Hello, guys.
So let's continue let's continue with lighting our scene.
But before that, let's let's go over here.
I notice an issue here, as you can see in the in or here we have some floating geometry right here.
This happens when you pause your character and some part of the white paint is not correct.
So let's go to let's go to pose more.
So it's control tower.
We go to Beaumont and then let's go to item over here.
Let's make it bigger.
Let's go to the item over here and enable the lakes control or here.
I think in the last deal, we we changed the rotation with this one over here.
So this is as you can see.
As you can see, really being up the foot like this.
The the shoelaces don'ts don't follow correctly.
So let's just reset this form.
It's old or old or we'll reset the rotation and also you reset the location.
So we just reset the one right here and what we can do.
We have the we have some some solutions.
We can separate these shoelaces as separate objects and then use that method I showed you to to parents
this with the bone itself.
Or we can go to waistbands more and change the weighting of this bone over here of the of the vortex
group.
Or we can use another bone over here.
I think with the eye over here we can reach the same results.
Let's go back and see over here and a thing.
If I rotated like this, maybe I'm.
And then bring it up with Jay-Z.
It's good.
The camera revealed the two zero.
Yeah.
I think we can really see the same results over here.
And we don't have the problem now with the shoelaces.
So let's make sure the shoe is on the ground.
And that's all right.
We can a little bit rotate this over here.
And I think that.
SPITZER Let's move it forward.
That's why we're down until it reaches the ground.
And that's all right.
All right.
I think we wish the same result without using this one over here and the shoelaces.
Right now.
But if you want to, let me show you the other way.
So let's go to a waistband over here.
Let's stop.
Spend.
Let's go to where it is group.
Find the words this group of this point or here I think it's the shin bone.
So let's go over here and find the shin wall here.
Shin left.
She writes.
Yeah.
So yeah, as you can see with, with this one over here, the shin.
Right.
Uh, these, these shoelaces follow along because they're in red, all right?
But these shoelaces in blue, they don't follow along that bone.
So all you had to do is to just go to over here, go to white and brush the lights and make this part
red as well.
So these two shoelaces to be red.
And that was a, I think, fixable problem.
Let's go to let's go back to object not.
And now we that we fix this issue to save it console us and then let's go to our render.
And as you can see, it's not very interesting or now.
So what you can do with it is to the the rendering the samples is not that important in it doesn't make
that much of a difference whether you can increase it to 32, maybe I'm going to keep to the 16.
I think that's enough.
But you can change it to 32 if you want.
Other options that makes it seem much better is ambient occlusion, so make sure to turn it on.
You can change the settings as well.
And Bloom also will make a lot of difference when it comes to lighting and all that.
So you can turn on or off.
It depends too much and I'm going to leave it on a space.
The Reflections.
It's very good when we have shiny things in the scene, for example, now the eyes.
So I recommend that you turn it on and we can turn the refraction on here as well.
I'm just going to keep it off.
And then another setting over here.
If you go all the way down, we have color management, so go here and be sure to set it to filmic so
you transform to make.
All right.
I believe it's on standards.
I think it's in standard default.
So set it to film make.
As you can see, this standard is always a bit flat color.
All right.
But if you change it to fill me with the image and they'll look when the look is non, it's cool, it's
not going to look good.
But if you change the look to something like medium contrast now all of a sudden the contrast is very
interesting.
They usually keep it as high contrast or high contrast, but, you know, you can always change the
contrast in the composition.
All right.
Just so this look much more lovely.
I want to keep it as high.
Contrast the exposure.
You can change the whole exposure of of the scene.
I'm going to leave it out as it is.
We can change exposure in the compositions, which I'm going to show you.
So let's set another mute transform that is very useful is false color.
So fossil shows the areas that are very lit and shows areas that are not a bit as much.
So blue means that these areas are dark, these areas are not getting enough light and red means these
areas are getting a lot of lighting.
All right.
So if I go to my lights, maybe, and if I change the strange over here, as you can see, the the color
changes over here and shows how it is affecting the scene.
With this option, you can adjust your color maybe to see which areas are getting more adjust in the
light.
I'm sorry, which areas are getting more light and which areas are not getting lights.
So it's changing back to filmic and yeah.
So yeah, I think that's all the things in the area you need to know in cycles.
Make sure it is in GPA if you have a GPA.
And the c-max samples for viewport is 22 is enough.
Make sure to turn on the dino is.
I use up I use optics.
If you have an end with your graphical, I think it's good to use objects by default.
It's on automatic and the render.
I use the first one to an eight and then you can go up to 256 and then 512.
I recommend not to go up then this amounts anything more than 1000 all make rendering your scene so
it takes so long to render your synth.
So keep in mind our thing here is underperformance is tile size and tie size it's it improves your renders
fun I keep it's something like 128 so you need to search that on the instrument tested yourself like
make a scene and test yourself and see how it will change during this time.
All right.
And we have also color management in cycles as well, if you want.
That's it for Circus.
Circus, there's not very much anything to change or hear, and it usually gives a very realistic look.
So usually you need to change things.
And yeah, so in the light things, let's, let's go to the lighting of our scene or here.
All right, let me first hide this ring.
Your hero has possession to hide it.
Now it's how it is hidden as we are kind of done with the posing.
Well, let's see.
Will lied to me.
We have a son.
We have an aerial.
You have a point like this?
Look, delete this one.
So I want to show you how to light your scene.
Much more efficient.
So there's a technique that everyone uses, especially for characters.
It's very good to showcase.
Your car has got three points lighting.
So to the two point lighting you need, you need one key light and two is.
Feel light and she is a rim lights.
You need three lights by these names.
So the key light is the main light that is going to show the most important parts of your character.
What you're seeing, the feel light will then make other parts of your scene or your character more
clear.
You don't want some parts to be there.
It's also black, so you need to make some light to make that make those areas clear and clear to see.
And the rim light is the light that goes to the back of the character or the back of the scene you're
showing to give some give some light, to show the silhouette of the character.
I want to show you how to use these lights.
First of all, there is an Adam blend that if you could edit preference and search for tree there's
a lot an them here tree lighting if you add it over here and if you go over here she shift and go to
the light.
There's a tree pushed lighting over here and if you press on it, it'll automatically make 3.2 lighting.
As you can see over here, these three lines that you can change, the head shows the height, this
distance and the angles and all that.
I don't like it that much, so I usually tend to do it manually because it gives me more idea about
how my lights are working in the scene.
So let's keep let's actually delete this sun as well.
And if you go to shading and go to objects, we have a background over here.
All right.
We can add an issue or a later on, so let's do that later.
But for now, I want to light my scene because as you can see, this is quite a dark arena and the only
light you're getting is from the background.
And so if I turn it to zero here, everything is going to be dark.
So this is the word properties and this is how the background is lighting my scene.
But as you can see, this lighting is very flat and is no good to me.
All right.
So this gives you that one just some default value for making the character clearer.
And then we can just disable this.
Then let's make our first lights.
Let's press shift a go to lights and we have all these lights I discuss about them in the fundamentals.
I usually work with aerial lights.
So this is let's bring up the area lights and then let's go to the top view.
It's seven and what you want to do with key light, you want to make a 45 degree, something like this
and put it in this area.
All right.
It doesn't have to be exactly in the 45 degree, but you need to have it in these area, not too straight,
like in front of the character.
This is not right.
Or in this in the in the side of the character, the degree like this will look the best.
All right, so let's move, move.
To move the light to just g.
And what you can do with lights and I usually do is go into object properties, go to the display and
show that they are a nice area light.
And now let's change two key lights.
And now here is our key line and I can see it over here with the name.
So let's press g y bring it like here and that's plus g x to bring it here.
All right.
Now, if you rotate, as you can see, the light is in the location that I like.
So it's over here, but it is facing the wrong direction.
All right.
So it is facing here, too.
The thing that area of light is that you have to set the direction of the light, and you can do that
with this sphere over here.
So if you drag it over here and then you go, you make that direction over here, then the direction
of the Y will be here.
All right.
The shortcut for this is shift T, so the shortcut is shift.
So if I press shift T and move around my mouse, as you can see, the light direction will move as well.
So the other thing you need to keep in mind is that the size of this matter.
So if you increase the size over here.
So I mean in the light properties, object data properties of this light and then over here I can change
the shape and change.
To cite the science matters for the lighting and also the rotation.
Do matter when it comes to aerial lights.
All right.
So let's so that the lighting like this and then as you can see, we can see the light right now.
So we need to increase the power.
So it's increase the power.
All right.
Let's bring it a little bit closer.
So g, y, g, x and shifty.
And all of a sudden, we have a little bit light over here.
All right, so this we can increase the lights over here, the key lights.
And because we don't have an issue, your eye, this light is doing hard times to light this scene,
or we need light or hover over here.
So we need another light with and this is our fuel light.
So let's suppress shift D And then we have duplicated this light less press g x and this is going to
be our film lights.
So this right feel lights and now we have our fill not with the film light the same or the key light.
We need to we need to
bring the 45 degree over here.
All right.
So something like this in this area, and then we can change the location of the light.
So let's press on the field, light on the shift T and then bring it over here.
I want to make some areas over here, to be clear.
All right.
And then the power should be less than the key lights.
As you can see over here, we have some shadows, some nice shadows on the other side of the character.
But things are clear.
So like that.
And if I what they usually do, I set the set each light alone.
So I'm going to hide the key light over here and I'm going to see how the light is affecting the scene
like this.
All right, then we can press shifting to duplicate this line as well.
That's g y and this is going to be our rim lights.
Shifty, shifty to change the direction of the line.
And let's change the name of this light to green lights.
All right.
Now we have our rim light over here again with the rim light.
We don't you shouldn't make it to the exactly to the back of the character or exactly to the side of
the character.
You need to have it in a degree.
So you should could you be like this or you wouldn't like this?
The rim light is different.
It depends.
And usually even you make two rimless look over here and over here to have rimless.
But what are rim lights over here?
So let me show you.
Yeah, let's make it closer to the character.
And if I hide the fuel lines, as you can see now, the rim light is lighting the back of the character.
So without the rim lights, if I turn it off, we can see the silhouette that good.
It doesn't feel appealing to the eye.
But if we turn on the ring light now, all of a sudden some details are going to be shown.
Like some things over here are going to be shown.
It's going to make the character more appealing.
But you need to again, the size of some of these lights matters way too much.
With the rim lights, I tend to make it big like this.
And let's change it to a rectangle that's rotated like this.
And I'm making a very something like this.
All right.
Shift to the back of the head.
And then the rim light is going to make your character so interesting.
So the lights e the color of the light is very important.
Let's change it to red.
And as you can see, all of a sudden, this part of the earth makes becomes so much interesting, so
much more interesting if you turn it to any other color like, well, maybe you can see the difference
or yellow, maybe you can see the difference.
And then if I turn on the other lines, feel much cooler to see how these lights come together when
it comes to I'm seeing like with just three lights, we made a lot of difference for the lighting and
made it a lot more appealing.
And now we can go to the other part of the lines, which is the coloring, the colors of the lights.
And I think I'm going to leave it a little bit yellow for this character and for the film light.
It can be a little bit blue.
So some warm light and some some cold light I think is going to do the trick over here for an appealing
look.
We can make it even more saturated.
Something like this.
If we go to camera view, we can see the differences over here.
Right.
But now our background isn't the isn't being shown right here because we don't have a lot of light.
We only made some lights for the character to be shown over here for the environment.
What you can do, you can just go around and make lights, make a sun or something like that, but you
can easily get a lot more complicated and you will have a lot of these lights or you'll like, Look,
I have only three lights over here and it is already becoming more and almost more complicated.
That is making my scene a lot more complicated.
And what you need to know about lighting is that you need to keep your lights as low in number as possible.
Like if you are duplicating like your lights like this, if you are doing this, this and just duplicating
the light all over your scene like this, that's where you're going, the wrong direction.
All right.
You need to keep them as low as possible when it comes to numbers.
And yeah, but to light the scene, we use something called eye.
So if you're not familiar with this, you're I share some photos that have some light details stored
in so and there are free you can search the Internet a haven so these are some issues you go there and
you download them in any you can download it in any resolution you want.
Don't go above.
Okay.
I think ah the other thing that might make make that much of a difference, but they make your scene
so slow.
So 4k is enough for us.
So what we can do here, we go through shading and then we go over here usually is on object, but you
go over here and click on wards and now we have our war setting over here.
Let's go to render sitting to see this changes.
And then as I told you in the fundamentals, if you press control ti, it will make you make a texture
for you with mapping and texture quadrant.
And now we don't have a texture and it becomes like this.
So to add an AC right click on open and then find your issue profile in your in your hard drive and
then click on it.
And so let's pick the 4K one and let's see the changes.
As you can see now this is making a lot of changes to the lighting of the scene and then we can change
the strange over here and make it subtle like this.
All right.
And then we can change the location like this.
So with X, with this location of the our mapping can change the location of the issue or I.
Like this.
I think I don't like this store.
I seduce six.
I think I like this one better.
This is much better lighting thing and.
Yeah.
Something like this works for our scene.
We need to know that.
Cycles does a lot of the job when it comes to your eyes and the lighting.
So, yeah, it makes it much more realistic.
All right, let's let's test out other stories or we have.
So I think a fireplace maybe.
As you can see, these issues makes a lot of difference to U.S..
Yeah.
I think this one works
some my fine.
What I usually do.
I duplicate this section over here a couple of times and then I select my issue or I like another issue.
And right here, my.
Maybe this one.
Then I have some couple of this.
Your eyes.
And then I.
I control shift tap on these extra eyes to see how the look will be different.
Okay.
We can also duplicate these ones.
Use this to change the location.
This is too bright.
But we can always.
Change is strange with this option over here.
So strange.
Strange here.
She?
Yeah.
I think something like this works for me to just keep this strange low.
You just going to lights out, seeing a little bit of lighting, some realistic lighting, and especially
you can see how this lighting I've seen in the circus.
Now, as you can see, our background is much more lit, so I'm fine with this.
It's good too.
And layouts and the send it back to me.
If you want to make the TV more realistic, you can make it medians volume over here and skills of the
regions while doing this indirect lighting,
something like this.
I need to be careful that these dots over here to not be inside of your mesh.
All right, so these orange, light orange dots should not be inside of your meshes, and you should
cover all of your seeing something like this.
And then we go to Eve and then go down to indirect lighting and indirect lighting, and it's going to
do some calculation and it's going to do some changes through lighting, especially when you have some
complex scene.
We don't have a complex scene over here.
We just have one character with a simple background.
So that's okay for now.
One other thing is that if you want your background to be just pure a color, but you want the lights,
you can use a technique that I'm going to show you.
So.
Yet.
All right.
So if you go over here, if you go to film over here and change the transparency, the background is
going to be transparency.
All right.
You can do that in even cycles, boss.
So you go to film and select Transparent and then the background will be transparent.
But if you just imagine, like a camera isn't catching the background right now because we have a measure
here.
But if you don't have a mesh over here and then if you render, the background is going to be in the
render too.
So you can just use transparency here, but then the background will be transparent.
Then you have to do some composition.
So are the backgrounds and all that.
But you can what you can do here in the ward setting of the shaders, we can make something called the
thing.
It was camera, no lights.
Yeah.
So you can make a light path over here and then make another background shadow over here with Shifty
and then mix these shaders with shifts a in session mix or control shift right click drag these to to
mix them together.
And then these two are mixed now.
All right.
And now let's connect the camera array to this slot over here.
And now the background is the color that we choose over here.
So if you choose something like green now the background is green.
If is choose something like red is going to be red.
So in this way you can set the background to background color to anything you want.
But as you can see, the lighting hasn't changed.
So if I go here through this
something.
Oh, all right.
Yeah.
I need to increase the scheduler here, maybe.
Okay.
Maybe we need to just detach this or here and then.
Yeah, well, detach windows factor.
And then we can change the lighting, the location over here.
And then by again attaching the camera or light power to the --.
Now, if I see two, now we can change the light and the background light as well.
All right, skip it at this.
This is fine.
Now, let's go to Layout.
And now.
Now we want to make some changes to our main lights.
So we have a rim light, a key light and a fuel light.
Let's move them to a lights collection over here.
And now let's change.
Change some settings of these lights.
First of all, you don't need this option that I'm going to show you in cycles.
But if you want to render in TV, you need to make sure to check this.
Also, there is an option in the object properties of the light called contact shadows.
And this will make some shadows that are between objects a lot more realistic.
All right, so turn them on for each light over here.
And now we've got to go, I think.
Then let's go to key lines and let's change.
Let's hide it to see how it affects the scene.
Then let's see what's increasing the strange.
And also change the color.
I think something like.
Something like maybe bread makes more sense here.
It's more life.
Or Pink.
Let's increase it and let's see how it changes the scene right here.
Then let's go to REM lights.
As I said, I usually used to remind, so let's duplicate this with shift T and then shift T to change
the direction.
And I want to make situation to this site over here
and on the rim was needs to be two difference colors so my two I'm going to change it to red and green
light one I'm going to change it to blue maybe.
And I see disabled.
The other lines, which is to see the effects and now we can see it.
So it seems that the power is not that much.
So let's increase the power over here.
And maybe bring it a little bit closer to the character.
And as you can see, we see some interesting lighting over here.
So if I move it.
Four.
Move it further from the character.
We can see the effect of a move.
It was a bit.
Closes the character.
There is some interesting lighting coming from this side.
All right.
Let's do the same thing with this one.
So they symbolize I want some blue light for this side of the curtain, the back side of this way,
so that we're moving in that direction.
Q Why?
And it's because shifty
slumlords in this area maybe
increase it to 1500, maybe.
Something like this, I think it looks.
It's not making a lot of changes, so we need to make some adjustments.
So I think to this one's also needs 2000, however, maybe 215.
Because the size is big right now.
We need to make it more closer.
The character is making some soft lights over here.
All right.
Nothing is close enough in this press shift.
And let's light these areas over here.
This move within the x axis indifference.
Yeah.
All right.
Let's turn on the other room right now.
As you can see, we have some contrasts over here, some red lines from from this night and some blue
light from this side.
And now all of a sudden, the character mix seems so much more interesting, so much contrasts and interesting
lines.
So let's turn on the other line, the key line and the film lines.
And now I think the lighting of my character is kind of complete.
So if you go to here, you can see how much difference we made with these just cheap on lighting, with
cheering lights.
One color and one feel like, what other thing I do is that maybe you want maybe you want some parts
of your character to be more clear.
And to do that, you make a point like, so, for example, I want the right shoe to be more clear is
just for some compositions like you want to direct the viewer from like the shoe, then go up and all
that.
So you need to press shift a light and the point light over here.
All right.
And then we have the points lights over here.
That is lighting on the shoe here.
But you don't need to go so like extreme because it seems fake.
But now you can increase the radius to make the shadows more soft.
Right now, the shadows are always a bit sharp.
Let's make them softer like this.
All right.
And then let's change the color to something like.
Maybe make some contrasts.
Cingular is fine.
They've increased it.
You see the effect right here.
And then famous zoom out the view and we're going to see if I can see or hear them because it's more
lethal here and the eye catches these differences.
Obviously, we don't want that in this case, but we can keep it at the white color and with low power,
we can just move it between the shoes.
And this way we can add more clarity in these areas of the other parts.
Some nice shadows.
So as you can see here, you can see the difference.
Here we have some.
Bleeding.
Some shadows are sharp.
If you if you turn off the contact shadows by turning on the count of shadows, the shadows between
objects becomes more realistic.
Right.
Which is to say that if you change the subdivision, how much difference it will make, it doesn't make
any difference.
So just leave it at two.
I think that's it for the lighting.
Now we need to make some changes to the background.
So this background we have over here, we made it.
We made the most simple material with 100% roughness.
Now, because it is 100% enough, as it is not making a lot of changes to the lighting of the scene.
But if I make it like this.
All right, it is making a lot of difference to our scene right now.
It is catching some reflection from the issue over here.
So this is some reflections from the exterior light.
And all of that is making all the difference.
And if I change the color on here, it's something like green, as you can see.
It is.
He's making a lot of difference for the lighting of our attack.
So let's send it back to black.
I want it to something like maybe dark blue, so blue and dark blue and then change the roughness.
To something like.
Something like this right now.
What we can do, what other thing we can do is that maybe.
Maybe at some exotic.
To have some nice reflection over here.
Right?
Not too much, but always a bit over here, like 4.3 right here.
And we can use emission as a whole.
If you want to make some interesting shapes here, maybe we use it.
Something like this.
But it's.
Well, yellow seems to work very good here.
So let's use a yellow here.
We?
This saturated color.
Let's change back to cycles to see how.
We see it in the cycle and as you can see, we have much more nice background and seen right over here.
It's much more interesting all of a sudden.
I see some edges over here, but we don't see that in TV.
Right.
So maybe.
Hmm.
We were in the way to say it.
But as of right now.
Now I want to show you the trick for lighting.
So something that makes the scene a lot more realistic is volume.
And to add volume, volume adds a lot of depth to your scene.
To make volume for your scene, just make a.
Q Shift a mesh.
Q And the skill is all like this.
And now, as you can see, a skill that ought to make the whole
to fill up the whole thing.
As you can see, this is a.
It is a mess right now, as is filling this scene that we can see anything we need to add material for
this cube now.
So those are the material and let's call it the volume.
And we don't need a shader for volume.
So let's go over here and then let's remove this shader.
We need to go only to this setting over here is called volume at a volume shader.
We have some volume shelves over here.
So principal volume is volume absorption and volume is gathered.
So first of all, volume is a very good shader.
Here you have all two options.
While I usually use a simpler volume called volumes cancer.
Now all of a sudden, the scene is.
Just so foggy, all right?
It's because the density is not well what we want.
So decrease the density to something like point one.
And you can see that our character is in some kind of a various multi area.
So we need to decrease it further if you want to see or seen in the in the shading viewport if I change
it to the.
But tended to render more.
As you can see, we have we can see the the scene.
All right.
But if you want to see a scene in the shading, you just have to go to the object properties over here
and go down to the viewport this way and then make that display as to something like voyeur.
All right.
Now, your cube is just the water over here is acting as a volume.
So ever closer, you can even change the location of this volume, something like this if you want.
So it is acting as the volumes add some depth to your scene.
So I want this to be even much lower.
So let's bring it to something like 001 or 009005.
I think the are five maybe be the option.
And the good thing is that we can't change the culture.
So if you change it to red, as you can see, the lighting, the color of the list, the color of the
character, the color of the background, it's all or mixing together with the color of the volume.
What is too much?
We don't want that.
So we want something less saturated for volume so we can use something like maybe blue.
Or actually orange is maybe orange is what we want over here.
All right.
So these are lights.
They have color.
And that's what is mixing with the color of the wall we have is giving us peace.
This whole coloring look.
All right.
And then if we go to our center around the scene, this is our scene right now.
And as you can see, this is much more interesting.
Right now, we can also, again, bake in the lighting.
So let's go to TV and then make indirect lighting for even is going to calculate over here.
I'm going to render in circles, but I just want to show you how to reach a much more appealing, more
appealing picture of your cakes and Evansville.
And this is real time.
So this is much better when it comes to real time.
Panning around and seeing a subsidy for change cycles is going to be slow.
But it is doing a lot of calculation is going to be so slow.
And we have to change the density of the of the whole thing as well because in cycles is different.
So we have to change the density of our volume.
We're going to do that later on.
Now I'm thinking if you re if you're going to add something else over here, maybe.
Well, this is really simple.
I works for this guy.
So what you can do always something like make something that makes the scene much more interesting,
like paste the rock, maybe you press a chair or maybe add a story to the background.
This is something simple, and it works for this one.
I just wanted to show you some techniques, and this is the best way to do it.
But yeah, you can do that also.
So I think I have mentioned everything I wanted to mention.
To recap, we made the three points lighting a feel light.
A key lights is our main light over here.
So this is our key light.
And they will be made to feel light to make the other parts of the character more clear and make some
contrast between the between the shadows.
We can do that.
Even furthermore, in decreasing the film light, we are making some more contrast and shadows
increase and it will make it more interesting.
As it can see, some shadows over here are spreading to the left side.
We are the sets and the size over here matters a lot.
So change it as well.
The shape matters as well.
So use it in your own.
Used to play around with these values and see how these all change it.
If you want to use or in the ring, always turn the contact schedule on and in the render setting always
been the inclusion of room on a space as a screen as this reflection as well.
Okay.
I think that set for the color management to fill make high contrast or really hard contrast.
As you can see, this makes all of much more difference or we can always change the contrast in the
composition.
So I'm going to render this one with a cycle.
If I go to cycles over here and now, probably the volume is too much.
So I need to decrease it something more like maybe or point one and a half to make sense of way to maybe.
And now it is a much more interesting.
Much more interesting.
Well, look, as you can see, the lighting has changed, too, because of changing this trend.
So we need to maybe change change the color as well.
You can always leave it as white if you don't want to change the color of the scene too much.
All right.
I'm going to play around with these colors and all, and then I'm going to render it in in the next
with the through the composition tab over here and then composes our picture.
So simple composition.
So yeah, that's it for this video and goodbye.