Making Giants Part 3: The Scene

In Part 1 we came up with an idea and roughed it out. In Part 2 we edited an animatic and got more specific with our structure. Now, we have to get to the business of modeling, texturing, lighting, and you know… making this piece look nice.

This video deals with the creation of the desert environment in Cinema 4D. We’ll talk about color choice, layout, modeling, texturing, and lighting…plus we’ll hit on the role Compositing will end up playing in the end so you can get a sense of how all these pieces will fit together.

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP.

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    00:00:00,176(upbeat techno music)
    00:00:11,847- Well we've got a story and an animatic
    00:00:15,420It's like the skeleton of our short film
    00:00:18,109and now we have to start getting specific,
    00:00:21,135like what the heck is this thing going to look like?
    00:00:24,964So there's really three big pieces to the puzzle,
    00:00:28,101the plant slash vines thing,
    00:00:30,999the building,
    00:00:32,372and the environment,
    00:00:33,846the desert.
    00:00:35,284Let's start with the environment since we'll need that
    00:00:37,443anyway to get some lighting and reflections,
    00:00:39,763to you know,
    00:00:40,596kinda show up on our two main actors,
    00:00:42,558the plant and building.
    00:00:44,292So let's just do it,
    00:00:45,302let's hop in the Cinema 4D.
    00:00:48,683I've already made a copy of the first shot scene
    00:00:52,196and you know, here it is,
    00:00:53,804and one of the great things about working this way
    00:00:56,163is that we've already figured out where the cameras gonna be
    00:00:59,004and how far away all this stuff is from the camera
    00:01:01,766and so a lot of the decisions about how
    00:01:03,942much detail we need to add
    00:01:05,422and all that kind of stuff,
    00:01:07,232have already been made,
    00:01:08,565and that's really important because,
    00:01:10,004you know, for example if we were gonna
    00:01:11,718be flying over the tops of the mountains
    00:01:13,767and flying through them,
    00:01:14,712we'd need them to be a lot more detailed
    00:01:17,043and probably a lot more,
    00:01:18,574I guess specific and in terms of their shape.
    00:01:21,509Alright so let's start by dealing with the ground,
    00:01:25,535now you know,
    00:01:26,979I want that low poly look for the ground,
    00:01:29,748I want like, some lumps,
    00:01:30,791I want to feel faceted,
    00:01:32,245and I'm just gonna open up a new project here.
    00:01:34,121The basics of the low poly look, right?
    00:01:38,431Are you know,
    00:01:39,713you've got a shape,
    00:01:41,645which on the surface,
    00:01:44,162you can see all the little polygons, right?
    00:01:46,621You can see them all
    00:01:47,454and let me actually go ahead and just bring segments down.
    00:01:51,177When I render this it still looks perfect right,
    00:01:53,499and now with actually got a render perfect setting
    00:01:55,882on the sphere,
    00:01:56,715so let's turn that off.
    00:01:57,587But even with render perfect turned off,
    00:01:59,583it still looks smooth, right?
    00:02:00,642Well I mean you basically,
    00:02:02,256what you do is you delete this fong tag,
    00:02:03,943just kill it, right?
    00:02:05,123And now there's no more smoothing,
    00:02:07,492you get that nice little poly look,
    00:02:09,185you're done, right,
    00:02:10,018and the rest is just lighting,
    00:02:14,082you know, all the easy stuff.
    00:02:15,496So, what I'm a do is create,
    00:02:18,983I need to basely lump-ify this a little bit
    00:02:21,100and make it make it feel a little less even.
    00:02:23,885Now here's the problem,
    00:02:25,903here's the ground
    00:02:27,044and let me go in my isometric views here for second,
    00:02:30,288if we look at this ground,
    00:02:31,911it's enormous, right?
    00:02:33,235This scene is very big,
    00:02:36,109I have to zoom way in here.
    00:02:40,131If I want to look at the building for example, right,
    00:02:42,100the building is like way here
    00:02:45,003and it's like,
    00:02:45,836it's tiny compared to everything else.
    00:02:48,230You've got,
    00:02:49,092here's the building and then
    00:02:50,267(instructor makes buzzing noise)
    00:02:51,153gotta go way out,
    00:02:52,194and here's the mountains
    00:02:53,034and here's the ground.
    00:02:54,113So the problem is if I want this ground
    00:02:57,905to get a little lumpy,
    00:02:59,236and let's say I want to take
    00:03:00,844the way I would typically do that
    00:03:01,875is just take the displacer deformer,
    00:03:04,912let me go ahead and delete this fong tag that's on there.
    00:03:07,435And in the displacer deformer,
    00:03:10,117I'm gonna go to shading and just add some noise.
    00:03:13,401and what that's gonna do,
    00:03:15,187I'm gonna do this quite a bit,
    00:03:16,403I have a feeling,
    00:03:17,236is jump into a fresh Cinema project
    00:03:21,113so I can demonstrate stuff a little bit easier
    00:03:24,458before you go back to the big project.
    00:03:26,330What you're doing is,
    00:03:27,990you're putting the displacer on a plane, right?
    00:03:30,462This is what our floor's gonna be made out of
    00:03:32,058and we'll put some noise on there, and boom.
    00:03:34,023It's going to displace that plane
    00:03:37,743and if I turn off the fong tag,
    00:03:38,858you get this nice,
    00:03:41,031kinda low poly ground,
    00:03:42,531and you can then adjust the settings on the displacer,
    00:03:45,744and you can go into the shading tab,
    00:03:47,577and you can change the scale,
    00:03:49,202make it bigger,
    00:03:50,870I can make it a lot bigger.
    00:03:52,733So you can get kind of more,
    00:03:54,362like a little bit more of a uniform kind of,
    00:03:58,302not every polygons facing a different direction.
    00:04:01,438So the problem is,
    00:04:04,884this plane is very small so it's easy
    00:04:06,532to see what's going on here.
    00:04:08,278This plane is freaking huge.
    00:04:12,492So if I turn the displacer on,
    00:04:14,921even if I crank it,
    00:04:16,936it's like everything is too big, right?
    00:04:19,494There's just not enough detail to it
    00:04:21,453and I would have to crank this setting up
    00:04:25,190probably as high as it will go,
    00:04:26,837it won't even go above 1000 .
    00:04:28,515So if I go 1000 by 1000,
    00:04:31,338I'm still not getting the detail I want
    00:04:33,800and now this scene is gonna start to chug, right?
    00:04:38,668So this isn't working, okay?
    00:04:41,212Having this giant ground that covers everything
    00:04:44,552just isn't the right approach.
    00:04:45,970So what I'm gonna have to do
    00:04:48,441is kind of on a shot by shot basis,
    00:04:50,491figure out how big this ground needs to be.
    00:04:52,319So let me just turn the displacer off for a second
    00:04:55,359and let's take the ground here,
    00:04:56,819and what I'm gonna do,
    00:04:57,682let's go to the ending here, okay?
    00:04:59,299And let's just scale this sucker down,
    00:05:01,605let me turn the width segments down to like 200
    00:05:04,087and the height to 200, okay?
    00:05:05,165So we're not killing Cinema 4D here.
    00:05:08,228So look,
    00:05:09,061like on this last shot,
    00:05:10,819this little sliver is all I need.
    00:05:13,663Like to cover all of the ground that's in the frame.
    00:05:16,793All I need is that.
    00:05:18,075Now at the beginning here,
    00:05:20,263probably need a little bit more, right?
    00:05:22,898But even then,
    00:05:24,929because I've got such a wide angle here,
    00:05:27,401I mean that floor goes almost all the way to the horizon,
    00:05:29,688so I can make it a little bit longer
    00:05:31,943just to kinda be safe but
    00:05:33,580you know, we make this view bigger,
    00:05:35,509you can see it even just that seemingly little floor
    00:05:39,772that we just created,
    00:05:40,746that will actually cover the frame.
    00:05:43,595Let me just do a quick render
    00:05:44,580and make sure that there's not like a gap between the floor,
    00:05:48,436and it's not rendering because
    00:05:50,017I'm still in the software render mode,
    00:05:51,666let me go to standard here.
    00:05:53,061And actually what I want to do,
    00:05:54,269let me switch this to hardware,
    00:05:56,184because that's what we ended up using
    00:05:58,416for this play blast setting.
    00:05:59,527We changed it after we did the first shot
    00:06:01,342and we changed so we can see the shadows on it.
    00:06:04,095I'm gonna make a new setting,
    00:06:05,733or actually I'm just gonna rename this one
    00:06:06,928and we're just gonna call this,
    00:06:09,190let's say basic crappy render, okay?
    00:06:13,994And for basic crappy,
    00:06:15,625I'm just gonna have the standard renderer,
    00:06:17,765anti LE sync sets of geometry,
    00:06:19,178just so I can do some quick little renders, okay.
    00:06:20,784So now you're seeing there is a gap there,
    00:06:22,735Alright so I either need to make the ground longer
    00:06:27,576so it reaches closer to the horizon,
    00:06:29,820or I can just cheat,
    00:06:31,236I can just take the mountains
    00:06:32,580and just nudge them down a tiny bit,
    00:06:35,454you know,
    00:06:36,287and right about there it looks like
    00:06:37,951they should intersect with the horizon.
    00:06:41,111Visually it looks fine
    00:06:42,008and that's really all we need.
    00:06:43,620So now that I've got the ground laid out,
    00:06:46,607and I have my display set to gu-rod shading lines,
    00:06:50,014and I think what I'm gonna do is,
    00:06:51,951I'm gonna go to my filter
    00:06:53,712and I wanna turn off the grid
    00:06:55,046so that I'm not getting confused by the world grid,
    00:06:57,428I can just look at the floor, right?
    00:06:59,834There we go.
    00:07:01,155So we now have enough floor to cover up our whole scene
    00:07:05,179and I can then just go ahead
    00:07:07,538and up these segments to get more resolution.
    00:07:10,375So strive 400, 400, alright,
    00:07:13,235and I think I need to up the width a little bit more
    00:07:17,112so they're roughly square shaped.
    00:07:20,741And now I can turn the displacer on
    00:07:22,335and I've got that thing cranked,
    00:07:23,850so let's turn that down pretty low.
    00:07:27,986Let's try like five,
    00:07:31,770no not 165,
    00:07:32,835five, there we go.
    00:07:33,668Alright, and let's just a quick render.
    00:07:36,527So you can see,
    00:07:37,608you're getting like some nice variation
    00:07:39,677and we'll put a little texture on that
    00:07:40,939and make it a little nicer,
    00:07:42,369and then we get over here,
    00:07:44,528alright so now we've got a problem,
    00:07:45,921so that that displacer is actually gonna be hitting,
    00:07:50,973it's gonna be covering up the camera unfortunately,
    00:07:54,000so we can figure out,
    00:07:55,847there might be some setting,
    00:07:57,105like there, right?
    00:07:57,938Just by lowering it just
    00:07:59,312a little bit I was able to get rid of that.
    00:08:02,485I also could've moved the camera up a little bit,
    00:08:04,546it would've been the end of the world,
    00:08:05,738and it's really not gonna change the look of this too much.
    00:08:08,759If I wanted this to really have some variation, right,
    00:08:12,597like if I wanted this at like a six or seven,
    00:08:15,015then what I might have to do
    00:08:16,356is come over here and go to this ending camera
    00:08:20,407and I might just have to lift it up a little bit,
    00:08:24,489which again isn't the end of the world,
    00:08:25,882and then just pan down just a tiny bit, okay?
    00:08:30,075Now with the shot here,
    00:08:32,464now this is feeling a little bit lumpy.
    00:08:34,259So you know,
    00:08:35,092I'm gonna kinda just split the difference here,
    00:08:36,926let's take this down to like five.
    00:08:39,929There we go.
    00:08:41,006Alright so now get a little bit of variation here
    00:08:43,911and it does kinda give it like
    00:08:44,929a nice kind of landscape-y feel,
    00:08:47,022but then when we're flying over the top of it,
    00:08:50,727right, you still get some nice variation,
    00:08:53,233but it's not going crazy.
    00:08:54,988Alright now here,
    00:08:56,441we are going through the ground for a moment
    00:08:59,114so that's not gonna work.
    00:09:01,137Alright so I may have to actually
    00:09:02,766take this down a little bit,
    00:09:04,079we're doing a little balancing act here.
    00:09:06,284If I bring that back down to three,
    00:09:11,263I think that'll work, okay?
    00:09:14,261So now we don't intersect that ground anymore.
    00:09:17,409Alright, and we still have some nice variation
    00:09:19,409and we'll use a texture to get
    00:09:21,061even more variation out of it.
    00:09:22,768Alright, so there's that,
    00:09:24,361and now we need to do the mountains.
    00:09:26,130So I just use these pyramids
    00:09:28,490to kinda rough out the mountains,
    00:09:29,848and you know what I want is,
    00:09:31,735I want them to kinda be like craggily and gnarly,
    00:09:34,626and have some interesting kind of features to them,
    00:09:37,940and I want to be able to just
    00:09:38,893sculpt that in a really easy way.
    00:09:40,681So here's a pretty simple trick,
    00:09:43,208what you can do,
    00:09:44,579is you can take a sphere,
    00:09:46,856alright, and I wanna make sure I can see the polygons of it,
    00:09:49,553and I'm gonna change the type to icosahedron,
    00:09:54,613and there's other kind you can do too,
    00:09:56,297an octahedron might work better
    00:09:57,977but I think an icosahedron'll work,
    00:09:59,371and what it's gonna--
    00:10:00,487It's cool because it's gonna give it these triangles
    00:10:03,194which are gonna look a little less regular
    00:10:05,727than something like this,
    00:10:07,537which is important if you're doing something organic,
    00:10:09,669like a mountain.
    00:10:11,053Next thing I wanna do is make this sucker editable,
    00:10:15,514and then I'm gonna grab,
    00:10:17,496I'm gonna go to points mode,
    00:10:18,329I'm gonna come down here.
    00:10:19,543I wanna make sure that I don't have
    00:10:21,298only select visible elements on,
    00:10:24,699and I just want to delete the bottom half of this thing,
    00:10:28,660there we go.
    00:10:30,071And these little points here,
    00:10:32,002that's fine,
    00:10:32,835I'm not too concerned with that.
    00:10:34,089And then I want to run the optimize command on it
    00:10:37,258so that I can get rid of any extra points
    00:10:39,659that were lingering around,
    00:10:41,568and then I want to go into my axis center tool
    00:10:46,066and I want to push the axis down to whatever
    00:10:48,374the bottom is of this, right?
    00:10:50,558And it's pretty much right the middle,
    00:10:51,767so I didn't really need to do that,
    00:10:53,616but it's good habit to get into.
    00:10:55,262Now what I can do is
    00:10:57,290I can go into point mode or polygon mode,
    00:10:59,368it doesn't really matter,
    00:11:00,623and I'm gonna hit M to bring up my modeling tools,
    00:11:02,842and I'm gonna use the brush which is the C key, right?
    00:11:05,747If you didn't know about this,
    00:11:06,769this is a quick way to get your modeling tools,
    00:11:08,435hit M,
    00:11:09,336don't touch your mouse,
    00:11:10,283if you move your mouse it goes away,
    00:11:11,748and then hit whatever tool you want.
    00:11:13,505And I want the brush,
    00:11:15,303and I'm gonna turn the radius down a little bit,
    00:11:17,689and what this brush lets you do
    00:11:19,908is just push and pull stuff around, okay?
    00:11:22,971I'm gonna take the fong tag off the sky,
    00:11:25,314as you can imagine,
    00:11:26,147and now I've got this cool little mountain starting to form.
    00:11:29,660Now, you can also hold the,
    00:11:34,449you can kind of push and pull these things,
    00:11:36,669and if you hold the command key,
    00:11:39,283it'll actually do the opposite.
    00:11:40,426So this'll pull, right?
    00:11:42,508And if I hold command it'll actually do the opposite,
    00:11:45,467which on this tool doesn't really make a difference
    00:11:48,184but on some of the brush tools you can actually,
    00:11:52,138it's actually very handy to be able
    00:11:53,677to hold the command key
    00:11:54,948and do the opposite kind of operation on your model.
    00:11:59,614Alright so I'm just kinda basically roughin'
    00:12:01,707this thing out.
    00:12:02,540I wanna make sure I don't have a weird little holes in it,
    00:12:06,078so if something looks weird,
    00:12:07,343I'm just gonna tweak it.
    00:12:10,084Like this edge here is getting a little weird,
    00:12:11,989I wanna pull this guy out,
    00:12:13,549pulled this point out a little bit,
    00:12:16,261and I may end up subdividing this thing again
    00:12:19,018and getting a little bit more detail out of it,
    00:12:20,785but you know,
    00:12:21,633something like that for about 30 seconds of noodling,
    00:12:26,353it's kind of an interesting looking rock formation,
    00:12:28,155this looks weird,
    00:12:29,612I don't like this.
    00:12:30,445So what I'm gonna do,
    00:12:31,278I'm gonna manually,
    00:12:32,986I'm gonna grab my knife tool
    00:12:35,337and I'm just gonna connect those two points
    00:12:36,950and cutting-edge.
    00:12:37,894So I'm just giving myself an extra point there,
    00:12:41,654which will let me smooth this out.
    00:12:43,650And you can do this,
    00:12:45,936you can do this along the way,
    00:12:48,073like any point you want you want.
    00:12:48,906You can also open up edge cut
    00:12:51,640and if you go into edge mode,
    00:12:54,748and I just want this edge here,
    00:12:56,973if I wanted to cut that edge,
    00:12:58,735M and then F for edge cut,
    00:13:01,950and I can just click and drag,
    00:13:04,331and it will actually cut that edge
    00:13:06,170and since I clicked and dragged
    00:13:07,933it gave me two points,
    00:13:09,642when really all I wanted was one.
    00:13:12,435So let me just do M and F one more time
    00:13:16,827and click it,
    00:13:18,465and actually let me undo that
    00:13:19,701and sent this to one,
    00:13:20,966there we go,
    00:13:21,799one subdivision.
    00:13:22,632There we go, see?
    00:13:23,885There's so many settings, right?
    00:13:25,649And now I've got this extra point
    00:13:27,469that I can move around
    00:13:29,126and because I don't have a fong tag on there,
    00:13:33,426I shouldn't get any kind of weird,
    00:13:35,914I'm still getting a little weird shading there
    00:13:37,372but it's kind interesting,
    00:13:38,787it goes at the low poly thing.
    00:13:40,403But you can get a little extra control that way too.
    00:13:43,357You can actually break your geometry,
    00:13:45,129which is what I did,
    00:13:45,962that's why there's this weird piece here.
    00:13:48,057So let me undo that
    00:13:50,540and do this like a better way.
    00:13:53,053Modeling is not my strong suit,
    00:13:54,686which again is one of the reasons
    00:13:56,177I decided to do a low poly piece.
    00:13:59,568Let's see, let me just grab my,
    00:14:01,431let me just go like this.
    00:14:02,653I'm gonna select this polygon,
    00:14:05,476I'm using my knife tool,
    00:14:07,450and I'm just gonna cut right there,
    00:14:10,059and then I gonna cut right there,
    00:14:11,395there we go.
    00:14:12,228Alright, cut.
    00:14:14,652There we go,
    00:14:15,848so now I've actually done this the right way.
    00:14:17,157So now I can use my brush tool,
    00:14:20,093and I want to not select anything,
    00:14:22,696and then I can pull this up
    00:14:24,028and I can fix any little holes or weird things that happen,
    00:14:27,036that's kind how you can fix it,
    00:14:28,231you need to add an extra intersection, right?
    00:14:31,299Alright so let's say we're happy with this,
    00:14:33,730we think this is cool,
    00:14:34,713and I'm not actually happy with it
    00:14:36,376but I think it's gonna be a good enough start.
    00:14:39,199I'm gonna rename this mountain,
    00:14:43,607so I'm gonna copy it,
    00:14:45,250hop back into scene one
    00:14:47,241and pasted in there,
    00:14:48,861and then I'm just gonna parent it
    00:14:50,462under one of these pyramids.
    00:14:52,774and what I want to do is ,
    00:14:55,764go in now since it's parented
    00:14:57,982and just zero out the position,
    00:14:59,744set all the scales to one
    00:15:01,380and all the rotations to zero.
    00:15:03,384Alright so now it's in about the same,
    00:15:05,001it's in exactly the same spot as this pyramid,
    00:15:07,213and then I just need to scale it way up,
    00:15:10,083because that pyramid is huge,
    00:15:11,052and you can see here it's getting bigger and bigger,
    00:15:13,009and bigger, and bigger,
    00:15:13,842and there we go, okay.
    00:15:16,508And so now that it's about the same size visually,
    00:15:21,364I can rotate this thing,
    00:15:23,988right this thing is pretty long,
    00:15:26,087and so I could actually scale it back a little bit
    00:15:28,451and try and get it a little bit closer in size
    00:15:31,272to that pyramid that was there.
    00:15:33,451I'm actually transforming the pyramid and not the mountain,
    00:15:37,134I want to transform the mountain,
    00:15:38,449there we go.
    00:15:39,534Alright and I'm basically just trying to match roughly
    00:15:43,248what's going on with the pyramid, right?
    00:15:46,578And now I've got this thing rotated kind of funny
    00:15:48,795so let me fix that too,
    00:15:50,639let me un-parent it from the pyramid for a second
    00:15:53,057and then I can just,
    00:15:55,428I can just un-rotate it like this,
    00:15:58,219so now it'll be oriented correctly again,
    00:16:00,999and let me turn off pyramid two now.
    00:16:05,976Alright and so here's my mountain now, okay?
    00:16:07,803And it's pretty much in the same spot
    00:16:09,252as the initial pyramid was
    00:16:11,912and let me turn off the plant too,
    00:16:13,586so it's not in the way,
    00:16:14,982and what's cool is that now I can actually,
    00:16:17,372like while I'm here,
    00:16:18,558grab my brush tool
    00:16:19,825and if for example I'm gonna have
    00:16:21,302to turn the radius way up now
    00:16:23,159'cause it's a much bigger mountain.
    00:16:25,695But if I wanted to,
    00:16:27,332I could grab these points
    00:16:31,297and change them even from really far away.
    00:16:34,378So if I want this thing to be pointed a little bit more
    00:16:38,437deliberately at that, you know,
    00:16:40,490at the top of this building here
    00:16:42,741and then I want like a little bit more of a crease here,
    00:16:46,702and then I want this to actually
    00:16:48,059come out a little bit further, like this.
    00:16:50,382It's really easy to do that
    00:16:52,019and see it in context, right?
    00:16:54,694And if we just do a quick render,
    00:16:55,847there you go,
    00:16:56,680nice low poly mountain.
    00:16:57,784Now there's not a ton of detail to that mountain,
    00:16:59,667I actually,
    00:17:00,500I think I'd like more,
    00:17:01,680so I'm just gonna select it
    00:17:03,886and I'm gonna go to mesh,
    00:17:05,565and I'm going to use a subdivide command,
    00:17:07,810and it would literally just add more geometry to it.
    00:17:11,260I want to have a little more randomness to this too,
    00:17:14,856so I gonna add a displacer to this mountain,
    00:17:18,884and we'll turn the shading to noise,
    00:17:22,664and we will set the height...
    00:17:26,105There we go,
    00:17:26,938you've gotta crank it 'cause this is a gigantic
    00:17:30,227you know, mountain now,
    00:17:31,147it's enormous piece of geometry,
    00:17:32,839it's very far away which is why, you know,
    00:17:36,254it looks small on screen obviously,
    00:17:38,619so the height for the displacer is huge,
    00:17:40,474but now that I added that,
    00:17:41,711now I've got all this little faceting,
    00:17:43,979looks really nice,
    00:17:46,014and even with that displacer on there I can,
    00:17:49,474let me turn this thing way up,
    00:17:51,854here we go,
    00:17:52,857I can still go in and add a little bit more variation
    00:17:56,343to this if I want to, right?
    00:17:57,801And kind of really shape this,
    00:17:59,554shape this mountain exactly the way I want.
    00:18:02,694Alright and I'm digging that,
    00:18:04,662I'm digging that!
    00:18:08,382I got two more mountains,
    00:18:09,409so I'm just gonna copy this one,
    00:18:11,448parent it under here, right?
    00:18:13,742Zero out the coordinates so it's in the same spot,
    00:18:17,064and then I'm gonna un-parent it,
    00:18:19,904I'm gonna move it down
    00:18:21,639and I'm gonna rotate this one on the heading,
    00:18:24,636so it's facing a totally different direction,
    00:18:27,774and you know I'm gonna come in here
    00:18:29,642and I'm gonna cheat it back a little bit further,
    00:18:32,216so there's gonna be a little bit more parallax to it
    00:18:35,776in the end.
    00:18:37,835I kinda want to feel like
    00:18:38,668it's behind this mountain a little bit,
    00:18:41,595so I'm just gonna push it back here
    00:18:44,114and just trying to line up visually with this pyramid,
    00:18:46,615which I can now turn off, right?
    00:18:49,283Okay, cool,
    00:18:50,185so now this one is feeling a little bit pointy to me,
    00:18:55,387so let me turn the displacer off
    00:18:56,841and see if that's doing it,
    00:18:57,708no, that's not the problem.
    00:18:58,541The problem is that I need to,
    00:19:00,267I can play around with spinning it
    00:19:02,664to see if like,
    00:19:03,497a different angle's gonna work better, right?
    00:19:07,694And I like, I don't know,
    00:19:08,527that's kind of a neat angle,
    00:19:09,709but it's still very pointy
    00:19:10,994so I'm gonna need to just do a little bit of modeling here.
    00:19:14,429So let me go into point mode
    00:19:16,030and I've got my brush,
    00:19:16,863and I'm just gonna pull this one
    00:19:18,699kind of along the edges, like this.
    00:19:21,164And I don't want it to be like a pyramid,
    00:19:23,759I really don't want to look that way.
    00:19:25,089I want it to look like you know,
    00:19:27,561kind of like a mountain range,
    00:19:29,195kind of irregular with some interesting
    00:19:31,783like nooks and crannies and stuff
    00:19:33,671and like maybe the top of this mountain is more flat,
    00:19:37,093kinda like this,
    00:19:38,905so let's just do a quick render
    00:19:40,284and see what this is looking like, okay?
    00:19:42,547Alright we're seeing some weird stuff
    00:19:44,304off in the distance there,
    00:19:45,206so let me actually go and take a peek
    00:19:49,424close-up of this thing,
    00:19:50,395I need to flatten this a little bit, right?
    00:19:54,022Grab this, here we go.
    00:19:56,230So I actually just,
    00:19:57,108I went out into my editor camera so I could come in
    00:19:59,902and see the good thing is,
    00:20:01,271these are so far away from the camera
    00:20:03,375that you know,
    00:20:05,352as long as they look right,
    00:20:07,057that's all that matters,
    00:20:07,890we're not gonna ever get close enough
    00:20:09,334where you're gonna see
    00:20:11,179like a lot of the issues that
    00:20:13,244we're creating by modeling it this way.
    00:20:14,827This is gonna work just fine.
    00:20:17,299Alright, so I flatten the top of that one
    00:20:20,107and I've gotten a nice you know,
    00:20:21,847there's like a lot of nice
    00:20:22,682little nooks and crannies on that.
    00:20:24,442Let me move this mouse out of the way, there we go.
    00:20:26,524Alright and it's getting a little wonky in there,
    00:20:28,823so I'm gonna try to stretch that out a little bit more,
    00:20:31,781kinda push things down.
    00:20:35,092And I may need to pop back to that editor
    00:20:36,987and just come over here make sure there's nothing
    00:20:38,611like a really bad happening,
    00:20:40,621like really, truly awful.
    00:20:42,636And I could maybe even like blend
    00:20:44,384in this part a little here.
    00:20:45,636Where these two things are intersecting,
    00:20:47,358it's gonna look all funky in the editor
    00:20:48,982but when you render it,
    00:20:50,308because there's no fong tag,
    00:20:52,015it's just gonna look like one piece of geometry,
    00:20:53,935see that?
    00:20:56,214There we go, cool,
    00:20:57,729alright so let's hop back to our camera,
    00:21:00,830and then we've just got this one more mountain over here.
    00:21:03,742So let me go ahead
    00:21:05,082and these are our,
    00:21:06,589these are our pyramids are off,
    00:21:08,031I can just,
    00:21:08,864let me actually start cleaning this up.
    00:21:10,766I'm gonna group these and call these off,
    00:21:13,171and then, I'm gonna copy this mountain
    00:21:16,145under this pyramid
    00:21:17,636and I'm gonna zero out the position.
    00:21:22,797Now this mountain is actually closer,
    00:21:26,456and since it's closer,
    00:21:27,693if I want it visually to maintain the same scale,
    00:21:31,567I'm gonna have to shrink it.
    00:21:33,158So let me just grab my scale tool,
    00:21:35,160scale it down like this until visually
    00:21:37,433it's about the same size.
    00:21:39,517You know I could also push it back a little bit
    00:21:41,757but I think that's a pretty good spot for it.
    00:21:44,350Alright, remove it, turn this pyramid off,
    00:21:48,473stick it in the off group,
    00:21:50,951alright and then we can just sculpt this thing, right?
    00:21:52,726So this,
    00:21:53,597I'm gonna start by just rotating it
    00:21:55,096just to try and find like an interesting angle.
    00:21:56,874That's kinda cool,
    00:21:57,707and then I'm gonna lower it so it's in the ground.
    00:22:00,400There we go,
    00:22:01,650and then I'm gonna grab my handy dandy brush tool
    00:22:04,066and I'm just gonna come in here,
    00:22:05,433and I want this to like,
    00:22:09,088essentially these mountains are there
    00:22:12,290to point your eye up in this direction,
    00:22:14,376so that's my main concern
    00:22:15,888is just making sure that they're doing that,
    00:22:18,021that the contour of that mountain...
    00:22:22,377Let me zoom out and come over to this one.
    00:22:24,554I want the contour of this mountain to really
    00:22:29,569just be pointing up in this direction.
    00:22:31,548So I'm seeing some like weird stuff over here
    00:22:34,986and I'm gonna,
    00:22:36,201let me actually,
    00:22:39,727let me kinda look at the building for a minute.
    00:22:42,381So I can come down here with my editor camera
    00:22:46,438and kinda get an idea of what's going on here.
    00:22:48,331I think maybe what I need to do,
    00:22:50,942basically here's the issue I'm having.
    00:22:52,632I'm trying to manipulate this side of the mountain
    00:22:56,509but I can't actually see it,
    00:22:57,833so what I could just do is just temporarily
    00:23:00,941scale this thing down on X,
    00:23:02,661so I can see it, right?
    00:23:03,981And then I can like play with the stuff,
    00:23:06,290and push it.
    00:23:07,123And I kinda like having a little bit
    00:23:08,386of a gradual kinda fall off,
    00:23:10,236and then scale it back up,
    00:23:12,683now it's out of the frame again
    00:23:14,396and this needs to have a little more variation to it
    00:23:17,710and I want this to really kinda be pointing,
    00:23:19,901and almost arching inward like that,
    00:23:22,622and then let's take a look,
    00:23:23,941let's just do a quick render.
    00:23:25,962Alright so we've now added a whole bunch
    00:23:27,821of visual detail to this,
    00:23:29,077it looks really nice.
    00:23:30,896So now let's start adding some textures and colors
    00:23:33,373and sort of figure out how
    00:23:34,549this thing's actually going to look.
    00:23:36,756So what I need to do is first pick some colors.
    00:23:40,216So I want to bring in one of those cool reference images
    00:23:43,002I found on Pinterest.
    00:23:44,179So I'm just gonna go,
    00:23:45,934I had it right here,
    00:23:46,767look at that,
    00:23:47,600it's almost like I knew I was gonna need it,
    00:23:49,399and I'm gonna bring it down
    00:23:50,672and just drag it right onto Cinema 4D
    00:23:52,605so it's now in a picture view.
    00:23:53,438And I can bring it over here.
    00:23:56,761Alright so now I remember seeing this and thinking,
    00:23:59,397these are colors I would not have thought of to use,
    00:24:02,874they're cool!
    00:24:03,707They're really beautiful,
    00:24:05,479and so it might be cool to pull
    00:24:08,239some kind of this reddish, purple color,
    00:24:09,967something like that.
    00:24:10,800So I'm gonna make an new material
    00:24:12,702and you know,
    00:24:13,535one of the things that has annoyed me
    00:24:15,820is the way that this new Mac color picker
    00:24:19,455doesn't really work in Cinema the way I wish it would.
    00:24:23,829So what I'm gonna do is just kinda eyeball this.
    00:24:26,189So I need a reddish color, right,
    00:24:29,082with a little blue to it.
    00:24:30,562So that's gonna be this side of the color wheel
    00:24:33,179and you know for the color,
    00:24:35,252I want it to be fairly saturated,
    00:24:37,808I'm not gonna look too much at like the specularity
    00:24:40,821you're seeing on this photo in the shadows,
    00:24:42,432stuff like that.
    00:24:43,289I'm looking for kind of the base color,
    00:24:45,192I think it might be even a little more blue than that, okay.
    00:24:47,866So this is now our color and I'm just gonna drag this
    00:24:50,429onto the mountains and onto the ground,
    00:24:53,438then I want the sky.
    00:24:55,501So let me rename this,
    00:24:56,334and let's rename this, ground.
    00:24:58,002And I'm gonna want a sky.
    00:24:59,806So let's add a sky object,
    00:25:01,486just your standard sky
    00:25:03,089and let's make a sky texture.
    00:25:06,591And for this we're gonna keep it simple,
    00:25:08,254we're just gonna use a gradient.
    00:25:09,813So let's,
    00:25:11,499in the color channel,
    00:25:12,332add a gradient.
    00:25:13,394Pop in here,
    00:25:14,227this gradient needs to go vertically,
    00:25:15,437the way the sky is darker at the top
    00:25:17,416than it is at the bottom.
    00:25:19,044So let me pop that on there
    00:25:20,732and let's into the gradient.
    00:25:22,183And what I want, you know,
    00:25:24,326I like this color,
    00:25:25,244I like that blue color,
    00:25:26,464so I'm gonna try and get as close to that as I can.
    00:25:29,985You know,
    00:25:30,818so it's like somewhere in this blue zone,
    00:25:33,253somewhere in there,
    00:25:35,363maybe a little less green to it.
    00:25:38,158Yeah, there you go, right?
    00:25:39,060That's pretty close?
    00:25:40,831And that feels pretty dark,
    00:25:43,831so that could be the dark color.
    00:25:45,982Alright so the dark color's gonna be on one side
    00:25:48,733and the light colors gonna be on the other.
    00:25:51,816So let's now pick a light color, okay?
    00:25:56,982And one of the things that you've gotta realize
    00:25:58,765is the sky is actually a giant circle,
    00:26:01,601like a sphere,
    00:26:02,434it goes all the way around your scene.
    00:26:03,927So this horizon line here is actually
    00:26:05,576right in the middle of this gradient.
    00:26:09,011Alright, so I need it to start in the middle
    00:26:11,020and now you can see it kind of fades up into this nice,
    00:26:13,634dark color.
    00:26:15,212And look at that!
    00:26:16,045This is actually; looking pretty nice, okay?
    00:26:19,517Now there's a ton of specularity happening here,
    00:26:23,881that's why you're getting all these white,
    00:26:26,261blown out,
    00:26:27,094glowy looking things.
    00:26:28,441And so we need to come with kind of a better texture
    00:26:32,221for the ground
    00:26:33,381and on top of that,
    00:26:34,608in order to really know what a texture's gonna look like,
    00:26:37,092I can close this now.
    00:26:38,449In order to know what a texture's gonna look like
    00:26:40,173you need lights,
    00:26:41,241you really do.
    00:26:42,176So let me get rid of this light,
    00:26:43,483'cause that was kind of our temporary light,
    00:26:45,096we don't need that anymore,
    00:26:45,929what we need now is a sunlight, okay?
    00:26:50,900And eventually I'm gonna want that sun
    00:26:52,950to be casting a shadow,
    00:26:54,190hopefully that we can see visibly here.
    00:26:56,392So what I'm gonna do is
    00:26:58,870I'm going to grab,
    00:27:00,353I've actually got a better idea.
    00:27:01,914Why don't I open up scene two,
    00:27:06,179which has the light.
    00:27:07,360Right, it has this light already on it,
    00:27:09,068so let me just copy that light,
    00:27:12,093I don't need this anymore,
    00:27:13,242I'm gonna paste it in here.
    00:27:14,846I need to reset this target tag,
    00:27:16,283the target tag is gonna lose
    00:27:17,217its target object when I copy and paste it,
    00:27:19,417so I'll set it to the building again
    00:27:22,603and there's key frames on it which I don't need.
    00:27:24,548So I can get rid of those light key frames for now,
    00:27:28,928and I'm gonna want that to be
    00:27:31,722probably a little higher in the sky,
    00:27:35,146and it's casting shadows.
    00:27:36,623And just out of curiosity,
    00:27:37,949let's see what that looks like, okay.
    00:27:39,591So that's cool,
    00:27:40,424it's like making these nice
    00:27:42,680silhouettes of the mountain ranges,
    00:27:44,345it's really kinda nice.
    00:27:45,714It's way too dark obviously so don't worry about that,
    00:27:48,159we'll deal with that in a moment,
    00:27:50,792but I wanna see the shadow
    00:27:53,606and I'm not seeing it,
    00:27:54,808and I'm not quite sure that
    00:27:57,426were gonna be able to accurately see it,
    00:27:59,971so what I'm gonna do is,
    00:28:01,336I'm gonna get out of this camera for a minute
    00:28:04,897and I'm gonna come up here over the top.
    00:28:08,588Alright, so here's where the camera is down by the plants,
    00:28:11,241I wanna look here.
    00:28:12,701And I want to see,
    00:28:13,879I don't think we're really going to be able to,
    00:28:17,867to see this very well,
    00:28:18,738but let's try it.
    00:28:19,571What I wanna do is turn on shadows in my options,
    00:28:22,239you can kinda see it.
    00:28:24,049If you remember the issue we had
    00:28:26,596was that when you have a ton of geometry in the scene,
    00:28:29,078you don't get a very good look at your shadows, right?
    00:28:33,581And the issue is,
    00:28:35,587let me just do a quick render,
    00:28:36,843the issue is that,
    00:28:37,676remember in shot two,
    00:28:38,658we actually had to cheat where the plant was
    00:28:40,924to make the shot look prettier.
    00:28:42,577The plant's over here in this shot,
    00:28:44,753but in shot two it's actually over here.
    00:28:46,877So I need to shift where the sun is.
    00:28:49,651And so, you know,
    00:28:50,484one way I could do it is just kind of,
    00:28:53,093actually I just came up with a better way.
    00:28:55,736This is the beauty of doing this type of quote tutorial,
    00:29:00,178it's a little less planned,
    00:29:01,877and you get a little bit more of a realistic idea
    00:29:04,117of how these things tend to work in the real world.
    00:29:06,400What I wanna do,
    00:29:07,328so the plant is turned off,
    00:29:10,554let me turn it back on,
    00:29:11,387and I'm gonna crank that mo-fo up,
    00:29:13,521just so I can see where it is,
    00:29:15,344and then what I'm gonna do
    00:29:16,735is open up the interactive render region
    00:29:20,328and move it over there, okay?
    00:29:24,696I could pretty quickly move this light
    00:29:30,204so that I'm casting the shadow
    00:29:32,560pretty much pointed at that thing.
    00:29:34,714Alright, and then I can come down too the main camera
    00:29:38,752and I can see what that's gonna look like.
    00:29:43,936So that is casting a nice shadow
    00:29:48,915right on that scene.
    00:29:50,630And now I can scale that place back down
    00:29:53,107to the size that it kinda was,
    00:29:54,248it was kinda there, right?
    00:29:55,796And you can see the shadow.
    00:29:58,613Now I wanna now take that shadow
    00:30:00,861and cheat it over a little more even, right?
    00:30:05,920I'm moving it the wrong way,
    00:30:07,051I want it to move back the other way
    00:30:09,619so it looks longer,
    00:30:11,320there you go.
    00:30:12,153And then as the sun gets lower in the sky,
    00:30:15,262that shadow's gonna creep forward
    00:30:16,650and actually gonna end up,
    00:30:18,537let me turn of interactive render region now
    00:30:20,770it's gonna end up actually coming
    00:30:22,378all the way across and hitting that plant,
    00:30:24,784which is awesome, okay?
    00:30:25,947And the density of that shadow is pretty low right now
    00:30:28,366so I'm gonna up that,
    00:30:29,655'cause that'll give me a better idea
    00:30:31,068of how it's gonna look.
    00:30:32,280That's pretty cool.
    00:30:33,391I know were gonna need some kind of a fill light
    00:30:35,154or a back light to make that plant more visible eventually,
    00:30:37,450we're not going to worry about that yet.
    00:30:39,273Alright, so let's turn the plant back off.
    00:30:41,898how do we deal with how dark everything else is?
    00:30:45,886in the real world,
    00:30:47,587even if there was only one light source,
    00:30:49,248the sun,
    00:30:50,081in this scene,
    00:30:51,090light is bouncing off of every single
    00:30:53,114object in the scene, okay,
    00:30:55,038so that
    00:30:56,065in 3D terms is called global illumination, okay?
    00:31:01,928That means global,
    00:31:03,127the light bounces off of everything
    00:31:05,984and that's gonna make our render times much higher
    00:31:08,386but you're instantly going to see more detail.
    00:31:11,818What's awesome too,
    00:31:12,985is we're actually getting some bounce from the sky.
    00:31:16,744The sky is blue,
    00:31:18,106it's giving these shadows this beautiful purple,
    00:31:20,805blue-ish tint, okay?
    00:31:22,937Which I love,
    00:31:23,770which I really like.
    00:31:25,494Now it is getting a little bit flat
    00:31:27,678over here for my taste,
    00:31:30,637and so what I probably need to do
    00:31:32,607is actually put kind of a fill light over here.
    00:31:36,255So I'm just gonna put just a normal point light,
    00:31:39,820I'm gonna call this light a fill,
    00:31:42,079and I'm going to move it
    00:31:45,593so that it is basically kinda up in the air,
    00:31:49,590off to the side of these mountains,
    00:31:51,608and then I can just dial it back quite a bit.
    00:31:54,695Let's make it just 20% or something,
    00:31:56,902and when we render with global illumination,
    00:31:59,248that light is going to add
    00:32:01,000a little bit more variation to these mountains, okay?
    00:32:04,456A good way we could check this
    00:32:06,182is to just make sure that we're
    00:32:07,447not rendering every single frame,
    00:32:08,725we're just rendering the current frame
    00:32:10,928and for my basic crappy render,
    00:32:13,396I'm actually gonna lock the ratio
    00:32:14,587and set this down to half HD.
    00:32:16,821So it'll render really quickly, okay?
    00:32:18,612So here is that render with that fill light
    00:32:23,783and then if I turn it off
    00:32:26,242and do another render,
    00:32:27,132we can compare,
    00:32:28,497and we can all learn something today, right?
    00:32:30,911And it might be a subtle little difference but,
    00:32:32,753you know, yeah.
    00:32:34,754So here's without,
    00:32:35,652and here's with,,
    00:32:36,525and you can really tell right there.
    00:32:38,012Having it,
    00:32:38,845it just brings a little bit of
    00:32:40,038that detail back to these mountains,
    00:32:42,001which is cool.
    00:32:43,032Now they should be dark 'cause the suns back here,
    00:32:44,972it should be a silhouette, okay?
    00:32:47,462So the way the environment is looking,
    00:32:49,252and you have to imagine that
    00:32:50,322there's some nice compositing
    00:32:52,701and these mountains are far away so they're kinda hazy,
    00:32:55,771it's gonna look a lot better.
    00:32:57,350Another thing I wanna do
    00:32:59,003and I wanna look at this now
    00:33:00,421is I want to add a little grit to this.
    00:33:02,864I don't just want a flat color,
    00:33:05,506I want a little bit of you know,
    00:33:07,325I want it to feel a little dirty.
    00:33:08,766So what I'm gonna do is start by just adding a bump channel
    00:33:13,468and I'm gonna add noise to it.
    00:33:14,936And I'm gonna go into the noise
    00:33:15,769and I'm gonna change the default noise type
    00:33:18,459to something like this,
    00:33:20,868Pacso is kind of a dirty,
    00:33:22,465noisy feeling texture
    00:33:25,323and so then if I just hit render,
    00:33:31,149alright and with global illumination
    00:33:32,758our renders are going to take a little bit longer.
    00:33:34,598So I'm actually start doing renders here.
    00:33:36,274This will make it a little bit easier
    00:33:37,698to compare and contrast too.
    00:33:40,412Another thing we should do is actually turn
    00:33:43,521our global illumination settings
    00:33:44,986to where the cache is auto load,
    00:33:47,762and that will make our global illumination renders
    00:33:51,183happen a lot faster, okay?
    00:33:54,235So look here,
    00:33:55,068this looks terrible, right?
    00:33:56,505It just,
    00:33:57,750basically what's happening is,
    00:33:59,268our noise is set to texture space
    00:34:02,633and the texture space is basically
    00:34:05,172texture mapped around the entire object.
    00:34:06,934So that noise is mapped around these mountains
    00:34:09,799which are relatively small compared to the ground,
    00:34:13,429which is huge, right?
    00:34:14,262In the frame.
    00:34:15,095So what I want to do is instead of texture space,
    00:34:18,016I'm just gonna do world space
    00:34:19,247and I gonna turn the global scale
    00:34:20,170down to like 25%.
    00:34:22,897And I wanna get a lot more fine detail here,
    00:34:25,540even that's not even close.
    00:34:27,357This maybe needs to be like 5%
    00:34:29,538I want tiny little details here, right,
    00:34:32,096like that.
    00:34:32,988That's what I want,
    00:34:33,821just fine little details.
    00:34:35,301And you won't really make them out
    00:34:36,672too much on the mountains but that's okay.
    00:34:39,371And so right now,
    00:34:40,439what this bump is doing,
    00:34:41,964it's just simulating some bump here.
    00:34:43,783It's kinda pretending that
    00:34:45,512there's little grooves and stuff in the sand
    00:34:48,215and it's just breaking it up a little bit.
    00:34:50,089What I like to do,
    00:34:50,922once I have a bump I like,
    00:34:52,103is copy that channel,
    00:34:54,482put that same channel in the diffusion channel.
    00:34:57,677And what diffusion does
    00:34:58,730is it makes things less shiny or less reflective.
    00:35:02,871So what I can do is I can
    00:35:03,704just paste that channel like so,
    00:35:07,487and by default,
    00:35:08,320it hits it pretty hard.
    00:35:09,637So I'm gonna turn the mix strength down to zero
    00:35:11,472and then just kind of walk it up,
    00:35:13,587looking at this, right?
    00:35:14,970So around like 30% it's darkening it quite a bit
    00:35:19,028and I also want to make sure that
    00:35:20,422once I turn reflectivity on,
    00:35:22,354reflectance on,
    00:35:23,760that I affect reflection.
    00:35:25,161But look at that,
    00:35:26,465so this is interesting 'cause you've got a low poly scene
    00:35:30,391with some nice texture to it,
    00:35:31,981it looks cool.
    00:35:33,318And with a little bit of depth of field,
    00:35:34,834just right at the front of the camera here,
    00:35:36,444I think this is gonna look pretty nice, okay?
    00:35:39,117So let's talk about the reflectance channel,
    00:35:42,192I want just a tiny bit of reflectance,
    00:35:45,180not a lot,
    00:35:46,013but just enough so that it feels like there's a little bit
    00:35:48,726of a polish to these rocks
    00:35:50,594and maybe it'll reflect the sky
    00:35:52,906a little bit more interestingly.
    00:35:54,870So I'm gonna add,
    00:35:57,831kinda the default Beckmann layer
    00:35:59,943and that means now I can get rid of
    00:36:02,535this default specular
    00:36:03,902that I don't want
    00:36:04,735and let's rename this Beckmann.
    00:36:06,681And I want very little reflection,
    00:36:09,328like 10%
    00:36:11,023and specular,
    00:36:13,139I wanna bring that down as well,
    00:36:14,546I don't want a ton of specular.
    00:36:16,385And I wanna set the roughness up to like,
    00:36:19,351I don't know, let's try like 5%
    00:36:21,436and let's just do a quick render.
    00:36:23,313And what I'm hoping this gives me
    00:36:25,054is just,
    00:36:26,720that's a little too much reflection already,
    00:36:28,632but you can see how its reflecting the sky
    00:36:30,944and in the ground it is too.
    00:36:33,133So let's see if we turn the reflection down to like 2%
    00:36:37,304and then roughness up to like 10%
    00:36:39,625and let's see what that gives us.
    00:36:41,876So this process that I'm through right now,
    00:36:43,963I would consider look development.
    00:36:47,745And you know it can be kind of a long,
    00:36:50,808painful process,
    00:36:52,569but doing it this way with the picture viewer
    00:36:54,501is actually a good way to do it.
    00:36:55,791Now, we're getting all these little specular hits here.
    00:36:59,761You know, when samples kind of hitting the wrong spot.
    00:37:02,388So maybe what would work better,
    00:37:04,028is instead of using a Beckmann layer,
    00:37:06,289is to use one of these old Or-nay-or layers
    00:37:09,210and these Or-nay-or,
    00:37:11,703I don't know the technical details,
    00:37:13,115it kinda works better for like rougher or smoother things
    00:37:17,007and so what I can do is just call that Or-nay-or,
    00:37:20,905and set the roughness up to 10,
    00:37:23,694and now we'll do a render,
    00:37:24,967and hopefully that'll get rid of those terrible,
    00:37:27,211little spec highlights that we were getting down there.
    00:37:30,546Yep, that got rid of those.
    00:37:32,430And you know, because this acts a little differently
    00:37:35,343I may need to up the up the reflection brightness
    00:37:37,670on this shader, now
    00:37:38,981to actually be able to see
    00:37:40,386any kind of blue reflection happening.
    00:37:44,014There you go, see,
    00:37:44,858it just kind of catches a little bit more of the sky,
    00:37:47,441it's nice.
    00:37:48,274Like here's before,
    00:37:49,107here's after,
    00:37:50,004and you can see that having that reflection,
    00:37:52,423it just helps catch a little more detail here
    00:37:54,691and this is before we've even turned on ambient occlusion
    00:37:57,905which is going to help catch even more
    00:37:59,745detail in these shadows back here, okay?
    00:38:02,574Now, of course,
    00:38:03,685this is not always going to be what the shot looks like,
    00:38:06,131so let's take a look at it when we're here
    00:38:08,232and now looking at this you can see
    00:38:10,639there's another mountain over there
    00:38:12,320that we need to deal with.
    00:38:14,060That one's gonna be easier,
    00:38:15,021what I'm gonna do is just go ahead,
    00:38:18,002here is that mountain by the way,
    00:38:20,367I'm gonna take this mountain
    00:38:22,147and copy it,
    00:38:23,546and I'm just going to move that mountain over here
    00:38:28,346and I'm gonna rotate it
    00:38:29,935so it's kinda oriented the same way,
    00:38:33,189and then I can turn this pyramid off
    00:38:34,589and stick it in here, right?
    00:38:36,684And so now I've got another mountain over here
    00:38:39,375providing a nice little kind of balance, right?
    00:38:41,702And let's just do a quick render of this frame
    00:38:45,980and see what it looks like,
    00:38:46,813and what I'm hoping is through a combination
    00:38:49,129of some lighting and some nice texturing,
    00:38:52,029this shot will look good too
    00:38:53,553and we'll actually be able to see
    00:38:54,546some of that variation in the ground.
    00:39:00,631this looks pretty much like I'd hoped it would,
    00:39:02,915which is good.
    00:39:04,832and there's a lot of compositing that can happen here too
    00:39:07,671to make this even cooler,
    00:39:09,612but this is working, okay?
    00:39:12,574Like this,
    00:39:13,407this is a cool scene,
    00:39:14,748you composite this nicely,
    00:39:16,810you put a title over it,
    00:39:17,851'cause I'm kinda thinking maybe
    00:39:18,803the title's gonna go over this shot.
    00:39:20,909I love the way the colors are,
    00:39:22,612and that's even before we've composited anything, okay?
    00:39:25,878So now we've got a pretty good set up for the scenery,
    00:39:30,479you know one thing that I may want to do,
    00:39:34,931just thinking about it here,
    00:39:36,227is if you look at the density of these polygons
    00:39:39,881when were pulling back, right?
    00:39:41,819You kinda look at that,
    00:39:43,186and then look at the density when we're back here.
    00:39:46,872You know, when we get to this shot,
    00:39:49,231these polygons are so much bigger
    00:39:50,856because they're so much bigger to frame,
    00:39:52,610we're low to the ground,
    00:39:53,443we've got a wide angle lens,
    00:39:55,636I may want a little bit more visual detail to happen here.
    00:40:01,932You know what,
    00:40:02,916I was about to really over complicate it,
    00:40:04,909I won't,
    00:40:05,742but I'll tell you what I was gonna do,
    00:40:06,884just in case you're curious.
    00:40:08,357What I was gonna do was actually make this ground editable,
    00:40:13,589I'm gonna make a copy of it,
    00:40:14,696just to show you.
    00:40:15,529I'll turn this one off.
    00:40:16,362Make this editable so that now I could select,
    00:40:19,957make sure that only select visible elements,
    00:40:22,936and I could select these polygons
    00:40:24,988that are close to the camera like this,
    00:40:27,544and come up to mesh,
    00:40:29,409command subdivide.
    00:40:31,197Give them a little more geometry, right?
    00:40:34,314So now back here,
    00:40:35,877we've still got that same visual density
    00:40:38,212but as we get closer to where that camera's gonna land,
    00:40:41,172we've subdivided these,
    00:40:42,392and we subdivided too much
    00:40:44,678but it's gonna give it a little bit visual density there,
    00:40:49,157you know, which can just kind of add interest
    00:40:51,300and that's one of the things that's tricky
    00:40:54,140when you're making something
    00:40:55,100that's supposed to look really big.
    00:40:57,216Dang it!
    00:40:58,049I actually really like the way that looks,
    00:40:59,976oh man!
    00:41:01,333Well now I guess I'm gonna have to keep it.
    00:41:04,106I just wanna make sure that it also looks good
    00:41:06,655in this weird part here,
    00:41:09,227where were kind of starting to transition
    00:41:11,308from the non subdivided polygons into the subdivided,
    00:41:15,064is it gonna start to look really noticeably different.
    00:41:17,880It may not because the lighting is sorta flat at that point
    00:41:21,463and that texture that we placed over everything is gonna
    00:41:23,706help give it kind of a uniform scale,
    00:41:26,060so it might still be okay
    00:41:28,506but we'll know in a second.
    00:41:30,696I have a feeling that's not gonna bother me,
    00:41:33,623so if it does,
    00:41:35,420when we end up rendering out this shot for real,
    00:41:37,801we'll go ahead and fix that,
    00:41:38,661but I am pretty happy with the texture
    00:41:41,194and the lighting on this shot right now,
    00:41:43,507and I think we might be able to move onto the building.
    00:41:48,507Before we tackle the building,
    00:41:50,145I wanna tackle the stuff that you're not seeing yet.
    00:41:53,276The polish and finishing touches that will really
    00:41:55,991help sell this image when it's all done.
    00:41:58,746At this point,
    00:42:00,128I have a vague sense of where I want this to go visually
    00:42:02,660and it's not there yet.
    00:42:04,754But rather than spend hours, and hours
    00:42:07,805and hours trying to nail the look in 3D,
    00:42:11,018I know I can do a lot of that work
    00:42:13,496in the compositing stage which comes later.
    00:42:16,704For example,
    00:42:17,600this scene doesn't have much depth
    00:42:19,860because there's no distance fog,
    00:42:21,829and I could add distance fog to my 3D scene
    00:42:24,347but then I'm kinda locked in
    00:42:25,915to whatever I get in the render.
    00:42:27,675I also want more of a back light kinda look
    00:42:30,835on the building and the mountains
    00:42:33,274and a little more contrast in the ground.
    00:42:36,662I might want some subtle depth of field in the foreground,
    00:42:39,097not too much because this is a very wide angle lens
    00:42:42,314but just enough to help you draw your eye
    00:42:44,601back up to the building.
    00:42:46,637And these colors are gonna get pushed
    00:42:48,068and tweaked as well
    00:42:49,409and I'll probably add a vignette
    00:42:50,833and some lens distortion.
    00:42:53,105I'm showing you this because
    00:42:54,590one of the things that blew my mind
    00:42:56,823the first time I did something like this
    00:42:59,257was just how far the image gets pushed in the composite.
    00:43:03,646The raw 3D renders you work with
    00:43:05,531often look nothing like the final product,
    00:43:08,373and you have to get the hang of knowing
    00:43:10,237when to stop yourself from going too far in 3D
    00:43:13,713and instead saving some of that work
    00:43:15,765for the compositing stage where you can control stuff
    00:43:19,006a lot more easily and quickly.
    00:43:21,971So now,
    00:43:23,197in the next video,
    00:43:24,770I promise we are going to tackle the building.
    00:43:27,905(techno music)