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Let's do some speed lines! and what
better to use than our fuzzy car here :)
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let's make this thing feel like it's going
super fast, that's the point of these speed
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lines really, to drop out all detail and just be
left with the feeling, it's an impressionistic
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abstract representation of all that blurry scenery
going past, so we can be pretty loose and fast
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with it so to speak. let's start by hiding what
we don't need, actually i'm going to go Alt H
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and just see what pops up, so we have this car
original so i'm going to click on these two icons
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just to make sure it doesn't show up in the render
and won't show up again if we do Alt H. let's just
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give ourselves a little bit more space and scroll
down a little further, all the particles, i'm
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going to disable that collection and the sphere at
the bottom here let's do the same thing as we did
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with the original car, just disable those two. the
light that we have here also we don't need that
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for this technique and that should do it i think
if we just rotate around the scene and see what
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we've got, that's looking pretty good, i'm just
going to zoom in a little bit on the car and then
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just press Control Alt and 0 on the numpad just
to snap the camera to something like about this
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now the basis of this technique is to not actually
animate the position of the car, i'm actually just
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going to be whizzing a texture past the car just
to give the illusion of that speed, first of all
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though i'll select it and go Shift S and snap our
cursor to the selected and then let's start with
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a cube i'm gonna do this in wireframe take a look
from the top view scale that up so that it's about
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three r four car widths wide, from the front i'm
gonna move it up on the z axis so that the wheels
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are more or less touching the ground but i'm
to give this the sense of it floating slightly,
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i'm going to press 1 to make sure that we're in
vertex selection, left click and drag across the
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top and then G and then Z just to flatten that
down a little bit so it's wider than it is tall,
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next up let's take a look from the top view and
then what i'll do here is press G and then Y just
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to move it up from this angle a little bit, so the
car is more or less in the middle there and then
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i'm going to stretch it out along this axis which
is the y axis as we can see there so S and then Y
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and then i'm going to scale it way out,
i'm actually going to scale it ridiculously
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out on that axis but i'll do that later for now
that's good enough, now i'm going to jump over
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to the uv editing workspace and press the period
on the numpad, take a look at what we've got i'm
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going to press 3 to select these two faces, i'm
gonna press X to delete them i might add them back
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though eventually but for now they are gone, i'm
gonna press two and select this edge and go Ctrl E
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and mark a seam there and then select everything
with a and then U tu unwrap, now i think that's
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all right but i'm going to drag those all the way
across press N to open up our sidebar and that
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x-axis there i'm going to turn that to 1. just so
that our uvs are taking the maximum uv space here,
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that's our uv editing done i'm going to jump
back to the shading workspace and switch from the
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geometry nodes over to a shader editor and click
on the new material. let's call this tunnel and
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we'll get rid of the principled shader and we'll
create an emission shader instead, so let's just
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drop that in, hook it up to the surface and take
a look in rendered view, now at the moment we can
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see the inside and the outside of this, which i
don't really want so i'm going to come over to the
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material properties, down towards the settings
and i'm going to set this to backface culling
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and now we can't see the inside which is the
opposite of what we want, so what i'm going to do
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is tab into edit mode, with all the faces selected
i'm going to go Alt N to bring up our normals menu
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and then i'm going to flip those faces and that's
the kind of thing we want, so the essence of this
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technique is to just stretch the texture down the
tunnel, so let's go shift a and add in a texture,
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image texture and then what we've already
got in the scene in this case is the hdri
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so if we plug that into our emission and press
Ctrl T thanks to our Node Wrangler add-on we'll
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create these nodes which as we can see by default
is already plugged into our uvs, so we've got a
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seam up there, but the cool thing about an hdri
is if i left click and scrub along the x location
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here we can see it's perfectly seamless and it's
just repeating a pattern there, that's basically
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the idea we want and this seam isn't really going
to be an issue once we really stretch things out
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and for that we can use our x-axis, so if i
take this really low like 0.05 for example
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and then let's move our x location again, we're
starting to get a really good sense of speed,
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let's enhance this a little further by adding some
additional contrast into this with the color rgb
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curves node and i'll drop that in there and then
from this left point here we can cut off some of
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the black areas like this, let's again scrub
through a little bit more of the animation,
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different areas of the image are gonna show quite
differently, so at this point here for example,
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maybe we could crunch this in even further
and we can reduce the output by dropping
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our top right point here, something like this
maybe add a little bit of curvature into this
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just to soften the falloff between different
brightness levels and let's scrub through a little
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further, so we're getting almost completely black
areas in places, let's maybe pull the dark areas
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further to the left just to try and introduce
a little bit more into the darks then something
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like that and i think that's looking pretty good.
now this at the moment is actually not very long,
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we can see from the camera's point of view for
example, if we were to take a look we're not
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really getting much of the tunnel before we just
get a big opening there, so we're going to stretch
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this tunnel right out. let's press N to open up
our sidebar, let's find the item area where we
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can see our actual true dimensions and i'm going
to set this to something like 12 000 so it's super
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long. now for that we might need to take a look
at our camera, just to make sure that we have
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our clipping settings long enough to handle it,
so we're going to need above a kilometer here,
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just to be on the safe side i'm just going to
make that 10 times so adding an extra zero there
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similarly for the camera in our view, let's
add an additional zero onto there, so here's
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how it looks now and here it is without the extra
zero, you can see it cuts off quite a lot there,
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so let's add that back in and take a look from
this camera again, so that's looking pretty good,
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i think we can fade that out at the edges though,
so let's take this give this a little bit of space
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and what we'll do is we'll take our texture
coordinates and then we'll separate this, so
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we'll go converter, separate xyz and plug in our
generated coordinates, because this is essentially
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the bounding box, we could probably use our uvs on
this as well though because that covers the zero
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to one space as well but from here i'm going to
Ctrl Shift click on this just to see the x axis
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which we can see moving pretty much from left to
right, our y-axis is going from one end where it's
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black all the way to the other where it's white,
so this is what we need i'm gonna take a converter
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color ramp node so that it's just bright in the
middle so i'm gonna create a mask basically, so
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this perfectly in the center at 0.5 and then ctrl
left click on another point and then i'm going to
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set this to one and i'm going to set that to black
and now if we come over to here and add in a color
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mix rgb node and plug this into the mix factor
that way we can move this into the second socket,
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so wherever this input is white it's going
to do what's coming out of the second socket,
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so i'm going to turn this to black which means
that now in the middle it's going to use this
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texture and at the very ends it's going to fade
it out to black which we can just about see there
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so let's jump back into the view and we can see
it's starting to fade there towards the end. if we
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want to adjust this a little bit what we can do is
add in a converter, math node, set this to power,
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Ctrl Shift click on this to see it and then as we
scroll this up we can see that fade that fall off
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changing. now i think this is probably actually
perfectly fine at say something like 1 which isn't
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actually using that power node at all but if we
find we need to adjust it that's there ready to go
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so Ctrl Shift click on the emission again and
let's scrub through, the x location again to see
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how it's going. the effect is pretty extreme so i'm
going to hold Shift and just try and get a slower
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a slower translation, now that we'll stretch it
right out i think maybe this scale is a little bit
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too stretched, so i'm going to set that
to something more like 0.2, now let's just
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translate this a little bit again and so we've
still retained a little bit of texture, a little
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bit of interest in that texture as it whizzes by
the camera. as we scroll through the location here
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we might notice that there's a big bright flash,
then we get some reddish lines towards the bottom
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and then there's a big bright flash and then
some reddish lines across the bottom and so on
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and so forth, as the texture is basically looping
around, so there is a little bit of a limitation
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to what we can do with this particular technique
so let's pair this scrolling of a texture with a
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more procedural approach and mix them together, so
i'm going to take all of these nodes and duplicate
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them, bring them down and instead of the image
texture i'm going to go Shift S thanks to the
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node wrangler add-on and we can swap or switch
and texture node into a noise texture. now at this
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point i'm going to Control Shift-click on our rgb
curves and instead of using the uvs i'm going to
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use the object, this is so that we can get unique
positions basically infinitely so this is never
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going to repeat for us. so that this makes a little
bit more sense, what we're going to need to do
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is apply our scale, as you can see our scale is
pretty much off the charts here so i'm going to
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Control A and apply the scale, this makes the noise
kind of pretty strange looking, so i'm going to
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reset the scale value on here to 1 and the scale
of the noise is just way too small. so we're going
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to make it much bigger by scrolling this down to
a much lower value somewhere around 0.1. let's add
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some extra detail into it and perhaps a little bit
of extra distortion to give it a little bit of a
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swirliness to it and from here we'll adjust our
scale in our vector mapping node and let's take
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this right down so that it's around 0.01, then
in our rgb curves let's take this and pull that
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right back up and we'll increase the contrast by
dragging this bottom left point all the way along
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somewhere around here and now we're darkening
quite a lot of it and just getting a lot of the
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interesting colors. a lot of these colors are a
little bit on the harsh side, a little bit extreme
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so let's break out our color hue saturation
node and we'll drop that in there from here
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what we'll do is we'll drop our saturation down a
little bit, you can see a little bit of the light
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white starting to drop in there, that's pretty
good and now what we can do is combine these
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together in a moment, but let's just check this is
working by holding Shift and left clicking on our
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x location, we see that's not actually going the
right way, so it's going to need to come along the
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y axis instead in this case but that's looking
pretty good, the next thing i want is just one
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value to control both of these so that it's the
x-axis on here and the y-axis on here, but i just
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want the same value to plug into both, so for that
i'm going to need to create an xyz combined node
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so we have 1 there and we have 1 for our
procedural texture and now all we need to do is
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input a single value and plug them into what we
need, so it's the x axis on the top one, so let's
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plug that through to there and on this one it's
going to be the y axis and let's plug that through
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into there, now with that done i'm going to
Shift and left click on here, just to see the two
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starting to move or at least we need to combine
these two first to be able to see that, so let's
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left click and drag these over there to create
some space, Shift D to duplicate this one and
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we'll add these two together, so let's change this
from mix to add and we'll take it all the way up
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and Ctrl Shift click on this one and so we'll be
able to see just the texture and then there's our
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procedural noise being added on top and now let's
come over to the value node that we just created
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Shift left click on this to see what we've got and
when this value starts to go down, this looks like
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it's working pretty well, now i think one needs to
go a little bit slower than the other, so i think
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the texture needs to go a little bit slower, so
i'm going to take a converter, math node here and
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just take whatever we're plugging into this and
just divide it a little bit, so by dividing by say
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50 and now let's try moving this, we're changing
the speed of how fast the image texture can
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zoom down our corridor, so let's pop out of the
camera view for a moment and i'm just going to
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select the car and press . on the numpad just
to reorient the camera a little bit and then let's
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just zoom out here a little bit re-select the
tunnel, so let's just verify what's happening here
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so Ctrl Shift click on just the texture, let's take
a look at what happens as we change this value
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so as it goes down, the texture is zooming towards
us, but we want that effect to be the other way, so
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to make it look like the car is zooming down here
we're going to need this to be going this value to
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be going positively, but let's slow this down even
more maybe make it even more obvious, so divide by
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200 and then as we increase this, that now looks
like the noise is going the correct way so to
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invert this what i'm going to do again Shift D to
duplicate and then turn that into a multiply node
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and let's just multiply it by -1, now
as we drop this down it's going the same way as
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the noise texture the procedural noise texture
down here should go, so let's just test that
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so Ctrl Shift click on this one here and as we
drop this node down as we drop this value down
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the noise should be scrolling from left to right
which it is, so let's put these two noises together
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again, so Ctrl Shift click here where they're
added together and now as we drop this value down
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both noises should be traveling the same direction
and roughly at the same speed, they don't have to
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be exact, but just so that one isn't too crazily
different than the other one, so we're just about
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done with this tunnel, an extra bit of control
i'd like to add though is just duplicating this
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colormix rgb node, Ctrl Shift clicking on our end
emission shader there and instead of adding this
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white what i'd like to do instead is multiply
some white which means basically the values of
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one are being multiplied onto something so nothing
is going to happen in other words :) so the only real
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purpose of this node is to just tint the color
just give it a slightly more push to a general
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uniform color, so i'm going to take this towards
the oranges a little bit somewhere around there
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or something else that we can do is tweak our
strength but we can refine that to taste a little
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bit later on, to actually add some animation into
this what we can do is create a driver, i find the
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easiest way to do this is to just go #frame
when it's a very linear animation required, so with
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that now whatever frame it is, is the value that's
going to show up in here and as you can see we're
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on frame 64. pressing space there we can see the
rough speed of that, so that's going the wrong way
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because it's going obviously a positive value so
i'm just going to *this by negative one and
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let's play that again and now things are moving
in the right direction to be able to control the
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speed of this we can just divide by a certain
number or we can multiply it by something if
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we want to speed it up well technically not to
get too mass heavy but we could just divide by
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something to actually speed it up and slow it down
depending on whether it's above or below 1 but
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i'm sure you get the point. the final piece of the
puzzle here though as you've probably not failed
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to notice is that the car is totally black, it's
not actually receiving any lighting, to fix that
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we're going to need to switch from the object to
the world and what we have in our nodes already
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from an earlier experiment is this circus arena
2k dot hdr from hdri haven, let's plug that in, it's
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the same hdri that we're actually using to stretch
along our corridor here and now finally we can
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see what we're doing, we see the car, almost
ghostly otherworldly, racing its way to the
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uh car afterlife of some kind :) so currently it's
going to look kind of static on the reflections
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and to adjust this we're just going to go Ctrl T
on this to create these texture coordinates and
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mapping nodes and from here we can just change the
rotation. rotating it along the x is going to give
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it that sense of kind of a light passing above
it all the time which i think works quite well
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and again it's just a simple linear change so we
can just write #frame and we can press play
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and we'll see that whizzing across the car now and
again this is just a matter of adjusting the speed
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by dividing or multiplying by a set number. this
looks a bit strange because obviously it's frame
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36 and over here it says 2063 degrees or something
but i think because of the conversion between
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radians and so forth, i think this is just getting
converted in the view for us, so don't worry too
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much about that figure being not just simply
36. let's just give this a little bit of polish,
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so come over to the object, so we can see our
regular tunnel shader and let's come over to one
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of the end color mix rgb nodes here, this one and
let's just clamp the results and we'll probably
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notice that this kind of strange saturated
look that we're getting here should go away
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so let's click on the clamp and we can see the
before and after there, i think that looks a lot
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more correct now because the results that we get
out of the rgb curves node can be pretty extreme
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way above one or way below zero and that can
sometimes create weird issues clamping just
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means we're limiting our values to not be outside
of that zero to one range and that's just helping
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things to behave a little bit better. next let's
come out of the tunnel and see that the actual
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background is transparent, so i'm going to change
that because the background could just be black
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we're not really going to see very much apart
from the very very ends of the tunnel and just
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so that that isn't messing us up in any way where
it shows up as transparent i just want to set this
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as concrete, so i'm going to come over to the film
setting and uncheck the transparent option and now
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we can see our world shader so let's jump over
to our world and come and split the light path
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information here, so we don't want to actually see
it when the camera is looking at it here we just
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want it to affect reflections and things, so we're
going to go input and light path, drop that in and
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then we're going to mix between two background
shaders, luckily this is black already so that's
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going to be pretty easy to mix between, so let's
add that in, put this into the first socket and the
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camera array can go into the mix factor and
actually we've got these the wrong way around
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so i'm just going to left click and drag those and
that should flip them around for us, i'm just going
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to go shift alt and Z in the viewport so we're
getting rid of all of the viewport overlays there
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and let's just zoom in on what we've got here now
pressing Space and we're getting something looking
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pretty good, i think the car itself could have a
little bit of tweaking to it, so let's come over
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to the modifiers and give this a little bit more
density, so 15 and we're getting really fluffy now!
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and on the dark stuff i'm gonna crank that up to
a full one, okay we're on maximum fluff now, let's
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press play again and it's looking pretty good i
think all that's left on this is to actually add
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some camera animation, so 0 on the numpad to
take a look and what we can do is find a first
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position so let's take this down and frame it up
a little bit, so once jumping into the camera view
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what we can do is press Shift and i think it's
the Accent Grave which is to the left of my number
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one above the qwerty keyboard and then we get a
kind of wasd kind of like a first person controls
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so i can look around with the mouse and use wasd
to move around and q and e to go straight up and
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down, i find this is actually quite a good way
to control the camera for animation, as it can be
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quite uh natural looking, as though you're just
shakily trying to hold the camera... the vehicle
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which has gone to work quite well in this case i
think so here i'm going to set this to a timeline
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and let's come over and extend the output of this
so let's set it to say something like 2000 frames
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although we might actually not go that long, just
gives us some headroom, so Shift and left arrow
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to take it to the start i'm going to select the
camera which since we've disabled the viewport
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overlays is going to be easier to achieve in the
actual outliner there, then i'm going to click on
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this record auto keyframes then any movements that
we make to our camera are going to get recorded
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in here, so i'm going to press Space and then i'm
going to press Shift and that accent grave next to
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the one key so let's see how this looks so here
you can see it's a little bit shaky looking, i'm
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just going to come in front of the camera there
like this and then we can take a look from here
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and we can see all the keyframes being recorded
at the bottom of the screen and then let's zoom
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out a little bit and go back towards the end
there and i think that's looking pretty good
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so i'm going to press stop, so we got up to about
frame 430, so i'm going to set our end keyframe to
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430 and then Shift left click to the start of the
animation and let's play that and see what we get
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i don't know about you but i think that's some
good sense of speed going on there, after a couple
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of off-screen attempts at various camera controls
i came up with this, shortened down the timeline a
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bit and then just tried deleting a few frames here
and there stretching out other parts a little bit
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if we were to use Cycles we'd get much
more realistic reflections to match the
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speed lines, but i think this quick and dirty
approach is actually surprisingly effective
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so i hope you have fun hurtling
things down super fast tunnels :)
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if you do please feel free to share them with us
on the socials. alright, stay safe and buckle up!
33719
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