Welcome back, everyone, to 3D modeling The Hobbit doll scene with Planet two point nine and Adobe
Photoshop.
And we're nearly there and this is where we left off.
So we know that we need to make these a lot, lot darker to actually fit within our cycles render.
So what we'll do is we'll come to augment.
I want to press control, see, and then one which is going to come to the next one.
Now, I want to move this across a little bit.
Click on here press control.
They and I'm just going to drop that in place.
Now, you can see that now a lot's happened there.
So let's try actually let's go back.
So controls that.
Let me just take now a minute.
I'm just going to check to see how much difference is made.
So control V, let's drop it in place.
It's made a little bit of difference.
I'm just going to bring down.
This orange a little bit over here like so, and I think that is looking actually better.
Now let's come to our green.
Same thing again, control.
They drop it in place.
Bring down.
This volume here.
OK, that's looking good now the green bird, so control the.
And let's bring down the value.
Yes, that's looking much better.
Let's come to the red.
Let me just say, if I can turn down the volume, actually, that makes it there.
So this is the read of the bad.
Like, so let's see what happens when you bring in a Gammie weight on the first one.
It does have a little bit of difference, just not that much.
So I think I'm happy with that.
Let's come to the checkpoint now and I'll turn down my value.
Like so and which one of go left the yellow, let's turn it down as well.
A little bit too bright and there we go, a thing I was looking much, much better.
All right.
So now let's go back to Modlin and have a little that's looking like so I'm going to press top it's
going to come back a little bit, put it on cycle's render again.
And now I'm messing with is just looking around and looking, but see if it's all dark and things like
that, looking in the sun, for instance, you can come over and change the sunlight over here and it
might need a little bit more strength.
So let's try to bring out the light a little bit more light.
So I actually think that looks better.
And let's also put it a little bit of warmth to the sun.
So I'm clicking on my collar.
I'm just going to bring it down a little bit more warmth.
You can make it very warm like so.
Well, that was way, way too much, of course.
So just a little bit into the yellow light.
So.
All right.
So now we'll do a test run.
So I recommend, first of all, Cheminova clicking on your texture instead of your cycles.
Render a shader because I tend to find this is on and you go to render it's actually going to make it
take a lot, lot longer for some reason.
So that's what to do next week.
I tend to do now is change some of the options.
So first of all, I like to put the Indonesian and the reason for that is that it makes it much, much
quicker to render things out because you can render it a lot lower samples, because what it does is
it gets rid of all the noise.
And that's really important.
I'll put an example down the hand side of exactly what I'm talking about.
So what I'll do is I'll render animal on viewport, it should say automatic.
And I'm just going to change that then to open image the other night.
Now, the next thing I want to do is I want to think about what I'm going to actually render out with.
And I tend to render my retinas out with my GPU, not my CPU.
I find that render in as long as you've got a decent GPU is actually quicker than render now on your
actual processor.
So let's come over to edit preferences to make that open.
And then what you're going to do is you're going to go to a system once you click on, you'll see one
that says Cycle Devizes and you can put this on Khuda and then you can actually put in your actual CPU
and your GPU.
So you can see my GPU here.
This is my GPU.
And this GPU is actually pretty good at rendering things out so I can do nice, close that down and
then one when to do and when it comes down to performance.
And we're just going to change this to 32 by 32.
Now if you render not in your GPU, it's normally better to have these lower so lower little squares
actually render now.
And if you render now on your CPU, it's normally bad to have these much, much to two hundred and fifty
six or something like that.
Next want come down to where it says management.
What I'm going to do is I'm going to turn this where says look down.
Sorry to high contrast that on, you can see now you already get a difference, Lesterville, let's
go.
Not make sure that you're in there now.
One hundred and twenty eight samples, because that will be nice and fast.
And I'll give you a good idea what the scene is going to look like before you render out in a much higher
say.
So let's come over, come to render a render image and let's have a look what we get from this low.
Don't think about it.
And as I say, what it will do will actually render out.
And then you'll see that you've got one here that says Diana.
Nice.
So what it's doing is once it's rendered, those is actually going back over them and using the Diana
Nyad to actually make it much, much cleaner.
So let's say I have a lot of this.
Looks like just going to zoom out a little bit.
I'm going to speed you up for me and then we'll talk about this when it's finished.
So there you go.
That is the first very small sample.
Now what you're looking for is just that you're happy with the actual shadow.
So this is basically where is the sun casting the shadow?
And I also think one thing we did forget is just to put a handle on this.
I think we'll put a quick handle on here just to make sure that we've got a doorknob or something like
that.
And what I'm looking for is the direction of the shutter.
I'm happy with it coming straight down, should it be more to the left hand side, things like that.
I'm also looking with how bright this is.
Is it bright enough?
Does it need bright to know things like that?
We can bring the whole scene quite easily with using our HDR.
So let's now go back to one of the thing, of course, is this grass down here.
It needs a little bit more to it.
I've gone a bit too over the top and actually put it away where I shouldn't have done so.
We can also saw that.
So let's close that down now and let's start sorting these things out.
So the first thing I saw is this grass down here.
So let's press.
Let's come in, come to collect it, and then let's come up to where it it's odd.
You've got one that's called and and let's just add some particles around here just to make it a little
bit better.
Now, let's put that back on object mode.
Let's have a look and then we go.
We've got grass around there again.
Yeah.
And I think that's absolutely fine now.
All right.
So next thing we need to do is make that door handle.
So what we'll do is we'll press shift a we're going to bring in a UV spear.
I want to spin it round.
I want to leave it on this amount.
I think you might want to turn yours down.
I think I'll leave you on this.
So all X 90, let's make it small that a move that runyon's that did make it smaller.
Oh, well, let's pull it out and we'll just make a quick handle on this, like, so so let's.
Let's make it from such a look probably here, so we'll make it from here.
So I'm going to grab these back ones, press delete faces around the back and delete faces.
So I want to come in old shift and click I when I press enter, as you can see, proportional edits
since so s so e pull out the NSA s.
And E, I'm pulling back on the why, yes, it is the Y axis.
So now let's make the smallest.
I'm going to press one.
I'm going to put this into place.
And you can see that I do have a problem that when I pulled this one back, you can see that bent.
I don't like that.
So I'm just going to go back like so and I'm going to press e y.
And then E and to s have a look and then e y pull it back like so and now you can say a press one.
Yeah, that's much, much better.
Now let's grab it and put it in place where it's going to go.
So it's going to go somewhere around that.
It's a little bit too big to fail.
So it should be on one of these actual planks, not between it.
So when let's put it back.
And place and then just make sure they are actually happy with it and if it's too big, I think this
is pulled out a little bit too much.
So you could try a squishing down like.
So that might be better to pull it back into place.
Double tap, the top two will tap the I can actually think that looks nice.
All right, so now let's lay this out quickly.
So we're going to play smooth triangle, also smooth, and now we just need to warm up this sullenness
can be a bit of a pain sometimes to unwrap.
Let's come in and grab the easy ones first.
Like so.
Right, click Monkseaton.
And now let's come to the actual summit.
Well, first of all, try marking it from just the bottom.
Sometimes it actually works.
We just need to move this off because we don't need that.
That actually.
Does it seem so right.
Click Moxey.
Now let's go to UVA Edinson Dot to zoom in now to grab you on the top like so now let's bring in the
material.
So plus down arrow dot NetSol top and they go, you can see we do have a little bit of an issue here
and sometimes we can fix this by simply just move in the UVA over a little bit or spin it round.
So all night of spin it round and you can see now but double tap the I thought that is looking much
better.
You are going to end up with some kind of seam.
Here is just how much seam you're prepared to accept so you can go in and basically just remove some
of those.
So.
Right.
Click play a seam, let's do it again.
So you on the round all ninety spin it round top and there you go.
You can see now we can barely see.
The actual seam on that.
All right, so again, on the next lesson, what we'll do now is we'll make sure everything's set up,
all colors are right, and then do our final render and then take it through Photoshop.
OK, so I hope you enjoy that sand the next one.
Thanks a lot.
Bye bye.