Welcome back, everyone, to 3D modeling The Hobbit doll scene with Blender two point nine and Adobe
Photoshop.
So this is where we left off.
So now what I actually want to do is I need to create a wood that's actually going to go around there.
I would like to bring in some better light.
And just so we can have a really good visual direction, what we're going to do.
I think the first thing, though, that we need to do is we need to round off these little these edges
a little bit.
They're a little bit too hard edged at the moment.
And they don't look that realistic because generally this will be made out of something like led Hamade
in place and then have lots of kind of bumps and then things and there will be much more rounded.
So first of all, let's come up and put it on material and then what we're going to do is going to click
on them.
Press top a moment.
There is I'm actually going to grab one of them, so I'd select grab one of them.
And now you could go around trying to grab all these, but that would be it'll take a long time, very
time consuming.
So we don't want to do anything that makes the job easier.
That's why I want to do so much to select and come down, which says Select sharp edges and you'll notice
it grabs all those sharp edges us.
And that's exactly what we want.
Now, I'm just looking here and just making sure so I can see they've got sharp edges round here, here
and here.
And what I'm wondering is if I actually want to take these off, for instance, do I want these edges
actually beveled as well?
I'm not sure yet.
So let's just bevell them up a little bit and see if it looks like.
So I'm going to do is I want to press control.
B, I'm going to drag it out very, very slowly.
Now, if you want to drag it out really slowly, hold the chiffon down and drag it out.
And you'll see then that it's really, really controlled if you do that.
So I'm going to drag it out just a little bit on the left, drop that in place, and then let's have
a look what actually looks like.
And you can see.
If we go all the way around that, that looks much, much nicer, way nicer than we did before, they
find a place up there.
Now you can see that look really, really smooth.
And that's exactly what we're looking for.
All right.
So the next thing I think on our list is to go back to Modlin and let's bring in the eye, which basically
is a image which we use as our actual environment.
And what it does is HDR right.
Especially actually created to bring in the lighting with it.
So it could be a mountain scene with a song, an actual song, and all the glint of the mountain and
things like that will actually come into your scene.
So I'll show you exactly what I mean.
If I put this back on TV or computer cycles, put it on our TV shader, let's pressel to bring everything
back.
If it doesn't come back to questionmark, then we go everything back.
I want to keep my cube there just so I can have a good visualization.
What this looks like and the moment they bring him HDR right is come over to this little will the icon
click on that and you can see it comes in as well.
And this basically is the background of the moment.
As you can see, it's gray, it's boring.
We want something better.
So let's come over where he says color click on this little yellow icon here.
Come over to environment texta, click on and it will go paint like that.
That's because there's no actual texture environment here at the moment.
Now let's come over to open.
Let it OK.
Now, within your downloads, you will have one that says actual textures.
And when a double click this, you'll see I've only got two in there at the moment.
But you'll see as the course goes on, this will be more populated.
So so that when you come to actually employ your textures, they'll all be in here.
So don't worry about that.
So here we are, Hajari map, and you'll know that in previous courses I've used this particular one.
I use it a lot.
And the reason is because it's a very, very nice Haydari.
You're more than welcome once you know how to actually do this, to go and grab your own HDI.
Our eyes, there's a lot free on the Internet.
Just grab them and bring them in exactly the same way as we're going to do here.
So I'm going to double click on there and you'll see when I've done that that there is the HDR.
Right.
And you can see now it looks completely different from what it did before.
Now, the thing is, you can turn this down so you can affect the lighting, how bright it is.
So this makes with the actual song that we have should give us now a really, really good representation
of what our actual scene's going to look like.
Now, let's put this back on cycles so we have a good idea.
And there we go.
Now, you can see that this may be a little bit bright at the moment, but the thing that you have to
remember is that at the moment we haven't messed around with the lighting or anything like that.
So I wouldn't mess around with this too much at this stage.
OK, so now about saying let's actually come and actually create all edging around this actual window.
So again, we're to do them, first of all, going to make sure that my cursor is actually in the center
of this.
So I'm going to grab this glass.
I'm going to come around to the outside zone and grab this outside.
So, OK, shifting click like so I want to press ship s because it's selected and that's going to put
my case bang in the center there.
And hopefully now when I bring in my actual cylinder it should come in right in the center.
It might be a little bit out but we'll actually see.
So let's press shift a mesh, come down where it's a cylinder and let's bring it in now.
Let's spin around so all Y ninety Z ninety s to scale it down, make it smaller and let's get it into
some sort of size.
This so I want to press X and Y and scale it in like so let's bring it out to the back of it, let's
press s like so and what I'm looking for is just having a look, see if it's actually fit.
If I press one on the normal pad, you can see now it's really, really fits in nicely round there.
Albay I think I want it a little bit bigger, something like that now.
And if it gets something I we'll show you quickly, just so you know, proper.
Should they again mesh cylinder, you'll see that this is the moment comes in.
So I come down here on the bottom left hand side, you've got a little menu.
Now, this tells you how many that he says around this side.
In other words, how many faces are on the inside.
Now, when a brother in I left it on thirty two.
Again, this is something that you should bear in mind if you want to keep the polygon count down or
you want to save on resources, for instance, to be taken into games engine and you've got a load of
cylinders, you don't want them all that too.
I recommend between 12 and 20 sides is what you should be using.
And the reason for that is the low enough to still get this roundness.
What I mean is if I turn this down to twenty, you will see that if I showed smooth.
Little triangle, also schmoo, that if I look around here now, you can see the still looks relatively
smooth.
Now, if I brought this in and brought this down to eight sides or something like that, you would really
look what you'd really start to get really chunky look.
And not on this same.
We're looking for realism, not actually stylizing.
So it's not actually something moving.
So now about to explain, Leslie, though, the way we're going to do is when to come back to our world.
Now we can see that we want this glass not to be on top of the world, one glass to still be see through.
So let's fix that now.
So the first thing on Wednesday, I went to grab my son.
Come in with face, like grubbiness from Pasir among industries, then went to press, I am bringing
in Jills to this point here.
Now, if you can't see this point here, just come up and put it on wireframe and now you can see where
brother into the news.
I'm going to price controls that just to go back and then would show you.
I mean, so if I press I want to bring it in.
And what I wanted to do is be halfway on that piece of metal by the start of the frame of this actual
bed or something like that, maybe even less, a little bit to fall.
Just press as if it is.
Then let's bring it out a little bit more close to the actual edge.
And you can see in mine be fitting in so we can fix that, but we just need to get a start to it.
Now, let's bring back the material.
And what are we going to do now is we're just going to keep this part here.
We're going to get rid of the rest of it.
So I'll come in with a select a face shifting click to grab all of those going around there and pay
to actually separate from the rest of the mesh.
So selection top grab the back of it.
Press delete faces and go.
Now you can see through it.
Now, let's see where this is going to be.
So we're going to grab it, pull it forward like so we can see now we've got that malegaon all the way
around.
And now I actually want to create this into the wood.
I also need to decide on how I think this was going to be.
And at the moment, to be honest, is looking a bit thin.
So let's press the one on the normal press tab and select a shift and press the ASP and bring it out
a little bit like so.
And now let's grab it all with Al.
And what I'm gonna do is I'm going to pull it back so E for Extrude, pull it back.
Now, if it's not going along that line, press the wide button.
And what I mean is it will actually fix to the actual axis and be able to pull back really nicely.
So let's pull it back like so.
And I can say got a really, really nice start to the actual wood Paul that's going to go around this
actual stained glass.
Now the one thing you can see is it's a little bit out.
It needs pulling forward a little bit and probably a little bit.
And so let's get that fixed.
So first of all, we'll grab everything with our I want to press shifts baseball to bring in my move
to OK, I want to move it forward like so.
And then I'm just looking to see if I can see actually any glass through here, which I can in the press
one.
So well, once there is, I'm going to try and level it up just a little bit.
So we're going to pull it over just a tiny bit like so I want to pull it up a little bit like so and
then when to make it slightly smaller again.
Perciasepe the to hold the ship on down just have a lot of control over it and you just want this metal
part of the engine just actually come in actually in front of the actual wall.
OK, so it should look something like that.
So what we're going to do on the next lesson is we're going to finish up this with a mop the seams and
shops and things like that and actually get the wood onto this actual object.
OK, once I hope you enjoyed that and I'll see you on the next one.
Thanks a lot.
Bye bye.