Product Animation in Blender: Phone

ladies and gentlemen I'm Derek Elliot from Dirk comm and today we are going to be making this [Music] so yeah a whole lot going on there all the clips are of course we rendered straight from Evy at blazing fast speed like seriously to render this entire animation takes less than five minutes if your computer is staring at you in the eyes right now say and don't even think about it give that fella a little pat on the head tell it's gonna be okay now where things get really spicy is when we start sinking the animation with the music and the music is actually where this project started if you look at a lot of professional advertising work part of what makes it so slick is the music and how it works with the visuals and they definitely should work together I had a buddy of mine Andrew Olsen who I have worked with on a number of projects create this whole track for me to use pretty much tell him to do whatever he likes and just give me something with some nice places to sync the animation and you'd be the judge but I think it turned out pretty flippin sweet now I encourage you to go out and find some audio of your own just make sure that you're not using anything copyrighted especially if you plan to do any commercial work using it that hit song you just heard on the radio is unfortunately gonna be off limits what kind of music do you guys even listen to leave a comment below in our case this track was custom-built for the project and Andrew was so kind to allow you to use it as well the full twenty second track will be available for download on my patreon even if you are not a member of course if you do choose to use it please give credit to Andrew and of course feel free to tag me as well I love seeing what you guys do with my tutorials so let me walk you through how this tutorial is laid out and what we're gonna cover you don't have to follow all the steps but I wanted to make sure you got to see every little piece that goes into creating animation like this and it's simpler than you think I thought this store would be a lot shorter but I just didn't work out that way and I thought you guys would appreciate more info than less so let me know if these hour-long ones are just a little too overwhelming for you I just want to show you guys cool stuff and sometimes takes time to make cool stuff first what we're gonna do is create the phone model as a modeling exercise and then I encourage you to put your own spin on it of course come for something unique or maybe if you're already familiar with modeling you don't want to show some product besides a phone you're welcome to do that what I'm going to teach you today definitely applies to other stuff so after all that we're gonna do a quick little detour I'll show you how I made that little background animation since I know a few of you were interested in that and once we've got our phone model all ready for action we'll get it into a basic scene do some lighting setup first animation kind of lay down the ground rules for how this is all going to come we will also touch on how to work with an audio track and blender how to find some unique places in the track to help inspire and kind of drive your animation I'm not going to create every animation since it can be a very time-consuming process of kind of finding tweaking curves and camera angles but what I will do instead is show you each scene that you saw in the intro and do a quick breakdown kind of covering the unique elements in each one so let's go ahead and get started with the modeling all right so let's go ahead and get started a model in that phone can't have a phone commercial without a phone you can't have a blender file without the default cube let's actually use that default cube I'm gonna scale it down to 0 merge vertices by distance so we basically just have a plane here and while that plane is pretty we're gonna make it into more of a phone shape some may call that a rectangle call what you will we're gonna add a bevel modifier and there's only vertices options and this will allow us to make a just kind of a nice rounded rounded edge there that looks pretty good we're gonna be getting in pretty close with some of our renders so we'll do ten segments maybe we go wild let's do eleven don't get too crazy Derek toriel just started anyways let's add in a solidify modifier to give this some thickness bump that up something like this and if you're losing your mind already or maybe you just need a simplified phone then you can leave it at this we basically got our modern phone just like a rounded rectangle here so leave it down if you like but what I'm gonna do is add in another bevel modifier and if you've seen my tutorials before you know when you turn on the limit methods and that just gets those edges we want it to get and now we can adjust this bevel to whatever we like and this is all stylistic at this point but this is actually this is a history lesson here so once upon a time Steve Jobs went to Johnny I would said Johnny the iPhone has been a wild success how do we make it better and what Johnny did was he launched blender he upped the segments on his bevel modifier and then he just made it a little bit thinner and made me this bevel a little bigger and the new iPhone was born just getting a lot of respect designers but there's no getting around the fact that phones are like rounded rectangles nowadays so anyways that looks pretty good what do I need to do to make a look a little more detailed a little better and again you can skip this part if you like is add in some buttons some ports some things of that nature just to give this again a little more spice so I'm gonna press deed to duplicate this bring it up a little bit just so I can see what I'm doing for a second here I'm gonna remove this bottom bevel modifier and then we can shave this flat for now and what I'm gonna do is actually use this plane object with all the modifiers enabled we just have this nice little kind of object here with these modifiers that we can use to start making some of those ports so I'm going to go into edit mode here let's just bring this down a little bit rotate this on the y-axis and if you pay very close attention you'll see what I'm doing here you don't have to pay that close attention I'm just gonna kind of make yeah I'm gonna use this object with those modifiers applied or not applied but with those modifiers active to just start kind of cutting into this object a little bit and we do want that to cut in so let's uh let's bring that in a little bit something like that you can see in a wireframe view how that's going into the object that's looking pretty good and now we did actually use this since we duplicate the object this eleven segment bevel modifier was this edge but for these pieces we don't need quite so much detail so let's let's maybe crank that down to like a like a five or something I think it's gonna look fine so with that together like that let's add a few more little parts where that is going to be cut up and we will do maybe over here we'll do kind of like a volume rocker thing let's just kind of move that in there somewhere about there duplicate that volume up following him down maybe over here we've got something like a like a hold button or you know just it's just another detail you don't need to know what it does it just looks good okay if we scale it down a little bit on the x-axis that's looking fancy that's looking snazzy maybe over here we'll add in some you know that could be like a little speaker port or something let's duplicate bring it down and then maybe like scale this on the y-axis a little bit you know again add as much detail as you want don't drive yourself crazy but I'm just can do that maybe duplicate this and then let's maybe like duplicate again something like that we're not being super accurate here we're just trying to quickly add some detail so that when we make this little phone commercial we end up with we'll have some nice details to work with so let's just get that place to you know somewhere nice and somewhere nice and even again we're not using a mirror modifier here or anything so this isn't completely accurate but I think that's gonna look pretty good now so people don't go crazy we better add a phone jack I'm gonna add that right over here not a phone jack a headphone jack that's what they call it and now since we're rounding these with the bevel modifier this isn't gonna be well you're perfect but let's just get that too sort of a circle shape I think that's gonna look fine like that you just got to have it in there otherwise people be mad she'll be like why didn't you leave a headphone jack anyways that looks good like that doesn't need to be SuperDuper perfect maybe we'll move it over here that's where I want my headphone jack okay so with that all together looking pretty good now what we need to do is use this object to cut into the phone object but for us to be able to do that we will need to apply these modifiers and since applying those modifiers is going to be a destructive process I'm actually going to press shift D and duplicate those and then M to move them to a new collection which I will call the trash collection you can call that whatever you want I think Andrew price tutorial where he did a similar thing and called it the archive collection which maybe makes a little more sense but I don't know I like to call it trash call it what you will what we can do now is go into these modifiers and just start applying them so now if we tab into ed mode we can see we have full access to all that geometry so that's looking pretty good now maybe what I want to do while I'm in here is let's just inset this face a little bit and we're just going to create a nice little lip here that we can have as kind of edge of our screen so let's just extrude that down a little bit and then over here we'll turn on this auto smooth option normals Auto smooth and that will just tell blender to keep certain areas sharp so that's looking pretty good now what we can do is go into this object and apply the modifiers so let's apply each one of them and then now in edit mode before I actually do the boolean operation the boolean operation what I'm going to do is right click and merge Versys by distance and that's gonna remove quite a bit of vertices there and sometimes that's because you know when the bevel is kind of intersecting itself and create duplicate vertices and don't want those so that's why we did that now what we can do is go into this object again and add a boolean modifier use this little eyedropper to pick it and yeah it's working properly we do have some kind of weird shading here and that's just because the boolean will kind of mess mess up the things you can kind of move this around a little bit try to get to look a whole nicer you can see if we've got on that flat surface it's gonna work a little bit better but um you know the boolean is kind of a sometimes as it works really well sometimes it doesn't and it is kind of hard to see what it's doing so it's working properly but just so you can see a little better I'm gonna go down here and change this to the bounds method of the viewport display so now you can see that this is a this is working properly so this is actually what the boolean is doing it's just basically cutting into that object so I want to leave it right where it is so I'm gonna go in now and just apply that boolean modifier and then I can delete this again if we need to go back and find it again it would be in this trash collection which I suppose at that point you could call the pat yourself on the back for making duplicates collection instead of trash because yeah I don't think that would fit here though pat yourself on that No anyways we need to actually put some buttons in those holes that we created so we're gonna do that by you could do it a number of ways like anything in lender but I'm gonna go in here and tap into head mode and then just select these faces here and watch what I'm gonna do I'm gonna press I to inset this face just a little bit and then e to extrude it out but as the sound buttons made when they are born I'm just kidding let's let's bail all that just make it nice and nice and smooth we're gonna need some shiny materials here and you know having those little edges will make this make this catch some light very nicely sometimes when you're doing those operations you need to reshape smooth so yeah those are some Isles pretty sexy buttons if you ask me maybe down here don't think you're gonna see it but just in case you did little tiny details it's an ad kind of little port right there that looks good now over here let's make this like I said kind of like a hold button let's do the same process I to inset and then maybe with this one what's actually like let's say let's say this is one that can kind of travel back and forth this switch here so let's uh let's grab that let's just bring it down here and then let's do the same process just extrude that out a little bit maybe just a little past the edge control B give it that same bevel we're not working with a modifier here so this isn't it so exactly the same as it is on the other side but uh yeah we don't need to be perfectly accurate I think that looks pretty good so yeah so now this you know this is just like a button that would have you know a little bit travel it's the traveling button and actually it's not going very many places it's gonna go like right there so I'm not exactly the most exciting trip at that bevel artist that buttons gonna go on but enough about that this is looking really nice again well yeah I'm so vain I think it looks pretty good and if you've been following along I'm telling you right now your phone is beautiful congratulations to you let's do a couple more things I'm gonna flip this bad boy over yes this bad boy and and I'm gonna add in now kind of like a little camera cluster up here and no way I'm gonna do that is by pressing shift s with that face selected and snap my cursor there so it's sitting right on top and now what I'll do is go in and add a circle and this will just kind of be the yeah this will be the start of my little when will camera cluster here so move this to where you think it goes for me I think that's kind of look pretty good right about there and now what I'll do is just extrude it inwards something that and then extrude up something like that and yeah that's looking decent except that little flickering is it driving me freakin crazy as it always does I'm just gonna bevel this so we've got kind of a nice smooth transition here something like that I think looks good let's shave it smooth and maybe this outside edge let's just bring this down ever so slightly so that we don't have those duplicate faces there and you have blends seamlessly just kidding though it doesn't there's this little option called outline which will show you the outlines of separate objects really handy but in this case I want to see that that is indeed nice and smooth not completely perfect if you didn't want it perfect you'd probably have to actually go into your geometry and you know make it all proper but we don't we're not worried about that today so don't worry about it today so now what I want to do you could just do one camera if you were playing but we're living in the future here but we had some kind of weird stuff let's just delete this face yeah okay so let's um you know I want to live in the future as I was saying and we're gonna have a bunch of cameras in here if we just tried to pull this out though we're getting some weird stuff going on there we need to have come another straight face I'm just gonna add those right here just adding edge loops so that now when I pull all these faces out on the y-axis and drag this over it'll be nice and a nice and straight oops it's not I think I still had some stuff selected so that's uh there we go now we're looking good straight straight maybe move this up just a little more and give yourself some space and you know do whatever you want here you can make this like ridiculous shape you could like put it right there that's kind of cool no don't like it let's uh let's let's just leave it at that now what I'll do is just a couple more things here let's select this outer ring here no not extrude it let's press f to fill it in I didn't set it and just give ourselves a nice little lip there and then maybe e to extrude it down just so it's sitting right top of where our phone was something like that that looks pretty good let's go ahead and turn on a lovely little auto smooth option there and a yeah now we kind of have the basis for our camera cluster and that is looking good to me so let's let's actually go ahead and add some materials I think that will be fun so I'm popping over here into my look devmode and that's just gonna set us up with kind of an automatic HDR I set up this is not our actual scene lighting we're gonna do that in a little bit but um yeah this is gonna help us see those materials so about those materials let's go ahead and go in here it's a rename this default material to the phone body or something like that name it whatever you want you can name a tingled or final care let's change the color to you know whatever you like I really do not care but I'm gonna make mine I care about what color mine is I don't care about Claire yours is I'm gonna make mine a nice blue color maybe bring it down a little bit bring this saturation down a little bit I don't mind a bit metallic actually just because you know I like it that looks good make it rough make it shiny do whatever you want it looks well look at that shiny see those automatic HDR eyes really help you see that see that glimmer and shine so I'm gonna leave mine yeah something like that I think it's gonna look fine mine is fine all the time Derek crime master okay back to the tutorial let's let's make the inside of this camera like a black material so I'm going to add a new material and I'm gonna call it black and of course we will change the color of it to yellow just kidding that screen and also just be kidding this gonna be oh god what am i doing come on click black got it good and I want that to be right here a sign so now the inside of that is nice and black where we will go and put our roughness to one and yeah we're gonna put our like lenses and stuff in there so let's go ahead and do that so I'm gonna shift s now my cursor to selected which will move it to this little center point where we started that object and I'm going to add a UV sphere it's gonna start off freaking huge let's scale it down in edit mode and let's just kind of give to a nice size something like that I think looks pretty good let's shape it smooth and let's set up them into your Allen so let's just do new material let's call that one lens and change the color of it to a sort of a blue color I think usually looks pretty good for this and don't want it to be too rough on it to be nice and shiny and we do want it to be transparent so let's turn the transmission value all the way up and then since we're working in Evie here we need to change a couple settings down here in the settings section these are like all settings and for some reason this section is called settings which I like so we're gonna turn off the shadow and then for the blend mode let's turn that to alpha blend usually looks pretty good so now what we can do is go into this alpha value right here on our principal shader and just bring that down a little bit so it's kind of transparent that looks pretty good to me and now what I'll do is in edit mode I want to duplicate this scale it inwards and this will just give me kind of like a nice two layer like lens effect I don't know I looked at some reference images they looked kind of cool when they have that so uh so we're doing it camera people leave your nasty comments somewhere else I'm selecting an outside ring there and I'm just gonna extrude it out oh I can't see what I'm doing all Z let's bring that up and okay definitely don't want to Dec crazy material so let's add in our black material using that once again let's assign it and then we can we got weird normals let's press shift him to recalculate those and yeah that's looking cool so now you just want to go in and kind of add some more details as you please just to make this look make it look like you worked a little harder on it yeah so so work hard on it let's let's turn on our once again lovely honest movie feature and I want this to be sharp too that looks good something like that and then now back in edit mode I think what I'll do is just actually duplicate this whole thing again it will make another camera because yeah it's almost 20/20 right I don't know maybe you'll be watching this tutorial on 20/20 comment below 20/20 fam and then actually every year on January 1st someone please comment with the new year so that people can like your colon or something I don't know never mind so I'm going to make this camera maybe a little bit bigger this would be a hyper duper camera you know because it's freaking 2020 okay that is that's maybe a little too ridiculous even for me let's uh let's make a big data which wanted to be a little different so that looks like we so it looks like we thought about it I guess anyways that's fine let's uh let's just add some more detail maybe like put it I'll wring their hyper duper ring because this is the hyper duper camera maybe this comes in a little bit nice sharp hyper duper camera and you know let's just go crazy let's uh let's um let's select let's like this whole thing here and then duplicate it may be scaled down this is yeah the hyper duper small Edition what this one does is um it uh it's just hyper duper okay don't worry about it let's um let's try to select another camera here maybe this one except oh we getting some extra faces there let's uh it's like that and then let's select that I'm pressing eldest like these islands here and then let's duplicate this one maybe put that right there hyper duper 2.0 this is like you know what it does actually in scientific terms this advanced camera allows you to if you can't tell I'm making this up as I go but it's like you know maybe maybe yeah you can like scan real-world objects and I'm into blender files wouldn't that be nice we wouldn't have to model this darn phone just kidding I'm having a good time on the show when are you leave a comment below yeah I think we're gonna we're gonna leave it that got ridiculous camera cluster they're looking very fancy looking very cool maybe we want to make it even cooler look at that you just add details endlessly and people will think you've worked on it for hours maybe we have been working on it for hours I should buy out this tutorial oh yeah that's looking pretty good so let's leave it that now last thing I want to do is add the glass that goes on top of this so I'm gonna select that object and then I'm gonna select this ring shift D to duplicate it P to separated by selection select it make it a face and then for that material let's uh we don't want either one of these let's remove those let's start with your lens material just because it already has some of the easy things set up I'm gonna add a new one and we're just closed class because we're gonna use it in a couple other places well yeah other places where there's glass if that makes any sense so don't want it to be blue let's turn the saturation down value all the way up nice and bright white let's leave it nice and shiny maybe we could try the Alpha down a little bit so we can see all our hard work on the camera in there and wow this look dead mode is really pretty really pretty if you don't like the HDR I you got there's a couple other options there oh that's a nice one and again this is not our scene lighting you wish it was but it's not looks good though so to add a little more realism let's extrude this down a little bit just so that we have some actual thickness there careful not to intersect our extremely expensive cameras we do have some double geometry go in there so I'm just going to scale that in a little bit so that we don't get that flicker we can shade that smooth and yes should have this Auto smooth already enabled since we duplicated it from an object that had a lot of smooth enabled anyways that looks good now last thing maybe I'll do is another just a little detail I saw ants on my reference photography let's inset that face and then what we can do now is just select this ring here and and let's add in our black material again assign it and yeah now we got this kind of all black ring there we got the thickness the shininess there this is looking very dynamic very cool last thing I want to do at least for now is flip this thing over and let's take a little bit of a look at the screen so if you want to rotate this whole thing around nothing's gonna come with it so let's let's just select everything here and then parent it to the phone object object keep transform oops not those we can delete that for now so yeah we got all that in there looking good so now if we spin it over and our phone object by the way is still named a cube because if you forget we made this from the default cube default cube Oh have you've grown let's name this phone because that really tripped me up of course we're naming it phone does anyone unclear on why we would name this phone okay let's move on let's select this top face here and we want that to have the glass material and I also want this face to have that so let's add any material let's have B glass and let's assign it and now that is working properly we've got a nice class there but of course we could see indoor phone and this tutorial like I said probably long enough don't need to model the entire interior so let's add in a screen to cover up that interior and so the way I'm going to do that is just by getting that bottom edge there and pressing F to fill it in and then let's add a new material of course we'll call that screen and for that material let's make it in a mission shader I think I know and let's assign it so now that a mission shader is on that bottom part and now for this you could load in a picture picture your mom picture your cat or like a video something I of course made a nice little video so I'm gonna load that in I think I'll show you in this tutorial how I made that just a real quick overview so stay tuned for that part but let's add in an image texture and then what I'll do is open it up I've got it saved right here as background - and yes it is working properly the first thing I need to do though is in edit mode with that screen selected press EU and smart UV project now that is on there and like I said this is actually a video so if I press spacebar though it's not going to play so let's first tell it and it has some frames so let's just put that like 100 and I for the time being we can leave that at 100 - and then let's turn on auto refresh and I only press spacebar that video will actually play and it is upside-down a little funky so let's um let's drag out a new window here oops if you can click that corner it's always a little tricky and make that a UV image editor loading our background image guys this is crazy this is like the video is playing in both places our phone is rendering in beautiful detail real-time and and you know we can even like edit the u-visa while this is playing if that's not crazy I don't know what is I hate to say but can your software do that this is insane blender 2.8 Eva oh my gosh okay so anyways that looks good I think we're gonna leave it there I might go in and add maybe like a flash back here and maybe a speaker or like a microphone and then of course it wouldn't be a Dirk tutorial if I didn't slap a big Dirk logo on here so I'll do that now and then catch it in the next part if you're liking the tutorial so far please feel free to give me a thumbs up subscribe like leave comments stuff like that yeah enjoy your phone model if you want to leave it here otherwise I'll catch you next part where we are gonna tie this all together and kind of make a little advertisement for your freshly created phone model thanks so much for watching I'll see you the next part alright so just want to take a quick little sidetrack here to show you that background scene file how I set that up it's basically all happening in the material here we've just got a noise texture feeding into displacement and that's going into this displacement input here and to get this to work and show up you need to go into your material settings here and then turn this to displacement and Bom then that will work you won't see it in the viewport but as you can see in a render view it's working and to get that nice squished look you're kind of seeing here in the middle I used a simple deform modifier just kind of yeah just kind of squish it together give me a cool look you know you can do all sorts of stuff here but just play around with it come with something cool the way I got it to move the way it does is just by animating the location of the noise texture and that just kind of gives you a nice flowing motion there that's pretty much it if you follow me Instagram you see that I initially I was kind of working with some kind of different colors there but I ended up not using that this could just as easily be black and white but really do whatever you want I mean this is just kind of an extra element for your animation you can just use a photo but that's what I did just want to show you how I did it let's move into the next part already so here we are back in the phone file as you can see I've done a couple things just to a spice it up a little bit hope you did the same get your phone looking how you like it let me just walk you through some of those changes that I did so first of all you'll see then obviously I did had to put the Dirk logo on there and that's just a really simple material following pretty much the same process we did in the Box tutorial if you haven't seen that I'd almost call it like a prerequisite for this tutorial but we really covered some working with the shader here to you know create some effects with the glossiness happening in different places let me just show you that so you know just kind of image texture feeding into here and that's adjusting the roughness value so that we have that nice little spot gloss and maybe didn't catch it in the video but I did hide a little dirt comm right there on the camera or something too so think about that add whatever you like make it look cool beyond that I did add this little flash object here and the microphone those are just you know they're just circles and then kind of fall in the same process as we did when you made the cameras now the material for that just a magic texture here is kind of controlling the we've got a little bump going on there and then also some color to give it kind of an iridescent look and microphone same thing pretty much the same exact texture just with a different scale value there and then we've got that one black and then beyond that I went in and you can see I added this little bump permit also just selecting that Angelou by signing a new material to it which for that material same as the phone body I just turned off the metallic about you so that it had a I it's kind of got a rubbery look to it also I added the black material to the inside of these buttons just to give them a little more contrast and then beyond that I played with the shape of this kind of bump out for the camera cluster a little bit just to get it how I liked it a little bit more smooth and yeah that's pretty much it so anyways let's go ahead now and move into kind of setting up our first scene laying down some ground rules for how we're going to light all these scenes and there's actually one other thing I did here so if you look we've got some kind of unrealistic shading here with those lenses poking through and what we did to fix that let's go down here into the cycles or sighs that evie settings and then I changed it from an alpha blend to alpha hashed and then it ends up looking a little bit more proper so like in the way that is let's go ahead now and like I said set up this scene just a little bit so I'm gonna push shift today ahead plane and let's just scale that up a little bit and what I want to do now is just kind of create a nice little seamless backdrop that can serve as sort of a background for our phone something like that looks pretty good now I'll shade that smooth and then let's actually drag out a new window here this is how I always like to set up my viewport like a viewport and this is gonna be a 3d viewport as well and we will look through the camera down here in this view so I'm gonna press shift a and add a camera and then pressing zero on my number pad I go into that view shift tilde and just kind of fly out to around where I want that camera to be and then what I'll do is up here in my transforms I'll just adjust these I'm holding ctrl and just snapping these to some nice even values so that everything's nice and lined up and so for this view let's just leave that as a regular 3d view and then down here we'll actually go into the render view so no longer are we in the look dev mode and as you can see it is a not nearly as exciting if you wanted to you could actually use an HDR eye to light your scene but I like having a lot of control over that and to get that control basically we want to set up all the lights myself and it's not too difficult to process and you do get some really nice results once ya adjusted how you like so let's go through some of those adjustments what I'll do is so that I have complete control I'll turn the world strength down to zero and we can actually track the overlays here and then let's go into the camera view here not really anyway see what's going on but what I'll do first is add a point light and I like to almost always start with a point light I kind of put that right up on the edge of the seamless backdrop there and then I like to crank the strength up quite a bit and you can see this is doing a couple things for us so first of all it's just lighting the scene so we can actually see what's going on but for one it's giving us this nice background that can have a gradient going on there and then it's also acting as kind of a rim light so when we are kind of rotating this phone around you can see we catch some nice little highlights on these edges here like that so that's at that point ladies doing let's also so we're not getting there the reflection we're seeing here let's add a material to this floor and I'm just going to press new let's go ahead and call that floor call it whatever you like and I like to try a specular down or roughness up we can leave it at this it starts at like a point 906 for some reasons like the default someone please tell me where that comes from but being the perfectionist I am I like to set that to 0.9 don't want it a total white so that we do you know we can't kind of increase that value a little bit by using this point light but um yes something that's just like kind of a and almost white looks pretty good so with that there what I want to do next is just kind of start setting up the rest of the lighting but before I do that so that I a little more accurate with where this is going to end up I'm just gonna rotate this a little bit so that I can really see you know that that's kind of an angle we're gonna be creating the the first animation that you see in the video just that one where it's kind of moving from left to right really simple animation looks nice but a good place to start when we're talking about how these scenes are set up and how we light them so first thing I'm noticing here is I'm getting a little bit more perspective than I want it's just kind of a little distortion there so I'm going to crank this focal length up to you know maybe like eighty to eighty something like that looks pretty good and that's just going to give us a little bit more of a M it's just going to remove some of that perspective distortion and maybe we can move this out a little bit so with that setup looking sort of how it may end up looking once we do the animation I'm going to go ahead and start adding in some area lamps and I just like to use area lamps because I'm yeah they work pretty well and I'm gonna use a disc just because I think that ends up looking a little bit more attractive but you say use whatever you want and then let's just start cranking this power up so now we're just basically gonna go through a process of adding lights to the scene and slowly lighting this phone so that we have basically what we want to be doing here is you know you want to obviously be able to see the object as best you can so we need plenty of light in the scene but we don't want anywhere to be too bright and we don't want anywhere to be too dark so it's a little dark on this back edge let's press shift D to duplicate this lamp and then I'm just pressing R twice to kind of enter a free rotation mode and you know these don't all have just have the same values maybe you want maybe want this to feel a little smaller so we've got a little sharper reflection there and like you can you can kind of zoom in here and see that we're just getting now a nice highlight over here whereas before when that was turned off it's just a little dark you want to avoid things like that so that's looking nice right there basically you know a phone is a really good example of an object to try to light because if you're working with something like a character or maybe a more complex model there's a little bit of interest in the model itself but in the case of a phone it's it's so like we talked about in the modeling section it's so plain it's just like a rectangle that you really have to use the lighting to make it a little more exciting I've used that rhyme a few times before I think it's gonna appear in pretty much every tutorial so everything's looking pretty good there I want just a little bit more light up here this lamp that just added is giving us a nice highlight on this on this camera cluster maybe I want that to be a little bit bigger though and then maybe not quite so strong just I just want to give myself a little bit of a soft light kind of on the front so something like that I think it's looking pretty good and all in all I mean I think this is gonna work pretty good for us we may have to adjust lighting a little bit more but before we do that let's go ahead and get the animation set up so now is when you we need to decide kind of how long you need this particular animation to be for me I know that between the beads and really told me that the BPM for this song that we're working with and you may be working with something else but I know that between each beat that I want to kind of change scenes I need about sixty eight frames and that's done with just a little bit of math depending on your frame rate which I'm going to go in here and make sure it is set to thirty but yeah if you need to just kind of look at the peaks in your in your audio track decide kind of where you want the scene change do a little math with your frame rate and decide how much you need to render but really the more easy way to render it would be to just render more than you need and that's actually what I did at first is I just rendered like a lot of frames I might have done 100 or maybe even more because you render so fast that you can just kind of render more than you need and then when you're editing it all together in your video editor you can just kind of cut out what you don't need and don't worry about having a little too much extra but in my case I know I need exactly 68 so I'm gonna set that to 68 and then what I'll do is again start inserting some keyframes so I want the phone to start out kind of I'm gonna try to mimic on what I had in the intro so I'm just rotating this a little bit maybe it'll kind of start down here and we don't even need to worry that this is intersecting the floor because you're not gonna see it you know if you're gonna be zooming out obviously you wouldn't want that but for me I think having it start kind of looking down like that is gonna look pretty good so let's insert keyframes here and here just right clicking to do that and normally if I was gonna be having to play with the curves a lot I would not want to insert all those keyframes because it's just you know we're not really gonna be moving that much on some of these axes but for what I'm gonna do is just gonna be an a steady move from one side to the other it's just going to be a linear animation so I'm not really worried about having extra keyframes so without those all set I'm gonna go to the end of the animation here frame 68 and I'm just going to move this over have it rotate and have kind of start looking into that light a little bit and this is you know kind of up to your artistic expression here this is something that takes a little bit of practice kind of how you want to frame these shots but adjust it as much as you like I'm gonna go ahead and insert the keyframes there and let's see kind of how that looks let's press spacebar to play it so that's nice it kind of it's kind of looking down and then it goes kind of into the light if you will that's nice so one thing I'm noticing though is we've got a little bit easing it starts off slow speeds up and then slows back down like I said I want that to be linear so I'm just gonna press T down here and set that to linear so now it's just a nice steady move from one side to the other kind of looks like it's been I just floating through space a nice effect if you ask me so now what I want to do is just go back into my lighting make any adjustments I need to I'm just kind of looking here so maybe you know right here I want this to i want this to catch a little bit of a reflection so maybe we can move this down here or something like that so it starts off with a little bit of reflection there and then when it kind of comes across you can see we're catching the reflection from this light out here you know if you need to move that around you could move it in move it out but I think it looks nice if you actually do want to bump that size up just a little bit you can move it down increase the power a little bit something like that I think looks good and then and then it's coming around and looking up into other light maybe don't want it to quite catch quite so much of that light let's kind of move that over and maybe give that some extra power so it's really getting really getting blasted there I said it in the last tutorial I think sometimes you guys when you're lighting your scenes you leave these values way too low like you're trying to save power but then crank it to whatever value you want it's not going to cost you any more so pressing space boy here previewing that honestly I think that's looking pretty good the next thing you might want to do is add a little bit of depth of field I'm going to do that by adding an empty and that's going to be object that I can focus on I use any empty you like but of course since I love circles so much we're gonna use this sphere so there actually is a circle empty but I don't like that I like the sphere one so what I'm going to do is just for one let's take this camera object we can turn on depth of field here and then so that we can see that it's working let's just turn our f-stop all the way down so yeah nice and blurry but for the focus let's have it set to that object right there and we can actually go in and if we needed to call this or we need to select this later it'd be easier if we named it so let's name it focus and now when we move this so if that is set properly it is then we can move this and that's gonna adjust you know where that focus is so I want to just kind of stay focused on the camera here so I'm gonna move it to right about them there I think looks pretty good insert keyframes on the location and the dev rotation here is not going to matter but let's go to the end of the animation and then just move that right to its new spot there and just kind of nudge it till it's in the in the right location insert keyframes there and then this is going to have that same easing so we can just press T and set that to linear as well so it moves nicely with it now I don't want nearly that much depth of field I would HIGHLY advise you don't use that much it looks kind of cool for some shots but a little bit overkill here so I'm gonna bring this back up to a more reasonable reasonable value maybe like four or so it will look pretty good and let's press spacebar to play that and yeah honestly that is looking pretty good next thing you might want to do is just go into your Eevee settings here we can turn on some bloom everybody loves that don't go too wild with it adjust it as much as you need maybe turn the threshold up a little bit so you're not getting it everywhere and then we can also turn on screen space reflections and then soft shadows would be a good idea play with the settings you like but um I think that those look pretty good I didn't even end up adding the the light boxes and stuff to get accurate reflections in that animation and it still turned out looking really good if you ask me so don't worry about doing too much there just those basic settings usually they'll have you covered so the next thing you want to do is just go in and make sure your resolution is right framerate is extremely important if you're going to be syncing this audio make sure you're using a consistent frame rate and then um I you know if I was gonna be running this in cycles I would render it to individual images and then sync those together in a video editor but in this case what I did was just use the ffmpeg video and then changed it to a QuickTime and then for quality do whatever you like but I found that the perceptually lossless looked pretty good that gave me a good balance between quality of the video that was output and file size it was pretty manageable honestly and yeah so I have a 1080 Ti which is kind of an upper mid-range graphics card these days nothing too fancy but this whole thing for me is rendering in like less than a minute it's super quick so don't put too much pressure on yourself to get this right before you render it if you need to sometimes it's nice to just kind of render it once take a look at it and then if you need to go back and rear ender it because Eevee is just so quick that it's easy to do that so anyways that's looking pretty good what we're going to do next is just move into looking at some of these other scenes covering some of the unique elements in each one and and of course I'll show you the lighting steps for all those so that we don't leave anything off the table but um yeah looking pretty good let's uh let's carry on thanks for watching alrighty well congratulations on falling along so far what we're gonna do now is just walk through all the separate shots that I put together for my animation and talk through kind of what's happening in each of those go through some of the unique elements show you the lighting and yeah just do the full picture I'm kind of what went into each of these and how it all came together so now would be the time for you to maybe bust have the sketchbook think about what you want to do maybe do your own little research check out some other product the animations other phone commercials and you had to start kind of thinking about what you might want to do to make this your own of course you're welcome to copy exactly what I'm doing and try to mimic those shots but uh yeah you know this is an opportunity to kind of do whatever you want and yeah make it make it your own so anyways let's go ahead and walk through these what we have here is the full file that I actually used to render the animation you saw on Instagram or Twitter or wherever you saw it thank you for all the love by the way glad you guys like that one and and yeah so this is we're actually going to put this file up on the patreon for you to check out if you want to download the entire file and you could basically render exactly what I did from that file or just use it to check out the lighting setups in a little more detail whatever you want to do but let's let's start walk through this so what we have here is basically the the scene that we just created you know just that kind of basic floating scene in a it turned out looking pretty similar to I think what we just created but um yeah if there's any discrepancy there then feel free to check that out but look in now pretty good let's take a look at the next one which was the it was the pan one collection there so I do have these all as separate collections so with that there's its own camera so I need to press ctrl & numpad 0 so that I can be looking into the proper camera for that scene now not a whole lot happening here basically the cameras just kind of moving up a little bit all this phone rotates you see is just moving on the z-axis now that there's a little bit of rotation or a little bit of other keyframes here besides just that Z location and I think what that was wasn't me just trying to keep it nicely kind of aligned centered here in the frame and you can see I do have a composition guide on here these thirds kind of overlay if you want to turn on something like that there's actually a bunch of them you can use you know all these different options but just in your camera settings here go in and you can turn on composition guides in the viewport display section to see those you will need to have overlays on and you can you basically need to uncheck everything but then still have this overlays checked and that composition guide will appear over here in your rendered view so that's how you get that going but yeah animation here super simple lighting setup as you can see is basically the same but the one thing that is happening here it's a little more unique is that this kind of hold button is it kind of snaps up there right on the beat and let me show you how to do that we actually do that with a shape key really simple if you use shape accuse before us this is probably going to be nothing new but if you haven't let's let's take a look at that so I'm gonna remove it it's just so I'm going to show you how it works basically with a shape key you are setting kind of different versions of the mesh as it appears in edit mode sort of so to add a shape you're just going to go over here and press this old plus button and that will create what's called the basis and this is just you know your mesh kind of as it is but to set up a shape you want to press this one more time and now we kind of have a second version of edit mode if you will or we can go in and make some adjustments so those adjustments are going to make let's just select that face and then press ctrl+ to grow my selection and then I'm just going to press G and Z and then just bring that up to about there right where I want it and now when we tab back out of edit mode you'll see our our changes have gone away but what we have now is this little slider over here for the value and we can just adjust that and that basically becomes our our animation there so we can you know go to wherever you want in the animation if you want that to happen on a beat or something you know whenever you want to happen just go in and insert a single keyframe and then you know you can move forward a few frames and then set that to one insert another keyframe and then you can see you have that little button animation and you can do all sorts of stuff with shape keys this is really a very basic example but did want to show you how we set that up so that's pretty much it for this scene let's take the next one take a look at the next one which was the camera scene the hyper duper cameras hope you guys are putting a hyper duper cameras in your phone I definitely want to see what you come up with there so let's snap our camera view there so we can see how we're looking so yeah this is kind of just a really cool effect I feel like I see this in a lot of commercials I don't know I wish I could give credit to whoever came up with this first but you see it in like everything nowadays a lot of times with cameras something just like this but also just in general you see a lot of kind of exploded view animations really cool effect and yeah it's cool so we put it in here maybe you want to do the same for this one it's it's pretty simple what's going on again but let me walk you through it and then again let's just take a look at the lighting here we can see I've added a little bit more I got added another lamp in here so that you could just get a little more reflection I think that was to get this guy right here yes so we had that nice bright there and then it kind of kind of fades out there so that looks really nice and again same process we did when we did that full walkthrough on the first scene you know you're just kind of kind of set up animation adjust those lights as you need to and get a look and right so to do this I'm actually gonna let some let's get rid of this actually let's just delete the whole darn thing and recreate it so I can show you how that worked so I'm gonna go over here into my trash collection or I have just a regular phone setup shifty to duplicate it let's move it to that camera collection and then let's hide our trash collection again so now I just have kind of a duplicate of the phone so had you not enjoying all your pieces you might be able to skip this step but in my case I had joined everything together so wanting to go do now is go in and separate some of those parts so that we can animate them individually so the way I'm going to do that is just press tab go in edit mode all a and make sure anything is deselected and then I'm just going to press L and that will select this kind of island here it's just an individual kind of floating piece of the mesh there's no shared vertices I'm gonna press P and separated by selection and then likewise I'm gonna go in here and I'm gonna need to go into my x-ray so I can select those inner lenses I'm miss personnel and and just grabbing those so just once you've got them all there just press P and separate by selection and now there is a reason why I left this one separate so let's a this tab into edit mode and we were on multiple objects there so I want to tab in on the phone object l he'll make sure I got that all together okay and then P seperated by selection so I have all those separate pieces and if I were to rotate this yeah it would not come with it so let's go and parent these I'm gonna alt Z going to my x-ray mode make sure that get all these selected just like that and select that control P parent them all to the phone object and then now when we rotate this back to kind of the angle we had seen in the animation something sort of like that since we since these are all parented the phone object we don't have any weird orientations these are all just zeroed out so now all I need to do is just animate it on the I think it's the a Y location so it would be a good idea since we want these to settle back into right where they are to go to our end frame here and then maybe a insert keyframes what was that yeah that Y location insert keyframe there let's select that object insert a single keyframe there and then this object actually poked through a little bit which is why I left it separate so I actually gave that a little bit of a Z location animation too so let's insert keyframe for both those in this case so then maybe at the start of the animation you have them all just kind of in that exploded view so let's just give that a little bit Y location there insert a single keyframe maybe have this one start around there insert a single keyframe and then we can have this one start around here and then you can see how it cut passes through so we want to pull this out to maybe somewhere right there and then also have it kind of up a little bit so that when it goes in it kind of it kind of settles in nicely and maybe we need to give that just a little more or actually I think when we adjust these curves we won't have an intersection so about those curves the basic automatic setup is that just bezier option where it does the speed up slow down thing that i'm always talking about but we want this to kind of settle into place nicely so i'm going to change this let's actually let's make sure we've got all these selected and then over here press a to select everything and then i'm gonna press the t and she's just a quadratic and that's gonna so this is actually the opposite i want to do it's going to start off slow and then it's gonna snap into place but I want the other way around someone force ctrl e and have that ease out instead of ease in and that's like I'm pretty good so you know maybe on this one we would have to go in and just adjust out a little more you could also I think when we actually modeled it I didn't have this but you could go in there and just also just kind of scale that down help yourself out a little bit and it looks like it didn't help me quite enough but yeah you would just want to adjust that that curve there on the on the Y location I think so that you could get that to you know if you need to adjust it individually so yeah it was the Z location you just go in here maybe change that back to Bezier and then right there where it well actually that got rid of it so yeah I think you should leave it at Bezier and that might be actually what I did end up doing so now it just kind of settles in there and you know I think it adds kind of a nice another little detail where this is just separate you could even go in and separate the lenses more different pieces more action always going to be a little more exciting so yeah that's pretty much how we set that up again lighting pretty basic here now this one since we were kind of zoomed in I probably gave this a little extra depth of field yeah they have stopped there's a little bit lower than the other scenes but yeah that's that's how we set that one up pretty basic is that yeah let's move on to the next one so let's get rid of that a collection we'll take a look now at a next one which I believe was the double reveal and so now this is where we get into talking probably been looking at this thinking Derek when you get to tell me how to add that so this one we got into a little more synching with the audio let's press ctrl 0 to it take a look at this now for this one instead of just doing it from frame 1 to 68 and then just kind of stacking those clips on top of each other since this have a little part that was kind of more synced up with the audio I wanted to actually animate this at the proper point in the animation so so for this one I am I had these frames out here so this one actually kind of pops out so this one this one would have ended I think yeah right around frame 271 so two seven one and then this one started I think we probably started with some camera movement so then yeah that would have been back here at about 205 so for this one we've got the camera just kind of moving in and then there's that little part of the song where it goes like let's say let's take a look at that so let me show you to how to how to hat in this so you can actually work with these with this waveform while you're doing your animation so let me let's just press X to delete that strip and then you know this would be kind of what you would start with is not having an extra window so you would just you know drag out a new window here give yourself some space and then we would change that top window here to a video sequencer and then you just go in and press add and then you would add a sound ooh and what you want to do is maybe move your cursor or the current frame that you're on to frame 0 so when you added in it'll add it there lets you add and add a sound and then you just need to go in and add your audio file and again if you want to use the actual audio file but then I went patreon so that you can check it out and that's actually going to be free for everybody you don't have to be a patron but if you do want the full file that is going to be just for the patrons so thank you patrons for your support so yeah we've got the audio file in there now to get the waveform displaying you go into view and then for let's see waveform display turn it on pretty straightforward and now you can see it if you want to make it zoom down a little more you can kind of adjust this this bar over here and then yeah that'll just give you a little more a little more view of it so back over here let's uh I think when I added this in it should be unmuted now let's press spacebar to play this yes so there was this little part here so the reason I had to waveform in here and why it did this on this actual part was that I said that I could go in here and see exactly where that happens you can see that's where that little peak is where it makes that kind of nice little sound and that's where I one of those phones to kind of split apart so set the keyframes right there and and yeah the rest this animation is pretty basic you know the the camera is just moving in and then the phone's just I'm giving them a little bit of X location animation and then also some rotation so they kind of you know get that nice little spread apart there and yeah same thing with the easing here so I've got um if we look at the graph here this is just gonna be that same quadratic easing so you just press T you know you would start off with a with a Bezier as a year however you say and see how that doesn't look as good when it's like when you've had thick that easing there don't want to do that so so we changed that to the quadratic so we press ctrl E and we're sorry we'll press T and change it to quadratic and then and then it's much nicer kind of snap and again this is just a stylistic thing but you may want to use some of these same techniques in your own animation to help really sync up with the audio I think it looks it looks really good so lighting here also very similar may be added in a couple more since this scene is a little more dynamic where we've got kind of things facing one way and then facing another maybe had to add in a couple of extra lamps for that reason but besides that we've just got a little box in here on this axis same box I had in the end scene I just wanted to make sure they matched but yeah not gonna really I'll talk a little bit about how that's modeled but it's just kind of a nice element to have in the background there give us a little bit more interest in the composition now in terms of creating a second color phone that's pretty straightforward you basically just going to take your phone model shift D to duplicate it and then what you can do is just go into the materials here and then you know if you want to make a new each others do that and you can call that you know maybe like phone body pink or something whatever color you want to do you got the girls edition because girls like pink right just kidding so you could go in here then and just adjust the color to something different and and then you would have basically get a new version of your phone and that snapped back because it got the same key frames but that's all you need to do you could do the same thing for the bumper to give that you know a different color so that it matched up and you could do the same process to give these all you know their own unique screens or something like that but really simple way to make different colors there so let's just delete that and now what we'll do is check out the next scene in if you guys I know I'm kind of blasting through these but really we covered the basics of what's going on when we did that first setup where you're basically just you know getting the animation how you like it adjusting the lighting adjusting the animation adjusting the lighting just kind of back and forth until it looks nice so let's let's get rid of that one the next scene we took a look at was the dark single I believe and this is where we have the dark phone it's a dark Derk phone let's move into our camera view here control 0 and take a look at what that stone so this one again is back on back on that basic where we're just going from frame 1 to frame 68 and I'm gonna mute the audio here so that one's just yeah it's just kind of fading in there going from left or sorry right to left and and yeah this is another just thing to think about you know maybe you do want to end up adding some text in there like I didn't even know what I was gonna add but I just knew I wanted some text so just consider you know maybe some animations being a little lopsided not having everything in the center so you can have some space to put text and of course the background here was black so if I actually look in my floor material here I've just got to RGB nose so you to add that you just do shift a and put RGB and I just switched between these I just got the two colors there and that was an easy way for me to kind of alternate between those two so with that in there that's basically all it's happening here all I did was animate the the Z rotation and the X rotation and then the X location obviously is what is changing as well and then once again same thing here just easing into it with that same quadratic so you know T to change that to a quadratic and you could try some of these other ones if you wanted you can see exponential Musa little faster nice quick flip but I ended up usually just using that quadratic because it's a it's a little more steady and I like it a little more so yeah that's pretty much it for this you know I could have had edit in all the keyframes here but sometimes it does look a little smoother if you're only animating on a couple of those values so so that's what I'm doing there um so yeah lighting once again very similar just making some adjustments anytime you've got the object moving a lot you might have to do more with the lighting to make sure it's getting everything you can of course animate the lamps as well but I tend to try to avoid doing that just because you know a lot of times I'm trying to mimic a real studio setup and and there would not be that much movement in the actual lights those would usually be more static of course you also don't usually have flown phones floating in mid-air so maybe that realism is a little pointless but that's my theory there maybe I'm just trying to save myself some time anyways let's take a look at the next scene which was the float double and pretty basic scene here as well as you can imagine there is one thing I would say I would have done differently here though and so these were just in two individually animated so I inserted all the keyframes for each of these on and the start and then again on the end just add it and all the keyframes there I think an easier way you can see these are kind of like it's almost intersecting a little bit and they're not like nice and straight I think what I would have rather done is maybe while they were you know while the rotation was all even and pressing all our by the way that's kind of a cool shot I should have done that somebody do that one that's cool one I would have maybe parent this all have been empty and then rotated the empty so then to have these kind of slide against each other I would only have to animate like a couple values but um didn't do thatwe learn from my mistake maybe think about using an empty when you've got two phones that kind of a weird angle can make the animation a little bit easier lighting here basically the same thing and with the lighting I'll just talk really briefly it is you know I like to use again as little lights as possible and then also in most scenes try to use pretty much the same lights because then you start to really develop an understanding for what each light is doing and it becomes a little easier to make the adjustments from one scene to the next when you really you kind of do that it's that repetition that just kind of helps you understand what each light is doing and gives you a little more control and and yeah okay so this one so there's a light down here so this is same thing I was talking about earlier let's see if we could find that light so yeah I noticed that in some of the other scenes I didn't need this but in this particular scene with this lamp so with that not there it was just i noticed you know it's kind of breaking my own rules where this was just a little too dark and this was the only scene i think where we actually even saw the bottom so i wanted to make sure we show it but just adding a lamp there so we have a nice highlight on the bottom and there's no completely lost detail on any part of the phone you can see it's a little dark down here but we've just gotten some fairly nice highlights there and that helps just kind of show off the entire object and then same things we did earlier where we've just got the reflections kind of moving nicely across where that logo gets illuminated and you see the reflection in the lens and yeah it just looks nice so that's it for that one let's take a look at that last scene which is probably the most most dynamic most interesting thing happening and that is this unit called color swaps so let's just take a look at that real quick this one all happened also on the actually on the frames because there was obviously a lot of audio syncing there so this one started somewhere over here it would have ended at so the whole animation was 20 seconds and 30 frames per second so yeah ended it frames 600 and this would have started at wherever I first animated that camera so that would've been right there around frame 4 of 9 where this started so on this one let's find that place in the audio track and let's unmute that audio that's actually but before we do that let's just play it so you can see what's happening in the scene so we've got the camera kind of painting in and out with the beat and then the phone is also rotating and then it all kind of snaps down together at the end so let's watch it this way okay and we need to actually set the camera here Control Number head zero so you can see again just pop pop pop and then kind of that final zoom in when that slams down so let's listen to it with the audio so let's unmute that so just a couple things happening there there's this really interesting kind of part at the end of the song yeah and Andrew put a really nice little kind of ending part there where it's a little different than the rest of the song and I just thought that would be a good opportunity to maybe kind of tell this story of you know different color options you know you see that a lot in commercials where they're kind of showing the the variations that are available and kind of the way you can personalize the product and and yeah so I thought that was a good way to do it and I did you got to watch this stuff like hundreds and hundreds of times maybe not hundreds but you definitely like just you'll kind of drive yourself mad listening to especially if you're syncing with audio as beautiful as the little song Andrew put together is you just watch it over and over and over until until you've got your curves all right and make insurance looking good but as for those curves same thing happening as with the other ones here just got that same quadratic animation where itself it's just kind of snapping back and forth so let's and yet the way I would have set that up is just again moving in here looking at these little these Peaks and stuff to know when that stuff happens and then in animating according to that so same thing here where this slams down is I think probably right there so yeah there's kind of like a little pop right there suggesting and little stuff like that ends up when you can when you can sink a lot of stuff to the audio it ends up really kind of I feel like connecting with the viewer that's something that's a really important to getting a really nice-looking kind of final product with something like this so let me talk to you just a little bit how we did the color switch that is happening in the materials here so yeah we've got a I have a floor changer material which is pretty simple just we've got that same RGB value and you can actually keyframe the color so this is starting off on this orange material we can see right here I've got a keyframe so you see this outlined yellow we've got a keyframe there and then one frame forward so that happens instantly it changes to this darker color and then over here we've got another keyframe indicating that it's this dark color and then one forward changes to the white so that's how the the floor is changing colors and I think this box okay so I had a I used the same material on the box as I did on the floor and the logo said there was a little bit of a logo there it's kinda hard to see what the with the white but I did actually end up adding a little bit of detail to that box you can see we've got the dirt calm down there same techniques we did in the box that swirled I'm not really going to talk too much about how that set up but so that that changed as well I had to make another material there but for the phone changing basically I could have just animated the color but with this orange one I wanted it to be more like a plastic material so what I did is I get that set up and I could have just animated this metallic value as well but I got the orange material set up the way I liked it and then what I did is added a mix shader' and that was mixed with basically the metal material and since the the black metal and the the lighter color metal all the settings were the same other than the color all I did was just keyframe that but to get the orange so it started with the orange and I did that with a mix shader' so it set all the way to one so it's just getting that orange material and then it and then it snaps to zero and then that's when we're feeding in from this metallic material metallic material and then it's just keyframed to pop the white right there and then and then yeah that's pretty much it and then it settles into this object which I added this little detail here like that's a little packet that like cords would come in or something didn't even really end up seeing it what a bummer but this is basically just yeah it's like a simple just box material it's like just yeah it's just there's not a whole lot of detail going on there and to add in all those nice bevels and stuff basically what I did is just in my bevel modifier set the limit method to wait and the first thing I would have setup was this this largest double size to control those outer edges there I'm just going to kind of line up with the phone so that it you know kind of seats in there really nicely and then I would have just gone in and adjusted the weights on these other edges you can see this edge is a it's like a point yeah point to bevel weight just to keep that nice and sharp in yeah I just adjusted these in different places so that I really had a simple geometry to work with and all the magic is happening over there in my favorite modifier a little bevel modifier so that's pretty much it back and forth and then yeah this this is up here the whole time just out of view you can't see it and then it slams down there right at the end the Derk logo here could have been done as a texture but I actually just kind of cheated use it or use it i used the images as planes import feature so shift a image images as planes you just import your logo slap it on there and do whatever you want pretty simple that's that's an add-on you do have to enable it comes with blender though so just search for it and pop it in there but um that about wraps it up folks I hope you enjoyed this walkthrough this isn't the same type of tutorial tutorial I normally do where I kind of do everything ahead of time and then kind of walk you through it after the fact let me know what you thought about that I thought this was going to be like a short quick tutorial but of course it turned into an extremely long one but let me know if you don't mind that it was long or or if you want to leave nasty comments tell me about how the next one better be shorter I really do want to eventually put some like 20 minute tutorials again together but I really like these these more polished ones I think it's really easy to get carried away with just quick little easy stuff and I like that but um sometimes for your own sake it is good to take a little more time looking at the different parts of a project and really putting in the time to to get a nice polished piece and that's something you can put in your portfolio and use to get some freelance work a lot of people ask me like do you do blender for a living and the answer is yes I and one of the reasons it took me so long to give this tutorials out out was because I had a big freelance project and I'm just doing work completely in blender and making a living using blender so hopefully from this tutorial and some of my other tutorials you guys can get some knowledge and of course there's a lot of other good tutorials out there so just keep practicing don't get too frustrated blenders a really amazing style for you definitely can make a living doing it as you can see you can make some really cool really cool stuff with it so thank you guys for watching if you want this full tutorial file or sorry the full file here I'll have it on my patreon and you can check that out and then the audio file we're also going to have available even if you're not a patron but you'll be able to download it on the patreon so that you can use that in your own projects but thanks for watching please feel free to give me a thumbs up if you liked the video I'll leave a comment let me know what you thought again this is kind of a different format for me but if you liked it let me know I would love to would love to hear from you and please be sure to tag me on instagram with whatever you come up with I'd love to see it I love to see all your hyper duper cameras so anyways thanks for watching I'll see you next time [Music]

Channel: Derek Elliott

Views: 1,415,115

Keywords: blender tutorial, blender, b3d tutorial, blender 3d, 3d tutorial, beginner blender tutorial, derek elliott, derrk, blender animation, easy animation, blender 2.8, b3d, blender 2.8 animation, blender 2.8 tutorials, blender 2.8 tutorial, blender tutorials, blender materials, blender principled, 3d animation, asmr, asmr voice, blender phone, iphone, blender iphone, 3d modeling, blender modeling tutorial, blender product design, product animation, blender advertisement

Id: lZPedlX6CMw

Length: 75min 15sec (4515 seconds)

Published: Mon Oct 21 2019