All language subtitles for 6 Blender and 3D Modeling 2

Blender and 3D Modeling

I want to show you
how to quickly add in a texture to this.

I pulled up this bottom menu
so that we can see our shading layout,

which is this Shader Editor.

By hitting that dropdown,
you can switch between modes.

I'll be using the Shader Editor.

Click on the object to add texture.

Here, let's add a simple texture
to this cube.

I'll click on that.

We can now add in a new texture
and give it a name.

I'll call this Test Texture.

It's important to keep good naming
for the textures as you go along.

You will see when we added that in,
we were given two nodes here.

This is Blender's node interface.

It's how Blender represents textures
in our scene.

You have
what's called a Principled BSDF shader.

It has a whole host
of different slider properties

that you can influence
by moving a slider here on your scene

clicking out into a Material Output.

This is where everything
will be piping out to, Material Output.

You can affect the Surface
and the Volume of your object.

This is useful
when we add atmospheric effects

like fog and the God ray effect
that you see.

That'll be affected through that.

You can also displace geometry
through here in cycles

by influencing this Displacement method,
which is very nifty.

We can also pipe different inputs
into all these properties,

which is what we will be doing
for a lot of our texturing here.

For starters, I'm keeping things simple

and adding some of the basic nodes
from Blender's node editor here.

Similar to how we added in objects
to our scene, if you hit Shift + A,

you open the Add menu
for all the nodes.

You can see a bunch of different things
to add into our scene.

We will be adding in
some Image Textures later on.

This is the primary texture
that I use mostly,

Image Texture plugged in.

To show you
how to influence some of the textures,

let's bring in this Brick Texture.

Let me pipe the Color,
this yellow output here,

into our base color.

Now you can see

it's added in this brick effect
across the texture.

This is an interesting way
to add some bricks to your scene.

You can change the spacing
of these as well.

If I change some of the properties here,

I can change the scaling
of these bricks.

I can change the width of them.

You can also change the color
of these here.

If I want to make these bricks blue,
I can do that as well.

You can also influence other properties.

I'll get more into detail
on how these work later on,

but I want to show you
how to add something in simply

like a texture like that.

I want to show you how to add in
some overall World lighting to this.

Now, the only lighting in our scene
is being cast

from this little point light here.

What I use for all of my scenes

are what are called HDRIs,
which are these environment textures.

It's like a huge 360 image
that wraps around your scene

and applies a lot of nice lighting
to your scene.

Why I like to use HDRIs

is because of the variety of colors
that you get from it.

It makes your scenes
look more photo-realistic

when you have a whole splash of colors.

As we have talked about earlier,
observing the world around you,

you notice that the sky, for example,
isn't just one color.

If you look at it,
it has all different shades

of blue, grey, purple, red.

There is so much different stuff
going on in the sky

that by using one color for the sky,
let's say by default,

I'll click on World Properties here.

Right now, our sky is this grey color
but let's brighten this up

and make it a light blue sky.

This doesn't look realistic
because it's just using one color,

so when we are splashing this
on our object,

it just looks CGI.

It's looking too fake.

We want to control this a lot more
by using HDRIs.

If I click on this yellow thing
you see here,

it allows me to change the texture
I'm piping into our world's texture.

For example, when you are looking
at the nodes here on this object,

our world has node inputs as well.

If I click on this dropdown here
and then go from Object to World,

this is what is going on
to influence the texture that you see.

We are plugging a color
with some strength.

If I crank this up, it's its brightness,

into our Surface output.

We want to change this node
into an environment node.

I can do that
by clicking on Environment.

This allows us to open up an image here.

I have a couple of HDRIs downloaded

and I have linked a bunch
of awesome ones that are free

in the resources for this unit as well.

You can peruse those
and find a whole bunch of HDRIs

that work for your scene,
your sunrises, sunsets, mid-day things,

and all kinds of things
that add lighting to your scene.

Take some time to experiment with those.

Now, I'll hit Open
and navigate to where I saved my HDRIs.

You can see
I have different ones saved here.

Let me just open this second one,
which is gamrig_4K HDRI.

Now, if I use the middle-mouse button
and look around,

it's added this HDRI as a background
to our whole scene.

I'm looking all around it.

It's now this 360 wrap of everything.

That's cool to see as well.

It added in a more realistic lighting
to our scene.

It's hard to tell as we don't have
exciting objects in our scene,

but if we were to have rocks
and different things here,

that would look cool.

That's an easy way to add HDRIs in here.

I'll be talking more
about how to do this in later units too,

but I wanted to show you
the importing process for that.

Next, we'll talk about the camera,
which is the most important part here.

It's how we'll be viewing our scene.

To get into the camera,
as I said before,

you can hit 0 on your numpad,
and this is the camera view.

What I like to do
is have a Viewport here on the left

and a Camera view on the right
with our Render view

where we look through the camera.

I prefer switching this off.

I'll make this my Viewport

and I'll make this
my Render view on the right.

I am looking now through my camera here.

If I don't want to see this extra stuff

and to speed up my rendering,
I can go into this Output Properties tab

and click on Render Region.

Now, it's cropping to render
what's within our Camera view for this.

We can also change the formatting
of our camera resolution.

X is the horizontal
and Y is the vertical here.

For Instagram,
I like to do something like 1200 × 1500.

This works well for the vertical crop
on Instagram,

but feel free
to do a horizontal mode as well.

Our camera by default
is looking at this strange angle,

so if I pull out
these Transform properties,

you can see it's rotated a bit weird

and is at a strange location
in our scene.

You can hit Alt + R
to zero out your rotation

and Alt + G to zero out your location.

This is now set our camera
within this cube that we've created,

but now if I hit G
and pull this up out of our scene,

then hit R and X
to constrain the rotation to the X axis,

and then type in 90,

we're looking perfectly perpendicular
to our plane.

Let's shift this rotation by hitting R,
Shift + Z, and then 90.

Let's move this along the X axis
by pulling out here.

Now, we are looking more reasonably
at our scene.

This is just nice and nifty here.

Let's move the cube aside
and pull our plane in here.

Now we are looking
at a bit more reasonable scene

that's level with the plane,
the ground, and looking down.

One thing I also like to do

when I add in cameras
and look through the camera viewpoint

is to click on the Camera object.

Now, we've got this new tab
that comes up here with this green icon.

If I click on that,
it will let me adjust

the camera's properties
like its Focal Length.

If I want to change this
to a wide angle like 35 mm,

that I can do right there as well.

I can change what's called the clipping.

For example,
if I put my cube at a distance,

it fades out into oblivion
and we don't see it anymore

though it still exists in our scene.

We can adjust that clipping
to finish further away.

Sometimes I put
a ridiculously large number like 99,999.

Now, you can see our cube
way off in the distance.

As I come from a photography background,

I like to have these Viewport Display
Composition Guides up

as I'm looking through the viewfinder
of my camera at a scene.

Now, I have
the rule of Thirds and Center selected.

The Thirds divide my scene
into this grid effect.

Click out of render to see it better.

I have this grid
of nine different tiles here.

They tell where the main elements are.

I try to place things

so that the focal points converge
at these edges here.

They're almost divided
into a tri-panel scene.

Usually, the foreground is here,
you got the middle ground here,

and the background and sky elements
like mountains, etc.

are in this top panel here.

I'm thinking like a photographer.

Then, I'll also enable Center,
which if I click off Thirds,

denotes where our center point is.

That's useful to know
where that is in our scene.

That's helpful for composition,
which I'll talk about as we work on it.

It's important
to tell the narrative of your story

to guide a viewer's eye
through the scene

as if you are walking
through the scene itself.

It's very important

and I take a lot of time
setting the composition in my scenes.

I also spend a lot of time
with the lighting design in our scene.

Make sure you are doing good design
so that it looks further realistic.

Don't worry, I'll walk you through
how to make awesome lighting

as we work forward
in our final project here as well.

That is just scratching
the very surface of Blender.

There is so much
to the software I didn't cover.

If you wanted to learn more
and see what Blender offers,

you can go to their site blender.org

or access additional documents
I've put here for this course

to learn other shortcut keys
and things to help you

as you continue to grow
and learn in Blender.

In the next lesson, we'll go over
how to enable some fantastic add-ons

that will speed up your workflow
not only for this project

but any project you cover down the line.