Original subtitles

Hello and welcome back everyone to Stylize Environments with Blender for Geometry Nodes.

In last lesson we finished up by getting a nice setup overall for the vines and now we're

going to finalize the overall setup with in regards to the render. If we click zero we

still have this camera set on the scene. Now we just need to make sure that it actually

brings forth all the detail necessary when it's rendering and to do that we're going to make use

out of the compositor. So if we were to click on the compositor tab over here we're going to get

this type of a setup which it's not going to give us anything. The reason being is that we've not

rendered anything and so to start off we're going to make ourselves a nice first render.

We're going to do that by firstly going downwards over here.

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So from this tab to render we're going to make sure that firstly we're going to open up the

render tab and the max samples that we're going to set is just going to be something like a small

value. So a value of 10 is going to be more than enough for a preview. Make sure that the denoiser

is also ticked on and once we have that we can click F12 on our keyboard to start rendering.

You'll notice that the max sample because we set it as 10 it's just going to render 10 samples

and we are having some issues over here. You can see the stairs are missing. So let's see what's

happening. So I'll just let it finish 10 samples over here. It's going to finalize it, denoise

everything and it's going to give us a nice setup and it's a good preview start but again the stairs

are missing. Let's go ahead and fix that. So the reason the stairs are missing is quite simple.

If we were to just select the stairs

we can hover over the outliner over here. We can click the dot to locate these objects and we can see that

next to these objects, this icon over here, the camera icon, is actually missing on all four of those stairs.

So I'm just going to go ahead and enable this, making sure that it is not missing anymore.

I'm also going to check the water, because if I were to click zero, it's not actually quite as visible, the water.

Not as high up as I want it to be. So maybe I want to just raise it up a little bit, like so.

I don't want this bucket to be touching it. So I think something like this is actually quite alright.

If we click zero, we can still see a bit of water and that's more than enough.

Maybe a little bit more actually. There we go.

And, yeah, this looks much better.

So, full water, type of AOL, looks really great for us.

Going back to the compositor. Now, if we were to go back to the compositor,

we should, actually we're not going to see anything, we need to click something over here

called Use Nodes. Once we click Use Nodes, we're going to get this Render Layers. This is what's

been rendered, you can see the preview over here, and we have no stairs, so that's why we're not

seeing that yet, but before making a now render, I'd like to enable a couple of options. Those

options are going to be in the View Layer. The View Layer will allow us to enable a couple of

additional render for additional information that we're going to be able to combine. The ones that

we want is, if we scroll down, we'll want to make sure that the Combine is ticked on, and I think

for this one, yeah, that's, we only want to combine, so this is the main image. Then we're going to

make use out of the other lighting passes. We're going to make sure that we have Emission.

Environment and Ambient Occlusion.

But as you can see it enables it over here. We've not rendered them yet, so it's not going to give us anything at the moment.

But Emission will basically show us where the emissive setup is.

In which case, in our case, is going to be this light over here.

So this light has those emissive setup for the textures.

That's what's going to be showing. Ambient Occlusion is basically going to

whenever it's going into crevices and sharper angles

of combination between objects. It's going to darken those bits out.

It's going to look like it's more part of the scene. All of the pieces

basically put together. So it's going to actually also help us to highlight some of that

contour. Then we had

Environment. The Environment will basically give us a nicer overall color setup.

Which we're going to be able to make use out of for our glare.

So that's pretty much why we're enabling

these.

Let's go ahead and render this out again

and see how this looks like. So Compositor, I'm going to click

F12 and just leave it

until it renders out.

Alright, there we go. If you're wondering why it's cropping

out top and the bottom, we can actually just zoom out

and we can see that the actual image frame is a lot

larger, so it's not cropping out anything like that.

So now we can go ahead and actually work on some of those

settings. Let's go ahead and see what we have.

I'm going to go ahead and just close this down

and I'm going to move the composite onto the right side

a little bit more, so we can actually start

working with it basically. So the first thing we're going to do

is we're going to just preview the image. We can click and hold

CTRL and SHIFT and just simply tap on the render layers

and this will give us the viewer node, which will

show it in the background basically for the setup.

So this is what we're seeing for the image. It's a nice little feature to make use out of.

So again, CTRL and SHIFT and then tapping on either one of the nodes

and now because we're just clicking through it, it's going to click through all of them

and see what we have. So this is the emitter. It's going to show us

the lantern as well as lighting for the

water since we are going for the stylized scene. So this is

the environment and finally Ambient Occlusion. So these are all

the types of basically setups that we're going to make use out of

and yeah. Let's go ahead and

make use out of the first one, Ambient Occlusion.

So the Ambient Occlusion, if we noticed, is actually

quite noisy by default. So we need to go ahead and fix that. We're going to

in order to fix it, to actually make use out of it on a photo itself

we need to just drag it and search for a denoiser.

Denoise, like so.

And we're going to get ourselves this type of setup.

Throughout this entire setup, throughout this lesson, if you are missing out a node,

or if you misclick something, you can also just simply redo the reroute, basically.

You can hold CTRL and you can just take it off, like so.

And that's going to basically take off this link, just like that.

So in case you have that kind of an issue, you can do so.

And anyways, now that we have this denoiser, we can have a look at how

this looks like, and it should load up.

There we go.

That's what we're going to get, which is very nice.

For the pre-filter, for now we can just use a fast one.

The reason being is that it's going to just speed up the overall setup, whilst

still giving us some nice results.

This way we can actually set ourselves up with a nice combination for the

image and the multiplier, sorry, for the image and the ambient occlusion,

using something called multiplier.

Now, if we were to go ahead and click Shift and A and search for a Mix Color node,

this will allow us to basically combine our two images in any way that we want.

So let's go ahead and just simply tap it in this line over here and it will naturally combine those lines,

those reroute dots onto the node. And now we can go ahead and just simply mix it up.

So if we were to just simply attach the image, the main render image and denoiser,

that gives us the ambient occlusion. Now we can go ahead and click Ctrl Shift and just tap on a mix.

We can see how it looks like. By default, it's not going to look great because it's basically set with a factor of 1.

1 is basically controlling how much it's overlaying the other image with the mix.

If we set it to 0, it's going to be giving us the original image, like so.

Setting it to 1 is going to give us that ambient occlusion.

But we don't really want this to be overlaid with this kind of setup.

We want to make sure that...

we overlay it so only it darkens certain parts of our image.

So for us to do that, we'll change the Mix to Multiply.

Which will now, if we have a look at it, will basically darken everything that's been darkened in Ambient Occlusion parts.

So that's actually a really nice setup.

The only thing is though, that it's a little bit too much.

So what we're going to do is, for this particular part, is we're going to make use out of something very nice and useful called Color Ramp.

Color Ramp will allow us to, if we attach it onto the Noiser,

will allow us to basically control how much we want this setup to be using of the information.

We can see how it works if we click CTRL-SHIFT and just tap on the Color Ramp.

We can see the effect that it's giving us. So if we were to simply drag this bottom line,

we can see two lines basically. One, like a black arrow over here and the other one is a white arrow.

And if we drag one of them...

towards the other, we can see that it actually is being

whitened out this entire image. The reason being is that this

is basically saying that everywhere that was grey before

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is now going to be white. So the area over here

that looked grey before is going to be washed out. Vice versa if we

start increasing this black, it's going to start darkening even more

of that grey area. So that's how it works and we want

to basically darken it up a little bit

so we could actually have darker spots to get a better contrast

and then we want to make use of that white arrow and just

bring it more to the center. But instead of just bringing it out like

so, we can just click on this plus symbol to add a new

arrow, which we're also going to set up as white. The reason

being is that it gives us nicer control. Now we can have this

white arrow all the way at the back whilst having a bit of a nicer control.

for the section over here. And we want to have something like

this I believe. Let me just have a look.

Something like this. So basically we'd have some bit of sharpness

coming out of these parts over here, especially over the crevices

over the edges. But it's not going to overwhelm the overall

setup. It's just going to give us nicer defining edges

for the image. We can have a look how it looks like by clicking CTRL-SHIFT

clicking on Multiply and seeing how it looks. So before, if we set

this to Factor 0, so it's only going to give us the original image, we're going to get

this kind of a look. Like so. But now if we set this to 1

we can see all of these, once it's unloading, we can see all of these parts

sharpening it up and actually giving us much more refined shapes.

So it's already looking pretty nice overall. Now we just simply

need to work on the rest of the stuff in regards to

emission, environment, and just simply overlaying

the overall composition a little bit better.

But we're running out of time so we're going to continue on with this in the next lesson.

Thank you so much for watching and I will be seeing you in a bit.