to be in perspective mode that'll look more natural uh 100 is okay maybe i'll go a little wider and i'll add some depth of field so focal point i want to click on the actual glass or somewhere in the middle maybe that m m right there is the hero m m that's in focus and then we increase our f stop so let's try uh 10. and man with that that's pretty much where i'm gonna leave this tutorial if you're getting these little bright hot spots in here especially in the glass kisha's got a lovely new feature in the image tab called firefly filter that's a mouthful slowly increase this until those white spots go away so look in the middle you see these white spots they're really hard to uh render out increase the firefly filter until those go away don't go so high because then you get no specular highlights this can be a little bit aggressive but you can bring it down and with the denoising i think this should look good boom there you go so if you like that tutorial be sure to let me know with a thumbs up also if you make something cool following these steps share with me on social media i love to see what you did with this concept my links will be down below so you know how to get at me and if you want to learn more about how to use keyshot either check out my other videos that are free or perhaps the master class that you saw advertised in this video until next time guys happy [Music] rendering

Channel: Will Gibbons | 3D Rendering

Views: 39,238

Keywords: will gibbons, wil gibbons, will gibbins, will gibons, will gibins, keyshot, rendering, tutorial, animation, studio, freelance, KeyShot 10, KeyShot 10.1, Collision, Simulation, Physics, Physics Simulation KeyShot, KeyShot Settle, KeyShot Sim, KeyShot Collision, Collision Detection, fill jar keyshot, fill up container, keyshot pile, keyshot stack, keyshot fill, keyshot drop, product design, 3d rendering, 3d animation

Id: dHqtphB4sA0

Length: 34min 3sec (2043 seconds)

Published: Mon Feb 15 2021