World Building in Blender - Ian Hubert

oh hi my I'm on where's taun taun is probably my favorite person on the planet I'm your biggest fan um I am I'm Ian Hubert I've been doing visual effects and filmmaking and kind of wacky stuff for like 25 years in a 2012 I had the the crazy opportunity to work with like some of the coolest people I've ever met on a non tears of Steel and yeah um recently like is within the past couple months I've started making these little like lazy tutorial things because what's cool about hey cuz what's cool about CG is like when you learn a new thing like sometimes there's just this feeling that you're like leveling up like it's like oh I can I can have stimulate cloth itself and you're just like and so it's this I'm just trying to kind of pack that in there into a little like kind of bite-sized pieces and a lot of that involves like um just camera mapping and image image textures and stuff speaking of which so this is a photo real environment in in blender like hahaha still though like photos are photo real because they're they're photos and I love I love image textures and obviously it's not all the time lots of people are making you know beautiful animations or games with these cool styles that we're you know they're not trying to go for photo realism they're not trying to do like quick and dirty but I work mostly in visual effects where that is absolutely the name of the game and they're like they're really common like oh yeah all of like those crazy cool iconic moments from from 90 CG usually involves some sort of like I think they called it photogrammetry at the time maybe they still I call it camera projection projection mapping all of that but it's just you know where you use image textures to try to like get a jump start and recreating something in the computer and it's great because all the lighting and the textures and everything are actually baked in they're not doing any you know crazy path tracing or all of that and um like look at that garbage can lid it's just stuck on the wall this thing is so low poly in fact I modeled it it's it's about 65 polygons um same like the podracing in Star Wars that was they took they built the miniatures they just put those pictures right on these low poly little little environments or like like this obviously Fight Club so slick um filmmaking in the craft is also good but any of you could easily do this on your laptop like at this point from like a technical aspect and that's that's so cool this is like the windows screensaver like maze with like the little rat in it and like you can see places where like it reprojected the jug back onto the jug kind of behind it if you frame by frame or like there's this weird oh-oh it's showing me let's see all right oh here we go yeah or like there's this place where this cable looks like it's kind of intersecting the floor that's just like a problem from the stitching where they were stitching the different photos together and so they slapped this big fattie cable over the top of the whole thing and it's like and this isn't bashing on it at all you pause any shot any CG shot from a movie and you can usually start to see the the human seams or it's like you look at any shot of a city and you'll see the two duplicated assets everywhere um and and yeah I don't know what's what's up with this random blue glucose truck um but yeah this is all this is all from the power of this of this image projection and like UV unwrapping which is so powerful unfortunately there is this guy and he kept me away from UV unwrapping for like literally 15 years because it's like you know you take your psychedelic quilt and then you wrap that around the donut and you export that into like Photoshop and you do your paint over I mean you bring it back and you line it all up and you're like oh that's cool you don't you just take the thing and you just say you just unwrap it um and this is this is I know this is CG 101 this is like first day this is like yeah but that's why I love the the import images as planes if it's the person who created that here like oh like it's such it's such like an easy thing but it's one it's one face it's one image in fact it's almost a finished wall because some philosophers have speculated that walls might be nothing more than just a single planar surface all right so we import it as a plane we can extrude it a little bit we can do it again we can bring in a ground plane I like to line up corners and edges because there's these micro biomes that existing corners that are like hard to do in CG you get that for free with image detectors ad and edge loops extrude some stuff we're bevel in we're gonna turn the lamp into a into a Sun lamp this is a blender conference you all know exactly like how how this goes but this is this is a a picture I took in my doing the exact same thing just extruding it out really low poly edge loops extruding I like to add extra emphasis on the windows just because they're gonna be high contrast areas you can either make like the windows glossy so they're reflecting back into the environment or set up like an image texture you know behind it so it looks like it actually has some some depth I'm gonna project this at a slight offset because if you project straight on you get that sheering along that axis and then the computer and it's it's may be wrong but I started stealing things from just places coffee shops and like it out on the street you set it up as the camera background model some stuff you know project from view and you just you just have it and then it's easy to get carried away so I'm like I'm gonna make this shelf just slap in that all together and then there's the shearing and so it's like all right we'll just reproject that bit and line it up with this little bit of wood down there and it's like this is maybe not great for like the featured thing but if it's like a background if you're trying to make a whole mall that will totally that will totally cut it um like anything anything cubic is really easy to unwrap you don't even have to like do project from view sometimes you just line up the initial vertices and then you can do like edge loops and stuff and it'll just all all match and then you just have it and you can copy and paste it and you can use that on like projects forever so I worked on that shot a little bit more and somebody asked me if I hand painted the specular Maps it's like no no that's just plugged into the the roughness with a little clamp there so the darker values are reflective which is the you know it's not always the best way to do it but a lot of times they can get you a surprising for far away of the way I took this photo on on vacation and then later I wanted to make this environment so I just doubled a cube and kind of line it all up from the camera view reprojected and then you can relight it and yeah had a little hello environment and check it out my cable intersects with the ground just like David Fincher yeah relighting relighting and post is one of the very coolest side-effects of this of this process like like right here modeling it I use used to be called blam but now it's f spy it's a standalone program that like lets you line up the camera and it's free it's very cool so you can recreate the environment that's that's cool and it's pretty easy to deal with occlusions just by sliding stuff around but the coolest part of this is now you can literally relight your images but the even cooler thing is you can set that as an emission plane and put other CG objects in it and look its direction and specific lighting and reflections on CG objects and if you do this sort of thing that's that's a that's hard to do generally and it's good for scenes like this or I wanted to add this this grass in there but you need every point of the room is gonna have slightly different direction of lighting and so you reproject the thing back on it you set up and try to match the original lighting and then you can you can actually kind of do that and this is a this is the blend of guru grass grass essentials which I am I am in love with did the same thing for um this is a series my my girlfriend's working on it's kind of displaced spaces and kind of dream imagery and so just set up you know basic room ignore ignore that um you can also use it to generate shots from from scratch I was working on the gig where they never actually got any shots of this car driving but they had behind the scenes photos so project that back on the car and then do a little bit of animation lots of noise modifiers and then you got the you've got the car driving and they were like I recently did a gig or it's a personal project who I wanted this floating inside of a cabin it's supposed to be floating over the tundra so I actually had like this real cabin that I'd filmed in and I have all these behind the scene photos so use the whole blam thing to kind of just streamline lining up the camera you don't need it but um mostly just putting stuff back back on the cubes sliding stuff around even when you don't really get it right it still kind of looks looks right your brain people's brains want the stuff to work um and so just mapped it mapped it all back onto there and I was able to put this whole thing together in a deceptive freetime unit which is the area between when I think I should go to bed and decide to just poke it one more thing and I actually go to bed like three hours later and that's when I get my most of the work done in in my life both personal kind of like this and and professional that's um because people totally pay you to do this too I recently at a gig I can't talk about but it's for a fairly well-known show with a fairly iconic set that they had torn down and they're like we just need a couple more shots of this set so I watched the whole show took frame grabs it the exact same thing I was just talking about rebuilt the set and I was able to render it out and now they have that set and people can't even tell CG which is very cool um a gig I can talk a little bit about was supposed to take place uh it's ed Sheeran south of the border which I finished up like a week and a half ago you guys should totally watch the music video it's really fun but it's supposed to have this underground spy bunker kind of a Batcave type situation and so yeah I stayed up one night and I projected some electronics on the cubes use some assets from that cabin I was able to you know those little drawers and things I put together this thing I show the director in the doctor was like I hate it it looks like the back of a grocery store and I was like ouch okay let's add like a little brick arch and make the screens actually light it so it looks better and he's like I love it and I was like Oh whew um so yeah most all of this stuff is just camera projected had to have stitching stitch and stuff together the backgrounds just a flat thing that I displaced within a depth map because that is actually a cool thing to be able to do lots of lots of little little replacements and things this was using um this add-on car rig Pro where it's actually uses you just make one curve and it handles all the physics and it snaps the wheels to the ground and it was like it was I'm not doing a justice here um yeah that was that was a fun one honestly a lot of the stuff we did for this one was just the director thinking I want to read people to rework how the audience experiences like this this moment and so can we change the wall can we emphasize this thing scale it bigger and it's cool to be able to be able to do that and post so I want to take a second is this cheating I obviously do not know architecture I did not lay any bricks I didn't paint anything like that I just kind of harvested I took a picture in there like yeah I I did this no this doesn't bother me because I'm trying to make a CG building I'm always just trying to make an image that happens to have a CG building in it and um I'm effectively making making the photo collage and also I'm already cheating because I'm using this mind meltingly powerful program that can like like do 2d animation and and simulate water and do characters and um I kind of disagree with Tron this is like the best program I've ever used in my entire life it can like reconstruct cathedrals and simulate molecules and the fact that all of us are here is just a testament to the fact there's like these developers whose brains work in ways that like I'll never be able to like understand ever and so this is this incredibly powerful tool and it's changed my life so thank you to everybody who's ever worked on it this is so I'm stopping for an additional second because some of this is a little bit of an oversimplification um like the technical stuff is not any harder Bend than this it really is you take it you know you can take stuff and just do stuff and give an impression of other things but um back in 2011 I did a talk kind of like this don't go don't go look at it but um this guy came up to me afterwards and he was he was very angry okay well he was actually very friendly but he was like he said I was holding out he said I didn't explain why stuff I did like looked good and I was like I walked through the entire thing but that's because it isn't just putting stuff on stuff it's um it's an art and and let's say like blender is this incredible tool but because it's a technical tool it's very easy to confuse the the craft with with with the technology and yeah like just show me show me the buttons that you clicked in order to remake the thing that you made but like no blender blenders a legit art medium it's the most versatile art medium like I've ever I've ever encountered and art has you know very very different rules like I can teach you all the draw just right now you just um you've got your paper you got your pencil you could I guess now it's a it's a left-click isn't it and and and you make you make a mark on the page and that's that's you can draw and it's understood then you're gonna spend the next couple decades hating everything that you do as your brain tries to reprocess how you see the world where you turn 3d forms into 2 G shapes capturing texture expressing it with singular lines and and all of that and um and as you work you're actually rewiring your brain it's exactly the same with CG even if you're assembling stuff with libraries it's still like passing through you so first of all here's the biggest thing I've learned over the past 20 years of like doing CG this is this is a city I did in in like 2002 and I modeled like three buildings now look that's that's in the first city yeah and this was using boolean so this carport here is just like two cubes in there and they're lighting up never need anything more than it more than that this is oh it's so arty look at its oh you know Gilbert look at the net so there's an electrical box I was very proud of that but obviously those pipes don't really intersect with those other pipes which do intersect with the drainage which is probably not very good for an electrical meter and that was such a big hit that I just had three more disconnected electrical boxes in in this one and that has nothing to do with a technical limitation I just couldn't couldn't be bothered same with like right here there's this a freeway overpass that could go into this hole but instead it smashes into the retaining wall at exactly 55 miles per hour which too little speed limit signs mounted 20 feet from each other I'll tell you electrical box up there on the ceiling again let's stick with the vignettes but yeah whole roomful of pipes which obviously do not go anywhere above above the ceiling and I've learned things since then now if I do a city it's gonna use you know one two well that's a bad example but if I do a room full of pipes they're definitely gonna terminate you know off off camera um that's that's not good a lot of times when I teach people CG though they'll take um they'll just like turn on subsurf and start extruding stuff out and like tweaking with the things and then they're like man why doesn't this look as good as the thing that you made in like first of all you made like this chrome space starfish this is the dopest thing I've seen in my entire life but also I spent like three days making the exact same thing like you just don't be don't get to the point where you think it's it's done yet um and that's honestly that's that was the big thing that I had to learn um like same with this one like I could have you know these are these are used boxes I could have added some grease and stuff but it added a texture the the emission plane it's implied that this thing is like a vending machine that gives these takeout boxes but there's not a single hole on the front whether it would actually be big enough for those boxes these are things I knew I just couldn't really be bothered which leads me to world building which is the name of this talk and so far it's all been like image textures and I'm like what's the difference but um world building is the process where if you're working on a novel or web series or a film or anything like that where you think through the rules of how how that world operates it's like what's the what's the government or the religion or the currency or the weather or the technology and and how do these things all kind of interplay it turns out as soon as soon as you start this process of thinking through all of that again your brain begins to rewire and the coolest part about all of it is that it means you just can be constantly engaged in everything because like every single detail everything people say every every little mannerism that they have details of architecture can all be clues you can just like harvest um in fact it's usually like the little inane things like um the the the the dents on a doorknob or like the patterns of like wet footprints walking away diverging in a room or like the build-up of oils on like a door where a thousand people have pressed and then sometimes you feel just like so incredibly sad for no reason is you're looking at all these things and you're like why am i why am i gathering all of these details so why am i trying to store this in my head what am i trying to like hold on to what am i afraid of losing and it means you just can't stop ever and you're not the best boyfriend ever be not the worst boyfriend ever and you start looking at like the people closest to you trying to hold them tighter and tighter and you want to call it love but you know secretly deep down it's probably fear you know I'm saying 3d modelers experience too you start to model a thing and then you go outside you start noticing all these tiny little details everywhere of like of this thing you see everywhere and you stockpiling this new thing you go back you look at your model you're like fire hydrant I have failed to capture your essence you start to look it up on Wikipedia like who who first designed these things where is the first thing ever ever what's where is the first fire hydrant um can i buy one like you might think I don't own a vending machine or a half-dozen beacons you also might be might be mistaken um or like reader boards I absolutely love reader boards because it's like these awkward businesses it's their one direct channel for communicating with the public and look who's talking is it the business is it the is it the owner this one um oh and this asset is a freon blend swap if anyone wants to play around with it cuz the only thing better than having a weird obsession is trying to share it to other people this one's in my town it's the exact same thing for four years and you just get to watch it phase in and out of relevance like an old friend this one this one's actually a bit of a landmark in in a nearby town it's um it's beautiful because it's like that's the best thing that reader boards I just returned to dust I did some googling going back in time like what's a what's an e leo pen a dealio pen they since now they sell t-shirts with this design on it which is kind of you know made it a little bit too popular kind of ruined it for me a little bit but reader ports are a great way of expressing transition or exposition exposition is information that you think the the viewer or the audience needs to know about your story oh yeah oops dude yeah this is an inspired by unfortunate occlusions in Amsterdam the the weekday anal tours so exposition yeah it's information you think the audience should know and it can be it can be like counterculture group spray-painting you know obvious slogans on conveniently-placed brick walls in the background it could be news anchors talking about only crimes relevant directly to your protagonist or or news newspapers talking about you know exactly what's relevant to to everything which is can be kind of on the nose I like it went a little bit more subtle where it's like the audience has to try a little bit harder to kind of feel out the vibe the vibe of a thing but yeah you can start you can start from world-building with with anywhere like a like with newspapers um like you can make a personal wiki you can go nuts you can just keep keep thinking and adding all these little nodes that are connected until you've planned out the entire world and maybe it'll make you novel better but it's also just kind of kind of fun um I like to go to coffee shops and do that I've got a personal one on the website where I'm just like filling everything out and um and it's actually it's good to get out and about I like to to go you're like listen to music and like care um carry a notepad and just kind of do do doodles and stuff and like plan things out then you come back and you work on it in in blender so you're using as much of your brain as possible I always see such cool concept art and I was thinking man I want to I want to have to make concept art but it turns out the fastest way for me to think is actually mocking stuff up in blender you can just rotate scale flip copy paste and all of that instead of like committing ink to a into a page I just had I don't draw a lot and I never have anything to do with it so I put them all here okay so I was the visual effects supervisor on this project called um prospect which is a short film I think it's on Netflix and certain regions now um it's it's really fun and whereas most projects I show up and like the day before the the art team shows up with like gray paint and like a bunch of 4 by 8 wooden panels and they paint them and hot glue like motherboards on it like it's a spaceship these guys rented a warehouse and they spent like seven months designing everything from scratch they designed all the sets on CAD programs cutting out on CNC machines put them together like these giant puzzles they design their own fonts they built like actual full-size spaceship and stuff um everything was dirty I I made this shot full CG and then they actually built this foreground bit in real life and filmed it with their custom lenses just to add realism like you're always looking through windows you never get this God's eye view of the entire thing it's always like you're always trapped in there with the with the actors which makes it feel like when things go wrong you don't have an easy escape what's really cool hey I didn't think that would work but that was a good costume um I I made this ship which is basically just a reference for a guy who built a 4-foot miniature of it and then we filmed that just to make everything kind of more more textural which was which is really cool um I also built this uh this big old freighter which lots of little lots of little greebles and they spent a ton of time trying to figure out like the exact way that the lighting would pass over over all of this stuff um the hardest part was actually the containers because they're all covered in these like in world logos and things that you can barely even see but um yeah figuring out via the lighting for this required a lot of planning um we marked up little things in the end we just kind of put a thing on an arm and like tried to kind of match it up because it made continuity a little bit of a pain in the butt but um let's see oh yeah when the biggest references was a old Apollo imagery because that's how it actually looks like it turns out when you're exposed for like daylight you don't see a lot of stars um that's only when you have like a long a long exposure and this was like this wasn't blender but this was like 2,000 shots so just adding this constant dust anytime they're out on a planet which if you have a chance to put dust in like 2,000 shots over the period of a summer I I recommend go for it um I also have a bunch of personal gigs I'm trying to wrap up this is kind of a continuation of a dynamo web series I've been working on since like forever but this is kind of a reboot type thing and some of it takes place in this market and I've just been like going nuts letting myself go crazy with like the little details and stuff I love designing maps that exists in world because it's like somebody in the world built this map for other people that are also in the world and it's fun to kind of be able to exist in in that in that zone hey it's the tower from Church of steel because they really said open source um yeah a lot just lots of little little bits my friend Paul Spooner helped make this this subway map if you're working on a story it's actually really cool start off with a map because then when a character goes from A to B you know like what that experience is like and it actually helps you kind of like tell the story um and I love CG but also it's nice to be able to film something without having to spend months doing post work on it so we tried to build a full set in our garage actually it's um it's I bought I bought a church a couple years ago out in the in the wet woods and I'm trying to turn it in like a film studio thing um just been fun a challenge and um so this was but it's got lots of room for building sets and wacky stuff like that and of course we mocked it up in blender first and then it took pictures of that map that back onto 3d geometry so that I was able to do cuts like this is all real this is this is CG and this is a very slow way to make a film but it's very it's very rewarding um okay here's the green screen if you keep things messing enough you don't have to put up a lot of tracking markers they just start built-in and this is just to show off this amazing shadow casting chicken nightmare oh thank you this this is fun because you'll notice we built we built the entire back of the set and that means we're able to film all of the close-ups and stuff and ninety percent the footage without any CG then we just back up and we're able to fill in that that in-between area after the fact really quick kind of same with same with this one we uh I built this fake fire escape type thing going on right here and yeah and he barely includes any CG so we're able to do this like really quick you can see behind his head there's still definitely reflection with some trees but I know a CG guy who's going to deal with that I just haven't wanted to do it yet so making making these lazy tutorials has been monomakh in a wings down position moths are pure chaos and don't stress too much at a base key in a new shaky and put the wings up I had to keep he and annoys modifier in the graph editor to make the wings just go nuts duplicate them off offset the noise modifier and again exactly six times no I don't care make the mobs a new collection moths make an emitter object and give it a particle system have all the moths start on the first frame with it with a good lifetime have it render as a collection moths for physics select Boyd's oh yes turn the mass way down look at that but can we teach them to love make a lamp in the Boyd brain create only one rule follow the leader their leader is and shall always be lamp tweak a couple settings it's unavoidable mostly masked max speed angular velocity and personal space oh yeah it's a pain but no one gets into math wrangling for the adrenaline hey check it out they like the lamp now that you have this put them anywhere you can make a lazy scene and add mobs and people be like wow you've even added moths and you'll be like yeah I did and I taught them to love moths add realism to anything so that's that's one of the the lazy tutorials which I kind of just made for fun but like now that's been seen hundreds of thousands of times and all these people are like wow that makes blender look really easy I'm gonna download it right now and so that's not exactly an introductory tutorial so I spend a lot of time in the YouTube comments just trying to kind of give give tech support or direct over to like you know doughnut tutorials and things like that but like this this image right here is kind of a throwaway image I just made it because I needed a demo for the UM for the end of the tutorial but like I had that lamp growing up and the reason it's on this grassy hill overlooking the city is like I'm trying to channel gasworks Park which is this place I spent a lot of like cool summer nights or a conceivably Kiki's Delivery Service cuz that's my girlfriend's favorite movie and well like we'll watch that and feel feel good um and I normally add like camera shake to my shots but I was remembering this scene I filmed in grass with this cheap handmade dolly that like looked kind of like a million bucks even though it only costs 40 um and like the depth of field is shallow because you like using old 2012 DSLRs like suddenly you could you could shoot with like a narrow depth of field and there was like that's the cinematic look now of course we know that was actually the 2012 DSLR YouTube look and and from a technical sense if you're filming at night you need to open the aperture to get get more light in there um I also I also made a music video with this exact concept like four years ago drove across the town jumped around doing that the grass I was obsessed with grass after capture its grass the essence and then blender guru released the the grass essentials and myself was like I am I am at peace and I was like now but I I didn't do it myself is like oh I don't care and I was like I I kind of wanted to do it though and my soul was like look kid this thing is wild rye uncut learn your place alright the beacons in the background are are something I filmed it like my best friend's brothers wedding and like when I was a kid my dad worked in radio and he took me out the transmuter buildings and I'd wait in the vans for the radiation from the transmitters like wouldn't like fry my brain and I'd sit there and I just look up at all these these beacons kind of kind of blinking and my point is that every experience we've had and all of that all all goes into who we are and how we how we process everything you you are a giant neural network and that's why I get the excited whenever anybody's saying they're gonna make a film or art or anything because they're gonna be making something to only they can make um so what if you've never done anything like this what have you've never done CG or world-building or anything like that is it I like I like to get kind of pretentious and be like yes I've spent three decades observing and making these little lists of the oil on the doors but you don't need that if you have really good reference and it's true like most of us when we think of when we think of a house or a plane or a car we have this kind of cartoonish version and so then when we tried to translate into a medium we tried to draw or do in 3d we end up with something we're not entirely proud of and that's because it's an accurate representation of an inaccurate mental mental concept reference straight up bypasses that and like I know I know that the the translation from observation to mental concept a personal like representation could be just that's as good of a definition of art I've ever heard but there's no reason you can't try to to help improve and make more accurate that mental concept and once you start this process like once you start thinking in terms of breaking things down and CG for for blender it starts to kind of take over like nature is great for this because it's it's random straight random following very organized rules and I've started getting into procedural textures oh and it turns out blender has like great tools for simulating both randomness and and order um once you start getting into procedural textures you start to see this stuff absolutely everywhere like yeah oh yeah yeah that's it yeah oh pine cone yeah we can think we can do that well that's actually the same pattern on the grass and both a dappled sunlight Oh for annoy yeah yeah oh it's and you start seeing it's just the same kind of patterns overlapped over over each other and it's just it becomes kind of kind of addicting like water is you know famously easy to you know straight forward to to reproduce procedurally and so as I was in the middle of doing this presentation I went out to eat and it started pouring rain in the parking lot and I'm like that's I think we get in I think we can do that I knew there was a texture node that kind of looked like Swiss cheese it turns out it's it's a Voronoi and I was like all right if those Swiss cheese holes are passing through a plane and we use that cross-section to power displacement maybe that would look like ripples and it would be kind of weird that the ripples get big and then you know as the cross-section goes through gets small again but if we like go big enough maybe we can catch kind of the essence of that thing and this is this is nothing compared actual procedure artist this is like a fraction of a percent but it's like I'm just getting into it and I'm really excited so that's a um on the same note traffic you know as long as everything's moving out the same speed it's really easy but like I was like all right let's we got this to physics and it was so many guys you'll see so I tried to do the same thing with everything constrained to one axis and and all the traffic kept backing up and like cars were trying to go but there wasn't room in the intersection so everybody was getting angry and then I like oh wait a second I've simulated traffic - well I actually had better luck with his dark spaghetti where I did this and then I just took this boolean did a little cross section there just for try and like capture the essence and it turns out like it doesn't it doesn't look good concepts kind of fun and once you start kind of thinking for that dimensionally it you actually the whole traffic thing kind of it kind of makes sense that one doesn't have a successful representation yet because I haven't I haven't actually figured same with greebles anything everything technologically complex on a mass scale you can kind of abstract that and then people like looks like it does a thing like the outside of a Star Destroyer covered in all the little the little DubLi bits normally make all of my own stuff but I saw some NASA marbles for sale and I was like oh that's just a Griebel cube with a rocket coming out of it I love it um and like that obviously the Rockets you know I UV enrapt know I didn't I set up these little vertices there too so that the generative box mapping the that I used to swear by back in my last talk in 2011 would know where the where the boundaries are so don't listen to anything I say because that's that's that's that's don't do that um that's basically you know observe the world use reference don't be afraid to overthink have fun not too much fun if you're just trying to make a thing use photos photo scans which I didn't talk about but you guys in the photos games don't reinvent the wheel there's a photo skin so I also have I have that kind of a three minutes of thing I've been working on do we have three minutes yeah all right it's um good it isn't playing yet because this is so not done and you'll see it what the audio is you stuff I dumped on there get to give the disclaimer and so don't yeah yeah I'm gonna talk over [Applause] you can hear me directing it's about to get real then to look first it's gonna be Birds canal's because of ants again yeah this doesn't have CG I was just really proud of of this this little secret so uh look at that little sparkly oh yeah are you sandpaper and I just scraped a piece of plexiglass yeah no no blender it wasn't a good idea [Music] [Applause] [Music] merchants no boy ed wants to salute come on yeah he's good there's gonna be dialogue and stuff but yeah I cut it because I'm not showing any any plot but yeah so that's all that's all just done in in like a garage with like like this amazing like software so that's that's my that's my talk thank you [Applause]

Channel: Blender

Views: 1,369,552

Rating: 4.9709191 out of 5

Keywords: b3d, blender foundation, blender 3d, 2.80, blender, bcon19, 2.8, blender 2.8

Id: whPWKecazgM

Length: 35min 44sec (2144 seconds)

Published: Thu Oct 24 2019

Reddit Comments

[u/Ephisus]

I met Ian at the Star Wars Revelations gala when he was like... 13 or 14 (he had worked quite a bit on it and was flown out to attend by Shane felux). He seems much the same.

[u/constant_mass]

His lazy tutorials are the best blender tutorials.

[u/adroberts91]

It always seems “easier said than done,” but when listening to Ian he unquestionably carries a significant amount of inspiration across, even if it is hard to do some of the things he does. Still makes us all want to try.

[u/dieomesieptoch]

Honestly I watch this talk every now and again. I love his presenting style and I live his creative mind.

[u/t-dog-]

A prime example of putting ADHD to good use. :)

[u/acomplex]

This speech is incredible. Singlehandedly made me a superfan. It’s like Mitch Hedburg became a VfX guru

[u/ztenski]

KNEEL BEFORE YOUR BLENDER GOD

[u/LeviGibson]

I have watched this like 10 times. Truly one of the greatest live talks in CG history.