Welcome to this lesson where we will quickly work on getting some texturing done, so you may notice
that I have already created a new tree here and basically created it with a couple lattices and cylindrical
gloves and then combined the mesh to make one tree that I duplicated out, rotated around and put it
throughout the scene.
The other thing I noticed when we were doing the ground, the grass here is that we did not change the
bump map to tangent space normals.
So that was why the exposure had to get cranked up so much, because we left it on Bump and we didn't
change it to tangent space normals.
And that's what we need when we have a normal map, which is what we used for the map here for the texture.
So we need to continue to create these textures here.
So let's move on to the ground, the mud part here.
So let's find that in the shards and then we can use our handy select high script that we've learned
throughout the course.
And then let's right click and say add new material and we'll choose a standard shader standard surface
shader, as always.
And so it is freaking out.
This is fun.
Thinks I have the menu selected or something?
I guess so.
That freaked out.
Let's get the ground selected again.
So now we can go over to the surface.
We can call it mud.
Now, let's go up to the color and map in the file I provided is a mud color so we can go up to mud
and see mud to fuse.
We want the color of it.
So now all of that has a mud look to it.
We can kind of zoom in here and see if it has the right.
Looks like we could maybe scale do some more repetitions here on the tuti texture.
Let's just two, maybe three in both directions and get that a little bit smaller.
It looks like that is working somewhat.
Let's maybe go one more to five and then let's go back to the shader, select on any of the pieces.
And we have mud here.
So let's go to the bump map and add the normal map into that or make sure we have tainted space normals.
Go navigate to the file of the bump map and go to normal.
OK, now they'll give some kind of texture to it.
And the other thing we can do is go ahead and kill the secularity on it.
And I think we need to do the same for the grass here.
Just turn secularity all the way off and let's add that mud shader to this this little plane that we
created.
It looks like I'm having difficulty selecting it.
So I'm just going to select something nearby, frame up on it.
So now I can rotate around a little easier, select the ground and let's just bring that up a little
bit.
So it is definitely through the grass part.
And let's see if we can assign existing material.
Mud is there just off the screen.
So now we have this mud look that comes through the ground.
So we're not going to see grass there.
And so let's keep moving.
Let's do the core.
Let's just add something kind of generic and assign the material.
Let's do a standard surface and just apply some kind of preset like.
Hmm, whatever you think would work, let's use rubber and then just turn down the secularity a bit.
Or all the way.
Yeah, so now let's do the flag banner part, I'm just going to do one of these and you can do the rest.
I just want to show you, you know, some important things to consider.
So when you do in cloth, it adds another shape.
Note to the history here.
So if we scan over, we see we have the banner shape.
Right.
And there's this opaque thing that we've learned about texturing that we want to turn off.
But after and cloth is created, it actually creates a new shape called in cloth shape and get over
to it.
And I'd see it's in Klaw.
Alpizar output cloth is what it is, so we have output cloth in better shape, so there's basically
two the same thing here and that's because this is in cloth.
So we can click the opaque thing here and it will override this one.
This one doesn't matter.
So now this can be transparent.
Let's add a banner shader to it.
So I'm just going down to assign new material.
Let's go to a standard surface and let's choose a blue here.
That's maybe more blue than purple, and what we can do is just use a texture under the opacity.
So let's map something in there.
We've got a file and then bring in these textures that I've created.
So let's use the blue one open.
So let's test this out.
Let's get to a frame where we can actually see it by one of the first ones.
And let's go to Arnold, reinterview and let's start to test this out and make sure that we can, in
fact, see that.
And the basically the idea is that that PMG is meant to cut cut out this shape.
So it looks like it is working, although it's using the perspective camera, which is fine.
And the other thing is it's looks like it's a little too opaque, like we can see all the way through
it.
So I'm not entirely sure why that is.
I think I just need to trim the exposure.
And so because we're using this as for opacity, it'll it'll crank up that alpha.
So if we drink that up, it'll get rid of that problem where it's kind of semi transparent.
The other thing I want to look at is this banner.
Yeah, I guess it's on there.
I'm looking at this, the black tubing here, you just call this rope.
Let's make this something brown, maybe brighter that we actually see it.
So I'm just going in here.
Let's crank that up.
So, yeah, it's looking good.
So basically do that for each one of these and
then let's move on to another piece.
Let's do the tombstone next.
I haven't created the UVs for this so we can do that.
Now, let's go to the modeling and let's just use the automatic, uh, one.
Let's let's open up the texture window first.
You can see it's pretty random here.
So let's go let's use this menu.
You've just make sure we're using automatic to lay everything out all nice and then we can choose to
cut and so pieces together if we want to with this little you've talked menu, which is sometimes docked
here under the window itself.
So what we can do is, of course, you know, this will depend on the texture.
So let's just bring in the texture then we can we can line it up based on the texture, because these
moves won't work right now.
So let's right click and say a sign of material, of course, the standard surface.
And let's call this tombstone.
Bring in the diffuse, which again is located in the course files here, Tombstone diffuse, so you
can see I tried to make something that, you know, resembles a tombstone and where the UVs are currently
laid out doesn't line up with where we need them.
So let's go to the movie shells and let's just select the front one and we can see it light up there
red.
So, you know, this is the correct one.
While we're at it, let's just flip both of these around.
So we going to transform, scroll down and then just rotate these.
And it looks like it's taking everything because we have the you've selected.
So it's this one scale it up.
And I'm not too worried about the other UV panels right now because this is just super, super rough,
kind of to be honest.
Like I'm not super worried about how this is going to look, because, again, you know, if we've done
our job right in animation, most of the attention should be on the character themselves and not these
little details as long as it's not totally terrible, but it'll do the job.
So that looks, you know, better than nothing.
And let's add this this bottom piece.
If you remember, if we press down, we can add the tombstone, even though it's the same material is
to remind you pressing down, we could have added a different material.
And let me just do an automatic thing there and then we can move these around as needed.
Let's get to these shells.
I just want to make sure this front piece.
This is kind of cool.
Well, that's.
I wonder why it's selecting everything, it's going to UVs.
And so because we have sophs selection on that's why.
So just be on my keyboard to get rid of soft selection.
But now I'm already in this mode.
I'm just going to keep using the UVs component kind of mode there.
So I think this is actually flipped around like the other one.
Let's flip it around.
And hope we had it right, because I can see the R.P. there in the in the image, so now we know it's
right side up.
Thing with this is, is it's kind of stretched weird.
So it's going to stretch that back out and get it somewhere.
That has some streaky moss on it.
Right.
So we got the tombstone done, we got the tree done, we've got the banners done and we've got the grass,
we've got the mud.
So let's bring in a background image, someone to create a plane.
And I know my background image is 2000 by 12, 15, so I can just go and set that kind of proportional
ratio there.
So if I go 2012 15, we know that this is going to be the right size shot to send that into the background,
rotate it 90 degrees.
And then now and I because I've set this, I know it'll be the right scale if I scale everything uniformally
like this.
So that should work just fine.
So now I can kind of get this oriented towards the camera and push push it back far enough in space
that it'll kind of make sense with the camera moves.
And of course, women are behind at least the first tree.
So when we see the parallax of the camera will make sense when it moves around at least somewhat.
So it won't be super accurate because for this to be accurate, I need to be as far away as the night
sky is, which we aren't going to do that.
But yeah, just getting it kind of in the background, there's going to go a long way.
So let's open up the hypercharged real quick because we're going to use the same texture map to go into
two different inputs.
So I'm going to sign a new material.
The standard surface and and the hyper shadowman to click this little button to map that out and under
color, I want to map to this night sky file and providing you and then we can use that twice.
So now we have it in the out color.
Let's use it for emission color as well, because what you'll find is because we're because we're using
this as
a background image, it's going to be affected by the lighting, which we can turn off, you know,
cast shadows, all that stuff.
But and because of the night sky, I want to have control over kind of how bright it is from the shader.
And that's going to be a mission.
So let's go to the render cam.
I'm going to go to frame I think it was 1026 is what I figured out is kind of like a nice well, I want
the the moon to be kind of almost right behind us, had to kind of frame him up really nicely.
So something like that.
And then now we can go into the Arnold render view and render and see if we need to increase the emission,
which I'm sure we will need to.
So now you can see in the background, like I said, is really dark, which that's fine.
Another thing that's probably distracting about the scene is just that the gems are kind of a little
too bright.
I think we could tone that down.
The other thing I'm noticing is this firefly right here, because it's an Olympic cache.
We can just delete those faces so I can select the geometry.
Right, click and go to face.
Let me just make sure I'm not selecting anything behind it by getting really close to it.
Let's see what's going to be that one F over here, I can back up a little bit, so yeah, it's just
really close to the camera, so let's just delete that.
So we just leave the faces of that so that that's, you know, works.
So let's get back to the background image.
It's like that so we can get to the shader and we'll just call it BGI.
And so now all we can do is to turn off specular.
Let's go to the emission.
And because you can see we already have the image mapped in here, we can just crank this up.
And now you have control over the brightness of the background, which is pretty cool, pretty handy.
Um, just to get something quickly in there.
And the other thing I want to do is to add a shader for his vest.
I've created a image for his vest as well, which will hopefully kind of make that pop a little bit.
Let's go to assign the material and go to Arnold standard and then go to color where it's color for
specular.
We don't want that color for base and she's file and then just navigate to the vest, color file and
open.
So now we have the vest color, which is, you know, you can do your own if you've watched the texturing
section on the course, you know already how to to paint.
And Maya.
So let's just turn down the specular for that.
And the other thing I want to do and the render is turn on the cat Clark stuff.
So it's subdivides.
So let's go down here to Subdivision Cat Clark and let's just say like two.
So it'll just kind of smooth out the hills there in the background and then the trees not looking super
great, but I think it'll, you know, we'll get by with it.
Let's figure out what's going on with the gems here, because it's just they're too bright.
I think their ambition is maybe high.
I can't remember how I did this shader.
Let's go to gems.
Yeah.
Emission is kind of highlights.
Crank that off and we can see they just kind of turn off their they're no longer blue.
Let's just turn up just a little bit so we get just a little even that is maybe too much.
So let's just dial that in.
I'm going to grab the render area so it's a little quicker.
Yeah, I mean, that's that's OK.
See what we get lower.
I just want, like, a hint of color there.
I don't want that to, like, distract from the action here.
So that's looking good.
Let's move this towards the wall to make sure that textures working enough.
Otherwise, I'll make you guys a new one, but looks like it's OK.
The main thing I think we need to deal with is the lighting here.
So we need to get these banners done and then let's deal with the lighting as well.
I think what so I have four images for the banners so we can go like every fourth one will be blue,
which means this one will be blue.
So we can go ahead and add that one.
I'm sure if we named that Shater here, we didn't call it Banner Blue.
So we can find it a lot easier and blue might not even be the best color because of the background,
now
we can assign existing material banner blue.
So we have three more that we can add in here.
But so every fourth one will be repeating.
Um, let's for now turn this yellow.
What's nice about this is because we're using the alpha.
Or using the Alpha as a cutout, basically, we can change the colour of the entire thing and it should
work for some reason and take that turn that yellow.
And so it looks like we need to turn on the opaque thing here.
So let me just x out of that and go over to the output cloth and it's opaque.
So now that should render transparent.
So let's focus on the lighting super quick.
Let's bring in a spotlight and.
Let's crank this up.
And.
Let's see if we can't get this to kind of highlight our character a little better, so increase the
intensity and the cone angle and crank up the penumbra angle, which means the kind of softness around
you can kind of see an update here, a preview.
So I want to get this into a place that will work for the whole scene.
I could constrain it to the character, but let's see if we can get away with just setting it up correctly
in the first place.
What if we go over here?
Drag it from this viewport and then.
To this way and then let's make this.
Not yellow, but let's make it some kind of a little bit of a color, and then for the directional light,
we can turn this a little bit blue since it is at night.
Now, let's go back into Arnold's interview.
And play and see what we've got.
So it looks like we're going to need to crank up the spotlight quite a bit.
Sort of zero here, I think it's just the scale of this scene is so massive there, we we're starting
to see it now.
The scale of the scene is so massive that the values are pretty high here.
So, um, yeah, that looks like it's working.
OK, let's let's scroll through, maybe increase the directional light.
Just to crank everything up, it really washes out the the trees here, not super stoked on how the
trees are looking.
So but I do want to I just want to make sure we see the ground here, which I'm not really picking up
yet.
So I think I might bring in another light specifically for this area to kind of spotlight this area.
So let's bring in someone just why don't we just duplicate the spotlight?
Because I kind of like the settings we already have.
And now that is duplicator.
I can move this one.
And meanwhile, kind of look at this update.
And let's focus in on something so we get to the light, how you can kind of see it here, really spotlighting
the area, whereas before we couldn't see the ground.
Just want to make sure we're you know, we're focusing the viewer's attention on what we want them to
be looking at.
And it could also be that the the mud texture itself is just too dark.
So I've selected something of that.
And I'm going to go to the file of the diffuse and increase the exposure here and likewise for the trees,
I think going to decrease the exposure on those files.
So this is like a quick way to adjust files that you're not super happy with.
Instead of having to go back and forth between Photoshop.
So I'm like in this file, but I want to make sure that I include all of the all of the broken pieces
here and the view of the spotlight.
So that's nice.
It's really starting to pick up the smoke that we have here to.
So that's nice.
We can also go back into the shade of that thing and tweak that.
Let's go over to.
I think we need to select the Bifrost.
You know what, we have a let's get the hypercharged open and we can find it pretty quickly.
I mean, for the most part, I'm getting pretty happy with this, I mean, to, you know, spend 10,
15 minutes and have an image like this is pretty cool.
Um, I think I want to bring down the hat.
Every time I look at it, I basically find something that I'm not liking.
So it's a lot of.
It's a lot of back and forth, and I'm also having to relearn how I created these shady networks.
I'm going to felt image and I think I want to bring down the exposure of that hat.
So trying to figure out how you can see this with me.
So let's just bring down the exposure that felt.
Yeah, that's way better because it's just too bright.
I think the tombstone is too bright, too, so I can select that here.
Click this little button, it'll map that and we can go to the exposure of that and just crank that
down.
And.
Yeah, I think that's what we wanted that's working.
Let's now find the Bifrost Arrow, which we can find in here.
Let's select the Bifrost Meche here and yeah, that's the one we need to to affect the the density basically
is what I'm looking at.
I think it needs to be a little more dense.
Yeah, because why didn't you catch this streak here?
Which is a little weird, looks like it's coming out of his, but.
Which.
Yeah, which is kind of frustrating because it's definitely not it's just.
That's just unfortunate, we could, you know, rehash this, but I think it's got another frame and
see if it'll really mess with that.
So this is good.
Oh gosh.
Yeah.
So what just happened is I had the spotlight here as my cameraman.
I was thinking I was moving around in.
I was thinking I was moving around with perspective cameras, let me get out of that, I'm going to
hold out Space Bar and then get back to my perspective cameras and I can move around.
I mean, check this out.
This is like a pretty cool image, really.
Yeah, like, how is that not cool?
I don't know, I really like this and.
So should we have, like, the fire, this should all look pretty darn cool, I think once we get the
banner images in here and let's get the grass going.
Let me just stop this and turn back on the grass, which is the second massive network we created here,
if I'm not mistaken.
So it should spaz out for a second wheel spinning wheel and then we should get a bunch of grass here.
Or not.
Save us and I'm just going to turn my on and off because I'm not sure why it's not a thing we should
have that mesh networks showing up one second.