Hello, guys.
So we are done with the texturing.
Let's go to flat over here to see the results and set it to texture.
Now you can see the of the variation.
We add that to the surface.
We have painted some variation to the surface and made it more interesting.
Okay, so now we can go and start to sit here.
But now I want to light the scene because when I go to rendering and we.
The scene doesn't look interesting.
Everything's so bland.
Everything's so, uh, not interesting.
Everything's so boring.
So I'll fix this.
Let's go to lights.
And I want to delete this light, actually.
Okay, so now we have only ward lights, which is our zero.
Or here, this is our issue we connected to.
Well, it's a bit.
Uh.
Light the scene.
You can see we can bring this up or bring it down.
It depends to us, but I'm going to leave it as that.
So this acts in the movie specifically.
Okay.
Sure works better with its cycles.
If I changed it to cycles for you to see works better with cycles and cycles better process, it's horrible.
But for me we just use it as a base lighting to bit give clarity to our okay but we can go and have
the lights are shut.
You about to keep on lighting so I'm not going to explain the basics, but basically I'm just going
to add before adding anything.
Okay, if I go to France for you and I measure my character, it's going to be a very big character,
say 90, 19 meters.
And that's a lot.
And that makes things the harder than it should be.
So, for example, even adding a lights, okay, it's not lighting the scene as I want it.
They have to go here to power and crank it up so high to get the lighting wants and others of children.
You're exporting your character.
It's better to stick to the real word sizes.
So let me do it like this.
So let me bring the three the cursor to the word origin and make it cue for you.
So any priming objects in blender is two meters if I go to.
I did morts and if I were to overlay and enable Ich lynch, you can see that every every edge is two
meters.
All right, here it is, two meters.
And it works for other of these measures, too.
They're all two meters.
So we can use a simple Q guide to make our character little.
All right.
So I'm going to first, this deletes these things that we're not going to use anymore.
So this is a care we use for our cares.
We don't have any care.
Now, these are needed.
This is an empty object.
We don't need it.
Let's do it.
This.
And also this.
Delete our camera.
We don't need this right now.
So now we have everything we can select.
Everything's okay with control a with a actually.
With a select.
Everything.
These select.
The Q a select the ground level.
Then I want to go up here and set the 3D cursor.
So just make sure that the pivot point of our scale is going to be a 3D cursor.
And because the to the cursor is on the origin, it's going to scale it based on the through the cursor.
So I'm going to press as scale down like this and I'm going to look at my cube over here and press dots
on the impact to zoom in on my character.
And now it is much more better.
As you can see, even the tiles are now.
Uh, right now in the right direction.
Every time is also around.
It's also 111 metres.
So you can now we can simply if you want to move it one tile, we can simply now press gx1 that's going
to go one tile in any direction he wants.
It's much simpler in any that you want to do, actually.
It's much simpler.
And I recommend to you that you sculpt down your character and you press control a scale all the way
as we scale down the character in.
In object mode.
It makes scale things.
The difference.
We need to make it universal.
Always do that.
You can also go ahead and make it even more accurate.
So I don't want to do that.
They can select measure over here and go over here to here and measure it and do it accurately.
So right now is one meter.
I said six.
Maybe this character is one meter 16.
So you can escalate down further.
But I'm not going to do that.
I'm okay with this right now.
So now let's go to.
Let's go and make another save.
Whenever we make major changes.
I tend to save.
Now we can get the lighting.
As I was saying, everything is so bland.
Right now we don't see anything interesting.
Even though we texture our character well, we can see those textures too.
Good stuff isn't appealing to us.
So I'm going to show you how lighting can help us bring life to the character.
So let's go to Top Field with seven and I'm going to make some lights.
So let's make our first light and bring it to around this area.
So this is called a key lights.
I'm going to add it to my light collection over here.
I have created my key light.
Key light from the top of the top for you is going to be like in a 45 degree like this.
Okay.
In the side view, it should be above a little bit above character and it should have a little bit of
distance like this.
Something like this.
So I'm not going to go into fundamentals.
I explained about the lighting, these things in the last chapters and remodel the character so good.
But so I'm going to go faster because I want to prolong this a little more longer like this and more
so.
This was shifting to bring this to our character.
We can also use this one to move it around.
So shifting to bring it to the face, I want the face to be the main thing and then I want it to when
this thing to be.
It's a bit.
Rotates or rotates to be.
So the disk, the shape of.
Of the thing would be more.
Rates like this can also change the shape over here to a rectangle if you want to keep it.
And now I'm going to work with this light.
But for that, let's let us disable our water lighting.
So now I have to say, without lighting and the only light I have now is mine is this light over here.
I'm going to disable flowers and create as well.
Okay.
It's disabled access.
No.
Only have my character and my lights.
So now is the time to.
Do some adjustments.
As you can see, we turning around this area.
It's going to make some changes.
It is a lot acts like it points light, but it is toward something that we would get assigned to and
then we can increase the strength.
I think I want it to be more toward the character this this life, and I want it to be a scaled down.
So what it's going to down, I'm making it's more I'm making it to be more focus on one area and the
light with wouldn't be too spread out.
If I make it scaled down like this is more focus to where I'm pointing the lights at.
But this is too much.
So I'm just going to make it like this.
So.
Yeah, that's correct.
So just I just want the lights to get the light with light a once the main features to be available.
Okay.
So now that's the key light.
So I'm going to go to Top View again and I'm going to duplicate this shifty, shifty and then bring
it over here and let us enable X and y axis or here to see the axis.
Now we have another light over here, this one that's going to be field length.
So now I'm going to adjust this lights separately.
So just disable or he'd hit the key light.
And of this light it's going to be a field light for light in the light that is going to make the areas
that are not to to clear to be more clear.
The purpose of this light is to add more clearness and always enable custom, custom distance.
But cut, contact shadows, contact shutter.
So we have some contact shadows over here also for the key light to as you can see, we have now some
contact shadows which gives more interesting shadows to see and now is just full of lights.
All right.
Now, this enabled killer to see them both together.
So on the flight to be much less as you can see with the threat of this film, I can control the shadows.
Look how much I want to show and how much I want to show.
I can control the shadows and make a much more interesting scene.
I want to bring it out a bit toward the axis and then shifty.
I'm jealous.
Mick likes something like that.
All right.
So we're focusing on this side of the body and.
We're making this side as a bit more shadow and a bit more dark.
So context contrast makes it much more interesting.
So these two needs to be applied for the mirror most for now.
Actually, this.
Under that.
And the.
School and body.
I should set it to check it.
And now the supply line.
All right.
So now let's get better lighting.
Now we have our kilowatt.
I don't feel right now.
I want to do I want to make go to a preview again and duplicate the slides once more and bring it to
the back of the character.
Let's just say, you know, shifty to to the character and let's turn these lights off.
So this slide is called green lights and red lights.
The purpose of room light is to make the edges, the silhouettes of our character, a more pronoun,
to make it more clear to to the viewer.
So if we don't have the room lights, all right, if we only have kind of feel like these edges are
not going to be seen or is is going to look weird because these edges are kind of important.
But if we enable green lights now this is just are
more clearance is much more realistic and looks much more appealing a safe.
And now let's adjust the rim laser.
The rim light should not be, uh.
See, some people adjust adjusting the rim lights innocently behind the character like this.
Okay.
Let's set this to medium.
Now we can rotate us.
The city's immediately behind the character in my work.
It might work in some cases.
All right.
It all depends on the case and the character and how it looks.
But I find it that this display, it always looks the same.
Then you don't have much control, then given a little bit of angles.
I try to I tend to bring it to the middle of the character and then move it in that X axis.
Oh, it's a bit all right.
Not too much.
I don't want it to be, like, here, all right.
Or even, like, the key.
Like to be a 45 degree or something between 45 degree and like 25, particularly his say.
Something like that should be behind the character.
And I tend to make this square bigger like this.
Okay.
So you would make something like this that would take the knife out, look from the front and to separate
these lines.
Now you can see the silhouettes of the carriage.
So even though we don't have any lines where we see a shape here, we see how the character looks.
So one of the other aims now is to make these silhouettes over here, more up here.
And now we have these silhouettes.
Okay, let's we don't have the silhouettes.
In these parts.
We're going to do that and other rights.
I'm going to duplicate this shift.
They bring it here.
Okay.
Again.
25 degree angle and shifty too pointed toward the character.
I want it to be in the middle like this.
I want this one to be in the middle.
And now let's look at our character.
And now you can see that we see the Reims much more nicely.
As you can see.
It's much more nicely.
And now if I.
Now, he says the political figure is at the front of the court is not clear.
Now we can turn on the key lights and then the fuel lights.
All right.
And then now it's kind of complete.
Now you can see that the carousel looks much more interesting.
It's now much more appealing the what it was before.
And it's it's more it's more awesome.
But it's still not still there.
That's because one of the main rules of bright lighting is clarity.
And I don't see enough clarity in this area.
Well, what's happened here?
Maybe because of the scaling.
All right, let's delete that.
Hopefully.
Thankfully, it didn't happen.
So this show.
Let me fix this.
There, quick.
Now what I'm saying from this angle, I have my killer story.
I have a few lines which make some interesting shadows in this area.
But then I have clarity.
The shorts are not.
I don't see anything of the shorts over here.
And the shoes are also not do not see the textures, all the textures we did.
So you could throw away all your efforts of texturing, modeling, which is lighting.
So if this area doesn't have enough lights, you don't see it.
So a simple so as simple as that.
So let's go to light and make point light.
So in this.
In this part I have added on my three point lightings.
I did a light point slide to like this and bring it to the areas that needs more clarity than the scaled
down.
Or go to the light over here and change the radius.
Something like this and bring down the power.
Okay.
Now we're going to call it shoes.
Clarity.
Now the shoes are much more clear.
Now we see the shoes in a much more clear way.
You can do the same for the shorts over here.
And as I explained before, the number one rule in lighting is don't add a lot of lights, just add
the necessary lights.
Do not add all the lights you're seeing.
It's going to make you miserable.
So you.
So now I want the Volcker area to be more clear.
And around this area.
So I'm going to move my lights.
Something like theater.
All right.
To lighten up the buckle and then I'm going to increase this.
And let's turn on context shadow.
Let's turn our context for this one to.
And then let's decrease the radius or actually increase the radius.
To make the shadows more soft.
So the more your radius are.
Lord like this, the shadows are going to be more sharp.
But if you make it bigger, the shadows are going to be much softer.
Okay.
Well, now it seems like there is a there's a light hidden in this part.
So we don't want that.
We need to make it that this is being I mean, this is just like this area has to show some clarity
to show this is stuff that we did and all of us.
So now that's distance.
I think that is much more that's our much busier we can call it
shorts classy.
I misspoke.
I was just.
Okay.
So what's another one, too, for the lake area?
And I wanted to make it to where it is really a little bit bigger than it is.
All right.
Make it between them.
They are actually in front of Alex.
And make the trench mate power down.
So if I go and turn it off on, you can see the difference.
There is more clarity in this area.
Also it short attention to what happens to the lighting.
And I turn this off and on.
I turn it any of on the you can see how much you need to add to this change or reduce this rate of power.
Something like that for the shoe store can now sit strange to whatever we want.
So just a little bit like this amount of light will make a lot of difference.
Make it more clear.
Okay.
Now the light is good, but it is much better than what we had.
But now we need a bit more.
It's just if think that we can get that with colour.
So I want to go to my room lights.
This is my first in my life.
I'm going to go to the front of you and I'm going to give it a red colour.
So pay attention to what happens.
Let me turn off any other colour.
Pay attention to what's happens to the rim, to the borders of the character.
It becomes red.
Now let me turn on my other real colour light and it is a white colour.
Now I can produce a contrast with this colour, so I'm going to turn it to blue.
No.
This one.
I'm going to turn it to orange.
All right.
Something or something.
There aren't orange and red.
And this one?
I'm going to turn it to blue.
Something like this.
And now you can see the contrast is making some interesting.
Testing shapes.
It's bringing out the shapes for me.
Even now, turn on the lights and see the difference.
Now we can see much more interesting shapes.
These areas are much more interesting.
And they're not just whites color lighting.
You can do the same thing now with these lights are more subtle.
So I'm going to go and make this little a little bit toward yellow, not too much, because too much
is going to change the color of the scene itself, but a little bit is going to add more wrongness to
the scene.
So the scene is now more warm.
And for this one, I can make the opposite.
It can make the scene a little bit more cold.
If I go over here, it's going to be too much.
Pay attention to these areas.
So I'm going to turn this off so you can see the results.
The goal here is too much cold, but something around this year is going to be cool.
Also, I think I need to add a little bit to this light.
So more feel like, well, let's turn this on and you can see the difference now.
All right.
Now we have some contrast in our lights as well.
We can do the same thing for our other areas.
So for the shoes, for example.
Select a color that you think is better fits with the shirt area so we can do that with just going around.
It's better to turn off every other color and just work on this area and just see what color fits best
with this area.
Some thinking, something warm.
Or something close to reddish color.
Something like this?
Not too much, but something like this.
So something like this works better.
Let's see the other colors.
Yeah.
I think this works better.
So our school and our other.
Lights.
Let's save first.
Now let's go and change the color of this one as well.
So for this area, let's use.
More bluish color.
So this is this this is why this is there isn't behind this is that these kind of colors don't attract
attention.
But if I change the color to something like this, it's going to attract attention.
It's a little bit of a composition, but you need to.
You need to take into account that these colors, how they're going to attract the eye of your viewer.
And because of that, I'm going to change it to something more toward.
To a green.
Let's turn every other color on to see the results.
And as you can see, this area is really good, lit and clear.
Now, if I turn it off, you can see it's not clear.
If I turn it on, it's clear.
And with that green color, it made some real good changes.
Scott.
The last lights were here between the knees.
We're going to increase it a little bit.
Right.
Just so.
I increase the shorts.
So this increased this one.
Well, it's a bit.
And.
Thinking on the move it's out towards.
This.
And this is good enough.
But now we need to change the color.
And I want to make it more.
More toward yellow.
So yellow and green.
These two would make a good.
Much.
And that only raises so much interesting.
Right.
So this area is in the lower parts of the shorts in the ne parts is more yellowish behind the rim lights.
It's more reddish.
But I think it shouldn't be like that because we should have more.
Uh, should have more, uh, blue in this area.
So let's take light over here.
Which is.
It has a blue color and, uh.
You know, it's very shifty in the spring.
It's this area.
An increase.
Yeah.
Increase the power for that one that rim lights so I make the back to let's be careful of that so it
doesn't make it to it.
And.
Yeah.
That's right now.
So as you can see, we have some red and bush color in here, some rhythm, bluish color in here.
Now we have a really great contrast.
So now we have red in these in these rooms.
Blue in these rooms.
In these lines over here.
So, yeah, room lights are my favorite.
That's so much to the scene, to the character and how it looks like, you know, from the back side,
it looks much better.
So the problem over here, there's a myriad.
The first bring it up.
And.
All right.
To solve problems occur occur because of this killing.
So we cover off them.
And when you do go down and they do, they control a scale.
Always check your character.
So now I think now I have to go around to see what else I can do.
I think that's fine.
Other thing we can do is remember the ground makes a lot of difference to your scene.
Okay?
The ground here makes a lot of difference.
If I press e and y, I'm bringing it up like this.
Okay?
No see.
Okay.
Now let's select this adjust to adjust and press control.
Be the bool and press and scroll the mouse mouse.
To make it.
Make some edges.
I should.
It shows what it.
So the same thing for the other one.
I hope these two idiots
think I didn't do it.
There is enough symbolism and lots of bits so we can add more edges.
Control be.
And.
The site is still.
So I selected these two ages and this one went to see Control B and.
Defined as you need.
Show this method and the subdivision little or something.
And we're good.
Let's add some loops around these areas so these areas won't be too affected by the subdivision.
So now they can see me as though there is a little instant faith in it.
Too much so.
As I was saying, now we have something like this.
But now we.
Let's not stop there.
We have an option here, Bloom.
But we don't need it right now.
But when you have an object that has emission emission material, it helps a lot.
So with a depth of field to turn on a scan of space reflections.
So.
You don't need that.
Were the shadows.
The casket size is for the sun, shadow or sunlight.
The cube size is for other lights.
Right.
The higher it is, the better the quality is going to be.
So make it as high as you can.
If your computer can handle it, of course you can go to color management and set it to very high contrast
if you want to make it even more contrast.
I think high contrast works better with exposure here.
I recommend not to play around with it, but if you increase this exposure, it is going to increase
the whole scenes lights.
So the more students.
Player.
Only time will come.
It can also add more.
Contrast or reduce contrasts.
So the default one is one.
I think I'm going to decrease the gunman a little bit.
Something like 0.8 is good.
And now, of course, our character is in number one in each of these accessories.
We can.
There's an option here in the rendering called Simplify.
All right.
Don't enable it.
Okay.
But they can go here and set the viewpoint around their next subdivision of all the objects over here.
So if I go over here and set it to for all the objects over here is going to increase the subdivision
little to four or anything that is below that.
If it's below like, for example, shoes or things, tree is going to get subdivided, the tree is going
to subdivided to the highest number.
So this should have things for I shouldn't want to do that.
You can actually use it for the other side too, so you can set it to one.
So every object is going to be, you know, once up.
There's a little or one more.
There is a little.
It's the same.
We want to set it to four and click on Simplify.
Don't forget to save.
Now, objects over here are now in the highest.
Self-delusional is no.
It is more with higher resolution.
Okay.
So now let's set it to one because I don't want the to.
Now it's zero.
So it's a21.
Everything is in one.
Now what?
I want to do it.
I think we should.
And in the very last case, which is I think you guess said right now it's a volume.
So this makes the volume of scope, the material, you know, the principal material and go to volume,
click on this and other volume, scatter and default.
This is always too much, but it is something like points one.
Now it's looking much better.
So now if I click on our box over here, which we can go to your display and set it to be displayed
as via.
All right.
It just makes it that if when we are in the shady mall, we could watch the character too, because
there is nothing worries it.
It's on a solid so we can see the character.
Now we can go and change the color of this volume to it.
But remember, depending on the density and or here, if you change the color to something to make to
a saturated over here, it's going to change scene too much.
So we are now I mean some blue colors you have some red colors.
Let's if I go here and change it to something like this, it is changing the whole scenes.
Lighting's right.
So be careful of that.
I suggest you add a very subtle color over here.
Something.
That matches the character.
Maybe a little bit of redness.
What, Red?
Something like this.
Right now it has a lot to the scene can also go and increase albeit a bit of that volume.
Okay.
That's too much.
Let's bring it back two points.
One, and now one thing remains is that we can improve the scene with TV is that it can make it light
for all.
Which without parole, bring it up.
And be careful that these students are not inside the mesh.
It's going to make some problems for us.
So I suppose these dots are not inside the mesh.
Now we can go and sit still a bit better on this, bring up skills and bring it up.
And now it contains the whole scene, I think.
Now let's go to Abby and.
We can now go to Eva and under.
Indirect lighting under interior lighting and make indirect lighting.
It's going to take a while to bake it based on the scene, how much geometry you have.
But it is always worth it.
It makes a lot of the shadows are much more.
Softer and much more realistic.
So let's fight for it to finish.
And I was finished.
And now, as you can see, it's much more much rather like now we don't have such.
Sharp shadows.
And.
All right.
So that's all the think I want to show you about lighting the scene, but that's not enough for making
the character to stand out.
All right.
All this work.
This is these are the last hours that you need to spend time to make sure that all your homework is
going to pay off.
And that is presentation.
Right now we are in the first step of presentation and that is lighting and that we're kind of done
with that from now.
We are we need to make it more interesting with the character because right now it is in the papers
and it's not interesting.
We need to record and pose it to an interesting pose to make make the case more interesting.
So, yeah, now that's.
That's it.
Uh, and I just wanted to show you how you can load the character in a proper way in every and a real
time engine and make it more interesting.
You can also increase this viewport over here.
It's not going to make too much difference.
All right.
In every I always find that 16 is always like enough.
Right.
Can you in 1064?
It doesn't make any difference.
We can render rendered in 16.
Give us the same thing.
Like the whole idea about it is that it's real time, so it doesn't make any sense.
The increase in the sample too much but so save this and second go to cycles to see with these lighting
setups what we we get it cycles is always a little bit difference we always need to make more adjustments
in cycles when we go from these to cycles because how different they work.
Uh, but, but.
Yeah.
As you can see, it's much harder to to prepare the lighting.
And so because it takes a very long time to light the scene in cycles and also the volume for cycles,
it doesn't work how it works with.
With every so now I'm slicing the volume, as you can see, is noticeable.
The aim is to low right now, so the volume is likely to be much higher for it to work for it to have
the effect.
Right now we see something.
Now we see some some depth.
All right.
But still, we need to do a lot of changes to rim lights over here are not.
Not in the right amount of power and all.
Well, yeah, if you want to render it in circles, I you have to do, you have to do your changes in
cycles, but it's not going to be as fast as if you even I just saw what was turning these lights off
and constantly without any delay.
Well, with cycles, if I turn off one light, it's going to make a lot of time for me.
Just.
I have to wait to see better.
Look how this looks and how I need to adjust the lights, the power of the lights, the radius of the
lights and all those things.
All right.
And also, we have cycles over here that gamma is too low for the cycles.
So this is for easy for you.
I said it back to the default for the year now and looks much better in cycles.
As you saw in TV.
This number was always a bit better, I think.
Send it back to Evie.
And for the key of Vista, let's rename it to volume.
I have this sent back to points to.
Now I'm thinking that this is too pink.
It's turned down the volume.
Now this cranks up the density because.
And need to make these kind of changes.
So I want to make situations something like this and make the value to be a little bit dark.
So let's this it up so we don't see these edges.
This is going up all the way over here.
Yeah.
I'm going to leave it as that.
So, yeah, it's very fun doing the lighting of a scene in Blender especially.
It's, uh, it's a very fun activity to do.
And also, if you want to rotate around your character, just press shift.
And the key is both sitting around other means.
I mean, just walk around the character and the rotating walk around your character, press hold shift
and the key above tap key as an awesome name of it.
The key both top key and to the left of the number one key.
So shift and that's key.
And now we are in the working more bit.
Deputy SD We can go and just walk around the character like in a first person way.
And if you want to go back to the.
Uh, location.
You were just press right click, and you would just go back.
Also, if you go to preferences and go to system, I think, or actually it's on navigation.
Yeah.
So navigation on the walk, you can set some of the settings like work speed, sensitivity and all that.
But what I'm interested in is in this one, if I turn on gravity now, if I turn on my shortcut for
walking shift and the queue of time, I'm going to fall down because the gravity now has been activated.
So that's right.
Click on that.
If I go over here, which have a ground in this area, the shift.
Shift.
Let's not be above the character itself.
So it doesn't.
No, it doesn't.
Or maybe we need a refill on this surface.
I think we fall on this surface.
So the school and the.
Let's go back and make a plane over here so we have a ground.
Now we have the ground.
Now we can press the button.
All right.
Now standing what is a tall, though.
So it's like a first person game.
That's your.
During a game and just looking around the character, we're really told.
So they can make something like this and go around your character.
And now I fall down.
That's a really cool thing we can probably make out of self.
Shorter or we can't.
Can even jump to this space.
And also, we can fly to set it free.
Press the key.
I can now fly.
So it doesn't mean to fly.
It's just this means to rotate around the character.
But that's one cool thing about Blender that you don't find in any other application, because we have
the real time machine.
Real time engine.
I actually feel like this ground over here, I'm going to give it a blue color.
And a very, very low roughness.
Let's give this one.
More subdivision.
No.
Skip this one.
Also quite black colour.
As you can see, the ground changes the scene.
How looks to play around with the ground to.
I know this.
I don't want to make it.
It's how it metallic changes the scene too much.
But I am going to make it more rough to.
So let me just close rough ground.
Now, as you can see.
It has changed.
The seen so much.
I think the volume is making a lot of noises around the scene right now.
And that's going on right now.
And that's what we get from lighting the scene and doing some simple lighting techniques.
All right.
So that's it.
Until next time that we are going to rig our character and impose our character.
Goodbye.