Lock-Down Blending #1

hello I hope everyone can hear me okay um this is the first time I've tried a streaming so I'm not convinced that it's working right but I'm sure you let me know if it's not anyway and yeah let's let's get going so this is the scene that I'm going to be building over the next couple of episodes the picture on the left is the reference image and the one on the right is the one I've put together and the main things we'll be focusing on are the modeling which is ready to be simple really some rather cool techniques for lighting and the lighting in this thing's actually using three separate HDR's coming in from different angles and giving us the relatively closely match lighting to the reference image and then the focus beyond that will be on how to get decent effects out of glass in blender because the the the default glass shader isn't particularly great there's a lot of it a lot of fakery going on in this image but it's quite controllable and I think pretty good we've got some fake caustics going on in the shadow there and this kind of refractive light these light beams coming down from the reflection that's faked as well as well as some just sort of general stuff I was going to include dispersion in the glass but it was slowing down render time so much so I'm sorry to admit that but yeah I suppose good to get started so let's jump over to a nice fresh blender I'm going to turn this to full screen so I've got no other distractions going on and then delete everything now I'm targeting this at the kind of the intermediate end of beginner stage sort of person and so if you're quite a bit beyond that then apologies if I'm going into too much detail but yeah sorry first thing I do is press shift a I'm going to go to the image and load in a reference image because we're going to start by modeling the pint glass I'm gonna use that one yeah let's jump to front view just gonna rotate that around so the reference image is pointing where we want it and yeah let's start with a circle and I've got 32 vertices which is probably overkill but yeah I'm gonna leave on that why not press tab jump into edit mode and then I'm just gonna scale this up a little bit and then make sure that this reference is lined up properly which is not you'll see that there's a bit more of a gap on the left there so let's just grab this reference image bring it a little bit this way a little bit more yeah should be about right for us and then from edit mode let's start extruding and shaping out this glass so he to extrude you can press Z to lock it to the z axis that will keep everything nice and neat tidy and then just scale it in by pressing s and repeat that step several times until you start to shape out the glass now we're going to be using a subsurf modifier and we'll be able to alter the look afterwards so we don't have to go into too much detail now just want to make sure it's roughly right and yeah something like that should just about do and for the bottom I'm just gonna extrude you in a couple of times and then for the final one I'm gonna hit s and then naught so scaling a right to the middle and depending on how it looks I might merge those vertices but I'll leave that for now all right jump back to front view let's stop moving our way at the top extruding more extruding this is freely entertainment I'm sure more extruding you know this slide I want to make sure catches the curve or the peak of the curve there otherwise we'll lose that shape which we don't wanna do and then just extruding and extruding awesome to about there we'll sort out the lip in a minute I think I do want to do though is try and make sure we've got a relatively even bounce of geometry for the subset model of ISIL it's so select let's loop press G twice and then we can slide it add another one there I'm gonna add in two loop cuts there case you don't know that's ctrl R and then you can usually middle mouse will to decide how many you want yeah that's not too bad awesome alright let's see how that's starting to look with the subsurf so i'm gonna add that but up to two right mouse button on it and hit smooth shading get back into edit mode hold down Z to jump to wireframe and now we can just make sure that this is kind of behaving and you can see how the subsurface behaving behind the actual vertices which is quite handy I want to bring that out a bit that Beaufort these just trying get that glass shape of goods and we're so these know it's getting confused by my own reference image ignore me cool okay so let's add in a solidify modifier and increase the thickness just gonna go back to solid mode there yeah thickness wise it's important to try and get that right and I can't have exactly what I used but a pine gloss is not particularly fix I'm gonna go over about that as a value yeah another stage I'm gonna get rid off won't get rid of but move the the reference image out of the way cuz the rest we can do pretty much just by looking at it okay so I'm gonna move the subsurf up above these so that the sorry this will solidify above the subsurface and apply it and now we need to make a few changes to the mesh itself so let's jump into wireframe mode and we want to select that that loop kinda hard to see what ones are grabbing that one and that one and that one and I want to move these up a little bit I'm gonna delete that interview actually so let's get rid of that and Oh too many edges and I've actually left the ones at the bottom there that's fine offic saying a minute so what we're basically doing is creating this or this lip area like so fact what I will do just for now I'm gonna put in a sense of this a loop up top absolutely anyone and I'm gonna mark that as a seam because now if I got to face the lipid I cancel it I can press L on a single face no you know no why aren't you working I should just select the ones on this side how bizarre hmm okay gonna be like that is it okay just so you can see what we're doing in here I'm gonna hide this outer lot here it's still so let's never think that isn't we anyone knows why that's doing that feel free to type because that would be handy but yeah me just say it's that that all of that and hide it and that's tough yeah we can see that with enough now cool so let's select these edges and that pesky middle one too and now we can bring that up a little bit and we want to keep this if you notice the glass kind of dips in Words Words quite flat at the bottom but on this inner surface is a definite dip in there if you want to keep that so what we'll do is just one at a time deselect those and bring it down a little and then we get our dip cool now I'll get our Haida leaves I think we do need to merge these vertices because the subset isn't liking it so let's grab that make sure haven't got anything I shouldn't have hit em and merge at Center yeah that's made it happy and then we'll do the same with that line there magic Center it seems that there's a edge there which we don't want so let's leave that good but if that's why my L wasn't selecting properly nope still know what's causing that that's weird anyway one thing I do want to because we extruded out from an a circle and the normals could be quite ferocious at the moment OSHA's horrendous I'm making it words but no we're looking good everything's blue happy days and yeah we pretty much have our pint loss I might pick it up a little bit later but basic modeling for the air bagless done so let's jump over to the bring in a camera cool and what I want to do is make sure this camera is the same resolution as my reference photo because we're gonna use that to light up the the picture so quite a big one free free free free by five thousands that's also render to I'll be rendering it at that but yeah and then we'll bring in a camera and press ctrl numpad 0 and you'll see then how the cameras the same dimension as our reference so let's bring in that reference as a background image and I want to allow us to position ourselves and nicely there we go cool now I can't share this picture I'm afraid cuz there it was a purchased one ad and have the license for it and whatnot I just want to start making sure I've got the right sort of look to this I think it was using a focal length of about 35 yeah close enough anyway the way to judge it well the way I find easiest is look at this kind of oval at the top of the graph the glass is creating and try and match it roughly off that as well as getting the angle right obviously you can tell just from the picture that it's pretty much dead on maybe slightly slanted down but yeah cool well that's another thing we gonna need to do and share you should just go to me is adjust the scaling cuz I modeled this just at the size that he came in this pint glass is currently many many many meters big ya fix in a minute will do though is grab everything and move it up so the origin point is at the bottom because that's a good habit to get into and now we'll start work on the table so yeah that's adding a plane and nothing idea actually is I'm gonna split this and bring in we're looking for bringing our reference image if I saw you loading it should be there cool so we can start to keep an eye on everything to make sure that we're doing what we need to be doing and yeah should we about right now the way we're gonna model the we are get a model it's not just a material painting they're actually gonna model in these planks I'm go to you now just cool so by pressing ctrl R I can drop in a loop and I'm just gonna roughly create some planks now I didn't know just want to clean the picture there they're not all even which is I guess a bit odd but yeah so I'm just kind of roughly copying what's in the reference there and then I'm gonna hit face select everything but before I extrude I'm going to first change this to individual origins and then I'm going to hit what we instead of E and then I can extrude individual faces and that basically extrude individual faces funnily enough cool and then what I can do after I've extruded them bring them down a little bit first of all and I can scale along the y-axis and that was just kind of getting to come in just a little bit and they start to look like separated planks awesome what we can do though is delete these edges because we don't need them and I'm probably gonna use micro displacement on the material and this will just confuse matters later so let's get rid of those deep into the edges nice cool another thing go do is select the middle edge there and press V to separate and I'm gonna do that on all of them just so these are separate items and because that'll allow us to do some fun stuff with the material later when I get to that stage oh I'll come back and explain what I've done that but yeah anyway cool so we have our table and pint glass in place what I'm going to do now is fix the scaling because I should have done that in the first place about I'm a so I'm selecting both but make sure the glasses last so I can see what dimensions it is and we want to make this basically 15 centimeter so that's point one five we want all there abouts and then it's a a realistic size for a pipe loss if memory serves me and I can just hit control a and apply the scale cool now because this item is quite small one thing you'll commonly get is actually get too close to something it starts clipping away like that in the viewport which makes editing really annoying so to fix that you can go to the view and just change the begin clipping distance to 0.01 rather than 0.1 and then you won't have that issue as you zoom in and I don't know if there's any downsides to that I don't know why there has to be a starting clipping distance I would assume there I would assume they should or will need to be even I don't know what it is but yeah let's get our camera and line this bad boy up again and then we'll be actually about done with the modeling it's like it's really not much to do next which is awesome we just want to make sure it's roughly about right now I'm rotating it around because the table doesn't line I very well there just coming about this angle actually yafflejuice I'll just move this along the x-axis so be it scale that along the X and yeah that should about work for us mmm no perfect but neither am i yeah I'll be a because laughs anyway I suspect if it's not we can always fix it cool right so the next thing we're going to do is we won't worry about the material on this just yet I just want to put a glass material on this and then start talking about the lighting because that's that's yeah well things only to focus on the most today because it's a funky stuff so let's just jump over to render mode give this a really terribly basic glass material like Sir Windus cool and and then I'm gonna get rid of this background image for now as we don't need that either so cool we have our our basically or scene here so now I'm gonna jump over to the world view and we will start building up our lighting so I start doing what you always do and just throw in HDR yeah so let's go to [Music] what hates Giada I use first now that's the question I think it was this chap no I've got three hasty ARS in here hmm before just to make it even more challenging I believe it was this guy no he was that guy I'm pretty sure nope I apologize about this I probably should have noted it okay yeah it's actually this garriage one that I used first so what I want to do is just rotate this around don't worry about the background image or anything like that we're just looking at the lighting if anything I'll turn it to transparent so we're not paying too much attention to that and we just want to get a good sort of general lighting preferably with a shadow over in this direction we're going to be creating a more harsh shadow manually using a an actual lamp the finale's want to get that the basic kind of lighting in there cool so now I'm gonna duplicate these nodes and I'm gonna bring in a second HDR this fireplace one and what I want this to do aren't the yellow or part of the yellow light to be catching this left-hand side of the glass and it's rotating this around until we get that yes she pretty not bad as is yeah should work well for us but if we were to just mix these together it's not gonna quite work because you've even got one of the other or if you do it in the middle then you kind of have this mix sort of washed out lighting what we want to do is just take the the yellow highlight from that area so what we're gonna do is add in a gradient texture I need to bring back my transparency cool so if I come out we can see what the gradient textures doing yeah and as I rotate it around it rotates around the the the world as well and if I were to then add in a color ramp like so I can make that area smaller you probably forget exact what we're gonna be doing now we're gonna be using that area to mix in the HDR so if I mix that there and take a look at what that's doing we've got this weird portal to a different HDR just in that area where there where the gradient is and that allows us we have a bit of tweaking anyway to get the the yellow lighting that we're after and what we can also do is add in a now the color mix set it to multiply adding a value node and we can multiply this by five just to to bring out the the value of it if it just reflects annoying me so I'm going to bring in a plane thank you and just put it behind the camera just so I'm not having to look at that because it's irritating cool yeah I'm quite got that right there first we need to move it a little bit this way and we're just not getting there the brightest highlights there so let's continue to play with this HDR oh that was about right yeah that's okay yo that I want from it probably still some feeling around to do and but yeah that's definitely a good start and then I'm gonna duplicate these nodes and that one and basically do the same again so that in there create another one of those you'll probably want to be have a lot more neat and tidy than I am my final one did have some nice neat frames and stuff but no one wants to watch me neatly up frames do they so let me disconnect that for now just so we're looking at what this one's doing good so a different HDR in here and it'll be that lounge room one because it's got some really nice white windows on the side and but what we want to do is move our gradient to be pointing over there I'm hitting the wrong one what is a gradient gun maybe's so yeah we want to rotate the gradient texture oh it's over to this side and get these nice bright windows into the reflection you see how it's giving us that nice white line now also that's what we want drag that in there no oh I'm confusing myself here that's the knowledge play isn't it II drag that all in there there we go cool so I'm still not quite quite got the the yellow reflection right I really want that to be on the edge of the glass and but we'll tweak that a little later on we are getting is a really nice bright shadow here but I do you want to slightly adjust it I'm sure you're not helping I've got the wrong one again this way idiot here we go however um if we leave this like that if we look at the reference image again it's nowhere near this bright I'm literally using these additional lights just to just to catch the reflection so as we proceed with this what I'm probably going to do is limit those two HDR's to only affect the the glass itself rather than like the whole scene but we'll see how it goes sorry about that my extremely software just came up to save my audio it cut out hopefully it's still okay there fingers crossed cool so we've we've made a start on the lighting it's gonna be some some tweaking that needs to be done but I do just want to go over exactly what we're doing here cuz it was the kind of the key of the lesson and I think I was kind of rushing through it and not being particularly clear so let's start labeling it and making it sort of stand out maybe make the technique stand out a little more so we've got a basic HDR yeah and that's being mixed we have another HDR this one which also has some controls for an increase in the strength etc and it's being mixed by this gradient texture okay and then we're doing exactly the same down here we've got another HDR with a strength override which is being mixed into the final image or the final HDR by a different gradient texture which is yeah quite interesting method you do end up with a very bizarre-looking HDR but as long as you're hiding it then it doesn't really matter does it so yeah I think we'll call that our final a final setup and I'm still not sure about the yeah I'm having a light path mode I just want to reference my original scene before trying to recall exactly what I was doing here but yeah that's how it goes so I put in a color mix node I've set the the secondary value to black in fact I could be the other way around I said the first ones are black and and now if we feed in is glossy ray I think what we should get is that's clearly not working you singular ray nope he's a reflection ray nope hmm transmission ray oh wait give me a second hey this looks so professional doesn't it I clearly know exactly what I'm doing I don't have to go back and check what I did before no no sorry singular a multiply that by the singular okay cool okie dokie so I'm multiplying this by the singular ray cool that's what I did okay yeah that works so now you see I'm getting the reflection that really harsh reflection if I say that's a zero it will disappear and from the HDR but it's not lighting my scene it's literally just applying to the glass which is exactly what we want whole point of these other HDR's which is was to make the glass more interesting and the rest of the lighting I just want to come from the basic HDR so we'll duplicate those nodes and why is it all P yeah all P breaks two nodes away from a frame in case you don't know I always forget that and just coach would I multiply that by that and that does the same awesome so now if we look at image not exactly physically accurate at this point I would imagine but it did work really well and my finished image you've now got a lot of interesting reflections going on with the glass which is obviously important with glass but you've still got control over the lighting separately for your scene I've got some nice basic simple lighting for my ground here and all of this funky stuff is only applying to the glass yeah hopefully that makes some sort of sense got a question here was this is there a reason using HDR's rather than using mesh types very valid point there because that was my my first train of thought was yeah just frame some mesh lights they're probably glass is especially glass like this it's got all these angles on it if you start using mesh lights like a simple area light the reflections make it really really obvious that that's what you're doing and you could posit possibly go down the route of trying to make some more interesting sort of shaped emission planes I suppose and fake the lighting that way and but then you're still dealing with the problem of it lighting the rest of the scene which I guess you could still go down the route of limiting the Rays that it affects and whatnot but I just found this method when dealing with glass it just it it automatically creates extra interest in the reflections there's there's so much going on and that yeah I don't know I think it works you might disagree and which is cool you welcome to this there was no right answer I suppose but here I found this it's worked pretty well so yeah have that question and cool right let's say I'm how would you in timewise anyway not bad 45 minutes not bad okay I'm gonna go eNOS do the material for the planks now cuz that's nice and quick and easy again I won't be able to share the textures involved what I'm quite sure you're capable of finding some wood textures these particular ones come from polygon no surprise given that's where I work so let's call this a no table and bring in some images where are they scroll Scroll scroll wood planks if anyone wants to link to this particular texture let me know and I'll be sure to post it in the comments pH is a nice soft simple wood plank asana texture bring those in connect these up like so don't worry about the mapping Lewis all that in a minute linear it's a gloss texture so we want to invert it because that's how you make it a roughness like so and then linear on the normal map and bring in a normal map node and connect like so there we go shield up cool um yeah we need to do some UV work don't we but so let's say it's having to should be able to unwrap it you should look alright I would hope yeah better cool and just switch this over to the color texture and yeah this tiles thinking both directions yeah so that's pretty cool so we just I'm just gonna take it one step at a time basically and I'm just just grab that one first and make sure it's and covering one blank this one too I'm kind of concerned with their unwrapping though because these little side bit should be tiny compared to that I know it's not a scaling issue because we already applied the scale yeah we'll see how it looks it might need some tinkering there yeah there were two reasons that I separated out the areas is one to make this stage easier you can just grab the UV separately but also as I've shown a moment there's a new node option in I think it was just introduced in 2.8 - is that what we're on and that really helps with the variation I'll show you that in just a moment yeah pretty much yeah cool let's see what that looks like I'm just gonna hide everything else for a second and jump to rendered node yeah it's possible isn't it cool okay so let's jump over to UM get rid of our stupid good now if I add in a geometry node we have a new random pair Island outputs yeah if I jump down to that you'll see that each one of these islands is now got a different grayscale value that wasn't there before I used to be back facing point units and actually a lot but this has been added and yeah I like it so let's add in you might see mystic technique for that instead of my videos or you might use it yourself already and be adding a multiply node in that add node and then connect up the chain like that and then add in a human saturation node and connect this to the hue and I'm gonna feed the color into the color input and I'm going to to look at the output and you'll see what it's doing excuse me so that random pair island value is giving us different hues on each of these islands which is cool so now if I the best way to look at these is that's gonna be the amount of variation and then this will allow us to shift it up and down the the spectrum yeah so if I change this to like something tile at 0.05 barely any variation at all yeah and then as I move this up I'm moving the whole thing up and down the color spectrum like so that's point I fight might actually work for us here but let me just try 0.01 and change this to point four five that's just to red yeah I think point oh five will actually be what we want maybe with point eight point four eight sorry on here mmm we're just looking at the color back now as I bring in the rest of the material maybe we can go a little higher idiot edy yards he was sitting there thinking he hasn't connected it the war I don't blame you yeah kind of like that all right groovy right now one problem with this particular material which I didn't notice until after I'd set it up was that there was no would you call it heightmap no displacement map on this one which was a bit irritating but the gloss map basically outlines where we'd want there to be cracks and dips and whatnot and so I'm going to use that with a color ramp and feed that into a displacement like so and thinking about they're cool now too if he's not used vector displacement at forums I mean a lot of you have but just in case first you want to turn on experimental mode and then you want to add in a subsurface modifier and I'll actually want to grab all of that and turn on a mean crease because I don't want to actually affecting the shape of it at all just the displacement and then we also have to go down to settings and by default displacement set to bump only we want to change that to either displacement only or displacement and bump I'm going to use displacement only and nobody depends what you're doing and yeah you'll notice the displacement possibly it's had too high just just like a slight slight little bit too high so let's let's turn that down a bit yeah now and one problem we will get is because we have separated out these these meshes orbs made them we cut boat we cut them into individual pieces we've even the same object and the displacement will now want to separate them but we can fix this with some adjustments to the mid level so if I hit point four point two zero copy right put five yeah you get the idea it's ok so just it's easy to see when you tell you off and jump straight to side view you should be able to see what it's doing and there yeah you can start to see what the displacements actually doing and you can just tweak the mid value to get the two bits to where to come together again but I actually think that in outer space one will work hard to tell thinking to up the resolution even asked myself and much is it maybe we can go higher or displacement maybe no that's horrible we just run a quick render of just that for a second so I'm sort of will it turn to that or that's just that cool no I don't want to render it at that resolution to her we'll be here Mike howdy hmm my displacements looking a bit poop I don't like just raising the color one yeah it might work better and then flip it over so the black areas stand out a little more strength even more no I don't think we did when it flipped do you want those dark areas to cut in see how that comes out it can be a bit trial and error II when you don't have a set displacement map oh yeah that works great bill yes that's a really happy - that I think the Lighting's not helping you you you and wonder we've got no geometry to work with idiot yes in case you're wondering why I was shouting more at myself I hadn't turned on the adaptive subdivision it was set to normal subdivision all right now we can see him I blame you guys you're here you're watching you could have you could have said yo bill you an idiot but you didn't know it's my fault I know okay so we've got some adaptive displacement now because I see what it's doing it's too probably volatile that much of an idiot's yes I can I can believe it all too well the court looks like some Zoey mossy bark or something out of it that's disgusting okay so we want to go really low on this in fact what we might want to do no it's just been wicked I think we want to exaggerate the the cracks so I'm actually gonna turn off the displacement for a second or just get out see how I should say Kimmel thank you and then from this map I can bring down the white value change it to a sort of 0.5 which is like the mid level for displacement and then we're only gonna be getting the the cracks so to speak but should I think help this stand out a bit more yeah let's try something like that it's thinking about it maybe up the strength a little much that's gonna be horrendous I told you yeah it's time to look more interesting there again some more tweaking to be done but that's always the case so let's bring back our grass and at the same time actually going to name a few items just to keep things nice and tidy so this is gonna be our point glass obviously this is table just thinking of the table itself or the couch I suppose but whatever and back plate cool right let's took us up to yeah ten to eight um I think you'll probably agree not the most successful first attempt at streaming but hopefully this will get a bit better in future versions for tomorrow as well I'll try and make sure that I'm a bit more yeah have a bit more of a plan of exactly what what I want to cover in that particular episode make it a bit more structured this one I kind of wing bit I was hoping it would just magically come to me but it's left me kinda yeah it's left me very disorganized and not particularly entertaining to watch I'm sure so yeah hopefully I will improve tomorrow but thank you very much those of you who tuned in have a nice night and stay healthy you

Channel: BlenderBrit

Views: 1,269

Rating: 4.8709679 out of 5

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Id: xvWpldU3uR4

Length: 51min 21sec (3081 seconds)

Published: Wed Mar 18 2020