All language subtitles for nuk309-class07

hi everyone and welcome to class No. 7 of Nuke 3:09

and this week we pick up exactly from where we left uh

in the previous class

uh we just finished creating a texture for the floor

we wanna go back to Maya

do the texturing

shading and of course lighting to get our first render

so let's go to the render layers and we

in the previous class

we did some am interclusion renders

and for doing some lighting test

we probably wanna

reduce the test resolution even further

too heavy going really fast

so let's go to options

test resolution changes to 25%

and now the ambient conclusion goes really fast

and of course now we wanna go back to our master

layer and do the lighting there

now let's select all the Geo that we have here

and assign a shader to them

assign new material

and we want the Arnold AI standard

and this is the one

Arnold shader that is basically used to create

almost any kind of material

very useful

and we just wanna put a general kind of grayish

material over everything

so we can set up the lighting

and then go and assign specific shaders to each piece

um so let's go to our standard shader

and we'll just change the color to say medium gray

and now we can do a test render

and of course it will be totally black

because we have no lights and Arnold doesn't

um take into consideration

the Maya default light setup

so you have to add

at least one light source

and the first light source we wanna

add is the sky light

is the ambient light

our shot is pretty much ambient

there is some directional light

but it's not like a

a blue sky kind of contrasty shot

so um the the ambient light is very important

so uh you can just click on this um

little icon here

or you can go to Arnold

Lights and add a Skydome light

it's the same thing

let's add one

and you can see it's adding a sphere

and if we look in the perspective view

here's the sphere

you can scale it up or down

it doesn't really matter

let's select it

and just scale it up

it could be tiny or big

it will do the same work

it's virtual

and at this point

I like to switch to viewport 2

which gives a better indication of lighting

and textures

just a better

open Geo preview

so if you have the correct car

that will work beautifully

let's go back to

our camera and

well let's choose this area

and let's do a little test render

and now you can see

um that we have something that looks a little

bit like ambient occlusion

much grainier though

because now we're doing

direct reflection of surfaces over surfaces

and so forth

and so let's talk

briefly about

quality settings in Arnold

let's open the render settings

and there's a bunch of different parameters in

Arnold to set things

but really the area where you wanna concentrate

uh at least this stage is here

and it's a bunch of numbers for

a samples diffuse

glossy and refraction

and very clearly

the higher the numbers

the more sampling goes on

the smoother it will be

less noisy um

what you have to remember is that the first one

that's called a samples is basically

a multiplier for the others

so if you change that one

it will also multiply these

even though you don't see those numbers here

specifically being multiplied

and if we take that and um save it

and then we go

and change these to us say

5 and re render

you see that it takes longer

um but there is an improvement

in the amount of noise and graininess that happens

additionally

you can specifically change

the sampling for diffuse which is

which is a general color for glossy

especially when you have a very bright materials

or glossy materials

it starts flickering or getting artifact

and refraction which has to do with transparency

which we basically will not need here

because we don't have any transparent surface

so for now you really don't wanna uh

have anything slow you down

so we can change it back to say 3

2 2 the way it was set up

and that's totally fine

that will be fast

and actually that little bit of amount of graininess

sometimes helps make things look more rough more real

not too clean

um later on

we'll of course

take these numbers and go

higher up with them to get a cleaner render

for now that's fine

so we got a general ambient color here

maybe at this point

it's a good idea to bring back our background

so that we can see these in context of the shot

so let's close this for a moment

go to our camera

go back to environment

to the image plane

and turn it back on to

RGB or RGBA

and now we can see this will help

if we do another test render

it just helps kind of getting a feel of the sky

of the environment even her

so this is still not there

let's go back to our skylight sky dome

and now it's set to white

which is always a good start

and our sky is kind of whitish

uh what I like to do usually is

at least make a little gradient

and we're not even using an HDRI image here

um which you can of course

but it's not really necessary for this shot

uh we just need a

you know a general sky

ambient color and a directional light

to give it some kick

it would be nice to at least make this

gradient so it's not

constant throughout

so let's select the ramp here

and let's re render again

and the default

ramp in Maya has this great Technicolor setting

which you see

you can see now

we can actually turn on the IPR

so that we will update in real time

you can select a small area

and that will update

so let's get rid of the red

let's get rid of the

of the green

let's go to the blue and change this back to white

and all we wanna do now is add another

point for the gradient at the bottom and make it

uh a bit darker grayish

and that's basically what happens

usually we sky

the horizon is a little bit darker more hazy

especially if the sun is up in the sky

the top of the dome will be brighter

and we want to have just that little thing

and you can see that if I move the gray point higher up

it's going to affect the amount of light on the scene

so let's keep it down like this

and what else can we do

we can go and make it brighter overall

um you can change the exposure

and that's already way too much

let's just add a tiny little bit

let's say point three just to make it slightly brighter

we still don't have shaders

just to remind you

everything right now is just gray

so that will be a basic setup for now for the Skydome

let's close the render window now

because we want to go and add a directional light

and we can switch to perspective

and let's just create a directional light

and move it up a little bit

and it's pretty tiny so we wanna scale it up

so we can actually see then the arrow

and now it's pointing straight forward

uh we wanted

we wanna start it pointing basically down

uh let's look at the rotation

so we want it like minus 90

that is all the way straight from the top of the sky

now we don't want it coming totally straight down

uh as you remember when you looked at the shots

the light and here is another thing

the light in our plate

the light on her is not the same lighting exactly as

we have on the background

I mean we're cheating there

so we wanna get something here that's in between

that will help us kind of connect between

the foreground plate and the background plate

so what we wanna do is make the light

coming slightly from the right side

so we wanna rotate this a little bit

something like this

and also make it come

um wait let's say

yeah something like minus 7 here

but we also wanna heat it

from the camera and not have it totally back lit

so we can see some features and some highlights

so we wanna cheat this also a little bit

and around minus 70 here

and that should be it

and let's do another IPR now

and you can see that everything has gone brighter

and if we take the Skydome for a moment

uh and just turn the intensity all the way down to zero

what we're seeing now is our

um directional light and it's not strong enough

the sun is strong there

so let's go and change the intensity to three

you see the shadows are really

really strong here

so what we can do is go to shadows

make the shadow color a bit more grayish

something like this

because really there are no strong shadows on the plate

or even in the background

and another thing we can do

is make the shadows more diffused

more blurred and that is done

uh in the light angle

so the higher the light angle number is

the more spread out the shadows are

as you can see

um let's put it at like 5

um so now we've got this

um kind of bright light and

getting some nice shadowing here

we also wanna make it slightly yellowish

I mean it is the sun and now it's totally white

so let's go here

turn it toward orange

yellow and just slightly give it a tint

that you can see

and now we can go back to the Skydome

and bring it back up

and now we've got these really strong

kind of blown up light over everything

let's keep it like this because our scene is very um

strongly lit

and will tweak the lights when we

start putting on the shaders and the correct

colours for everything

let's close the window and let's select the floor

and before we signed our material

we just wanna make sure that the UVs are set correctly

and they should

because it's just a default plane that we didn't even

tweak at all

but just to make sure

you wanna go to window

um into the UV texture editor

and basically if you see the whole thing is a square

and our plane is square

we know that the UVs are

assigned correctly

and that's all we need

we do wanna sign a new material for this one

so let's go into assign new material

another AI standard

and now we go all the way to the diffuse color

and of course we want to load in our texture file

so we click on file

and then browse to where our texture is

and at this point

we can enable a textures in the view port to see it

and the first thing that comes in

immediately to mind is that

the tiles are way too big

they need to be about twice as small

and the easiest way to do it is just to

to tile the texture twice

so let's go to the place to detecture

and will change the repeat UV

on both U and v to two

and that looks much better

and also kind of aligns much more nicely with the edges

and it's fine

that we're repeating

because really

at no point in the shot do we see the entire floor

so it's not going to be apparent

so this is good

now let's go back to the shader

and let's do a little render here

and this is all nice

it's kind of a bit too uniform

and the one kind of quality that we wanna get

and if you look at back at the plate you will

you can notice it because the um uh

the floor is polished and kind of reflective in a way

their areas that get blown out

because they reflect so much light

and the light is strong and coming straight from above

and you see it in the plate

we wanna get a sort of a quality

uh like this here

and in Arnold

a specular really defines how reflective a material is

you'll hardly ever need to use reflection here

because if you set the specular

say to weight 1 and roughness to 0

you'll basically get an almost like a mirror reflected

so it's nice because it is physically accurate

and what we wanna do

and let's turn on the IPR here

or you know what

before we do that

we wanna add our bump maps

we almost forgot

so go to bump mapping

click here again

we wanna load a file

and in here

we want to load our floor's bump

we can go back here place to d texture

change these to 2 and two

and we can leave the setting by default uses bump

and the bump that depths to 1

it will really help a little bit with a

reflection or the spec

so let's go back up to the shader and do an IPR now

and let's select an area of the floor

to update let's say here

and now we wanna start pulling up the weight of

the um spec

let's pull all the way up

and now it's really getting blown up

because it's basically reflecting this very wide

strong light that we have skylight um

so let's pull it back to let's say point five

somewhere in the middle

and that's giving us this kind of nice

kind of blown up quality

let's just make the roughness a bit higher

and that's kind of nice

it just feels like the entire reflection is too bright

so maybe we just have too much skylight in there

we can go into the sky dome light and basically just

reduce the intensity to say point eight

and that's starting to look really nice because there

are areas that are still keeping the color yellow

and areas that feel like they're blown

out because they're reflecting

and that takes us to something that looks

closer to um um

the floor in the real shot

and it will add some

you know elemental photorealism

that things are not all kind of nicely exposed

but some areas are getting overexposed

and that will work

uh with all our shot

let's just render this whole frame to see how it looks

and that's pretty nice

and another thing we have to remember is that

we're gonna break up the lighting

in these areas by adding some pots with plants in them

which will create more shading

and ambient occlusion over these areas

so I think when we have it all there

the floor is gonna look really nice

so let's move on to the other pieces now okay

so for the two

base cubes we really want to go as simple as we can

all we want is to them to be white

white paint

so let's select both of these

bases and we'll sign a new material to them

and this will be

of course an AI standard and we'll call it base matte

and we wanna keep the color white uh

I don't think we wanna do anything respect at this time

um let's see how it looks

yeah I think that's working nice

and of course they're totally white so you can see the

the graininess and the noise from the low settings

when we up it

it's going to actually add nice shading over there

so we don't need much

let's go back to the fence and all the fence um

objects are basically the same material

sort of a painted metal

so let's select the railing poles and the tops

and we'll assign the new material to them

and we call this railing

and uh we don't want it white

it could be any colour really

uh just not to attract too much attention

I like to uh

keep it gray

but it can definitely be blue or green or whatever

you fancy um

so let's keep click on the color

we wanna make it kind of a darker gray around

point three or something like this

um to make it feel more like metal

and this one of course needs spec

and we wanna go and look at area where we see

more of the rail

let's say here

and doing the IPR

now now of course it's looking very matte

um not shiny enough

so here we wanna turn on for nail

and when finale set to zero

there is no angle of incident

so you basically not get anything

you want to start turning it up but first

let's turn the weight all the way up for the specs

and let's keep the roughness here by about point five

and now we really wanna start upping the for now

and you don't wanna exaggerate

because as soon as I go like point

one five it's already

too specky or too reflective

and starting to look like chrome or aluminum

and we want to keep it more in the area of

painted metal

let's try let's try point one

and um yeah I think this is not bad

if we reduce the roughness again it's gonna feel very

very shiny as you can see

um let's put it at point four

and now you can see the nice spec we're getting

from the bevel that we did there in the previous class

let's render this whole frame

yeah I think it's not bad

maybe it's a bit too shiny if you feel it's too shiny

you can up the roughness to spread uh

the highlights a bit more make it feel less reflective

more painted um

but this is a pretty yeah

let's leave it like this a little less shiny

a little less reflective um

let's take a look at another frame just to get a feel

right here

yeah that's not too bad at this point

you want might wanna go up and um

up the quality

so let's say we go to 4 here

um 3 on the diffuse

3 on the glossy sample refraction doesn't really matter

because we don't have anything refractive

and we can do another render

yeah and this is feeling nicer and

and you can see that

the little bit of graininess actually doesn't hurt

on the white surface

makes it feel a bit more real

I think and not as clean

cause the problem with CGI render is that they usually

are too clean compared to plates

so that's not what we're missing here

if you want to render something out

and test it in Nuke Force

we need to up the test resolution to back to like 50%

we also want to turn down the

background image plane

and we're missing motion blur

so first let's set this up

and uh this is very easy

we go back to the render settings

and go to motion blur

and we enable it

and now we just wanna set the emotion range

and um like we felt before

for some reason motion blur comes out really strong

even in nuke

so we might as well change it here to say point three

and see if that gives us a bit more subtle

motion blur

and we can do another test render to see how it looks

and you know it's haha

it's funny because it's

applying motion blur also to the um

image plane of the background

so that is feeling pretty nice

let's go and select the camera

and turn off the image plane there

and

now we can also

yeah now you can see the emotional blur there

and that bit of graininess is not bad either

actually when you see it in the comp

and that's good

so all we need to do now is

do a test render

at half raise

and also render out the AO

so when you want to render out the AO

all you need to do is go back to your render layer

switch to the AO

and everything in the AO is still kept the same

because we used overrides here in the previous class

so it separates

the master layer

shaders to the master layer and keeps

the AO later with AO shaders

so let's do these two and then check them up in nuke

so I rendered out the frame

1:26 and brought it into the new comp

also rendered

rendered the AO

um layer of it

and if we look at it in the context of the comp

it's starting to look pretty nice I think

um we definitely have a problem with the distortion

same that we had before

it's pulling the edges

so we'll need to overscan in Maya

the next time we render

we need to set this up

and I just wanna show you the important

importance of the AO

um before that

I just color corrected the render

a little bit to take out some of the yellowishness

and make the whites a bit more white

to kind of fit in here

it's a little tweak

I think that helps

and to put in the area

we wanna use the merge note

then we wanna set it to multiply

so basically

everything that's darker than white in

the ambient occlusion will darken the render

so let's set this to multiply

and now it's lost

because if we don't connect anything here

we connect generally black

so it just multiplies everything to zero

if we add the ambient occlusion

and you can immediately see the difference

the ambient occlusion really intensifies

the shading or the shadowing

and it adds definition it

adds contrast

but usually you don't wanna just mix it

hold all the way in

you wanna use a little bit of it

just to give some more definition to your render

depending on

how it looks in comp

so the AO is

is always very useful

here's another rendered frame frame 1:56

and the ambient occlusion

is doing its thing

and it's looking nice

but the more I look at it

the more I realize we're missing an element on

the railing

I mean right now

think of it

you can easily go in between

the vertical

poles and just

fall off the balcony

so we need something to add there to make this

so that this really makes sense

so you know

it's always good to see things in context

sometimes you realize these things

so let's go back to Maya

and add this little detail

so what I think we wanna add

and that's a common design element in railings is two

horizontal thin bars

that go through the entire length of the railing

so let's do that

go back to perspective

we wanna create

a cylinder for that

and let's make the radius

we wanted it like thin pretty thin and the height

1000 as usual

and of course we want to rotate it um

on the z

and now we probably wanna go to

the top view

and move it to be right under there also change too

so we want to align it with the bars of the railing

and now we can go to side view

move it up to a position

and let's look in perspective

and again it might be useful to click insert

at this point and move the

pivot point closer to the edge there

and now we can line it

and let's move the pivot point right here to the center

and now we can

duplicate

and rotate this cylinder

and now we can select both cylinders

duplicate again and move down

yep something like this solves the issue of the railing

adds another little nice detail

let's group all these

and we basically wanna copy the same material

as the other railing so we can go and

assign existing material

and look for the railing material

and let's do a test render

and see how this looks

yeah no need to render all the way through

that's probably what we need

now in the next class

we're gonna create some plants to put

um on the balcony

and of course we need pots

um or you know bowls or whatever

to hold them in

and I wanna quickly

in the little time we have left for these glass

just quickly show you

one way of modelling of course

modelling things like parts

there are many ways to do it

and it's up to you to choose

whichever way you feel most comfortable with um

I I don't feel so comfortable working with splines and

and nerves and I

I usually like working with polygons and subdivision

and one nice thing about Arnold is that you can

put a Lorez Poly model in there

and it will do the subdivision at render time

it's not really necessary

for the kind of model we have here

which is very

very simple

but when you have very heavy scenes

it's very useful to keep all the subdivision

only for render time

um so let's do a quick one

um just as a little exercise

and then you can go ahead and do your own

so I'll start with the

um and we can do it on a

an empty scene because you can save them somewhere else

and then import them into the scene and scale them

so scale is not really

an issue here

let's just create a cylinder

and a default

and let's just scale it up a little bit

and we'll select faces

and we wanna select all the faces at the top

so select this

and then this

select all that

and now let's go to edit mesh

and uh extrude

and we just wanna offset a little bit to create the rim

and you can hold control to make this

uh a finer movement here

and then we can press G just to repeat extrude

and then we can

extrude it down

and we can look at wire frame to see that we're

not going through the bottom

something like this and um

okay let's go back to vertix and we might wanna

change this and we wanna give it some shape

so maybe we want to lower it

make it a bit lower

and then take the whole bottom

let's look again in wire frame to see that

we're selecting both and just

take the whole bottom and just scale it down

that looks more like a pot

maybe a little lower

and then we wanna add some detail to it

and even at this stage if you look at the object

you can just press 2 to see it subdivided

or 3 to see it subdivided without the cage

um let's go back to one

and now we wanna add some um

some divisions here

so let's go to edit Mesh

Insert edge loop tool

and we can insert an edge loop here

and now we wanna select all these faces

so we go like this

but we don't wanna select the inner faces

so we can just hold control

do this and now we only have these three faces

we can go and do another extrude

and change the thickness to add a bit of a rim there

something like this

and um again let's look at it subdivided

and it looks nice but it's a little soft overall

the curves it's too curvy

so we wanna make it more like a plant pot

and let's turn off the grid

we don't really need that

so at this point

um we might look here it's more helpful again

we just wanna add some edge loops one at the bottom

and maybe one over here

make it more of a pot and we can leave the rim kind of

circular like this

let's go back to object mode

you know and that could be a basis for

making more of these um

so you wanna probably do

several different variations of these

just like you have on a balcony

have different sizes and type

also these usually stand on a kind of a shallow plate

you wanna make these

and you can use the same procedure

and then in the um

in the next class

I will throw some textures on them

and do a little shader or you can go ahead and do that

for Arnold just um

when you render a test renders in Arnold

and you wanna see how something look

don't forget to put a ground underneath it

just put a plane with a grade

grey shader there

otherwise the lighting will not feel right

and you can just throw in

a Skydome light and just do your shaders based on that

then when you bring it into the

the actual scene

you can always tweak the colors or the

specs and so forth

so in the next class

or we're gonna go into

we're gonna create some of these and then go

into speed tree

and create some plants for the balcony

and maybe even animate some of them

so I'll see you all next week bye bye