We Opened The Gates Of Hell

[Music] so you might be thinking what are we doing in our basement are we doing laundry are we doing maintenance storage no um in fact today we are going to open the very gates of hell because you know sinning murdering your brother and all this they just take too long why not just open a hole in your basement floor and blender and just get right to it no need to you know mess with all that sinning stuff it takes too long quite frankly um a while ago i did make a tutorial about how to make a crater and blender and you might think okay this is similar and it really is but this you'll notice it's different it's not a crater it's a ravine it goes very long i'll teach you how to make it and also how to open it up procedurally like this okay so now that we've gone through the intro let's just get started i'm just frustrated because i've done this intro like a thousand times but i'm sticking with this one this is the take it has a lot of energy normally our story would begin with filming some footage and doing motion tracking and then procedurally adding this crater and that's what we're gonna do although i have skipped the first step or two because that's a nice desktop because i've done a lot of motion tracking in recent tutorials i will upload this file on patreon and all that for people uh that you know want the motion tracking stuff i've done too much motion tracking recently so i thought you know what that's not really necessary for a tutorial about ravines let's just get into how to make how to make the whole procedural using shading nodes and all that so uh whatever shot you want to use just motion track something or really don't need a shot at all you could just make a ravine so first step you're going to add in a plane why out in a plane because this is where our ravine is going to be we're not actually going to do it with modeling we're going to make this kind of noisy thing using a displacement with procedural shading and all that so take this edit mode i'm going to scale this up to be the bounding box of whatever my ravine is going to be so i'm just moving it or actually i'm just going to move it further in like this and you just want to reshape your plane until you're happy with it let me actually make it a bit bigger in this direction okay so there we go this is basically the surface that we're going to make our ravine in it could be any shape although a plane is in fact the easiest in fact let me go to full screen before people yell at me so once you have this the rest of the story is really in shading so go to the shading workspace we're going to go to the top view um at least for now we're going to be working in ev working with some you know noises and stuff like that texture coordinates and then when we're ready we're going to switch over to cycles so to create the ravine it's actually very very simple create a material and find all your nodes for me that's over there by the way you can hit the period key to do what i just did you're over there period key incredible my favorite hotkey what you want to do is get rid of this and start off with some texture coordinates and the idea is we're going to start off with a circle we're going to feather the circle distort it and then add a bunch of noise until it looks like a ravine kind of alpha so to to start with step one i'm all over the place for step one to make the circle easiest thing ever take your object coordinates and what we're going to do is use some vector math and set this to length and what this is going to do is take our object coordinates again these are texture coordinates with x-axis y-axis etc where this is the origin zero zero zero we are going to find the length of those vectors in other words the zero zero zero vector is gonna have length zero so it's gonna be black and as we radially go away from the center or actually spherically away since it's three it's going to increase in magnitude and scale and radius so it gets brighter and brighter and brighter take this at a map range node we're just going to throw that in there we want to invert this so the center is white and the outskirts are black you can do that with a one zero switch so instead of zero one one zero for the output and that gives us our circle and then finally to make this bigger we need to take our input interval and just scale that up and if you don't really understand what's going on here me neither you know we're on the same boat don't worry about it i just add in this map range node and you can mess with some settings to mess with the gradient or maybe you know kind of the size and radius of this thing okay so once you have the circle what we want to do is stretch this into an ellipse or into an oval or a capsule i guess it's closest to another it's closest to an ellipse and the reason we want to do that is because our ravine is long it's not a crater it's not circular to do that you can either add in some mapping coordinates or just add in another vector math but only set it to multiply since that is all that we need and if we multiply by 1 1 1 effectively nothing happens but we can stretch along the x-axis in either direction to make an ellipse that still has our feathering and boom we have an ellipse that we can procedurally control um in the sense of you know the size and the shape and the quality of our gradient and all that and now the next step and this is kind of a trick that i've talked about over and over and over again is how do we add noise to this point how do we take this ellipse and add some spice to it make a complicated recipe well here's how you do it first of all we add in some noise right here so we have our texture coordinates and the noise and somehow we want to mix these two ideas together and whenever you want to mix things together it's always best to add so we are going to add if you want to mix up your marriage just add in another person you know what i mean that can't go that can't go wrong so we have our object coordinates and we've added some noise which actually distorts our cylinder although you probably noticed that this kind of has shifted this down and this is the kind of setup that people usually use for blurring as you increase this you can see it kind of feathers this out but you can see that as we added our noise as i talked about this thing has shifted downwards and that's because and it's kind of for a technical reason when you add in a noise texture basically on every point in the plane it's going to added it's going to add some random value between 0 and 1 which means on average we are adding 0.5 on x y and z so it it has shifted down by 0.5 to fix this what you want to do is add in a subtraction node set this to 0.5 boom and now you can see this is centered again the reason one more time the reason this happens is because we add 0.5 on x y and z so we have to correct by subtracting that very same 0.5.5.5 on average and a trick that i always like talking about is yes you can kind of already mess with this to create different types of you know craters i increase the detail and the roughness etc but what really gives you control is saying okay we have this noise that's blended in but can i control the strength not just the scale detail roughness uh the strength of the noise and it turns out that you can i just add in another vector math node uh set it to scale if i can find scale so this is going to be the magnitude the strength the how intense is the noise which we can control right here but you can see as we make it weaker stronger does that drifting thing again because now instead of drifting by 0.5.5.5 uh it drifts by that scaled by this value so actually what we need to do is add in another scale node with the vector 0.5.5.5 connect this here and then add in a value node so we control the strength of these with the same amount so in other words we are scaling our noise but we need is correct by the same correction vector that is scaled as well and long story short when we do this it actually lets us control this size or the effect of the noise where we can still control the detail and the roughness and stuff like that okay i'm just going to increase and bump up my noise generally this is all you need to make your ravine so you have a bunch of control you can control the shape of it most importantly you can control this slider which is what opens and closes the ravine this is what opens and closes the gates of hell this is the key that opens the lock we can control all this stuff but the question is how do we take this thing that is motion tracked on and actually have it displaced downwards to do this you actually need material displacement which eevee it doesn't do it i don't know if it's ever going to do it so what we need to do switch over to cycles set this to support it i don't know why it was an experimental i just use cycles with normal settings and then uh in our material we are going to have this actually displaced so add in a displacement node connect everything we've done this black and white alpha gradient that's basically determining the height take it and actually plug it into the height it makes sense you know we're making this thing that determines height may as well plug it into height and then into the displacement socket of the material output node and let's actu actually add in something for the surface just so we can see what's going on uh you can see that it's actually doing something very faint it's doing some bump mapping however it's not doing any displacement mapping and you're thinking okay this is fine it reacts to lighting so in some sense it does work so you can see you know it actually reacts to lighting it does work but it's not actually displacing our geometry to fix this go to the me today go to the material settings go to settings and then in displacement don't have it only do bump uh but make sure you have some kind of displacement so either displacement only or displacement and bump if you want to get crazy so now you can see our geometry is actually being displaced however it's you know shifting everything down so take your mid level set it to zero and then finally to have displacement displacement for our geometry we of course need more you guessed it uh geometry so you can either do that by subdividing so adding in more geometry which will give it more stuff to displace it's kind of hard to see but this is actually rising up you can either do it like that or since we're doing this whole procedural idea let's add in a subdivision surface a procedural way to add in geometry set it to simple and as we increase this we're getting more and more displacement which is obvious uh when we increase the scale okay so displacement i'm gonna bump this up to something like eight and so this is scaling inwards not upwards so it's not making a mountain but instead so instead of making a mountain instead it goes inwards what we do is set this to a negative number so scale negative 5 or negative 2 or whatever it may be so i'm going to do negative 3 or something for now uh where this is kind of like the depth uh going inward so you can see it's motion track correctly and maybe it's easier to see if we add in a light there we go now you can see we have this ravine motion tracked in here and it actually has some depth to it okay so how do we take this how do we take this ravine now and actually composite it not in the sense of compositing with nodes but how do we in our 3d viewports how do we actually integrate it so that this plane up here not the crater but the plane by the way not create a ravine this is not the same tutorial how do we take this plane and actually show our footage our basement floor uh well to do that we actually have a very simple technique what i'm going to do is i'm going to add in a hold out shader and the difference between by the way the difference between hold out and transparency is they both kind of make your surface transparent so let's actually view it so you can see you can see through it it's transparent same with the holdout they do the same thing in this sense although holdout will actually not show anything beneath it so i'm going to put a cube under our crater and you can see even though it's transparent we can't see it even though it's underneath with whereas with a transparent shader you can actually see through it like glass so that's what holdout does okay so why do we want hold out what we're going to do is we're going to take holdout and our diffuse which is what's going to show our creator we're going to mix these two ideas together and then we want to say only use holdout this idea of transparency that you can't see through so we can't see the bottom of our crater uh only do that wherever the z how like high up it is is like equal to zero so to do this add in a geometry node look at the position coordinates um but only the z coordinate right here so we're looking at the z-axis of course we don't see anything because right now z is set to zero and anything below zero is negative so if i was to like multiply this by negative one multiply by negative one you can actually see what's going on here but we kind of want to isolate zero and everything going slightly beneath so again this is a job for map range node map range nodes have been getting a lot of action today we don't want it to get a big ego it's getting cocky we are going to take our input interval not from zero to one but from zero to like negative point zero one or something like that so it starts at zero and then it goes downwards in depth just a tiny bit um maybe maybe this is a bit too much something like this negative 0.23 so it has a bit of fading going like that and then we are just going to invert this so 1 0. so we've isolated the top okay so now we have a nice procedural way to make a mask here we're going to take this as our factor for the mix shader plug in there view this and then flip these so that we actually now have a crater again not a crater it's irvine that's contained and you can't see the bottom of it and you can see the holdout shader and it's all looking good and in fact let me first of all change the linear to smoother step which is just going to change the interpolation so i'm just zooming in here so smoother step just gives us a smoother interpolation and let's make this a bit less gradual so let's have it only go to negative 0.125 or something so it's a bit of a harsher kind of change with smoother step so now we have that and we can actually let's get rid of this cube we can actually still reshape everything and everything still works procedurally so i'm just going to make this look a bit more like a ravine so i'm looking for the multiply node and make this a bit nope make it a bit thinner just like that something like this i don't think i changed too much uh so we have this setup going on right now and to make this thing open and close like you know the gates of hell joke that i made a million times and that really isn't funny uh what we need to do is take this max and just bring it down so let's have it be actually at zero well i would go like 20 frames into the animation i for keyframe four or 20 more frames down and then we'll have it open up uh to some amount like this okay so now we have this thing that actually opens up with the holdout shader and all this and um we could still mess with some stuff with rving do we want it to be like detailed or not detailed or do we want it to have a lot of noise or do we want it to be very circular these are all questions you want to consider i wouldn't want to die without thinking about the answers to those you might have some regrets okay so now we have our ravine how do we make it look like not gray rock but something that might look realistic well first of all maybe you want to add some better lighting so i'm going to add in the sun make the shadow a bit softer so the angle is kind of like the softness of the shadow and you can see on our basement floor we have some light shadows some slightly feathered shadows etc so let's just set this to like something like 15 just so it's a bit softer and then for the color of our diffuse bsdf you know this thing what we want to do is pick some colors that match our floor and in fact we can pick multiple colors i'm going to use a color ramp node plug this in as the color so now we can actually use two colors for our setup and i'm going to drive this with our noise so in other words this noise that basically drives our displacement we can use it to also color coat our diffuse bsdf which is a good thing because it means wherever there's low valleys and stuff like that we're going to have one color and ridges something else etc so for the first color i'm just going to use the color picker and pick something from the floor and for the second one i'm going to pick a different color from the floor and we can actually mix these together a bit better something like this just so we have a bit more contrast okay now we have this it's still looking pretty bad and that's just a lighting thing so let's take our strengths make it brighter there we go and i'm seeing that this looks a bit or by a bit i mean way too saturated so let's like take the saturation down to something that looks nicer just so it doesn't pop as much there we go and i'm thinking that in general this is looking pretty good i do want it to go a bit deeper so it actually displaces more downwards so i'm going to pick a bigger negative you know a larger in magnitude negative numbers like negative 5 it goes further down just so we have a ravine that we really need to look into and we could go crazy with this like negative 10 or something and i'm thinking another thing we could do is play around with the gradient kind of like the fall off of the situation which you can see kind of makes it a sharper slope which might be something you're interested in so let's do something like .25 just so it goes down a bit more intensely there we go and by the way if you i don't think we have it in this situation but if the bottom of the ravine is poking out in your shot what you can do is just take this edge and bring it a bit further out which does mess with our procedural noise a bit but it generally doesn't mess around with it too much okay so what do we have what is happening here there we go so we have this ravine opening up maybe it's a bit too sharp whatever you can play around with these settings and it uh you know it tracks onto our shot it looks beautiful and like long story short the rest of this the same way that i didn't do motion tracking on camera i'm not going to do any of the compositing on camera but i'll give you a bit of a hint on how to render this make sure that when you you know disable your your background images for your camera that this is all transparent in the background if it's not render tab go to film if i can find film it's right here film and make sure transparent is enabled okay this is what's gonna make it look good and also motion blur to render this out with motion blur really for the rest of this you just want to play around with exposure and stuff like that so maybe you can mess around with your gamma to get a different looking crater etc most of this it really was just a color correction um this is really all we needed i don't know why it's glitching out here that's kind of weird we could have it like not appear uh before then is the idea so if if you're having an issue like this which i wasn't but if you are you could keyframe visibility so on this frame it's going to be visible in the viewport and render and everything before that it will not be just so you're not getting any issues and then it opens up etc and then once you put in some love some care you know love is the secret and love or really color correction is the secret ingredients of this recipe you're gonna get something that looks good and what makes this look good is the color correction i blurred it a little bit because the render was coming off a bit sharp especially with that noise uh doing all our displacement you also want to you know color blur i don't know what else there was that's pretty much it anyways i hope you learned how to make a ravine in this tutorial i know it was a bit jumbled and it's because of that craze i had in the beginning of doing this intro a thousand times but hopefully i got that information out there you now know how to do this whole kind of thing procedurally the file for the motion tracking and all that is going to be available on patreon at least i'll try to make it available on patreon and by the way if you're interested in exclusive tutorials tutorials that aren't uploaded to youtube for free in other words you know vip access and stuff like that uh patreon is the place to get stuff like that you also get access with your patreon membership to stuff like behind the scenes project files obviously exclusive content discord access things like this but in general that is what lets default cube and cg matter thrive and exist and be the top of the ladder thanks to the 500 some people who have already done that and i'm thankful to all of you and to all the new people who want to join patreon it's a pretty cool thing very cool anyways hopefully you know how to make a ravine now go to your basement open the pits of hell let me know how that goes and that's it see ya

Channel: Default Cube

Views: 40,684

Keywords: blender, tutorial, crater, beginner, motion tracking, vfx, cg, cgi, visual effects, 3d, animated, animation, 2.91, 2.9, procedural, displacement, vector displacement, cycles, eevee, advanced

Id: qruGYYhX1OA

Length: 19min 45sec (1185 seconds)

Published: Thu Oct 22 2020