All language subtitles for 14-Creating our tall water grass Part1

Okay.

So now that we have our base cast on now, what we're going to do is we

are going to get started on like our water glass, which is going to be

mostly focused between like what you have over here and also the ones

with the get.

Those but got tells come a little bit later.

We first want to just get like a normal one.

Now, for this, we have over here, so we had the towel water, gas and I

wanted to combine that with a belief my swamp cars over here, actually

the Miriam cross that we have of a I don't think we actually needed in

the end because last time I checked we kind of want to get that effect

from this cross over here.

Here.

See.

So like the little bits.

So yeah, I don't actually need to Miriam cost that says an entire

texture.

That's quite nice.

Okay, so what we're going,

Do is if you look at your reference, you can see that this type of

grass.

It is not like this word is used all over the place.

They are cluster.

So they're always like really long clusters and then they are placed

quite close together which will create this effect and specifically

because near the ends they pan out.

That's for how we can get like this really dense effect.

Okay over here, they are quite dense, but here you can see like that's

why they kind of like pan out.

So that's kind of what I want to create.

Now.

That's not too difficult.

It's quite similar to what we've been doing so far.

And you might have guessed it.

The first thing that we're going to do is we are going to go in here,

create a new material and go this one.

It's all what's a grass and then God's over here and then I will

create another new material and this one will be the swamp grass,

which is like just a dead B suppose, okay.

It's all what's a God's?

Let's go into our settings.

Turn on two-sided.

And let's go in here.

And yes, that is this one over here because it is slightly different

than the one that we have for this one over here.

So we can just go ahead and we can Albedo besties normal.

That's everything I need.

And just why do we also go to our swamp cast two-sided and let's make

this one.

You know, be do.

Normal opacity like that.

Okay, perfect.

So that is done.

Now.

We just need to go ahead and we need to go into our output meshes.

And let's just add a few of them and let's have a look.

I'm going to have.

Yeah, maybe like four for variation setting.

Should be fine for five.

So just going to be, for example here.

Let's say this one, we set the angle.

Replace it over here.

Now these they are going to actually be very large.

So knowing that they are going to be very large.

We can push in a little bit more geometry so we can place them here

and then we can go into our desolation and will like your Crank.

It Up to give it to quite a bit of geometry.

Like this that we have like a nice segment.

Honestly.

I think I might even want to go a bit more like this so that we just

have like a nice segment every few centimeters.

And then apply it should that's fine.

So that's one.

The number two it's for another two.

Let's pick this one.

So we will have two big ones.

One.

That is probably like this one.

It's like a little bit less and then one that is like quite a bit

thinner and think that will give me like a nice variation amount.

Let's go over here.

Like this aren't plenty of segments.

Because these leaves because they are so large, there will be less of

them.

So they will not be like, 100 of them, like, we have over here.

So the next one I had in mind was this one over here.

So let's go ahead and set the angle.

Oops, didn't mean to create a new one.

It's very easily.

Does that that it's just creates a new one even though you don't want

to?

But okay, here we go.

Make sure that it's a false reading your shape.

And we can apply this one.

And finally, the last one I'm going to go for.

Let's do like this one over here.

This one looks pretty average.

And in the reason why you don't want to go for like super specific

ones, like the ones over here is because when you do that, you are

able to see the beating very easily.

But this is why we have, like, those dad's glasses B later on.

So, we have these ones over here.

And now we're just going to like art some Dead cast bits to this.

Yeah, that's first.

Finish this one.

There we go.

And it is in the swamp cars over here if we just go ahead and go for

maybe like three of them.

You see?

So the swamp gas that one Willis.

Like the dead ones that we can just add on top.

Now, you can see that they are not very straight.

So I do want to try and get always like the straight ones because if

I'm going to start bending it is nicer.

If it is a straight bitch compared to if it is already a Bentley's

because then the bending will just look extra strange.

So this one is not too difficult to give it a bunch of segments.

And apply.

Like this.

The second one is a bit more difficult.

Let's go for, let's do this one over here.

They are very thin.

So I wonder how they will actually react with our ticker leaves, but

we'll see if we can make it work because I do want have these sticking

out.

But the annoying thing is that in Speed 3 like you cannot probably as

far as I know.

You cannot set the scale of individual leaves like that here.

I'm just going to add one extra segment here.

Juno one of you, there we go.

Get like a bunch of tessellation.

No, I don't want I guess with the tessellation.

We have no choice, but to have it like that because the Desolation guy

like needs it.

Yeah, you see.

So it will it will just keep ignoring it.

Which is a bit annoying.

So then let's just go ahead and leave it like this.

And we will see, I don't know it now.

Oh, I don't trust that.

It is behaving quite strangely, but we'll see how it goes.

So let's just leave it like this.

And then the last one I'm going to go ahead and I'm going to go for

probably like this one over here.

I think this one should be fine.

Gives a bunch of segments.

And apply here.

This is strange.

That it shows this, but it doesn't show it in here.

So I wonder if that is like some kind of a buck or anything like that.

But anyway, so we got now, these guys, B done.

So, as I said before these gasp, it's they are clusters over here.

So I want to go out and I'll take basic, create, one cluster, and make

it look very good.

And then, what we can do is later on, we can scatter those around

closely together to create the filler effect.

So knowing that's over here.

We have a cost complex large.

Let's quickly do a save as because it didn't mean to do all of this

work, Injustice one.

And let's call this water grass on the score towel over here.

Tell, yes, and it's all with Cattails after this, so that should be

fine.

So let's save.

There we go.

Okay.

So for our leaves, let's first of all, go into our skin.

I'm go to get started with probably only having the tell what's a gas

first.

One, two, three, four.

2 3 and 4 and I like to do it like this that I can like control the

weight and everything.

So this is like a towel to cast, not too special.

It seems like it has enough geometry.

So that's fine.

Now, what we're going to do is we're going to go into the generate and

let's set the number way down to like 20 or something like that.

And as I said before, they are cluster, so we want to really like have

the last actually, quit imagining like one point, see I

Animals.

Have them like I would a little bit but I don't think we can actually

do that.

So if I go in here, Cheryl .0,

One here.

See it's already.

05 on.

Oh wait.

Here.

We are.

Able to go lower 0.002.

Something like that.

For example.

Next, what I want to do is I want to get started by setting my sights

scalar a little bit up.

So this will be like the general scale over here.

And then what I want to do is I want to go down to not my skin.

All right, here over here.

Let's accept my side over here.

So those are quite tall, but I want to go down and set my scale over.

You see to be quite a bit longer like this.

And next.

These are like a little bit straighter.

So we do want to go ahead and we want to play out with this bit more

and I assume that these are going to be see not the folds here.

The curl is giving me quite a bit of work, but that's not just it I

think it is like the angle the a line over here.

Here.

See ya.

The airline is causing some problems.

So obvious.

Now we have like these

Quite long, B and C.

So the folding you had a folding is fight.

Like I do want to have it.

I do want to give it like a little bit of oregano because you can see

it over here.

Also, one goes here here here, although they are often facing outwards

a little bit.

Although it's too sure.

But that is okay.

Like we don't have to have it perfectly.

We just need to get something that looks logical.

She twisting and then we have like a curling.

Okay, so so nice thing is that once we have this one, what we can do

is we can just go at the scatter it around and then later on we can

just add like The Cattails and everything to this.

So this is looking pretty nice.

Yes.

I'm going to go ahead and I'm going to see if I can add my glass.

My all my other cars to this one else.

We need to kind of like have a duplicate it and just

Just added on top.

So if I go.

For swamp gas, one and swamp gas.

Number two,

Okay, so that does work.

Yes the does work.

But I feel like that if we do this if we go one more and do swamp gas.

Number three, we kind of need to go into the generator and set the

number of it higher.

So that we have like the song called and then for our swamp cars, are

we going to go ahead and set the the weight probably to like point

eight so that they do not appear too often.

Jake, actually, we need to go for like .5 because there are three of

them, so I'm just trying to go and like get a nice balance.

Gina default leaves and like the song, Garceau to some cars pretty

much like just a debt once you can see over here.

So that looks quite good in general.

I'm going to go point three maybe so we really do not want to have

these too often.

So C 0 .3.

Okay.

So we got those done in a generate we can also display out a little

bit more with a sweep and a jumble if we like do not like it, but

let's say that we get started with something like this.

And let's save our scene.

So this is going to be like the normal tall glass.

Now.

The cool thing that we can do is now we can start by basically

scattering this around.

If we go to our tree, what we can do is we can right-click add

geometry to select.

Are we can add a Zone over here.

Now, with this Zone, if we go ahead and set the frequency up, what you

get is you get many different types of stones like this and then if we

go into our generate we are able to set like the first and last

Quite close.

So, what you can see is you get all of these different zones, but they

are slightly in different locations.

Now, last time I checked, I'm also able to, like, set the scaling of

the Zone, but I guess,

Yeah, so scalar.

So I can set these like a little bit smaller like this, and it makes

it a little bit easier to see, and then do something like this.

And now, if you drag your leaves on top of this,

You basically get like a bunch of these bits.

Although they are very small.

So.

I guess that we need to set aside scalar up.

Anyway in order to have them.

And all I mean in order to scale them.

So we have these.

We can have them like it like a little cluster.

So I think this far enough because you can see that there is quite a

bit of like space, but I do want to go probably for like a bit of a

dancer 14 now, so maybe not this dense, but maybe like what you can

see over here.

Let's see.

Yeah, so if I have a look at this, I'm gonna set my last little bit

out.

Like this.

And I do want to go ahead and just play out, see your offset.

So try to like, get some nice areas and maybe City frequency down a

little bit.

Because right now here, this is what I mean.

So here you can see that we just get like all these nice little

cluster.

So that's fine.

And we can have like more or less of these.

So, if you want to be can do two variations of this.

But what I'm going to do is show, I'm going to start with them,

probably like the basic variation and I just want to play around with.

Some of my settings.

I don't care about those.

Placement.

Angle, there we go.

The angle is maybe little bit interesting, so that I always like to

give it like a little bit of like an angle to the outside.

Okay.

Yes, we can go ahead and we can set the radius that lower here.

So that is the one that I actually had to change.

Hang.

No, I don't care about, that's alignment.

I don't care about that.

So yeah, most of this stuff.

I don't really care about.

It's a position.

Little bit smaller like this.

There we go.

So that is looking pretty good.

So you can see that it is not as much as I was expecting to, but I

quite like this because what we can do is we can have one of these and

then we have another one that is like The Cattails because for the

cartels, you probably don't want to go for like a massive area that is

full of them because you got like want to be able to place them.

So if we do this one, we can just out like a bunch more stones and

create like a larger batch.

So first of all, let's see if this one actually looks the way that we

want, so we can save this.

And then what we can do is we can go ahead and pretty much as export

this.

So let's go export the game, water.

Gastão.

Yes.

Oh, I don't need to give it a different name because I'm just going to

do.

It's all on the score large.

That's what I'm going to do later on.

So let's just save this.

This one, I keep needing to scaled up.

So let's set this back to 3.

I believe that.

What is the one that we had and just pass?

Okay.

And now if we go ahead and go in here, we can import.

Water cause tall.

Like this.

I'm going to double click copy name.

Ungroup, delete the group and then paste the name.

And then what I'm going to do, some just going to rotate this, and

this one's duty to be quite a bit bigger.

So I'm going to go probably for scale of like 2.5 like this so that

they are quite a bit larger because let me just see.

Yep, this is the one actually we probably even want to go to like

three because these are going to be quite a bit larger like often in

the real life.

I've seen them easily being as large as a person so like I will not

make them that large just yet because this is going to be inside of a

tunnel.

And inside of the tunnel, you would not have to fill sun and

everything.

To really, really grow these things.

Really large, but I still want to get them quite large to an area like

this.

So, let's just start this to a layer.

Over here.

Save us in.

Let's export this one.

Just like that.

And we also need to setup our materials again.

So let's go in here.

Let's have a look.

So I'm gonna go first of all, let's go to our textures.

Swamp on a squad cars.

Import.

Texas.

And then the next one was going to be tall water grass.

It's all on this cold water on squad cars.

And import those also.

So that stuff is all basic we go in here.

We, for example, grab our Gracia one, because that one looks the most

same duplicate it.

So water class.

Open it up.

See, and now it's remembers my window.

It's a randomly.

Does it is randomly starts remembering windows?

And then later on, they just forget it again, another one, swamp on

the score gas.

There we go.

Okay, so I'll swamp gas, we can just replace.

These over here.

It's all about cigars.

We can replace these.

Just like that.

So that is now also shortage.

And next, we can go to assets, by the way, these things if you want

you can already like get rid of them because we should have everything

already replaced.

So if we just delete that, so it's just still one that is using this

method.

Oh, we probably use this material in like one of these.

So I believe it was like the bark tree.

So if we now delete,

Delete, come on.

Delete.

Thank you here.

See?

That makes it look a little bit cleaner.

So but this will of course, I place this one on here.

So that's why we cannot deleted to in real.

What are?

Gosh, how?

Import.

Open it up.

Now, in religion five.

You can also apply your content browser down here.

The reason I don't like it is because of what you just saw is that it

just very easily like gets rid of it.

You cannot really talk it in the layout because then it does this.

So it's not like the best way of doing it and for me to then needing

to again, navigate over here.

That's why I personally just

Go down here and we go for salt water gas and swamp cars, save our

scene.

And now if we go assets test is out.

So let's say that we place it like in here.

So it fits really nicely.

It needs to be a lot bigger, because if I place like a few of these,

this is supposed to be quite small grass, like still high because of

because it will be in the water.

Because that's what I decided to swap around.

But if I have something like this over here, let's say that I have

like a cluster sitting in between here.

Something like this just to try out the placement.

I most definitely

Want to make this quite bigger.

So let's set the scale to maybe like 5.

And then the expert is again.

See if that looks a bit better.

Yeah, see that's a lot better.

So now you can see like we have the Tall Grass over here.

And that is fine.

Now.

It has like the, the screen and that screen space ambient occlusion,

the distant fields and everything that are inside of here.

Yes, they are a little bit dark, but don't worry about that.

We can go ahead and fix that.

And also, what we can do is in these cases.

We can probably go into our materials.

Probably.

We only need to do this in the eat all water cars and set the

subsurface scattering to like 0.5., Maybe even one which will guide

like reduce the amounts in.

It was look nice if you like are inside it because who knows?

Maybe you are making a game that's like from this level.

Now you just want to kind of like look to it.

So anyway, that was looking pretty good.

As you can see.

It's just some nice tall glass that we have.

Just stick with what we've been doing so far.

We can once again go over here, quickly artists.

0.3 by 1.3.

Density will be less.

So this time we are going to go for like 1,000.

And now we can just go ahead and let's say that.

Over here here.

See that's quite nice that you can like place it and then what you

would probably like want to do.

Is it once you've done like the base placement?

You can then go in here and set the scale to like

Oh wait.

I said 0.3.

That's really low.

I meant 0.8.

But anyway, we can do like 0.5 to 0.6 0.3 to 0.5.

That's too low.

Susie 0.82, 0.4.

We can like hear.

Make them smaller almost as if that it's like fading out.

See so that's how you would kind like have like that fate and then you

can go ahead and go for like 0.3 by 0.4 and then you can have like the

really small fading over here at which point we need to set our

density.

Bit higher because else it cannot register properly by.

Yeah, you you get the point so you can have like some nice feeling and

you can very quickly create like some really dense, swamp gas, as you

can see over here.

I don't like the small ones.

They are not looking very good, I guess because we need to have like,

4,000.

I think we need to have like more of them and maybe shutters to 0.5 by

0.4.

Yeah, yeah, that's a feels a little bit better when it's little bit

denser like that.

I know that it's just like a testing, but I like to just quickly show

off the work at the end of our chapter, what we've been doing.

There we go.

See some cars or like a random gas that we can now later on we can

just nicely like Towing some Cattails just by placing it in here.

So this is looking really good and you can also see that this responds

differently compared to this in.

This is because when you do foliage, painting, it is a little bit more

optimized, but it also takes into account with your

Ritual Shadows that it is fairly close together.

So that's why it is not looking so dark, but this is really nice.

So although it has like a little bit of a, I don't know what this,

like, a sort of a motion blur.

It's probably because you have like a lot of Willington strains.

Anyway.

Next chapter.

What we're going to do is we are going to create a larger variation

and then we are also going to create a cattail variation for which we

probably need to create like a custom texture.

But let's go ahead and continue with this in the next.