IntroductionWelcome| 00:00 |
Hi.
I'm Ellery Connell, author, designer and educator.
| | 00:07 |
I have nearly 20 years iof experience
creating 3D for print, web,
| | 00:10 |
visualization, visual effects, and game
design.
| | 00:13 |
I've taught seminars, webinars, and
university level courses in 3D modeling,
| | 00:16 |
animation, and visual effects.
So I've seen many of the stumbling
| | 00:20 |
blocks, that are encountered by artists
and designers new to 3-D.
| | 00:24 |
For many people attempting to learn Modo,
or 3-D in general, the initial learning
| | 00:28 |
curve can be daunting.
And sometimes the problems encountered,
| | 00:32 |
outweigh the excitement of learning
amazing new skills.
| | 00:35 |
In this introductory course, I'll help
you get past the entry-level
| | 00:38 |
difficulties, and start making
great-looking 3-D fast.
| | 00:41 |
This course will cover the basics of
using and customizing the Modo user interface.
| | 00:46 |
Creating and editing models, using
texture creation tools, adding animation
| | 00:49 |
to your scenes, and creating finished
images and animations using Modo's
| | 00:53 |
excellent rendering engine.
This course will prepare you, for
| | 00:57 |
entering the world 3D and Modo, or help
get you up to speed with the new tools
| | 01:01 |
introduced in Modo 601.
After watching this course and practicing
| | 01:06 |
the techniques demonstrated, you'll be
well on your way to creating great designs.
| | 01:10 |
You'll have a firm understanding of all
the basics of a 3D production pipeline,
| | 01:13 |
so you can get started on your first
projects.
| | 01:16 |
I hope that you enjoy this training, lets
get started.
| | 01:19 |
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1. Getting StartedWhat is modo?| 00:01 |
In this video, we're going to have a look
at what Moto is, what it's capable of,
| | 00:06 |
and what it will do for your graphics
workflow.
| | 00:11 |
Moto is a 3D modeling and design
application.
| | 00:13 |
It can be used for creating Still and
Animated images in 3D space.
| | 00:19 |
It's broken down into tools for creating
models, adding texture attributes to
| | 00:23 |
those models, or images to the surfaces,
as you see here, the rock texture, or the
| | 00:28 |
sand, or the grass textures, that are on
this model.
| | 00:33 |
These are examples of textures that can
be added to a, to a 3D surface.
| | 00:38 |
Beyond this, you can create any other
type of surface attribute.
| | 00:43 |
Transparency, reflectivity and things
like that.
| | 00:46 |
Then Moto can be used to create virtual
cameras and lights in 3D space, and
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assemble an entire scene, that can be
rendered out into a single image, of any
| | 00:56 |
resolution, or into a series of images,
or a QuickTime movie that can be used in
| | 01:00 |
video, animation, for TV, film, web, and
games.
| | 01:08 |
Moto has tools for creating simple to
complex geometry, animation, virtual
| | 01:14 |
lights of many different types, and 3D
finished renderings of those objects.
| | 01:27 |
Here's a quick preview, of this simple 3D
scene, which contains a bit of all of
| | 01:31 |
these elements combined, to create simple
island, on a tiny planet, with water and
| | 01:36 |
a population of clovers.
In more complex application, Moto can be
| | 01:43 |
used to create, images for product
visualization, architectural
| | 01:50 |
visualization, entertainment, film and
television design, or game design.
| | 02:04 |
Moto is a complete end to end pipeline.
Which means that all aspects of 3D
| | 02:08 |
modeling, texturing, animation, lighting,
and finished rendering, can be handled
| | 02:12 |
inside one package, in one place.
| | 02:15 |
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| Understanding 3D design| 00:02 |
In this video, we will have a look at the
basic aspects of 3D design, what steps go
| | 00:06 |
into the creation of a 3D scene or
animation, and how these can be covered
| | 00:10 |
in Modo?
After an initial concept is reached, 3D
| | 00:16 |
design typically begins in the modeling
phase.
| | 00:20 |
modeling is the creation of geometry in
3D space to simulate real world or
| | 00:25 |
fictitious geometry.
Geometry is made up of three main
| | 00:31 |
components in 3D, Vertices, Edges, and
Polygons.
| | 00:38 |
A vertex is a single point in 3D space.
Unlike a pixel, it's not something that
| | 00:43 |
you'll actually ever see.
It's just the basic building block of 3D geometry.
| | 00:48 |
Two vertices combined create an edge.
And at least three edges creates the
| | 00:54 |
basic building block of visible 3D space,
the polygon.
| | 01:01 |
This is an example of a four-sided
polygon, often known as a quad.
| | 01:06 |
This is actually the combination of two
triangles.
| | 01:09 |
You can see here in this top view a
triangle in the upper left and a triangle
| | 01:15 |
in the lower right.
By combining multiple polygons, a 3D
| | 01:21 |
scene can be created or a model of a 3D
scene can be created.
| | 01:25 |
This shows a simple sphere that has been
detailed to create islands on a tiny planet.
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And another simple sphere that is
unaltered to create the water.
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This is a good example of how simple
geometry can be modified in order to make
| | 01:46 |
a much more complex scene.
Polygons like this one here can either be
| | 01:52 |
represented directly or smoothed to
create the illusion of more continuous
| | 01:58 |
and flowing surfaces.
If we take the example of two polygons,
| | 02:05 |
you can see that a very definite and
defined edge is created.
| | 02:13 |
But when smoothed, the appearance is much
softer.
| | 02:18 |
This smoothing of polygons is known as
subdivision surfaces and is very common
| | 02:23 |
in 3D graphics today.
It allow artists to have control over a
| | 02:28 |
smooth surface without having to move
around many, many control points.
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As you can see, in order to change the
shape of this curve, all I need to do is
| | 02:39 |
change this center edge.
Once polygons are created, textures or
| | 02:45 |
surfaces can be applied in order to give
the model the appearance of a more
| | 02:51 |
complex surface.
In this example, the polygons are
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textured with the surfaces of rock, sand,
snow, water.
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And in the final render, even the
appearance of clovers on the surface of
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the island.
With models and textures created,
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lighting can be put in place to simulate
lighting found in the real world in
| | 03:20 |
studios or completely fictitious lighting
as defined by the artist.
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With lights, textures, and models in
place, cameras can be placed and
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animation can be created by moving and
deforming objects in 3D space.
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The finished results are then rendered to
create realistic imagery or surrealistic imagery.
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All of these elements combined create the
backbone of 3D design.
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modelling, texturing, lighting,
animation, and rendering.
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| How to use the project files| 00:02 |
In this video, we'll have a quick look at
how to use the included scene files with
| | 00:06 |
this tutorial series.
Each project folder contains a before and
| | 00:11 |
after version of the scenes used in a
given project.
| | 00:19 |
In the example of this case, there is a
scene provided in order to practice
| | 00:23 |
creating textures and materials.
The scene consists of a series of balls.
| | 00:29 |
And slightly deformed balls.
And each of these has a different
| | 00:32 |
material applied.
Which we will then edit in the course of
| | 00:35 |
the video.
You can use this as the jumping off point
| | 00:38 |
to move along with the video, and you can
also jump to the end and open the
| | 00:43 |
completed project that has all of the
attributes already applied to the model.
| | 00:50 |
This will allow you to have a look at the
settings, compare them to your own work,
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see where you might have missed
something.
| | 00:56 |
And also, further experiment, if you'd
like to skip to the end and already
| | 00:59 |
explore some more interesting topics.
By using these two files, paying close
| | 01:06 |
attention, and comparing what you see
with the settings in the videos, you
| | 01:10 |
should be able to very quickly grasp the
concepts shown in the video.
| | 01:16 |
And start creating your own work right
off the bat.
| | 01:18 |
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2. The modo Layout TabsLayout tabs: Model creation| 00:02 |
In this video, we'll be looking at the
model and model Quad tab where you can
| | 00:06 |
find a lot of the controls for creating
and editing forms inside of Modo.
| | 00:12 |
The first two tabs, located at the top of
the screen are model and model Quad.
| | 00:16 |
For the most part, the only real
difference between these two tabs at
| | 00:20 |
first is that the model Quad is broken up
into four views, with a Perspective view
| | 00:25 |
in the upper right.
A Top view, a Front view, and a Right view.
| | 00:33 |
The three views on the upper left and the
bottom are orthographic views, which
| | 00:37 |
means they lack three-dimensional
perspective.
| | 00:43 |
And this lack of perspective can make it
much easier to align objects very quickly
| | 00:47 |
in 3D space.
As you can see, the spheres in this scene
| | 00:50 |
are aligned horizontally, even though
they're placed evenly spaced when we look
| | 00:52 |
at it from the top view.
In the 3D perspective on the upper right,
| | 00:59 |
it's very difficult to quickly align
these objects.
| | 01:08 |
But it's very easy to do in this view.
The model's Single view or just model
| | 01:13 |
view is a single view port.
So by default, it's just the perspective view.
| | 01:18 |
At any given time, however, you can
change this view to another view in one
| | 01:22 |
of a number of ways.
In the upper left corner of the view, you
| | 01:26 |
can see that it say perspective.
And by clicking there, you can change
| | 01:31 |
this to top, bottom, back, front, right,
left perspective any camera that you have
| | 01:35 |
created, or the view from light in the
scene.
| | 01:39 |
In this case, we have one directional
light.
| | 01:42 |
And you can view the scene as from the
perspective of that light.
| | 01:47 |
Also, by holding control and the space
bar, you can get a quick little Pi menu
| | 01:51 |
that let's you switch quickly between
those views.
| | 01:56 |
The other difference comes when
maximizing a view port.
| | 02:03 |
In Modo, the zero key on the numeric
keypad will maximize the view where the
| | 02:08 |
mouse is hovering over in order to take
up the entire space that belongs to that
| | 02:13 |
particular view.
Now in the model Single view, the 0 key
| | 02:20 |
will cause this perspective view to go
from one large window to taking up the
| | 02:24 |
entire bottom section of the screen.
You can see this is taking over the
| | 02:30 |
tools, which are on the left, and the
other items and properties which are on
| | 02:34 |
the right.
In the model Quad view, this area in the
| | 02:38 |
center is what can be taken over.
So, pressing the 0 key over the right
| | 02:43 |
view for example, will cause us to come
to the full screen.
| | 02:46 |
And in many ways, this makes the model
Quad view look like the model Single view.
| | 02:55 |
This makes the model Single view a good
place to get a view of your entire scene
| | 02:59 |
without having a lot of obstructions,
since you can get rid of your tools very easily.
| | 03:05 |
Both the model and the the model Quad
view have tools on the left-hand side
| | 03:09 |
that allow you to create basic primitive
shapes, cubes, spheres, cylinders, cones, etc.
| | 03:17 |
Or to maneuver them in 3D space, as well
as tools for deforming.
| | 03:22 |
Duplicating and editing in other ways
your 3D models.
| | 03:27 |
These tools are the same in the model and
model Quad views.
| | 03:31 |
On the right-hand side, you have an item
list which contains all of the items in
| | 03:34 |
your scene.
And there are also other tabs, which are
| | 03:37 |
used for creating groups, and creating
materials, and textures on your objects.
| | 03:43 |
But the default is the item list.
And then under that, on the bottom right,
| | 03:47 |
you have properties.
But again, there are more tabs which give
| | 03:51 |
you controls of other properties or other
parts of your 3D scene.
| | 03:57 |
So, the model and model Quad tabs is
where you can go to very quickly get
| | 04:01 |
access to all of the different tool that
you need in order to create and modify
| | 04:06 |
geometry inside of Modo.
| | 04:11 |
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| Layout tabs: Painting, Topo, and UV| 00:01 |
In this video, we'll have a look at the
Paint, Topo, and UV tabs, and see how
| | 00:06 |
they can help you to fine-tune your
models, add basic textures.
| | 00:11 |
Clean up your models, and also help you
to continue in your texturing workflow.
| | 00:19 |
The next tab over is the Paint tab.
And it's kind of a bit hard to
| | 00:22 |
understand, but the Paint tab has a lot
more in it than just simply painting.
| | 00:27 |
Texture Painting is an important part of
a 3D process.
| | 00:30 |
It allows you to put something like
virtual ink directly onto 3D objects,
| | 00:35 |
something like painting in Photoshop but
in 3D space.
| | 00:40 |
This painting can be done with simple
colors, with simple or more complex brushes.
| | 00:46 |
And can even paint with textures or to
the images that are projected onto your
| | 00:50 |
object, along with painting, which is
here in the second tab down on the left.
| | 00:57 |
You also have a Sculpting Interface,
which allows you to more freely edit the
| | 01:02 |
flow of polygons.
And even in some sculpting methods, the
| | 01:07 |
space between smooth polygons.
There's also control for hair, vertices
| | 01:13 |
and creating and editing particles, as
well as some utilities in the painting
| | 01:18 |
and the sculpting workflow.
So at the bottom of the screen,
| | 01:23 |
underneath the large Perspective view, is
a Content Browser and a Color Picker.
| | 01:29 |
Again, using the 0 on the numeric keypad
will maximize any one of these to fill up
| | 01:33 |
the whole screen.
So you can see that that this workflow is
| | 01:38 |
very much geared towards simply having
Painting and Sculpting tools, for the
| | 01:42 |
most part.
Which will give you more fine-tuned
| | 01:46 |
editing capabilities beyond just simply
grabbing and moving vertices, edges, or polygons.
| | 01:52 |
Many times when creating 3D objects, the
general mesh, or the construction of
| | 01:56 |
polygons, can become very dense and
sometimes very cluttered.
| | 02:01 |
And that's where the Topo tab comes into
play.
| | 02:05 |
Topo is short for Topology, and that is
the description of how vertices in 3D
| | 02:11 |
space are combined to create 3D objects.
So, in this case, you can see the
| | 02:18 |
vertices that are making up these
spheres.
| | 02:22 |
Now, these are relatively clean and
uncluttered.
| | 02:25 |
But when working on a very dense, very
complex model, these can sometimes get
| | 02:29 |
really cluttered.
And so, the Topo or the Topology tab will
| | 02:34 |
allow you to very simply clean up the
topology by creating simple polygons in a
| | 02:38 |
nice flow.
Like in this case, it would be across
| | 02:43 |
this horizontally and then up and down
vertically.
| | 02:46 |
And those polygons will conform
themselves to the underlying surface.
| | 02:52 |
So, that you can get the same overall
flow of a model with a much better flow
| | 02:57 |
of polygons.
The last tab that has to do with the
| | 03:02 |
simple model creation is the UV tab.
Now, a UV is essentially a 2D
| | 03:08 |
representation of 3D space.
So, if I look at the UV map for these
| | 03:15 |
spheres, you can see that it has a bunch
of polygons.
| | 03:24 |
And as I select these, you can see that
they all select a corresponding section
| | 03:28 |
on the spheres in the scene.
Right now, all three of these spheres are
| | 03:33 |
sharing the same UV space, even though
they're in different spaces in the 3D scene.
| | 03:40 |
This allows you to take 2D textures or 2D
images, photographs or things painted in
| | 03:44 |
Photoshop, or another 2D application and
apply them to 3D models.
| | 03:50 |
You can see every time I select a polygon
here in UV space, the corresponding space
| | 03:54 |
is selected in 3D space.
Likewise, if I select polygons in 3D
| | 03:59 |
space, the corresponding polygons are
selected in UV space.
| | 04:02 |
UVs are very necessary when it comes to
creating accurate and precise placement
| | 04:08 |
of 2D images onto 3D objects.
Can think of it kind of as a bear skin
| | 04:15 |
rug version of your 3D model.
It's completely cut apart, unwrapped, and
| | 04:20 |
placed on a flat surface.
The Paint tab will give you quick access
| | 04:25 |
to sculpting, painting, hair editing, and
other commonly used utilities for these
| | 04:28 |
work flows.
The Topo tab will allow you to clean
| | 04:33 |
geometry by building simplified polygonal
flow over the top of more complex models.
| | 04:39 |
And the UV tab is essential in creating
unwrapped two dimensional representations
| | 04:44 |
of your 3D models in order to implement
2-dimensional textures in 3D space.
| | 04:50 |
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| Layout tabs: Layout and Animation| 00:02 |
In this video, we'll look at the Layout,
Setup and Animate tabs.
| | 00:06 |
These are the home of object distribution
and setup, and previewing of both simple
| | 00:11 |
and complex animations inside of Modo.
The Layout tab gives you a view of all
| | 00:17 |
objects in your scene and very quick
access at the bottom of the screen to all
| | 00:20 |
of your presets.
Modo ships with a large number of presets
| | 00:26 |
in a multitude of categories, animals,
basic shapes, electronic devices, and so
| | 00:31 |
on and so forth.
These can be very, very useful when it
| | 00:36 |
comes time to add details and populate a
complex scene.
| | 00:40 |
For example, looking at the Interior
section under Appliances, you can find a
| | 00:44 |
stove, a dishwasher, an oven, common
things that you might put into a kitchen.
| | 00:50 |
Now, these are the ones that ship with
Modo.
| | 00:52 |
You can add your own, and you can also
get a bunch more of them from the
| | 00:54 |
Luxology website.
So, very quickly, if you're working on an
| | 00:58 |
interior model, for example you don't
have to spend all of the time, modeling
| | 01:01 |
all these individual pieces.
Where you can use the preset stock content.
| | 01:06 |
And as you create your own individual
models and textures that are usable in a
| | 01:10 |
variety of places.
You can put them here into your presets
| | 01:14 |
and use them in multiple scenes very
quickly and easily.
| | 01:20 |
Now along with that, the tools are on the
right-hand side.
| | 01:24 |
The Properties and Item Lists are kind of
the standard ones that are used in most
| | 01:27 |
of the other tabs.
However, on the left-hand side, there is
| | 01:31 |
a very nicely streamlined set of tools
that are essentially for mesh or model
| | 01:36 |
placement, and duplication.
So, cloning and scattering, all sorts of
| | 01:42 |
different objects, you can do that very
quickly with a single object.
| | 01:46 |
So, for example, if I have this
dishwasher in here, and this is going to
| | 01:50 |
be in a dishwasher store, I can really
quickly use the Clone tool.
| | 01:55 |
Click and Drag out another dishwasher, or
if that's not enough, I can drag out 18
| | 01:59 |
more dishwashers.
And that quickly I can see an entire
| | 02:05 |
group here as if they were all modeled
and placed in the scene like that.
| | 02:13 |
So, this can be very, very useful as far
as laying out the general positioning on
| | 02:16 |
your scene.
The Setup tab is where a lot of complex
| | 02:20 |
animation is setup essentially, thus the
name of the tab.
| | 02:25 |
On the left and right is a relatively
simple set of tools, and these are
| | 02:29 |
actually the same between the Setup and
the Animate tabs.
| | 02:33 |
Now, the big difference between the Setup
and the Animate tabs is down here at the
| | 02:37 |
bottom of the Setup tab.
This view allows you to very quickly
| | 02:43 |
attach and rig complex object
interactions inside of Modo.
| | 02:49 |
This is where you can add modifiers,
deformers, and other things to different
| | 02:53 |
attributes on models, materials, to set
up their movement and their interaction.
| | 03:00 |
And then, when you go to actually animate
this scene, it has been much more streamlined.
| | 03:05 |
And you can create a lot of control here
in the Setup tab.
| | 03:08 |
On the left-hand side, there are a lot of
commands, and then tool properties for
| | 03:12 |
any, any command you have open or any
tool that you have open.
| | 03:16 |
The commands are broken down into a big
group of categories.
| | 03:19 |
So, you have Setup, and it gives you a
lot of initial design of how you're going
| | 03:23 |
to have objects interact.
Modifiers that changes how objects behave.
| | 03:29 |
And a good example would be something
like a direction modifier that you can
| | 03:32 |
use to point one object at another.
For example, if I were to put a camera in
| | 03:36 |
the scene and add a Direction Modifier to
one of these objects, the camera's always
| | 03:40 |
going to point at that object.
No matter where I move the camera in the scene.
| | 03:45 |
Inverse Kinematics or IK is a setup for,
typically used for character animation.
| | 03:50 |
Where instead of moving joints or
individual pieces in kind of a, in a
| | 03:54 |
doll-like fashion where you move the
shoulder.
| | 03:58 |
And then you move the elbow, and then you
move the hand.
| | 04:02 |
Inverse Kinematics uses a goal.
So, the goal would be something like the
| | 04:07 |
wrist in an arm.
So, if you move the wrist, the rest of
| | 04:09 |
the arm is going to move to keep up.
there are also deformers and options for
| | 04:14 |
weighting objects.
And this controls how different parts of
| | 04:18 |
an object can blend together when they're
moved.
| | 04:21 |
So, if you have again, the example of an
arm, and you would have a node at the
| | 04:25 |
shoulder, one at the elbow and one at the
wrist.
| | 04:28 |
The Weighting controls what parts of your
model are going to be moved when each of
| | 04:32 |
those different joints moves.
And then also Recoil, which is the
| | 04:37 |
built-in physics simulation, both for
rigid simulation or things that don't
| | 04:40 |
deform when they bump into each other.
Like marbles or something like that.
| | 04:46 |
And then, Soft Body Deformation.
In other words, things like cloth or
| | 04:50 |
characters, things are going to have some
give to them as they bump into each other.
| | 04:56 |
And then, there's a lot more that also
goes into recoil.
| | 04:59 |
So, all in all, it's a very nice setup
that can help you to create physically
| | 05:03 |
based animation really quickly.
The Animate tab gets rid of that open
| | 05:08 |
space at the bottom.
And just gives more space for the view
| | 05:11 |
port window, so that you can quickly
preview how your animation will run.
| | 05:16 |
Now, at the bottom of both of these last
few tabs setup in Animate, there is a
| | 05:20 |
timeline that you can scrub just like any
video editing application.
| | 05:26 |
Or other things like that, so you have
time down at the bottom based off of frames.
| | 05:31 |
And as you setup your animation, you can
either scrub that, drag the time marker along.
| | 05:37 |
Or you can use the Play, Pause, Rewind
buttons here at the bottom.
| | 05:41 |
So, Layout, Setup and Animate are going
to be where a lot of the animation begins
| | 05:45 |
to happen.
And then, actually happens as previewed,
| | 05:49 |
tweeked and adjusted inside a photo.
| | 05:52 |
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| Layout tabs: Render| 00:02 |
In this video, we're going to look at the
render tab, and how it can be used, not
| | 00:05 |
only for creating your final renders, but
for previewing and setting up lighting, textures.
| | 00:12 |
And when also using material and
environment presets in order to make your
| | 00:16 |
scene actually come to life for that
finished render.
| | 00:20 |
So the layout of the render tab is
similar, in a lot of ways, to many of the
| | 00:24 |
other tabs.
On the right-hand side are Properties and Channels.
| | 00:30 |
Common tabs that we see.
The items list, and the shader tree.
| | 00:36 |
A lot of the time, in, this view will be
spend in the shader tree.
| | 00:39 |
Because that's where all of the
properties for different materials, and
| | 00:42 |
all the materials themselves are housed.
And then on the left-hand side is a set
| | 00:47 |
of thumbnails that contain the presets.
The presets by default will show
| | 00:52 |
materials, but you can also get any other
kind of preset in here including environments.
| | 00:58 |
Here in the middle of the screen you have
a perspective view, that lets you just
| | 01:03 |
kind of get a freewheeling look at your
scene so you can place things like
| | 01:06 |
cameras, and lights, and objects.
On the top, here in the middle, is a
| | 01:13 |
preview of the render camera in
real-time, so just using your OpenGL look
| | 01:18 |
and see that it has this camera position
with the ball facing towards us, with
| | 01:22 |
that little hole up and to the right.
And then on the left, is the preview of
| | 01:31 |
the actual finished render.
And you can see here that these two views
| | 01:35 |
align with each other.
As I zoom in, in this camera on the
| | 01:40 |
right, the camera with the preview render
keeps up on the left.
| | 01:45 |
Now just like in other views, you can
easily maximize any of these by pressing
| | 01:49 |
the Zero key on your Numeric Keypad.
So this can be very useful to get a
| | 01:53 |
larger scale preview, a higher quality
preview in many ways of your finished rendering.
| | 02:00 |
You can get it at a higher resolution and
then.
| | 02:03 |
Get a much more polished look at how it's
going to look, when you actually hit
| | 02:06 |
render and get out a finished render.
Having this view smaller gives you the
| | 02:13 |
benefit of quicker render times, because
the processor is having less pixels
| | 02:16 |
essentially that is has to deal with.
Now, in the preview window here in the
| | 02:22 |
upper left, there are a number of really
nice options that you have.
| | 02:29 |
Clicking anywhere on the screen will take
you directly, in the shader tree, to the
| | 02:33 |
material that you've clicked on in the
preview.
| | 02:36 |
So if I click on this green back wall.
Can see that I've gone to my G for my
| | 02:41 |
green material, you can see my green
diffuse color here, so if I take this and
| | 02:44 |
I modify this color, say make it darker.
You can see that's directly editing the
| | 02:51 |
material there.
So, clicking on the red will take me to
| | 02:56 |
the red material, the blue to the blue,
clicking on this ball will take me to the
| | 02:58 |
material that's attached to the ball.
And you can see over here on the left
| | 03:04 |
that the ball has.
A lot more to the material than just a
| | 03:08 |
basic material.
It has some other layers that are
| | 03:11 |
changing the surface of the ball.
Just a side note also, pressing the Zero
| | 03:16 |
key on the numeric keypad on these
sidebars will allow you to maximize that,
| | 03:19 |
so that if you need to see more of your
properties, you can do that, or if you
| | 03:22 |
need to see more of your shader tree, you
can very quickly do that.
| | 03:28 |
Using presets is really simple in Modo.
By simply selecting a material where you
| | 03:33 |
want the present to go, like, for
example, let's go to the floor here.
| | 03:37 |
And now I'm going to select the W key
here.
| | 03:41 |
It has my floor on it.
I can either double-click on one of these
| | 03:45 |
presets and it will drop all of the
settings right into the scene.
| | 03:49 |
And now you can see that this floor is
going to be that reflective satin finish chrome.
| | 03:56 |
Or I can simply drag and drop this
material onto any place in the scene.
| | 04:01 |
So, for example, let's replace the right
hand wall with the satin finished chromes.
| | 04:07 |
So, just dragging it onto the blue
material and releasing will populate that
| | 04:12 |
material's settings with all of the
settings for the satin finish material.
| | 04:20 |
So, dragging and dropping the satin
finish material onto the blue wall will
| | 04:26 |
replace and cover that blue wall with the
properties for the satin finish material.
| | 04:35 |
Just a number of ways you can assign
materials very quickly inside of the
| | 04:39 |
render preview.
Render Preview has a number of options as
| | 04:44 |
well that will allow you to get a better
idea of what's going on in your image.
| | 04:51 |
In the top left under Options, there are
a lot of different options for this
| | 04:56 |
render preview.
Quality, by default, is set to Draft Quality.
| | 05:01 |
And at Draft Quality, the rendering will
get to a certain point with some of the
| | 05:05 |
settings at a little bit lower quality
than your finished render.
| | 05:11 |
And at that point, the render will
consider itself finished.
| | 05:16 |
You can also change that mode to Final
Render quality.
| | 05:18 |
Which will take the scene up to the
quality settings that you have set up for
| | 05:21 |
your render.
And then leave them.
| | 05:24 |
Or set it to Extended Refinement Passes,
which will keep refining the image until
| | 05:29 |
a change is made or you move out of the
render tab.
| | 05:35 |
So, this can allow you to get a very,
very clean, polished look on the scene,
| | 05:38 |
if you have a few minutes to spare.
I usually use this if I'm about to take a
| | 05:43 |
break and want to get a nice quality
render, and maximize the view port size,
| | 05:47 |
turn on Extended Refinement Passes, and
let it go while I'm taking a break.
| | 05:55 |
Another option that you can use, if
you're going to really want to max out
| | 05:58 |
all of the speed here in this is use all
threads.
| | 06:01 |
This will take every core in every
processor that you have available and
| | 06:05 |
dumb them directly into this preview
window.
| | 06:09 |
Now, this is going to slow down other
applications and other things that you
| | 06:11 |
may be doing at the time.
But it's really going to eek every last
| | 06:15 |
bit of speed out of getting a fast
preview of your scene.
| | 06:22 |
One more note about the render preview is
that it features something called paint
| | 06:27 |
to render.
So if you paint over, or mouse over a section.
| | 06:33 |
It will increase the render quality at
that point.
| | 06:36 |
That way if you want to see how an object
is going to look in a scene, in one
| | 06:39 |
specific area, you can really quickly
just mouse over that, until it gets to a
| | 06:43 |
good point, and then call it done.
Let's move this a little bit so that we
| | 06:50 |
can have this refresh.
So I'm just going to mouse over this
| | 06:53 |
point right here, and you can see that
the majority of the scene is not
| | 06:57 |
refining, until I stop mousing.
And then it will take time to catch up.
| | 07:02 |
And now, as soon as I stop doing that,
the render quality is going to go over
| | 07:05 |
the entire rest of the scene evenly.
This can also be very useful if you have
| | 07:10 |
one particular part of the scene that is
more difficult to render.
| | 07:15 |
For example, blurry reflections often
times come out grainy and kind of rough looking.
| | 07:20 |
So if you take some time, initially while
you're doing a preview, to paint over or
| | 07:24 |
to mouse over that section.
Then when the rest of the scene goes, it
| | 07:27 |
will already have had a head start, and
you can get a better finished look on that.
| | 07:33 |
So that does it for the render tab, there
is a lot going on here and it is a very,
| | 07:36 |
very useful tool for creating the best
possible look in the fastest time.
| | 07:42 |
You can edit your lights, you can edit
your textures, and have a really good
| | 07:44 |
idea of how it's going to look in the
finished render.
| | 07:47 |
| | Collapse this transcript |
|
|
3. modo FundamentalsGeneral preferences| 00:02 |
In this video, we're going to look at a
few of the preferences inside Moto, that
| | 00:05 |
will be commonly used in order to get
started, and to make your work flow a
| | 00:08 |
little bit better.
If you're on the Mac, the Preferences are
| | 00:13 |
found under Moto, and then Preferences.
On Windows, Preferences is found under
| | 00:18 |
the System menu.
I'm going to go down to my Preferences
| | 00:21 |
and Open them, and there are three
specific places that are very important,
| | 00:24 |
even for a novice user to look as far as
setting up good Preferences.
| | 00:28 |
First is Autosave.
Now, by default, Autosave will be turned
| | 00:33 |
on at a time interval of five minutes,
with one revision.
| | 00:37 |
And that means that every five minutes it
will Save a file, and five minutes later,
| | 00:40 |
it will write over that file, and so on
and so forth, keeping it relatively up to date.
| | 00:46 |
Now this means if your computer crashes,
or if Modo crashes, when you Restart,
| | 00:50 |
Modo can recover some of your recently
Saved files.
| | 00:54 |
Now the problem with having the number of
revisions set to one, is that it's going
| | 00:58 |
to continually overwrite the Saving that
has been done.
| | 01:01 |
So, I'm a kind of person that I like to
Save in iterations.
| | 01:05 |
Just to make sure I didn't make some
mistake that, I can't go back and repair
| | 01:08 |
later, or change something that I decide
45 minutes later, that I want to go back
| | 01:12 |
to the original way I had it.
So, I like to set this Revision number a
| | 01:16 |
little bit higher.
Setting something like 15 or 20 is
| | 01:19 |
usually adequate.
That means that every five minutes, it's
| | 01:24 |
going to Save a version of your file, and
once it's reached 20 versions, it'll
| | 01:27 |
start to override over the last ones.
And typically, once you've gone 20 times
| | 01:32 |
5 or 100 minutes, you've probably Saved a
new version of your file anyway.
| | 01:37 |
So for me, 20 is usually a good spot, as
that keeps you from having to override
| | 01:42 |
previous work.
The next thing that is really important
| | 01:47 |
is under the bottom, Final Rendering.
Now, Final Rendering, a lot of these are
| | 01:53 |
going to be more complex options, that
you don't have to worry about in common,
| | 01:59 |
simple basic workflow.
There are two exceptions, however.
| | 02:04 |
And these are the other two things that I
wanted to discuss here.
| | 02:07 |
And those are right up at the top.
First thing is Render Threads.
| | 02:11 |
By default it's going to be set to
Automatic Render Threads.
| | 02:14 |
Which means that, if you have four
processors in your computer, it's going
| | 02:18 |
to use all four processors.
Or if you have one processor with four
| | 02:22 |
cores, then Hyper Thread, it will use
eight of those Hyper Threaded cores.
| | 02:28 |
So pretty much everything that you've
got, is going to be thrown into it.
| | 02:31 |
If, however, you need to Render and you
want to throttle it back a little bit, so
| | 02:34 |
that you still have some power to do
other things while the computer Renders,
| | 02:37 |
you may want to Manually set your Render
Threads.
| | 02:41 |
So I've got eight cores in this.
If I set it to six, that's going to leave
| | 02:45 |
me a pair of cores to do other work
inside of my computer.
| | 02:49 |
So that I'm not completely slowed down by
my Rendering.
| | 02:53 |
However, a lot of times I want to get my
Rendering to be as fast as possible.
| | 02:56 |
So I check it off to Automatic Render
Threads.
| | 02:58 |
That's just something to remember, if you
need to do other work while your computer Renders.
| | 03:03 |
Now the next thing is Geometry Cache
Size.
| | 03:05 |
And this is going to be how much memory
Moto is allowed to use for creating
| | 03:08 |
complex geometry at Render Time.
Now, by default that's set to two gigs,
| | 03:13 |
which is relatively good, but if you have
a lot of ram in your computer, it's a
| | 03:16 |
good idea to set that up to something
higher.
| | 03:19 |
I've got plenty in here, so I'm going to
set it up to 8 gigs, and that will allow
| | 03:23 |
me to have plenty of space for really
complex geometry.
| | 03:27 |
And everything is going to look really
good, and be very finely refined in my
| | 03:30 |
finished Renders.
So those just a few of the common
| | 03:34 |
preferences that you'll want to
familiarize yourself with.
| | 03:37 |
If you get the time, spend a little bit
of time reading about the others.
| | 03:40 |
But for a basic standpoint, just setting
up those few things; your Auto-save, and
| | 03:44 |
your Final Rendering based on your Render
Threads and your Geometry Cache, can be
| | 03:48 |
really helpful to make your work flow,
and your work experience a little more enjoyable.
| | 03:54 |
| | Collapse this transcript |
| Navigation in 3D space| 00:02 |
In this video we're going to look at how
to navigate in 3D space inside of Moto.
| | 00:07 |
We'll look at how to move around a scene
efficiently, how different Viewports
| | 00:11 |
behave slightly differently.
And a few shortcuts that will help you to
| | 00:15 |
navigate with ease inside of a 3D scene.
So, if you would like to follow along
| | 00:20 |
with this simple model, open up the Nav
City scene from your Projects folder.
| | 00:27 |
This is a very simple scene with a bunch
of small randomly created blocks that
| | 00:32 |
will give you something interesting to
navigate around.
| | 00:38 |
All right, so, in Orthographic views, or
these non-perspective views that don't
| | 00:43 |
have any 3D depth, there are two main
methods of navigation.
| | 00:48 |
Panning, which is done with the Option or
Alt keys.
| | 00:53 |
Depending on if you're on a PC or a Mac,
you can see that moves any of these views
| | 00:58 |
left, right, up, and down.
This would be very similar to something
| | 01:04 |
like holding the Spacebar in Photoshop.
And then also holding Option or Alt+Ctrl,
| | 01:09 |
gives you a zoom function so you can zoom
in and out of any of these views.
| | 01:16 |
It is important to note that this zoom is
context sensitive, so wherever your mouse
| | 01:19 |
is centered.
That's where you will zoom towards.
| | 01:23 |
This makes it very easy to go in and out.
And find the parts of the model that you
| | 01:28 |
need, as opposed to simply zooming in
towards the middle and then having to pan
| | 01:32 |
to say the far side like this.
In addition, you could also use the
| | 01:36 |
scroll wheel to zoom in and out, but this
can often be relatively cumbersome
| | 01:40 |
depending on the kind of mouse that you
have.
| | 01:45 |
And can be very finicky and hard to get
an exact position on a zoom.
| | 01:48 |
Where as using an Option or Alt+Ctrl key,
gives you a very fine tuned method of
| | 01:53 |
navigating in and out with your zooms.
Every view also has a small widget in the
| | 01:59 |
upper right-hand corner that contain the
navigation functions for that window.
| | 02:05 |
So in the case of the orthographic views
there is the Pan tool, it moves you
| | 02:07 |
around, up, down, left, and right.
And the Zoom tool, which in this case
| | 02:11 |
will zoom you just towards the center of
the screen.
| | 02:14 |
In 3D views, like this perspective view
in the upper right, which I'll now
| | 02:18 |
maximize with the zero key on the numeric
keypad.
| | 02:23 |
There is one additional part of the
navigation puzzle.
| | 02:26 |
And that is the ability to rotate, as I'm
doing now.
| | 02:29 |
In the perspective views, holding down
the Option or Alt keys and then clicking
| | 02:33 |
on the left mouse button will let you
rotate the view around.
| | 02:40 |
Sometimes it can be easy to get upside
down, or sideways, when rotating on these views.
| | 02:46 |
But there is a little bit of a visual
help in order to let you keep things up
| | 02:50 |
and down.
The gradient in the background has dark
| | 02:54 |
at the bottom.
Let's put it back at the bottom and light
| | 02:59 |
at the top.
So, you can think something like ground
| | 03:02 |
and sky.
So, if you have the view upside down,
| | 03:04 |
like in this case.
You can tell very quickly by looking at
| | 03:07 |
that gradient, or if you have it
sideways, the same thing applies.
| | 03:11 |
You know that, that the dark side should
be down.
| | 03:13 |
And the light side should be up, in order
to have the model facing up and down,
| | 03:16 |
exactly as it should be in 3D space.
So clicking and dragging with the left
| | 03:23 |
mouse button will allow you to rotate the
screen.
| | 03:25 |
And then the other Navigation options are
the same, except the Pan tool is holding
| | 03:31 |
Option or Alt+Shift that will allow you
to pan the view around.
| | 03:38 |
And then Option or Alt+Ctrl will allow
you to zoom in and out.
| | 03:44 |
Once again, the zoom tool is context
sensitive, so zooming in and out on a
| | 03:48 |
specific point will take you to where the
mouse is centered.
| | 03:56 |
If you get zoomed in, or placed in an odd
part of the model, you can always get
| | 04:00 |
back to a view with everything in the
scene centered by pressing the A key.
| | 04:06 |
The A key will take everything in the
current scene and center it up in the
| | 04:09 |
middle of the view port retaining
whatever the current orientation of the
| | 04:12 |
perspective is.
So if I am rotated sideways like this and
| | 04:17 |
zoomed in here and pressed the A key
everything is going to fit to view but,
| | 04:21 |
it will retain my angle of orientation.
If you would like to center up on a
| | 04:28 |
specific part of the model.
For example, this polygon here, which
| | 04:33 |
I've selected by clicking on it, pressing
Shift+A, will zoom you in on the current selection.
| | 04:41 |
This also works if you have a specific
part of the model selected or say, a
| | 04:45 |
group of polygons.
Pressing Shift+A will center that
| | 04:50 |
selection in the middle of the screen.
So that is A to center the view in the
| | 04:55 |
middle of the screen, and Shift+A, to
center your current selection in the
| | 04:59 |
middle of the screen.
And those will always be there in order
| | 05:03 |
to keep your scene easily manageable from
our perspective point of view.
| | 05:08 |
Now, when working with a camera, as in
the ones that appear here in the Render
| | 05:13 |
view, there is one additional bit of
navigation to worry about.
| | 05:19 |
And that is using the Rotation and the
Zoom tools, so Option Or Option+Ctrl.
| | 05:26 |
And using those with the right mouse
button.
| | 05:30 |
Now, using just the left mouse button,
it's going to be relatively similar to
| | 05:33 |
working in just a regular perspective
view.
| | 05:36 |
You can see the rotation works the way we
would expect.
| | 05:40 |
The zoom function however, is always
towards the center of the screen.
| | 05:44 |
Because that is the camera moving towards
whatever is in the center.
| | 05:49 |
So if you look here, in this Perspective
view in the bottom, you can see the
| | 05:53 |
camera moving in and out, depending on
how far in or out I zoom.
| | 05:58 |
Now if I use these two options, either
rotate or zoom with the right mouse
| | 06:02 |
button, they have slightly different
options.
| | 06:06 |
So holding Option or Alt+ the right mouse
button, is a tripod based rotation.
| | 06:12 |
So the camera isn't going to move
anywhere.
| | 06:14 |
It's simply rotating based off of its
current point.
| | 06:19 |
Also holding Option or Alt+Ctrl key will
give you a zoom, but not moving the camera.
| | 06:26 |
This is simply changing the focal length
of the camera lens.
| | 06:29 |
So it gives you the effect of actually
zooming in and out.
| | 06:31 |
You can see as I zoom in an out here with
the right mouse button.
| | 06:34 |
My camera and my perspective view isn't
moving.
| | 06:36 |
It's simply changing my focal length of
the camera.
| | 06:42 |
So those are the navigation features that
you need to learn and master.
| | 06:46 |
By taking a few minutes to get used to
rotating, panning, and zooming in your 3D
| | 06:50 |
scenes, you'll very quickly be navigating
around them like a pro.
| | 06:55 |
| | Collapse this transcript |
| Grids and the workplane| 00:02 |
In this video, we'll be looking at the
grid system inside of Modo, and also a
| | 00:05 |
very special grid known as the Workplane.
So, in any view, you can see that there
| | 00:11 |
is a grid in the background.
Now, as I zoom out, you'll see the grid
| | 00:16 |
snap and change scale.
So as the grid spaces get smaller, it
| | 00:22 |
will be eventually replaced by a larger
grid that takes up the same overlying space.
| | 00:31 |
Conversely, by zooming, as the grid
spaces get larger, they will be replaced
| | 00:36 |
by smaller grids that are inside of the
existing grids.
| | 00:42 |
In order to keep tabs on how large these
grid spaces actually are, there is a
| | 00:46 |
small readout in the bottom right corner
of any window that shows the scale of the
| | 00:51 |
grid pattern.
So, you can see now that this reads at 200mm.
| | 00:57 |
So zooming in farther, once the grid
snaps to a smaller size, you can see
| | 01:02 |
changes to 100 millimeters and 50 and 20.
If I zoom farther out, you can see it
| | 01:08 |
goes to one meter, two meters, five
meters, 10 meters, and so on and so forth.
| | 01:13 |
So, this will allow you to keep a good
idea of how large your scene is.
| | 01:18 |
This can be very important when it comes
to setting up lighting, cameras, and also
| | 01:22 |
some dynamic effects.
So, building your scenes as close to real
| | 01:26 |
scale as possible can be a really
important thing.
| | 01:32 |
So, keeping an eye on this scale and
seeing how it relates to your grid, it's
| | 01:36 |
very important for keeping your model a
good scale.
| | 01:41 |
Now, switching over to the Perspective
view can see that we have the same kind
| | 01:44 |
of grid happening.
And it's this dark-colored grid that is
| | 01:49 |
overlying the background.
You can see that right now that's set to
| | 01:54 |
500 millimeters, and as I zoom in, 200,
100.
| | 01:56 |
And again, it will just keep getting
smaller and smaller.
| | 02:00 |
This dynamic grid adjustment can be very
useful as long as you know that that's
| | 02:03 |
what's happening.
Otherwise, it can be very confusing.
| | 02:06 |
And you might not have a good idea of how
big your scene actually is.
| | 02:14 |
The Workplane is a very special grid that
is in white, or in light grey, overlaid
| | 02:19 |
through the rest of the scene.
Now, the Workplane will dynamically
| | 02:25 |
adjust its position and snap to either
the x, y, or the z planes to stay roughly
| | 02:29 |
perpendicular with your current View port
when you're in a Perspective view.
| | 02:36 |
So, you can see right now that grid is
facing pretty much towards me.
| | 02:40 |
And as I move more around, rotating, when
it reaches a half way point, it will snap.
| | 02:46 |
And there you can see it's snapped over
to be now facing down a different axis.
| | 02:52 |
Now, in the bottom left corner, you can
see a graphical representation of the axis.
| | 02:58 |
y is up, and then x and z are along the
ground.
| | 03:02 |
So, this can help you to also orient
yourself in 3D space.
| | 03:07 |
You will also notice that there is a
small light colored box that is filling
| | 03:11 |
in some of the area.
And right now, it's filling in the area
| | 03:15 |
between the x and the y planes.
And that's actually the orientation of
| | 03:19 |
the Workplane at the moment.
So right now, it's going with the x,y.
| | 03:23 |
If I keep rotating, it's with the x,z.
If I rotate to look more downwards, it's
| | 03:29 |
now on the z,x plane.
So, this Workplane will help define how
| | 03:33 |
all objects are placed and how tools work
inside Modo.
| | 03:39 |
For example, if I were to draw out some
kind of shape in 3D space and start
| | 03:43 |
clicking over here, it's not just going
to drop it in some random point in 3D space.
| | 03:49 |
But it's going to put it in 3D space in
aligned to the Workplane, that can help
| | 03:53 |
you keep everything much more organized.
And there's much less guess work in how
| | 03:58 |
objects are actually placed in the scene.
With a little bit more advanced work, you
| | 04:03 |
could actually realign the Workplane.
To align itself to any particular point
| | 04:09 |
in 3D space.
As an example, if I were to drop a sphere
| | 04:13 |
into the scene, if I wanted to work
specifically with these four polygons.
| | 04:19 |
Which are relatively off axis, you can
see they're not quite facing down.
| | 04:23 |
The x, they're not down.
The z, they're not down.
| | 04:26 |
The y just kind of facing off into space.
I can align the Workplane to those, and
| | 04:30 |
it can make it easier for me to work
directly on that point in space.
| | 04:36 |
So, those controls are found over on the
right-hand side.
| | 04:39 |
Under Workplane, you can see align
Workplane to the selection.
| | 04:43 |
You can rotate the Workplane, offset the
Workplane.
| | 04:46 |
These lower options are used less
frequently, but the Align Workplane to
| | 04:50 |
selection one is relatively common.
As you can see, as I align that, that,
| | 04:55 |
that Workplane is now aligning itself
right to those four polygons that I have selected.
| | 05:01 |
Resetting the Worplane, at the top
option, will put it back to it's standard behavior.
| | 05:08 |
So, keep an eye on how that Workplane
adapts and changes based on your perspective.
| | 05:12 |
And you'll very quickly know how tools
will work inside of 3D space.
| | 05:17 |
Use your grids, and know what scale
they're at by using the bottom right corner.
| | 05:22 |
And you can keep great tabs on scale and
placement of objects inside of 3D space.
| | 05:28 |
| | Collapse this transcript |
| Viewports and UI customization| 00:02 |
In this video, we'll have a look at how
some of the UI in Modo can be adapted and
| | 00:06 |
customized based off of your screen size
or how you need to work.
| | 00:11 |
So, one of the common things that you'll
need to do is resize your windows.
| | 00:15 |
So if I mouse over any individual
section, you can see that I can change
| | 00:19 |
the scale of that particular window.
So, all right.
| | 00:24 |
Now, I'm changing the scale of my View
port in order to get more space or less
| | 00:27 |
space for my items.
Also, I can give more space or less space
| | 00:32 |
vertically, say to my items.
And these windows will dynamically adjust
| | 00:37 |
themselves to give you the best possible
view, depending on the amount of screen
| | 00:41 |
space that you have.
So you can see, as I drag this up even
| | 00:45 |
farther here, I'm given just a very, very
basic grid space work flow to show all of
| | 00:50 |
my current layers.
I don't have anything in this scene, it's
| | 00:55 |
just an empty scene.
So, these are pretty much empty, but here
| | 00:58 |
you can see them.
And by actually clicking on that one, I
| | 01:01 |
created an extra Mesh layer, which I
don't need it, so I'm going to
| | 01:04 |
right-click and delete it.
All right, now all these views typically
| | 01:10 |
have tabs, and the tabs can be changed
easily within a particular view.
| | 01:15 |
But occasionally, some of the tabs will
need more space than they currently have.
| | 01:21 |
So, if I look here in my Properties and I
go down, this is actually cut off.
| | 01:24 |
And the reason I know that it's cut off
is that I have this little box with
| | 01:27 |
double arrows in the bottom right corner
of it.
| | 01:30 |
So, if I click on that, it's going to
show all of the remaining options that I
| | 01:34 |
would normally have if I had more screen
space.
| | 01:37 |
So that way, I can get to everything
without having to move stuff around.
| | 01:41 |
Completely change my screen, or do
anything crazy like that.
| | 01:45 |
You can see that, that also is true over
here on the left-hand side in my Vertex tools.
| | 01:51 |
You can see I have a few extra tools that
were just hiding down there.
| | 01:54 |
And now, they're available.
So, if I do something like select a
| | 01:58 |
cylinder, we can see that I have a few
extra tools or few extra options that are here.
| | 02:04 |
And I can get to them pretty easily that
way.
| | 02:08 |
There are a few sections of the User
Interface that have, kind of some hidden
| | 02:11 |
things to them.
So, down here in my command line, which
| | 02:15 |
is where I can enter individual commands.
Or just normal things that I'd use with
| | 02:20 |
hot keys or button presses or things like
that.
| | 02:24 |
I can drag this up.
And when I get up to a certain point, it
| | 02:27 |
will actually change into a command
history.
| | 02:29 |
So, this shows my Undos and I can drag to
Undo or Redo.
| | 02:33 |
And then, I also get a history of things
that I've used recently.
| | 02:38 |
I also get commonly used commands, or
commands that are inside of the User Interface.
| | 02:44 |
All sorts of things I can do here.
And scripts and any of these things can
| | 02:48 |
be fired off directly from here or can be
grouped together to make macros.
| | 02:54 |
So, pretty cool, hidden, can drag it back
down, just changes to your command line.
| | 03:00 |
Just something you'll want to know it's
there for when you're working later on
| | 03:03 |
and get into some more complex work
loads.
| | 03:06 |
Let's look over at the Render tab, and
you see something that commonly happens
| | 03:10 |
when dealing with reduced screen spaces
I'm looking at right here.
| | 03:14 |
Can see that my presets, my preset
textures that I have over here, have some
| | 03:18 |
missing controls.
And so, right now, it just says Browser toolbar.
| | 03:24 |
So if I click on that, you can see that I
have the ability to navigate in these.
| | 03:28 |
And then, I also have other options that
I can choose from this pull down menu, so
| | 03:32 |
I can choose, say my Galvanized Metal.
And then, I can also control the scale of
| | 03:37 |
the thumbnails themselves by dragging
that to the right I make them bigger.
| | 03:42 |
So I get a nice, big preview of those.
Again, there's not enough room for that.
| | 03:46 |
So, I can just scale those down to the
space that I have.
| | 03:51 |
So, you can pretty easily scale your
workspace in order to fit any screen size.
| | 03:57 |
Even if it becomes a bit cramped you can
always go to a less populated view.
| | 04:03 |
Use the 0 key on the numeric keypad on
any of these views in order to get more
| | 04:07 |
space for them.
And that, in conjunction with using these
| | 04:11 |
double arrow keys, will let you get to
every part of the User Interface even if
| | 04:15 |
you're in a really small, contained
space.
| | 04:18 |
And this can also be helpful, just if you
need to use more space just to see your
| | 04:23 |
objects more clearly, and work the way
that you want to.
| | 04:29 |
| | Collapse this transcript |
| Vertices, edges, and polygons| 00:02 |
In this video, we'll look at the basic
components of 3D construction.
| | 00:05 |
Namely vertices, edges, and polygons, and
how those are used in conjunction to make
| | 00:10 |
up 3D models.
Now, in this example here, there is a
| | 00:14 |
simple sphere, which you can get in your
scene by simply holding the Ctrl key on
| | 00:18 |
the Mac or the PC.
And then, clicking on the sphere in the
| | 00:22 |
top left corner.
That will place a simple sphere in your
| | 00:25 |
scene that will look just like this one.
So, the basic, very basic component of 3D
| | 00:30 |
is a vertex, and vertices are simply a
point in 3D space.
| | 00:37 |
It has an x, a y, and a z position.
Vertices by themself are not rendered.
| | 00:42 |
They're just a part of the larger 3D
world, which is actually polygons.
| | 00:49 |
So, an edge is a combination of two
vertices.
| | 00:52 |
So, you can see here's an edge selected.
It has a vertex on the left and on the right.
| | 00:56 |
And that's an edge.
So, in order to get something that's
| | 01:00 |
actually visible, at least three edges
and three vertices need to be combined to
| | 01:04 |
create a polygon.
Now, this is what's known as a quad, a
| | 01:09 |
4-sided polygon.
And 4-sided polygons are kind of the
| | 01:14 |
heart of a lot of modeling because they
flow one into another.
| | 01:19 |
You can have a triangulated polygon.
So, something like this where we have two
| | 01:27 |
triangles here in the same space of that
one quad.
| | 01:31 |
But if we have everything in triangles,
there isn't really a geometric flow to things.
| | 01:37 |
So if I see with these quads, I have
loops that run all the way around.
| | 01:43 |
I have loops that run up and down.
And it makes it much easier to organize
| | 01:48 |
your geometry and get nice smooth looking
3D shapes.
| | 01:53 |
Vertices, edges, and polygons can be
selected by simply clicking and dragging
| | 01:58 |
across them, when you're in the proper
mode.
| | 02:03 |
Right now, I'm in Polygon mode, which is
noted up here in the top of the screen by
| | 02:06 |
the highlighted Polygon button.
You can click on edges or vertices to
| | 02:10 |
switch between these.
And then simply Click and Drag the
| | 02:15 |
select, the component that you want to.
You can also toggle between these three
| | 02:20 |
settings with the spacebar.
So, pressing space will move me to edges,
| | 02:24 |
pressing space again will move me to
polygons, and then pressing space again
| | 02:28 |
will move me back to vertices.
It's important to note that when I switch
| | 02:32 |
between the three modes, with the space
bar, I retain the selection that I had
| | 02:36 |
made before switching out of that mode.
So if I select, just say, these two
| | 02:42 |
vertices right here, and then these four
edges here, and then this polygon here.
| | 02:49 |
And now, if I toggle back between them, I
can retain that selection.
| | 02:55 |
And if you want one more way to select
those, you can also use the one, two, and
| | 02:58 |
three keys.
Again, you will retain your selections
| | 03:01 |
and that makes it easy to hop back and
forth between your different modes.
| | 03:05 |
So one, two, and three, using the space
bar to toggle or by simply clicking on
| | 03:10 |
these you can quickly select and work
with vertices, edges, and polygons.
| | 03:17 |
One more note about these is that if you
hold the Option key, you'll see that all
| | 03:21 |
three of these options change from
vertices, edges, and polygons to convert.
| | 03:27 |
So, with a polygon selected, I can hold
down the option key and convert that
| | 03:31 |
selection in two edges.
Or holding it down again, I can convert
| | 03:37 |
that selection into vertices.
Finally, if I have a group of polygons selected.
| | 03:44 |
This will say if I hold down the Ctrl key
in polygons, we'll see that edges changes
| | 03:49 |
to boundary.
Now, the difference between converting to
| | 03:55 |
just simple edges and converting to a
boundary is that the internal edges
| | 04:01 |
aren't selected.
Now, I just have this ring of edges that
| | 04:06 |
surround the entire polygonal selection.
That way, you can quickly convert your
| | 04:12 |
current selection in one of these modes
into the other modes.
| | 04:16 |
So, learning to control and use vertices,
edges, and polygons is key to making good
| | 04:21 |
3D models.
Knowing that one will always affect the
| | 04:26 |
others is also very important.
Moving this vertex out will effect all of
| | 04:31 |
the surrounding edges and all of the
surrounding polygons.
| | 04:35 |
These three components are tied together
in the creation of the three-dimensional
| | 04:38 |
surface in Modo.
| | 04:40 |
| | Collapse this transcript |
| Making basic selections| 00:02 |
In this video, we'll have a look at how
to basically select vertices, edges, or
| | 00:05 |
polygons, sometimes known as components,
inside of Moto.
| | 00:09 |
In order to get started, let's place some
basic geometry in the scene.
| | 00:14 |
Under the Basic heading, in either the
model or the model Quad tab hold down the
| | 00:18 |
Shift key and click on a Cylinder, and
that will place a basic cylinder in your scene.
| | 00:24 |
Give you something to work with when
marking selections.
| | 00:26 |
Now the easiest way, or the most simple
way to make selections is to simply
| | 00:31 |
click, and drag across the model.
Since I'm in my vertices setting right
| | 00:36 |
now, we'll select vertices.
So I can click and drag across.
| | 00:40 |
And Select Vertices.
Now notice one thing here as I Click and
| | 00:44 |
Drag across I'm only selecting the
vertices that I can see.
| | 00:48 |
So if we look on this front view, in the
bottom left, you can see that the
| | 00:52 |
vertices on the back side have not been
selected.
| | 00:56 |
Now if I were to do the same thing on the
right view.
| | 01:01 |
And click and drag across.
You'll see that the vertices all the way
| | 01:05 |
around have been selected.
And this is an important thing to
| | 01:07 |
remember, is that.
When you have shaded geometry.
| | 01:11 |
In other words, something like this here
in the perspective view, that you can see
| | 01:14 |
polygons in place.
Then the selections will be based off of
| | 01:18 |
what is visible.
So clicking and dragging across these
| | 01:20 |
will only select the ones that are
visible.
| | 01:23 |
Not the ones on the back side.
Now when you're dealing with unshaded
| | 01:26 |
geometry, like the wire frame view here,
clicking and dragging across will select
| | 01:30 |
straight through the object and select
things on both sides.
| | 01:34 |
It's an important distinction to make, so
that you understand what's going to be
| | 01:37 |
selected when you try to make that
selection.
| | 01:40 |
Now if I were to take this view and
change it to a wire frame view.
| | 01:46 |
I'll now be able to select vertices all
the way through the object.
| | 01:49 |
You can see, clicking and painting this
selection across here, as it's known,
| | 01:52 |
will select all the way through the model
now.
| | 01:55 |
But then when I go back to my regular
shaded version, I only select what's
| | 02:00 |
there visible.
Now, that same thing applies also to
| | 02:03 |
edges and vertices.
So, clicking and dragging will select polygons.
| | 02:09 |
Clicking and dragging will select.
So the other way to make selections,
| | 02:14 |
based off of just simple mouse clicks, is
by using the right mouse button.
| | 02:19 |
So, clicking and dragging with the right
mouse button will create kind of a lasso
| | 02:22 |
style selection.
Notice that the beginning and the ending
| | 02:25 |
of the lasso are always connected by a
straight line.
| | 02:28 |
And that might seem like a simple thing,
but it can be very useful when you're
| | 02:31 |
trying to make more difficult selections.
So, if, for example, I want to only
| | 02:37 |
select the top row of polygons here
looking in the right view, I can very
| | 02:41 |
easily right-click and then drag as
loosely as I want.
| | 02:48 |
Or as sloppily as I want around the
object.
| | 02:51 |
And leave that straight line to connect
through.
| | 02:54 |
And as soon as I release, it will connect
and select everything above that selection.
| | 03:00 |
Now another thing to notice about the
lasso selection is that it only selects
| | 03:03 |
the components that are completely inside
of the selection.
| | 03:07 |
So if I'm dragging, and this second row
of polygons is being bisected by my lasso
| | 03:12 |
selection, it's not going to be selected.
If I want to include that in the
| | 03:17 |
selection, I have to get all of those
polygons completely inside of the lasso
| | 03:21 |
area, then I release and those are on
there.
| | 03:25 |
Now, that also applies to edges, so if I
click and drag around, I'll select
| | 03:29 |
everything that's completely inside the
lasso, but none of these extra edges.
| | 03:33 |
If I want to include those I have to drop
down lower and make sure that they're
| | 03:37 |
completely inside the selection area.
Now, vertices since they're just single
| | 03:42 |
points, they don't have any space that
they take up.
| | 03:45 |
It will just select all the vertices that
are completely inside the selection.
| | 03:49 |
So there's no worrying about cutting
through particular vertices because
| | 03:53 |
vertices don't any 3 dimensional form.
So that's the basics of making simple
| | 03:59 |
selections in moto.
You click and drag with the left mouse
| | 04:03 |
button to select, or right-click and drag
to have a lasso.
| | 04:09 |
If you have shaded views then you won't
select what is facing away from you.
| | 04:14 |
And if you have wire frame views, you'll
select everything straight through the
| | 04:17 |
model, regardless of whether it's facing
you or not.
| | 04:20 |
| | Collapse this transcript |
| Making complex selections| 00:02 |
In this video, we'll move beyond the
basic left and right mouse button clicks,
| | 00:05 |
in order to make selections.
And look at some more complex ways of
| | 00:08 |
making selections that will make your
life easier, when it comes to working
| | 00:11 |
with more complex models.
So, the first thing to look at actually
| | 00:16 |
has to do with simple drag selection.
Now, if you notice if you drag across
| | 00:19 |
some vertices, when in the vertices mode.
You can select them, but if you get very
| | 00:24 |
far away from them, they don't select.
If you want to be using this Painted
| | 00:29 |
Selection style, where you just drag
across the model, there may be something
| | 00:32 |
you'll want to consider using.
And under the Select menu, all the way
| | 00:36 |
down at the bottom, you'll find Lazy
Selection.
| | 00:39 |
And what that does is it increases the
hit radius.
| | 00:43 |
That is used in order to decide if you're
selecting a vertex or not.
| | 00:47 |
You can see I can drag all the way down
here and make these selections still.
| | 00:52 |
So this can make your life a lot easier
if you use this selection mode a lot.
| | 00:57 |
Although it is a little less accurate
because it is opening up again, like I
| | 01:00 |
said, the radius.
So, it's a lot easier to select something
| | 01:04 |
down a row that you didn't mean to
select.
| | 01:08 |
Something to keep in mind if you want to
use that by default it's off.
| | 01:13 |
And you can switch it on and switch it
off just that easily.
| | 01:18 |
The next thing that we need to look at
has to do with selecting loops.
| | 01:22 |
So in many 3D models when they're well
constructed you'll have loops of geometry.
| | 01:26 |
Loops of vertices, loops of edges and
loops of polygons.
| | 01:30 |
So if I look here and I'm going to go
into this right-hand view, drag across
| | 01:34 |
and select all of these vertices.
Too that makes a lip all the way around
| | 01:40 |
the model.
It has a start and an endpoint that are
| | 01:43 |
the same, so that it's a continuous flow.
Now the same thing applies to edges.
| | 01:49 |
And see I can select that loop of edges
there.
| | 01:51 |
And also to polygons.
So if I make that selection there, you
| | 01:56 |
can see that I have a loop selected.
Now, fortunately, you don't have to
| | 02:01 |
always draw out the selections one
polygon at a time.
| | 02:04 |
In polygons, you can select at least two
polygons in the direction you want the
| | 02:09 |
loop to go.
So in this case I want to select them horizontally.
| | 02:14 |
And then by pressing the L key, you'll
get an entire loop selected.
| | 02:19 |
Now with that loop selected, the Arrow
keys become active and very important.
| | 02:23 |
Pressing the left and the right Arrow
keys, will move the selection to the next
| | 02:27 |
or the previous Loop.
Pressing the Shift key and then using the
| | 02:31 |
Left and Right arrows will add the next
or the previous loop to the selection.
| | 02:39 |
Then going back to the Arrow keys without
the Shift key will just move your
| | 02:41 |
selection of a single loop once again.
Holding down Shift and using the Up and
| | 02:45 |
Down arrow keys will expand your
selection.
| | 02:48 |
Now this doesn't apply to only loops.
You can select a single polygon.
| | 02:52 |
Use the Shift and Up and Down arrows to
expand or contract your selection.
| | 02:57 |
This can be very useful when it comes
time to center-out the selection on a
| | 03:00 |
particular area.
I know I want to select everything around
| | 03:04 |
this polygon, for example.
I can click on it to select it.
| | 03:07 |
And then use the Shift+Up arrow to expand
my selection.
| | 03:10 |
The Arrow keys and the Shift and the
Arrow keys apply to vertices and edges as well.
| | 03:15 |
So if I select a loop of points or
vertices, I can use the left and right
| | 03:18 |
arrow keys to move my selection.
Shift and the Arrow keys to expand.
| | 03:23 |
And then Shift in the up and down Arrow
keys will expand my selection, just like
| | 03:27 |
with polygons.
And the same thing goes with edges.
| | 03:31 |
However, you don't need to use the L key
in order to select a loop of edges, you
| | 03:34 |
can, you can press L, and it will select
a loop of edges.
| | 03:38 |
But you notice, that edges, by nature,
go in one direction, they'll go around
| | 03:42 |
the model and form a loop.
So, you only have to select one edge And
| | 03:47 |
press L to, select it.
But you can also alternately simply
| | 03:51 |
double-click on an edge and that will
imply selecting the entire loop of edges.
| | 03:58 |
So double-click is essentially the same
as selecting and pressing L when it comes
| | 04:02 |
to edges.
Also selections between polygons, edges
| | 04:07 |
and vertices can be converted to one
another.
| | 04:11 |
So if I hold down The Alt or the Option
key.
| | 04:14 |
You can see that my vertices, edges, and
polygons changed to convert.
| | 04:19 |
So if I click Convert On Edges, it will
convert all of the included edges in my
| | 04:23 |
selection into edges instead of just
having the polygon selected.
| | 04:27 |
You can see it actually retains the
previous selection as well.
| | 04:31 |
I had these polygons selected.
And then when converting over to edges,
| | 04:35 |
it doesn't drop my polygon selection, it
leaves it there.
| | 04:38 |
Now my vertices, I haven't converted
anything yet.
| | 04:41 |
So I still have this previous selection
that was made.
| | 04:44 |
But if I go either to edges or polygons
and hold down the Alt or the Option key,
| | 04:48 |
I can convert that same selection in two
vertices.
| | 04:51 |
So you can see now I have the same
selection made with vertices, made with
| | 04:54 |
edges, and made of polygons.
Holding down the Ctrl key will allow you
| | 04:58 |
to select the boundary of edges.
So you can see that this changes to
| | 05:03 |
boundary, while nothing happens to
vertices.
| | 05:06 |
If I click on that, I get just the
bounding area of edges that surround the
| | 05:09 |
polygonal selection.
So if I make a more odd shape selection
| | 05:14 |
here, and hold down Ctrl, click, and you
can see that it surrounds the entire area.
| | 05:19 |
Again, my selection are retained, so I
can toggle back and forth and see the difference.
| | 05:25 |
I have the polygon selected here, and
then here, I have the boundary of all the
| | 05:28 |
polygons that are selected.
One final thing is the use of the Bracket keys.
| | 05:36 |
Now, the Bracket keys have three
functions.
| | 05:39 |
So let's go ahead and select a few
polygons in here.
| | 05:41 |
And if I use the Open bracket key here,
the one right next to the P key, it will
| | 05:45 |
invert my selection.
And it's a little difficult to see in
| | 05:49 |
this case because These polygons that
we're selecting are now deselected.
| | 05:53 |
It will be a lot easier to see if I
select a loop and now invert my selection
| | 05:56 |
with the Open bracket key.
You can see that middle loop of polygons
| | 06:00 |
is not selected but everything else is
and again I can press that Open bracket
| | 06:03 |
key to invert it.
So at any time I can invert my selection.
| | 06:08 |
Now the closed bracket key will select
everything attached to the polygon, or
| | 06:12 |
the vertices, or the edges, that are
currently selected.
| | 06:17 |
In this case I only have one model, one
continues piece of geometry.
| | 06:21 |
So pressing the Close bracket key will
select everything.
| | 06:24 |
Now this can also be done by double
clicking in either polygons or vertices.
| | 06:28 |
If I double-click I will select
everything attached.
| | 06:31 |
With vertices same thing, if I double
click will select everything attached as
| | 06:35 |
far as vertices go.
Remember with edges to double-click is a loop.
| | 06:39 |
So.
Something important to know the difference.
| | 06:41 |
But I can use the Close bracket key to
do that same thing and it's like all of
| | 06:45 |
the edges that are contiguous and
connected to the selected edges.
| | 06:50 |
Even if it's a single edge, it's like one
edge, hit the Close bracket key and there
| | 06:53 |
we go.
Same thing with polys and vertices.
| | 06:56 |
Select one and, hit the Close bracket key
or simply double-click when dealing with
| | 07:01 |
polygon's and vertices.
Holding the Shift key down and pressing
| | 07:05 |
the Close bracket key will select
everything to close off that geometry.
| | 07:09 |
Now this only works if you have geometry
that, has a definite end.
| | 07:14 |
In this case I have as you can see a
cylinder that terminates up here in the top.
| | 07:18 |
So if I select this loop.
And then press Shift, plus the Close
| | 07:22 |
bracket key.
It will select everything that closes off
| | 07:25 |
that model.
Now the reason that it selects everything
| | 07:29 |
upwards in this case, is that it, looks
at the geometry and selects everything on
| | 07:33 |
the closest terminating end.
So if I select right above the center
| | 07:38 |
here and Shift plus the Close bracket
we'll select everything above.
| | 07:43 |
because it's going the quickest way to
terminate the geometry.
| | 07:47 |
If I go down one polygon loop and hold
Shift and press the Close bracket key
| | 07:50 |
we'll select everything down because that
is the closest way to terminate.
| | 07:55 |
This can be very very useful when
selecting something like an arm on a
| | 07:58 |
character or a finger.
Or something that you have extended
| | 08:02 |
geometry that's more complex and you
want to select everything to one direction.
| | 08:06 |
This can be very very useful.
Now that also works if say I select this
| | 08:10 |
loop want to get the closed part but then
I want to get the other part.
| | 08:15 |
I can just use my Open bracket key to
invert the selection and that way I very
| | 08:19 |
quickly have the larger section selected.
Making selections is actually one of the
| | 08:26 |
most important parts of a 3D workflow.
It might seem basic and rudimentary.
| | 08:31 |
But by being able to efficently and
effectively control your selections you
| | 08:35 |
can model and edit your models much more
effectively.
| | 08:39 |
| | Collapse this transcript |
| Basic object manipulation| 00:02 |
In this video, we'll look at the basic
ways to manipulate geometry in 3D space,
| | 00:06 |
namely Movement, Rotation and Scale.
Now, these options are found under the
| | 00:11 |
basic section in either the model or the
model Quad tab.
| | 00:15 |
You can see them represented by the
arrows which is your Move tool, the disks
| | 00:19 |
which is Rotation.
And the cubes on the end of the axis,
| | 00:23 |
which is your Scale tool.
Additionally, there is a Transform tool
| | 00:27 |
that does all of these built into one.
But it has some different options so it's
| | 00:31 |
worthwhile to know how each of these
works individually.
| | 00:34 |
There are also hotkeys for all of these
operations.
| | 00:37 |
W is move, E is rotate, and R is scaled.
And additionally, Y is the Transform tool
| | 00:45 |
that lets you do all of those things
built into one.
| | 00:48 |
So, let's start by looking at the
movement.
| | 00:51 |
Now, you can see that there are axes up,
down, left, and right.
| | 00:55 |
By dragging on one of those specifically,
the object will be constrained to motion
| | 00:58 |
in that in that direction.
There are also these circles, which are
| | 01:02 |
Planer Movement tools.
Which means that an object, when moving,
| | 01:07 |
will be constrained to moving along two
axes instead of just one.
| | 01:12 |
So for example, by Clicking and Dragging
on the planar handle that aligns with the
| | 01:15 |
ground plane, the object can move around
freely along the ground plane without
| | 01:18 |
worrying about moving up and down.
Additionally, the other planar handles
| | 01:25 |
will move the object, constraining it to
the two directions to which the latch
| | 01:29 |
planar handle corresponds.
And you can see that each of these
| | 01:33 |
handles is oriented to an axis, so the
green one is the y, which you can see
| | 01:37 |
here on the axis in the view.
Red is the x, and blue is the z.
| | 01:43 |
And with the planar handles, the color
code is based off of the perpendicular axis.
| | 01:49 |
So, you can see that the blue corresponds
to this blue arrow, the red to this red
| | 01:51 |
one, and the green to that green one.
That way, you can move around relatively
| | 01:55 |
freely and know which directions you're
moving in very quickly.
| | 01:58 |
And if you forget and need to reference
which axis you're moving on, you can
| | 02:02 |
always look down at this axis in the
bottom corner of the view.
| | 02:07 |
Now E, or the Rotate tool, gives you a
slightly different set of options.
| | 02:12 |
There's rotation around each
perpendicular axis.
| | 02:15 |
So around the z, with the blue handle.
Around the x, with the red handle.
| | 02:20 |
Around the y, with the green handle.
Now, each one of these will highlight in
| | 02:25 |
yellow in order to know which one you'll
be working with.
| | 02:29 |
And then additionally, there is a grey
handle that runs around the entire
| | 02:32 |
object, around all of the other handles,
which is perpendicular to the current perspective.
| | 02:39 |
Now, this one can be very useful if you
know an exact angle you need to rotate
| | 02:42 |
something based off of.
But you have to be careful because it
| | 02:46 |
will rotate it in all three of the
directions, x, y, and z at once, and can
| | 02:49 |
very quickly put your object off-kilter,
as this one is.
| | 02:54 |
So, just good to know that that is there.
But be careful if you edit it when you
| | 02:58 |
don't mean to, you can put your object in
a weird angle very quickly.
| | 03:03 |
Also, if you hold control before starting
to drag on these rotation handles, the
| | 03:07 |
object will constrain or snap to rotation
in 15 degree increments.
| | 03:13 |
This can make it very easy to rotate
something an exact amount without having
| | 03:17 |
to worry about exactly how far you've
rotated it.
| | 03:22 |
The Scale tool, again with the R key, has
very similar options to the Move tool.
| | 03:27 |
There is directional scaling in one
specific axis.
| | 03:31 |
So x, y, and z.
There's also planar scaling, which will
| | 03:35 |
scale on two axes at once.
You can see this affects the x and the z
| | 03:39 |
scale, but not the y or the height at
all.
| | 03:43 |
And there's also Uniform Scale which is
the small circle in the middle of the axes.
| | 03:48 |
So, Clicking and Dragging on that will
scale everything proportionately and keep
| | 03:52 |
it all even, just scaling the entire
object up and down.
| | 03:57 |
With the Y key, or the Transform tool,
there are handles, as I mentioned, for
| | 04:02 |
Movement, Rotation, and Scale.
But it's important to note that none of
| | 04:07 |
these have the options for the planar or
the uniform movement or scaling.
| | 04:12 |
So, I can scale along one axis at a time,
or move along one axis at a time, but I
| | 04:16 |
can't move.
There are no planar handles to move on
| | 04:20 |
two axes at a time, to scale on two axes
at a time, or to scale everything uniformly.
| | 04:26 |
Well, if you're just going to be moving
things around and you want to quickly hop
| | 04:30 |
between tools, this can be a very useful
option.
| | 04:34 |
Otherwise, flipping back and forth with
the W, E and R keys will allow you to
| | 04:37 |
very quickly move, rotate and steal your
objects in 3D space.
| | 04:42 |
| | Collapse this transcript |
|
|
4. Modeling ToolsBasic object primitives| 00:02 |
In this video we'll look at the asic
object primitives in Modo and that's
| | 00:05 |
going to be the four top ones here cube
sphere cylinder cone and then also the
| | 00:09 |
(UNKNOWN) looks like a donut there on
the, second row.
| | 00:15 |
So, let's first have a look at the basic
cube shape.
| | 00:18 |
Now, when you turn on the cube tool, or
click on the icon, you can see that you
| | 00:22 |
get option for the cube down here.
Now I'm going to maximize this so I can
| | 00:26 |
have more space, that's what the zero on
the numeric keypad.
| | 00:30 |
If you have a larger monitor, you'll be
able to see that more easily.
| | 00:33 |
But now you can see all the options that
we have here.
| | 00:36 |
And by default, it's going to give you a
cube positioned at the origin.
| | 00:40 |
So position is 0, 0, 0 on x, y, and z
with one meter in all three directions
| | 00:45 |
and one segment or one subdivision in
each of those directions.
| | 00:50 |
So, if I were to simply click apply We'll
see that we get a basic cube dropped in
| | 00:56 |
and that's it.
So looking at the other options available
| | 01:01 |
we can start to draw out a cube and get a
little more control over what actually happens.
| | 01:06 |
So instead of just hitting apply I'm
going to go ahead and start dragging out
| | 01:10 |
in my view ports.
So, I'm going to start in the top view
| | 01:13 |
and then in this front view I will add
some height to the cube.
| | 01:18 |
And you can see there that I've got a
cube created.
| | 01:21 |
Now, one thing to note is that if you
click Apply, the apply is actually grayed
| | 01:25 |
out now, but if you click Apply when you
have values entered here, it will drop
| | 01:28 |
that object into the scene, be it a cube,
sphere, cylinder, et cetera.
| | 01:35 |
And then it will no longer be editable
with these options here.
| | 01:39 |
So, something to keep in mind if you're
going to want to edit the initial
| | 01:42 |
construction of your cube or your other
object primitive, then you'll need to do
| | 01:46 |
so before actually going and creating it
or you don't want to use the Apply, in
| | 01:49 |
other words, if you want to experiment
with things.
| | 01:54 |
So oftentimes if I don't know the exact
measurements, I can start by roughing in
| | 01:58 |
the shape, and then, if I know that I
want it to be rounded to something close
| | 02:01 |
like, in this case we'll say 2 meters in
all directions because it's pretty close
| | 02:04 |
to that.
And then maybe I want it sitting on top
| | 02:09 |
of the ground plane.
You can see it's, sitting just below at
| | 02:12 |
the moment.
Can move that up to one meter, since
| | 02:16 |
that's half of the size, and, there we
go.
| | 02:20 |
I have a two meter cube now sitting at
the origin.
| | 02:23 |
So segments are the number of
subdivisions that go across the cube in
| | 02:27 |
any given direction, x, y, or z.
These can be controlled here with the,
| | 02:34 |
the actual numeric values or, by right
clicking view port.
| | 02:38 |
If I right-click in an orthagraphic view,
up and down will control the vertical and
| | 02:43 |
left and reight will control the
horisontal.
| | 02:47 |
And the 3D port gets a littlebit dicey
since you have 3 possible directions that
| | 02:51 |
you're trying to adjust your subdivisions
up.
| | 02:55 |
So it's usually best to do this.
If you want to do it interactively with
| | 02:58 |
the right mouse button, it's best to do
that in one of the orthographic views.
| | 03:03 |
Now the last option down here to discuss
really is the radius.
| | 03:07 |
And this is kind of some rounding on the
edges of the cube.
| | 03:10 |
So if I put this up to something like,
let's go up to 30 millimeters.
| | 03:14 |
And then we'll zoom in and have a look at
what happens here.
| | 03:16 |
And see that it has created just some
basic rounding on the corners of the
| | 03:21 |
cube, and the radius segments is how
refined that rounding is.
| | 03:26 |
By increasing that, it gets more and more
polygons added so it will look smoother
| | 03:30 |
and smoother even when zoomed in more
closely.
| | 03:34 |
And the option for sharpening, that will
try to retain a relatively sharp Edge or
| | 03:38 |
a creased look on the edge, so you can
see with sharp on, versus sharp off, the
| | 03:42 |
entire thing kind of softens.
And this will actually affect the shading
| | 03:49 |
all across the surface.
So, with sharp on, you'll still get flat
| | 03:53 |
faces, and they'll shade as flat more
easily, whereas with sharp off, it will
| | 03:57 |
tend to look more kind of rounded and
round through the edges.
| | 04:05 |
Something to keep in mind.
Right, so that's it for the basic cube.
| | 04:09 |
And now let's move on.
And you can press Q to drop a tool if
| | 04:12 |
you, if you're done with the tool.
Q is kind of your magic key to drop the tool.
| | 04:18 |
And I'm just going to get rid of that
cube.
| | 04:20 |
And let's move on to some other options.
So, there is a sphere, and also an
| | 04:24 |
ellipsoid, which really are very similar
in their construction.
| | 04:29 |
So we'll just look at the sphere for now
for the sake of time.
| | 04:32 |
And the sphere is constructed in, in a
lot of ways very similar to a cube.
| | 04:35 |
It has height, width, and depth, and x,
y, and z.
| | 04:38 |
But since it is a sphere, it is divided
into sides which are the radial subdivisions.
| | 04:47 |
Or the ones around the poles in this
case.
| | 04:49 |
If I turn this up you can see there are
more subdivisions.
| | 04:53 |
Around the poles, and the segments are
going to be latitude control.
| | 04:59 |
Now this can also change depending on the
orientation of the actual sphere.
| | 05:05 |
You can see here axis at the bottom as x
y, which is currently on that has.
| | 05:11 |
The axis on the up and down on the y.
Also change it to x or z these could be
| | 05:15 |
useful if you're creating something like
an eyeball on a character a good way of
| | 05:19 |
starting out.
And then you can choose the initial
| | 05:22 |
construction if you want it to be plain
faces.
| | 05:26 |
Or subdivided faces, either regular
subdivisions (UNKNOWN), slightly more
| | 05:30 |
advanced Pixar subdivision in surfaces.
So that's the globe construction.
| | 05:36 |
There are actually two other construction
possibilities on a sphere.
| | 05:39 |
The next one is quad ball, which is
essentially a cube that has been
| | 05:42 |
subdivided, and if I change this to just
simple polygons, you'll see that at its
| | 05:46 |
basic level, it essentially is a cube.
Now if I turn up my subdivisions, let's
| | 05:53 |
just start at one.
You can see that every one of the faces
| | 05:57 |
on all six sides is broken down into four
faces.
| | 06:02 |
Which are kind of rounded and pulled in
towards a spherical shape.
| | 06:06 |
If I increase it to two, it adds two
subdivisions.
| | 06:10 |
So now we have three across each of those
initial faces, three, four, you get the idea.
| | 06:17 |
So just further and further refinements
of a sphere.
| | 06:20 |
Now one thing to notice about this.
Is that, even with exact parameters, 1
| | 06:25 |
meter, 1 meter, 1 meter, this is always
going to have a little bit of a cubic
| | 06:30 |
shape to it.
And that will be decreased at higher
| | 06:35 |
subdivision levels, and also with
subdivision services turned on.
| | 06:41 |
But it's always going to have a tiny bit
of a squarish or a cubish.
| | 06:45 |
Proportion when compared to a direct
sphere.
| | 06:48 |
So there are ways to get around that.
But those are a bit more advanced.
| | 06:52 |
So just, just to keep in mind, this is
going to be a good standpoint for
| | 06:55 |
something that you might want to sculpt.
Or work on something that has a kind of
| | 07:00 |
spherical shape, but it doesn't have
those pinched corners.
| | 07:03 |
Well this is would be a good place to
start.
| | 07:06 |
And the last version here.
Go back to faces.
| | 07:09 |
Is, a tessellated version.
And this you can basically think Epcot Center.
| | 07:14 |
It's all completely created by intro
locking triangles.
| | 07:17 |
Again there's a subdivision level.
That controls how many triangles there are.
| | 07:21 |
This is a very special case.
Use, you'll know it when you need it.
| | 07:25 |
If you're making a geodesic dome, if'
you're modeling Epcot Center, if you're
| | 07:28 |
making a golf ball, things like that
where you have a lot of interlocking,
| | 07:31 |
small pieces of a sphere, this is
probably a good choice.
| | 07:35 |
Otherwise, you're typically best to go
with either a quad ball or a globe sphere.
| | 07:41 |
So the last few of these here we can go
through relatively quickly.
| | 07:45 |
And those are a cylinder which is in its
construction very similar to a sphere.
| | 07:51 |
It has sides and segments which are given
radial and then lateral control.
| | 07:55 |
There is a cone which is like a cylinder
but tapered to a point at the top.
| | 08:01 |
So, you can see if I drag out a circle
here and then when I drag down, you'll
| | 08:05 |
see it's a lot of ways like a cone, but
it tapers to one end.
| | 08:11 |
Still round, we still get control over
the number of sides and the number of segments.
| | 08:16 |
To create something more or less complex
initially.
| | 08:20 |
And then the last one is the taurus.
And this is a relitivley simple one and
| | 08:25 |
they are a lot of options here I'd really
encourage you to go and look at some of
| | 08:28 |
the options because it is really actually
a quite complex primitave, primitive's
| | 08:31 |
almost a misnomer in this case.
It can have a lot of extra options going
| | 08:37 |
on here, so if we look we have the
position which is just like on the other ones.
| | 08:43 |
But then there is the size of the ring
radius, which I can take up or down, you
| | 08:48 |
can see that is how big, this circle is,
of the entire encompassing thing.
| | 08:54 |
The cross section, height, and width, so
that's the actual size and dimension of
| | 08:59 |
the ring that runs around the center
point.
| | 09:05 |
Sides and segments are the same.
And then there's also control over whole
| | 09:08 |
size which will effect the overall size
and you can see it tie in here with ring radius.
| | 09:13 |
And there's a lot that you can also do
here, lowered down, let's open up the
| | 09:17 |
options here for bulging the top and
sides.
| | 09:21 |
You can see that if I Take my bulge all
the way up, something really high, You
| | 09:25 |
can see, this starts to square itself
out.
| | 09:30 |
You can also go into Negative, and that,
will invert that, and give you more of a
| | 09:35 |
diamond shape.
And then, also, even, kind of a concave shape.
| | 09:40 |
You can also do this on the sides.
So you can see, if you look at a top view here.
| | 09:45 |
You can see that it goes from being round
to being more squared.
| | 09:49 |
And then, if I invert that, it will
invert that into something like a star.
| | 09:54 |
So this one is very worth playing around
with as you get started creating simple models.
| | 10:00 |
Because you can get a lot of very
interesting shapes just right off the bat.
| | 10:04 |
It could be useful for creating more
complex geometry and they can also be
| | 10:07 |
useful for just abstract shapes for
things like motion graohics or graphic
| | 10:11 |
design uses.
So, these five primitive shapes will
| | 10:16 |
actually give you the basis of a lot more
complex models.
| | 10:19 |
They can be attached and stuck together,
they can be merged into multiple pieces,
| | 10:23 |
they can just be assembled to give you
the basic layout and Let's you block out
| | 10:27 |
an object very quickly.
But all-in-all, knowing these primitives
| | 10:33 |
well will get you a good leg up in
getting started in created good 3D in Modo.
| | 10:40 |
| | Collapse this transcript |
| The Tube and Solid Sketch tools| 00:02 |
In this video, we'll have a look at the
Tube and Solid Sketch tools, which reside
| | 00:05 |
under the same button, and can be used to
create complex geometry relatively quickly.
| | 00:11 |
It'll give you a good start on complex
model shapes.
| | 00:14 |
The Tube tool is based on the idea of
placing nodes.
| | 00:19 |
Or individual control points in 3D space,
and then, a circle is extruded along the
| | 00:26 |
path that is created by the nodes.
So you'd see I can place at some nodes in
| | 00:33 |
space and I can go back at any point and
edit their position to create something a
| | 00:37 |
little bit different.
You can get the idea here.
| | 00:43 |
It's a relatively simple tool.
It does have a few options that are very nice.
| | 00:47 |
You can choose to edit or delete existing
nodes.
| | 00:51 |
So if I change this to delete and go here
and click on one of these it will get
| | 00:54 |
ride of the node.
If you choose add you can go in And then
| | 00:59 |
add nodes.
And it will always add the node after
| | 01:03 |
whatever node you have selected.
So if I select this node here and click
| | 01:07 |
here, it will add the node there.
You can choose the radius.
| | 01:13 |
We'll start here at the bottom.
It's how thick the tube is that connects them.
| | 01:18 |
The number of segments, which is going to
be how many pieces are in between the
| | 01:21 |
individual nodes.
And then how many sides is.
| | 01:24 |
How round, and how detailed the tube is
that connects them.
| | 01:29 |
So, you go down to something like three,
it's actually a triangle connecting all
| | 01:32 |
the pieces.
You could also do a four or five sided,
| | 01:36 |
and as you get into higher numbers 12 16,
you get something that's relatively round.
| | 01:43 |
It connects all of the nodes together So,
you can also choose to subdivide these by
| | 01:47 |
length which means that it will take the
number of nodes and the number of
| | 01:51 |
segments that you have chosen and it will
create a smooth interpolation throughout
| | 01:56 |
all of the length of the tube that you
created.
| | 02:03 |
So as I do this, you'll see that the
actual subdivisions will move and swim slightly.
| | 02:08 |
And that's to avoid getting something
like this where at some points I might
| | 02:12 |
have, let's move this one over and make
it a lot tighter, where here I have these
| | 02:15 |
much closer together than these next
ones.
| | 02:20 |
Which, here, let's make it even more
obvious, move that one down.
| | 02:23 |
So you can see these ones are very far
apart.
| | 02:25 |
These ones are very close together, as
are these ones.
| | 02:27 |
That can cause some bunching up and can
be difficult when you're working with
| | 02:30 |
this geometry later especially if you
want to edit the geometry and create
| | 02:33 |
something like a ribbed tube or something
like that.
| | 02:36 |
This can really mess up the look.
So, by segmenting it by length.
| | 02:41 |
It smooths everything out and it divides
up the space equally, so that you always
| | 02:46 |
have nice evenly placed segments.
You can also choose to have caps or not.
| | 02:52 |
And that's these circles at the end, the
polygons at the end of the tube.
| | 02:56 |
You can also choose to make it closed or
not.
| | 02:59 |
So you can see, when it's closed.
It actually has no start and no end.
| | 03:04 |
It will just kind of continuously move
around.
| | 03:08 |
Okay, so the, the tube tool is really
good for doing a lot of things, like
| | 03:13 |
creating cables, cords, stuff like that.
It can also be useful for creating things
| | 03:19 |
like roads.
Where you could go in and delete some of
| | 03:22 |
the edges along the top.
And create a flat top.
| | 03:25 |
And then have a road that would follow
that like a track.
| | 03:27 |
There's a lot you can do with this.
Keep your mind open about what you can do
| | 03:31 |
with it.
And you can do some pretty neat things
| | 03:33 |
very, very quickly, because you just
trace out a general shape and then have a
| | 03:36 |
nice piece of geometry connecting it.
Now once you drop the tool, that will,
| | 03:41 |
essentially drop your ability to edit the
individual nodes, an now all you can
| | 03:45 |
edit, are the actual, edges that were
created.
| | 03:49 |
So, just something to keep in mind.
Before you drop the tool, make sure that
| | 03:52 |
you get everything in pretty much the
right position, because editing it after
| | 03:54 |
the fact is a little bit more difficult.
So underneath the Tube tool is the Solid
| | 04:00 |
Sketch tool, which is essentially a
multidirectional, multi-branching version
| | 04:04 |
of the Tube tool.
So I'm going to start here and before I
| | 04:09 |
do, I'm going to turn on Symmetry.
Symmetry will be discussed later but
| | 04:13 |
you'll see the effect of it here.
If I place a node here and then I'm going
| | 04:17 |
to place another node a little bit
higher.
| | 04:21 |
Now start going off to the right, you can
see it's also gone off to the left side here.
| | 04:25 |
So the symmetry is helping me to create
something.
| | 04:29 |
Well, symmetrical I know.
Big deal right?
| | 04:32 |
But this can help you a lot when working
with characters or anything that might
| | 04:36 |
have a little bit of an organic feel to
it.
| | 04:42 |
So as I go back, and I go to different
nodes.
| | 04:45 |
I'm going back to this first node that I
created.
| | 04:47 |
I can now branch off in different
directions, and create new geometry that
| | 04:53 |
goes in a different way.
So I have a couple of options, that you
| | 04:59 |
need to check out here.
And the first, is the subdivision level.
| | 05:02 |
You can choose to have none, which is
just basically cubes or squares that go
| | 05:06 |
from note to note and how the subdivision
level of 1, which is basically taking
| | 05:09 |
that whole thing and just rounded it,
turn it into a subdivision surface.
| | 05:15 |
And then level 2, which actually then
goes in and divides up all of those
| | 05:19 |
squares physically into four polygons, so
that you get more of a complex shape.
| | 05:24 |
This is the way I personally prefer to
work.
| | 05:26 |
It gives you a bit better initial
geometry, and I personally that the flow
| | 05:30 |
and the resolution works a bit better,
when it's set to that.
| | 05:36 |
So you can see that right now, it's
trying to kind of adapt as I drag a node around.
| | 05:41 |
So here, let's maximize that screen.
As I drag a node around, it will try to
| | 05:44 |
adapt and get the smoothest possible way
of flowing from one node to another.
| | 05:51 |
And that's in an option down here, you
can see auto-align is turned on.
| | 05:55 |
Autoalign and Automerge can be turned on
and off, and that will affect the way
| | 06:00 |
that these pieces flow together.
You can also choose to make negative space.
| | 06:06 |
So let's go ahead and I'm going to create
a node up here, and by clicking and
| | 06:10 |
dragging on the placement of the node,
you can change the scale of it.
| | 06:16 |
Then after the fact, you can change the
scale In any direction just by dragging
| | 06:20 |
the handles.
And it can be rotated by grabbing this
| | 06:25 |
side handle here.
Now if I create something that is
| | 06:30 |
negative, you can see this actually just
subtracting from the one behind it, so
| | 06:33 |
let's go ahead and add another node up
here, and I'll set this one to negative.
| | 06:39 |
And then I'm going to scale it down a
bit.
| | 06:42 |
You can see it's just kind of pushing in
now on the previous node.
| | 06:46 |
And if I push it back, you can see that
it makes it more and more concave.
| | 06:50 |
If I pull it out, it has less and less of
an effect on it.
| | 06:53 |
So, depending on what you're creating,
this can be a really fast way of getting.
| | 06:58 |
Some really good geometry.
Now, one thing to note here is that once
| | 07:02 |
you've created this, I'm going to press Q
and drop the tool, just like the tube
| | 07:05 |
tool, now I don't have any control over
the individual nodes.
| | 07:11 |
So you have to make sure you get
everything in relatively the right
| | 07:13 |
position before you do that.
And then also, inside here, if I, let me
| | 07:16 |
just Go ahead and double-click on the
polygons to select all of them, and press
| | 07:20 |
the h key to hide my selected objects,
you can see it creates this simple
| | 07:23 |
armature inside.
And this isn't anything that lets you
| | 07:28 |
edit or do anything additionally with it,
so usually it's a good idea to hide your geometry.
| | 07:33 |
Again, I just double-clicked on it to
select all the geometry Press H which
| | 07:36 |
will hide your selected geometry.
And then I'm just going to use Command or
| | 07:40 |
Control on the PC, X, and cut that out.
And then I'll press U which is unhide.
| | 07:47 |
And it brings back everything that had
been hidden.
| | 07:49 |
And now I don't have that armature
underneath.
| | 07:51 |
It can just create some problems when
you're modeling later on.
| | 07:54 |
You accidentally selected and start
working on that.
| | 07:57 |
So those 2 tools are really useful for
creating complex geometry that can either
| | 08:04 |
be linear or multi-branching geometry in
the case of the solid sketch tool.
| | 08:14 |
| | Collapse this transcript |
| The Polygon Pen tool| 00:02 |
In this video we'll have a look at the
polygon pen tool or just the pen tool.
| | 00:05 |
And see that for a really simple tool it
has a lot under the hood.
| | 00:09 |
There are a lot of very interesting uses
for it and a lot of extra options that
| | 00:12 |
can make it a very, very powerful tool.
The pen tool broadly you can think of
| | 00:17 |
something as simple as the polygon tool
in something like.
| | 00:23 |
illustrator or in Photoshop but really
there's a lot more to it then that, and
| | 00:27 |
I'm going to open up here and show all of
the options, and I'm going to reset
| | 00:31 |
everything back to the default here.
And you can start by simply clicking out
| | 00:38 |
points and creating polygon shapes.
You can see this is where its much like a
| | 00:44 |
pen tool in Photoshop or Illustrator.
Now this is its basic most simple form
| | 00:50 |
and really there's a lot more to it.
If that's all that you do with the pen
| | 00:55 |
tool you're really missing out on a lot
of other options here.
| | 01:00 |
Close these extra options up, which we'll
get to in a second.
| | 01:03 |
Let's start by looking at the make quads
option that you can see down here in the
| | 01:07 |
basic set of preferences.
So if I click and create a point, the
| | 01:11 |
second point is going to define the edge
of a polygon or a quad polygon.
| | 01:17 |
So you can see that will draw out, and
then my third point will actually start
| | 01:21 |
drawing out Four sided polygons.
I can take these and edit them as I go
| | 01:27 |
and then create nice polygon strips here.
Now, this can be really nice to keep good topology.
| | 01:34 |
It's very useful for creating something
that needs to be free form but you would
| | 01:39 |
like to have a good polygonal flow.
Can also be used in conjunction with more
| | 01:45 |
high end options that you use when you
get more complex modeling.
| | 01:50 |
Such as constraining this set of polygons
to a more complex background mesh.
| | 01:56 |
Or, things like that.
So, but generally, you can see that this
| | 01:59 |
allows you to create nice clean strips of
polygons.
| | 02:01 |
And you can also.
Edit these as you go.
| | 02:05 |
Now once the tool is dropped, so I if I
press the q tool, we're left with just
| | 02:09 |
vertices which can be moved around
manually.
| | 02:13 |
Okay?
Now there is another option here that can
| | 02:17 |
help this be even more useful if you're
doing something like architectural
| | 02:20 |
visualization or something like that, and
that is wall mode.
| | 02:25 |
Now, with wall mode, I'll start here by
clicking out a couple of points.
| | 02:30 |
And then turn wall mode to, you can
either choose inner, outer or both sides
| | 02:35 |
and you can see that this is just kind of
like a stroke in Photoshop, where the
| | 02:40 |
inner it will take the points that you're
defining and it will make that be the
| | 02:44 |
inside point.
And so it's going to project outside of that.
| | 02:51 |
So you're placing the inner edges outer,
you would be placing the outer, and it's
| | 02:55 |
going to project inside.
And in both, it's going to project on
| | 02:59 |
both sides.
Now, one thing to note here is that the
| | 03:02 |
offset will actually be doubled when
you're using something like this, both sides.
| | 03:07 |
So you can see here, with outer, it's at
50 millimeters.
| | 03:11 |
But then if I choose both sides, it's
going to double.
| | 03:13 |
So my walls will actually be 100
millimeters thick.
| | 03:16 |
So if you want to keep the same size, you
have to cut in half your offset.
| | 03:22 |
And that will give you the same size, but
will give you a wall that is spread
| | 03:25 |
across both halves of the existing points
that you plot out.
| | 03:31 |
So this can be nice.
Now that, this works depending on your
| | 03:34 |
style, however you want to think of it.
There is really no correct way of doing it.
| | 03:39 |
But it's just the way that your brain
wants to think of it the best, that's the
| | 03:41 |
way to go with.
So I'd say try it all three ways here.
| | 03:44 |
And then just see which one works best
for you.
| | 03:47 |
I usually vary depending on the kind or
architectural plans that I'm looking at.
| | 03:52 |
Now, other options that we have here are
the inset.
| | 03:55 |
And this will take every individual
point.
| | 03:58 |
And round it so if I drag up my inset
amount here.
| | 04:01 |
Let's go up to something that's pretty
visible.
| | 04:03 |
So, go up to 50 millimeters.
Each point has a set of vertices that
| | 04:09 |
round the appearance of the sharp edges
so that will give you something like
| | 04:13 |
rounded drywall corners in architecture
and if you're just using this for other
| | 04:16 |
purposes it will.
Just give you a cleaner look without
| | 04:22 |
those sharp polygon edges.
Now if you take and create one point that
| | 04:26 |
is aligned and we get to snapping here in
a second, we'll actually remove these
| | 04:29 |
extra edges because they aren't needed on
a completely straight line.
| | 04:35 |
So let's move down here and we can choose
also to show angles, so this can be very
| | 04:38 |
very useful if you already have
architectural plans that you're following
| | 04:41 |
that have the angles on the plans, this
can help you align things in Keep
| | 04:43 |
everything lined up.
You can also choose to show the handles.
| | 04:48 |
That's basically a move, set of move
handles.
| | 04:51 |
I personally like to keep those off,
myself.
| | 04:53 |
If, however, you know that one point
needs to move exactly left or right, or
| | 04:56 |
up or down, you can turn those on and
it's useful.
| | 05:00 |
And also show the numbers, and that will
just show the numerical value of each point.
| | 05:05 |
So there's number 1.
To, and that way you can see the order
| | 05:09 |
it's counting them in.
This is important to know because if you
| | 05:13 |
add in an extra point in between existing
ones, it's always going to add it one
| | 05:16 |
number higher.
If you get a little confused on which way
| | 05:20 |
your flow is going that can be useful.
You can choose either create or not
| | 05:25 |
create U Vs.
Usually that's going to be something
| | 05:27 |
you'll leave off for something like this.
It's not going to be as useful as it
| | 05:31 |
would be on other options.
And then also here down at the bottom, it
| | 05:35 |
has snapping options and then underneath
snapping there is a snapping menu.
| | 05:41 |
And the snapping menu is used for a lot
of other- Kinds of snapping or alignment,
| | 05:44 |
as you place points, but here with the
walls, it can be very useful.
| | 05:49 |
So the very top thing, again, if I just
click on the snapping button there, I can
| | 05:53 |
just click on snapping, and that's going
to enable snapping.
| | 05:57 |
How about that.
So now as I go and drag points here, they
| | 06:01 |
will align to, clean angles.
So, now you can see all my numbers here
| | 06:05 |
are starting to go to 90's and 180's and
they'll go to 45's It's going to be a lot
| | 06:10 |
easier to get nice clean alignment of
points.
| | 06:14 |
And you can see here, on this point,
where I now have a straight line.
| | 06:18 |
It's no longer rounding that because it
can see a completely straight line
| | 06:22 |
between this lower point and the upper
point, and there's no need for actual rounding.
| | 06:28 |
So I'm going to go and take this and get
this up to a nice even angle here.
| | 06:34 |
So let's pull that out there, that out
there, and oops, I went the wrong way.
| | 06:40 |
Let's let's look here and start again.
So I'm going to start here with my with
| | 06:43 |
my Pen tool.
And I'm going to maximize again the top view.
| | 06:48 |
And with all those options on now, I'm
going to start plotting out some points here.
| | 06:53 |
So I'm going to go and make sure that I
have some offset.
| | 06:57 |
Now you can right-click also to set the
offset.
| | 07:01 |
So, if I know I want that at 250
milimeters, I go and get it set.
| | 07:06 |
And now I can start to place my points.
If I decide that's too big or too small,
| | 07:10 |
it's really easy to just dial that in
with the right mouse button.
| | 07:15 |
So nice thing about this is with your
angle snaps turned on it's very easy to
| | 07:19 |
go in and create first a basic form, so
let's see, let's create this out here
| | 07:23 |
like that, snap that to there.
And let's say we've got something like this.
| | 07:30 |
But now that I have this in place, and
let's say that's a simple floor plan,
| | 07:33 |
let's say I want to add in like a bay
window down here.
| | 07:36 |
So, if I just choose this first point, I
can snap in a point here and then I'll
| | 07:42 |
put in a point here that I'll drag out.
And then another Point here and another
| | 07:49 |
Point here.
So I'm going to Align these first couple
| | 07:52 |
and then I'm going to Pull them until I
get 45 degree angles or something very
| | 07:57 |
close to that.
I won't take the time to numerically get
| | 08:02 |
these exactly right.
There you go, so I'm getting very close there.
| | 08:07 |
So I've got something like 45% angles.
Let's add it in very, very easily with
| | 08:11 |
these snapping functions.
So this is a very powerful tool, and
| | 08:15 |
there's a lot to it, and if you use this
properly, you can create complex geometry
| | 08:21 |
very, very quickly, and you have
something that can, once you drop this
| | 08:25 |
tool, You can take and create walls
literally instantly.
| | 08:32 |
You can see theres walls with rounded
corners looking nice and ready to go.
| | 08:38 |
So it takes just a couple clicks of the
mouse to get this from of a rough layouts
| | 08:43 |
walls to actual useable geometry.
I hope that illustrates what you can
| | 08:48 |
actually do with the pen tool.
It's a very complex and very powerful
| | 08:51 |
tool with a few options that make it
useful for a really wide variety of applications.
| | 08:57 |
So it's a great one to have in your tool
belt.
| | 08:59 |
Use it, practice it, master it.
You'll be glad you did.
| | 09:02 |
| | Collapse this transcript |
| The Text tool| 00:02 |
In this video we'll have a look at the
text tool.
| | 00:04 |
And we'll see its uses, its strengths and
also its limitations in places where you
| | 00:08 |
would want to use something else in place
of the text tool in creating your 3D type.
| | 00:15 |
This is very, very simple in its
implementation.
| | 00:18 |
If you want to get more complex than this
I would really recommend doing something
| | 00:20 |
like creating your text in Illustrator.
Exporting an EPS file, and then you can
| | 00:25 |
actually open EPS files directly inside
of Modo.
| | 00:28 |
So, right now I have text here and this
is going to be what's actually going to
| | 00:31 |
display, so I say hello.
I've got Adobe Garamond Pro chosen as my
| | 00:35 |
font, my size 1 meter, which should fit
in there pretty nicely.
| | 00:40 |
You have good options for where you want
to locate this based off of where you
| | 00:44 |
click Justification.
We'll justify it to center.
| | 00:48 |
And then you can choose to split on
lines, words or characters here.
| | 00:53 |
So let's go ahead and just dot click in
my front view and there is my text, hello.
| | 00:58 |
You can see it here in 3D space as well.
So these all have text faces.
| | 01:03 |
All of these functions should be
relatively familiar if you've used any
| | 01:06 |
kind of Vector program or even if you've
used Photoshop, this is the same kind of
| | 01:10 |
thing here.
Now, you can set additionally your height
| | 01:15 |
or your scale by pulling on the handles.
The vertical handle will set your scale,
| | 01:22 |
the horizontal will set your tracking.
So it'll allow you to adjust the tracking
| | 01:26 |
live, in real time, and see how that's
affecting your text there.
| | 01:30 |
So the one thing to check here that might
not be familiar if you're already a
| | 01:33 |
Photoshop or Illustrator user, would be
the split.
| | 01:36 |
And this is going to be how this breaks
up the text once it's created.
| | 01:41 |
So right now it's set to line, so
anything I create here I could have a
| | 01:43 |
couple of words long.
It's going to be essentially one unit so
| | 01:47 |
when I go back to select polygons they're
all going to be together.
| | 01:50 |
So if I set this to character now and
then drop my tool.
| | 01:55 |
Now once this is done, I get individual
characters here.
| | 01:58 |
And these can be then taken and spaced
out and moved however I want.
| | 02:03 |
And just like with the pen tool, creating
those walls, it's just a real simple
| | 02:09 |
Selection and then Edit and you've
created some 3D text, alright?
| | 02:17 |
Now this can get more complex.
Again, if you want to get more complex
| | 02:20 |
than this, than simple, fonts, and
whatever minor editing you might do to
| | 02:24 |
the geometry, I'd really recommend
importing EPS files.
| | 02:28 |
They'll come in and look just like this
and then you can take them and add depth
| | 02:31 |
to them.
And right away you've got your logos or
| | 02:34 |
your other type elements right into 3D.
And so you can see the text tool is great
| | 02:39 |
for creating simple text in 3D space.
If you want to do something more complex,
| | 02:44 |
obviously you have the option of going
out to a vector program like Illustrator,
| | 02:47 |
creating something that has more
stylization, that has more customization
| | 02:50 |
and bringing that into 3D.
But in the case of needing simple text or
| | 02:55 |
something for blocking and spacing, the
text tool is there to very quickly get it
| | 02:58 |
into your scene.
| | 03:00 |
| | Collapse this transcript |
| Subdivision surfaces| 00:02 |
In this video, we'll have a look beyond
polygons and into subdivision surfaces
| | 00:05 |
and how they can be used to create much
smoother, more realistic geometry.
| | 00:11 |
So I'm going to start here just by taking
the Cube tool and I'm not going to create
| | 00:14 |
a cube, I'm actually just going to create
a flat plain.
| | 00:17 |
I'm going to turn my radius down to 0.
And set my segments to 1, 1 and 1, and
| | 00:22 |
actually, I'm going to set my x segments
up to 2, so that I get one edge down the middle.
| | 00:30 |
So essentially, I have two polygons
connected together in the middle.
| | 00:34 |
If I take this and turn it into
subdivision surfaces, I will see
| | 00:36 |
essentially nothing happen first.
There's two ways to get into subdivision surfaces.
| | 00:41 |
And actually there are two types of
subdivision surfaces.
| | 00:45 |
By pressing the tab key you get into
Modo's classic subdivision surfaces.
| | 00:49 |
But for many uses, these have been
replaced by the new Pixar subdivision
| | 00:54 |
surfaces or PSubs as they're commonly
referred to.
| | 00:59 |
And those are accessed by pressing
Shift+Tab.
| | 01:02 |
And you notice right off, there is one
big difference, and that's that with the
| | 01:05 |
regular subdivision surfaces, this
rounded off the entire form and gave me
| | 01:09 |
kind of an oval, whereas, with the Pixar
subdivision surfaces, it left my square corners.
| | 01:15 |
So, there's a reason for that and
actually subdivision surfaces, or the new
| | 01:18 |
Pixar subdivision surfaces, have a few
extra options that let you get a little
| | 01:22 |
bit more control over the geometry.
And those are down here at the very
| | 01:28 |
bottom of the Properties tab for the mesh
item that has your SubD's in it or your
| | 01:32 |
PSubs, in this case.
So you can see that I have boundary rules
| | 01:37 |
and this defines how this works.
I can choose To crease all, I can choose
| | 01:42 |
to Smooth all, which will give you kind
of that classic original look.
| | 01:46 |
And then, I can choose to crease edges
which is going to mean anywhere I have an
| | 01:50 |
edge and outline border or something in
between a couple of points it'll crease that.
| | 01:55 |
So I personally usually go with the with
the default which is crease all.
| | 01:59 |
Now, I can get nice sharp corners without
having to do anything special with them.
| | 02:05 |
So, now, the big difference here between
subdivision surfaces and regular polygons
| | 02:10 |
is this.
If I take this middle edge and move it
| | 02:14 |
up, you can see that instead of just
getting an angle, where if I unsubdivide
| | 02:19 |
this you can see I would get this angle I
get a curved line.
| | 02:26 |
Now, if you look at this, you can see
where this edge actually resides.
| | 02:30 |
And let's zoom out and get that in there
a little bit better.
| | 02:32 |
Anyway, you can see where this edge
actually resides.
| | 02:35 |
It's right here above, you know, this
grid point right here.
| | 02:39 |
And you can see that my Move tool handles
are aligned with it.
| | 02:43 |
But if I press the Shift+Tab and go into
PSubs, see that that edge actually drops
| | 02:47 |
down significantly.
And that's because each individual vertex
| | 02:51 |
on a model, when turned into subdivision
surfaces, will have the same amount of
| | 02:55 |
pull by default on the entire surface of
the model.
| | 03:00 |
So the fact that two of these edges are
significantly lower in the y direction
| | 03:04 |
means that this will pull down more in
that direction.
| | 03:09 |
So in order to get that back up where it
was, I have to pull this up significantly higher.
| | 03:13 |
And then when I unsubdivide, you'll see
that it's way up there.
| | 03:15 |
But when subdivided, it drops down to
there.
| | 03:18 |
Now, at it's default setting, polygons
are subdivided into two levels of subdivision.
| | 03:27 |
So you can see that you can actually look
and count the number of distinct edges here.
| | 03:33 |
One, two, three, four edges are really
all that it's taking to make that, that
| | 03:37 |
curve surface or to simulate that curve
surface.
| | 03:41 |
So I could do the same thing just by
getting, you know, polygons and put,
| | 03:44 |
placing one, two, three, four.
And get that rounded look on one side.
| | 03:49 |
Now, I can increase that level, however.
So if I go down to my Catmull-Clark
| | 03:53 |
subdivision, which is the, those Pixar,
the PSubs, I can see that I have a
| | 03:56 |
subdivision level here.
And I can set that up to level three, and
| | 04:00 |
you can see that smoothed out.
Level four, by level four, you get pretty
| | 04:05 |
clean geometry.
So, if I click over here and we look at
| | 04:08 |
this (audio playing)
And here, let's make this even a little
| | 04:12 |
bit more complex, and I'll twist it a
little bit, so that I get a more
| | 04:16 |
interesting surface to look at there.
Now, with that on, you can see that this
| | 04:22 |
is looking relatively clean.
But if I go back down to my default
| | 04:27 |
subdivision level of two, I can
definitely see those edges that faceting
| | 04:31 |
start to appear.
And faceting is what we usually refer to
| | 04:36 |
when we see polygons actually appearing
inside of our, our subdivision surface models.
| | 04:42 |
So increasing that to three, gets better.
Four, pretty smooth.
| | 04:45 |
Now by default when I actually go to
render this it's going to render at a
| | 04:48 |
different level.
Usually you'll have the render level
| | 04:51 |
higher than the current level.
So if I turn this back down to two and
| | 04:55 |
turn my render up to four, I really don't
see a difference here but here in my
| | 05:00 |
render view, if I go ahead and make a
rendering of that you can see that the
| | 05:04 |
renering is quite smooth.
Whereas, if I were to turn that down, if
| | 05:12 |
I turn down the render level to 2, and go
ahead and render again, you'll see that
| | 05:16 |
this is definitely a lot blockier.
So, there's level 4, there's level 2.
| | 05:24 |
Definite different in the smoothness,
that you even pick up in the shadows in
| | 05:27 |
this case.
So, that's really the quick basis of
| | 05:30 |
subdivision surfaces.
They're used to create smooth geometry
| | 05:34 |
from low resolution polygon meshes.
This gives you a lot more control, you know.
| | 05:41 |
For example, if I wanted to create
something like this with just polygons,
| | 05:44 |
you know, it wouldn't be too hard.
I can create the, the shapes.
| | 05:49 |
Have something nicely subdivided and have
a lot of polygons in there.
| | 05:51 |
And we'll take this back up to level four
for right now.
| | 05:54 |
But this is going to leave me open where
if I want to change the pitch of this
| | 05:58 |
back art.
All I have to do is grab that one vertex,
| | 06:03 |
move it down and completely invert it.
I can grab these corner vertices and pull
| | 06:09 |
them in together.
(audio playing) Moves them down.
| | 06:13 |
Let's me experiment with form much more
easily than doing this with a bunch of
| | 06:17 |
polygons filling up the same amount of
space.
| | 06:21 |
So you can add this to any, any object.
So if I go ahead and hold down Shift and
| | 06:28 |
drop in a cube, tie this one over here.
I can simply press Shift+Tab, and there
| | 06:34 |
we go.
I get a nicely subdivided cube now
| | 06:37 |
looking something like a sphere.
Again, my default on this level is
| | 06:41 |
going to be two, so I'll change my
subdivision level up to four, and there
| | 06:45 |
you go.
A nicely rounded off form.
| | 06:50 |
So subdivision surfaces are very
powerful.
| | 06:55 |
They will allow you to create much more
density and fluidity in 3D models without
| | 07:00 |
the difficulty of editing complex,
polygonal meshes.
| | 07:05 |
And also without having to have the
weight of those complex meshes on your
| | 07:08 |
graphics card when you're, when you're
going in and modeling.
| | 07:13 |
So again, like I mentioned, I can go and
turn my subdivision level to two or even
| | 07:16 |
to one, if I get a very complex model.
I can turn that subdivision level all the
| | 07:20 |
way down to one.
Work on something that looks pretty
| | 07:24 |
blocky and ugly.
But I can always just go and turn my
| | 07:27 |
render level up to something nice like
five.
| | 07:30 |
And then when I render, I've got a nice
smooth sphere.
| | 07:34 |
So let's get a nice shot of that, and we
can see.
| | 07:37 |
So here you can see my preview render is
showing this nice faceted ugly looking sphere.
| | 07:43 |
But when I go ahead and render, there we
go.
| | 07:45 |
Nice, smooth, clean.
And that's the nature of subdivision surfaces.
| | 07:50 |
| | Collapse this transcript |
| Deforming and editing meshes| 00:02 |
In this video, we'll be looking at
Deforming and Editing Meshes on a very
| | 00:05 |
basic level.
If you'd like to follow along with the
| | 00:08 |
file I have here, open up the Mesh
Starter, Scene, from your Projects file.
| | 00:13 |
And it will have this scene with a basic
sphere that's sub-divided, it's a quad
| | 00:17 |
ball sphere.
A cylinder that's also subdivided vertically.
| | 00:22 |
And then, a really simple cube so that we
can use some modeling operations on each
| | 00:26 |
of these.
So, let's start off here with this sphere
| | 00:30 |
and look at a few of these operations.
And we'll just go over, kind of, the basics.
| | 00:34 |
The more commonly used things that I will
help you get going fast with your modeling.
| | 00:38 |
So, when you're actually modeling
something, you can start with any kind of
| | 00:42 |
geometry you want.
You can start with object primitives.
| | 00:45 |
You can start with the Pen tool and
putting out individual points in space.
| | 00:50 |
It's up to you how you start.
But a bunch of the main part of modeling
| | 00:53 |
has to do with moving around verticies,
polygons and edges.
| | 00:57 |
So, you can do that by simply selecting
something, and then using the Move tool
| | 01:00 |
or the Rotate tool or the Scale tool.
But there is a really nice extra function
| | 01:06 |
called Element mood, which will let you
move any individual element, or any
| | 01:10 |
component in here.
So, vertices, edges or polygons without
| | 01:14 |
having to go select the style of editing,
vertex, edge or polygon.
| | 01:19 |
Then selecting what you want to work
with, and then turning on your Move tool
| | 01:22 |
and just moving it.
If you're just going to move things
| | 01:24 |
around, this element move can be really,
really useful.
| | 01:27 |
So, let's have a look at that.
So, as I mouse over individual elements
| | 01:31 |
here, you see the polygons highlight,
want to get to an edge an edge
| | 01:33 |
highlights, and the vertices highlight.
So, this allows you to really quickly go
| | 01:39 |
and start moving around your geometry.
And making changes to it without having
| | 01:44 |
to worry too much about making those
initial selections.
| | 01:48 |
Now, this is pretty limited in the way
that it works.
| | 01:50 |
It's basically just moving things along
the plane of your Workplane, but it also
| | 01:54 |
gives you a set of handles once you have
selected and started moving an individual element.
| | 02:01 |
So, if I select this edge here, it will
be giving my handles, and I can start
| | 02:05 |
moving those things around.
So that way, you can pretty quickly start
| | 02:11 |
to free from out your geometry, get
something away from the basic shapes
| | 02:15 |
pretty quickly.
This can also be good when it comes time
| | 02:19 |
to fine-tune your individual flow of
polygons on little areas.
| | 02:23 |
It's a lot quicker than going and having
to do all of the steps that I had
| | 02:26 |
described of, you know, selecting the
components.
| | 02:29 |
Selecting the individual piece that you
want to work with, and then going on and
| | 02:32 |
turning on your Move tool.
So, that can be really useful.
| | 02:36 |
The Flex tool, let's actually backup here
so we get that all undone.
| | 02:40 |
The Flex tool is really good for bending
objects, so let's go down the cylinder
| | 02:44 |
that we have.
I'm going to hide the sphere.
| | 02:48 |
You can click on the Eyeball here, kind
of like Photoshop, to show and hide
| | 02:50 |
different layers.
So now, I'm going to take my Cylinder
| | 02:54 |
tool, and I'm going to select a few
polygons here and press L to get a loop selection.
| | 03:00 |
And then, shift in the closed bracket to
select everything up above the top here.
| | 03:05 |
Now if I turn on the Flex tool, this is
actually a Compound tool.
| | 03:09 |
And what this means is that it's a
conglomeration of several smaller tools.
| | 03:14 |
Put together in a way that makes it
really useful.
| | 03:17 |
So, you can see once I've got the
selection made and I turn on the Flex
| | 03:20 |
tool, the handles, the scale, the move,
and the locators here are all down at the
| | 03:23 |
base of my selection.
So, right at the edge of it.
| | 03:28 |
So, if you think of something like a
character's arm or say this is maybe a
| | 03:31 |
finger now, if I take that, you can see
that it's really easy to bend this.
| | 03:36 |
Now as I bend that, I also get control
over how many steps it takes to bend.
| | 03:42 |
So if I turn this up, you can see that it
makes it a more subtle, so a more rounded
| | 03:46 |
approach to how it's bent.
Or if I turn the number of steps down, it
| | 03:51 |
does it a lot simpler.
So, it's only using a couple of edge
| | 03:55 |
loops in order to make that bend
happened.
| | 03:58 |
So, depending on how you would want to do
this, that would be right there.
| | 04:02 |
You can also choose to control the way
that it eases out of the not moving part,
| | 04:06 |
which is going to be the base to the
rotated or the scaled part.
| | 04:11 |
See?
I can scale this as it goes also.
| | 04:14 |
I can choose for that to be smooth, ease
in or ease out.
| | 04:17 |
And here, let me increase the number of
steps so you can see how that works.
| | 04:21 |
Ease out ease in smooth.
And in Custom, you can actually choose
| | 04:26 |
how much in and how much out you want to
have happen on your easing.
| | 04:34 |
Usually, that's going to be a pretty
fine-tuned thing, so you want to leave
| | 04:37 |
those and just use either linear,
ease-in, ease-out, or smooth.
| | 04:40 |
Those will typically cover most of what
you need.
| | 04:45 |
So, that's a really nice tool when it
comes to needing to bend something.
| | 04:50 |
That's, again, the Flex tool.
Beyond that, there are some other options
| | 04:54 |
that we have here, and I'll just go over
these really quickly as to not waste too
| | 04:57 |
much time.
A lot of them, you can get the idea just
| | 05:00 |
by kind of playing around with them.
So, let me make a little bit bigger
| | 05:03 |
selection here.
There's the Soft Move tool, which will
| | 05:10 |
allow me to move things based off of a
falloff.
| | 05:13 |
So, Falloffs are something that will be
covered later.
| | 05:18 |
But it basically takes the overall space
of your selection, and it will modulate
| | 05:24 |
your transform.
In this case, move based off of that area
| | 05:29 |
of influence.
So, you can see at the outer edge of this
| | 05:33 |
sphere, that's been placed here in the
scene.
| | 05:36 |
It's getting no movement at all.
Where in the middle, it's actually moving.
| | 05:41 |
So, if I adjust this, you can see that
adjusting these handles will change how
| | 05:45 |
my mesh is moved.
So in that, same thing goes with Soft Drag.
| | 05:51 |
It's a really simple way of moving things
kind of more organically.
| | 05:55 |
So, you're not moving one polygon at a
time.
| | 05:57 |
Very similar to that in tools there is
the Soft Selection Move, Rotate, Scale,
| | 06:01 |
and Transform.
And these essentially give you the same
| | 06:05 |
kind of thing, but working outward from
your selection.
| | 06:09 |
So, if I've selected this one polygon,
you can see that it's doing something
| | 06:13 |
very similar and I cannot edit how big
the radius is.
| | 06:19 |
Let's see if I increase this Radius.
As I move this now, it's a much more
| | 06:22 |
organic movement.
So, these are nice tools to have in order
| | 06:26 |
to edit your meshes.
In a more organic, more fluid way so that
| | 06:31 |
if you're dealing with something like
subdivided surfaces, you can see that
| | 06:35 |
these now flow pretty nicely.
Even though I've just grabbed a couple of
| | 06:40 |
individual points in space and moved
those around.
| | 06:44 |
So, moving down two tabs here to the Mesh
Edit tab, you'll see there are a lot of
| | 06:48 |
options here for how we divide up our
geometry.
| | 06:52 |
So, under Deform is mostly how you move
the geometry, and under Mesh Edit is
| | 06:55 |
going to be how you divide up the
geometry.
| | 06:59 |
So for that, let's go down to our simple
cube here, and we'll look at some things
| | 07:03 |
that we can do.
So, the first thing that we'll like to
| | 07:06 |
look at, and this is going to be a very,
very common tool to use, is the Loop
| | 07:09 |
Slice tool.
So the hotkey for that is Alt+C of
| | 07:12 |
Option+C if you're on a Mac.
Now, in order to get the loop size to
| | 07:17 |
work, you first have to define what a
loop would be.
| | 07:20 |
Now, this would be the same thing.
Whereas if you select a couple of
| | 07:22 |
polygons and press L, it will give you
that loop that runs around.
| | 07:25 |
Now, you don't need to select the entire
loop, it will automatically finish that
| | 07:29 |
loop for you.
So, if I select Loop Slice and click by
| | 07:32 |
default, that's going to be set to
Emotive Free and the count of 1.
| | 07:37 |
Which means it's just going to add one
edge all the way around my loop, and then
| | 07:40 |
it will sub-divide up my geometry.
And that way, I know I have an upper
| | 07:45 |
section up here and I have a lower
section.
| | 07:48 |
Divided that all the way around, so you
see a loop all the way around there.
| | 07:52 |
Loop all the way around there, and it's
helped divide that up.
| | 07:56 |
Now, you can further divide that with
more iterations of the Loop Slice tool.
| | 08:01 |
So, I could add in four more edges up
here, and you can see now I've got
| | 08:03 |
something a bit more complex there.
I can add some around this way.
| | 08:08 |
So, all in all, this is a very good way
of adding nice, smoothly flowing polygons
| | 08:12 |
throughout your geometry in order to make
these more subdivided chunks.
| | 08:18 |
Other options that you have as far as
slicing, and let's undo those.
| | 08:23 |
So, we have a nice basic cube again.
There are options for the edge slice,
| | 08:27 |
which will basically take you through
geometry.
| | 08:31 |
And you can see, I get this pre-highlight
happening.
| | 08:34 |
Let's maximize this Perspective view.
So, if I choose any point here, starting
| | 08:37 |
in the middle of a polygon, is usually
going to be a little bit dicey.
| | 08:40 |
But you can choose any point, and it's
going to create a new vertex there.
| | 08:44 |
And then, whenever I click the next point
along in space, it's going to attach the
| | 08:48 |
first vertex to the second one.
So, I could actually work all the way
| | 08:52 |
around, some geometry here.
So, let's say I move down to there.
| | 08:56 |
And just for the sake of argument, I'll
move to the middle here, and up there.
| | 09:01 |
And if I get close to the original space,
it'll actually snap.
| | 09:05 |
And you can see there it actually closed
that up.
| | 09:07 |
So, now I have my geometry cut up in less
uniform way, other than just adding
| | 09:12 |
straight loops or things like that.
Another good one to look at that you
| | 09:21 |
might really find use for is the Slice
tool, and this just lets you go directly
| | 09:24 |
through an object.
It doesn't pay attention to loops or how
| | 09:28 |
your polygon flow is, like the Loop Size
tool, but it just lets you go directly through.
| | 09:33 |
So, you can see on the Top view, as I
drag this through, I have much more fluid
| | 09:37 |
control over what's happening here.
And if I zoom this out, in my Perspective
| | 09:42 |
view, you can see that it's created kind
of this purple virtual knife blade that
| | 09:45 |
goes straight through my geometry.
So, now I've got actually divided up loops.
| | 09:52 |
Now, like I mentioned, this does not take
into account how your geometry flows.
| | 09:57 |
So if I do something weird like this,
when I'm cutting diagonally across a
| | 10:00 |
couple of points, I'm going to mess up my
flow of polygons.
| | 10:05 |
Now you can see I have one here that is
5-sided and I have a triangle over here
| | 10:09 |
that works pretty well over here.
But down on the bottom, I'm going to have
| | 10:13 |
the same problems, a triangle and a
5-sided polygon.
| | 10:15 |
So, that can mess up your geometry, but
it is a very quick way to just simply
| | 10:19 |
slice straight through your geometry.
That's really the basics, the
| | 10:24 |
fundamentals that you need in order to
start working with your geometry.
| | 10:29 |
There are other more advanced things.
But if you know how to use the Loop
| | 10:32 |
Slice, the Edge Slice and the regular
Slice tool, along with these Deformation
| | 10:35 |
tools, you can get a lot more out of your
geometry.
| | 10:40 |
Very quickly, it will allow you to create
nice changes in your geometry in the
| | 10:43 |
overall flow of the surfaces.
And really get in and fine-tune the shape
| | 10:48 |
so that you have basic shapes that then
turn into much more complex shapes that
| | 10:52 |
give you the geometry that you're looking
for, for your particular project.
| | 10:57 |
| | Collapse this transcript |
| Action centers| 00:02 |
In this video, we'll have a look at
Action Centers.
| | 00:04 |
Now, Action Centers are Modo's method of
changing the way that tools work, or the
| | 00:08 |
centering and the positioning in the
orientation of your tools in 3D space.
| | 00:14 |
So by default, the Action Center is set
to automatic.
| | 00:17 |
Which if I go up here and set the
automatic Action Center and engage a tool
| | 00:20 |
like the Move tool.
So, I'll press the W key and turn on the
| | 00:23 |
Move tool.
And see that by default, the handles for
| | 00:26 |
the Move tool fall right into the center
of my selected object.
| | 00:30 |
I'm in Polygon mode, so all of the
polygons in this scene.
| | 00:33 |
And in this case, it's just the single
sphere.
| | 00:36 |
It centers itself into the middle of
those, and it orients itself with the
| | 00:40 |
world orientation.
So you see y is up, so I've got that
| | 00:44 |
green up.
x is out to the right on my front view,
| | 00:47 |
so there's that x.
And I've got the z here going forward if
| | 00:50 |
I'm looking on the top view.
So, another thing that the automatic
| | 00:54 |
Action Center can do is reposition itself
based on your mouse clicks.
| | 00:58 |
Now, if you're in an Orthographic view,
like the right, front, or top views,
| | 01:03 |
clicking will simply aligning it to the
point in space where you click.
| | 01:10 |
So, pretty simple.
If you're in Perspective view, it will
| | 01:14 |
use of the work plane as the means of
deciding where in 3D space your handles
| | 01:17 |
should fall when you click.
So, we'll just kind of quickly go through
| | 01:22 |
all the action centers and give a quick
explanation.
| | 01:24 |
These are extremely powerful and they
will help you in your modeling and in
| | 01:28 |
deforming and creating animations.
Pretty much everything you're going to do
| | 01:32 |
in 3D.
These action centers are key to making
| | 01:34 |
your work really, really fly by.
Selection in some ways is very similar to
| | 01:39 |
the automatic one, but there is a big
difference here.
| | 01:44 |
One, I can't click around and change the
position if it, it's automatically going
| | 01:47 |
to orient itself to the center of my
selection.
| | 01:51 |
The other thing is that if you have a
selection, say something like this that
| | 01:54 |
is not facing up and down, then neither
will my handle.
| | 01:59 |
So, you can see here, if I look in my
Orthographic views, these are angled in
| | 02:02 |
slightly different directions, each one
of those.
| | 02:06 |
So, it's got itself oriented by the
average of all of the directions that the
| | 02:10 |
polygons were vertices or edges order, or
whatever the case may be, or facing.
| | 02:16 |
So the reason, that when I have
everything selected.
| | 02:19 |
It goes straight up and down left and
right is because the average of all of
| | 02:22 |
these pieces is facing in that direction.
So, as you're using the Action Center set
| | 02:28 |
to Selection, it's going to orient
itself.
| | 02:31 |
You have the option if you want it to be
positioned, but not oriented, you can use
| | 02:36 |
the Selection Center Auto Axis option.
And now, when I press the W key, you can
| | 02:41 |
see it is centered up in the middle of my
selection, but is still obeying the world axis.
| | 02:47 |
y up is the out, and x out.
So, you can see the difference there
| | 02:53 |
between selection Auto Axis and
Selection.
| | 02:57 |
See, it stays in the same place, but it
alters its orientation.
| | 03:00 |
Now, the other one with this selection is
the Selection Border, and that's just
| | 03:03 |
going to take the entire border around
the selection.
| | 03:06 |
So, in this case, it's going to be these
three edges, these three edges, these
| | 03:09 |
three edges on the bottom, and these
three up there.
| | 03:12 |
And it will average them out.
And in many cases, this is going to be
| | 03:15 |
very similar to the regular selection, in
this case, it's going to be identical.
| | 03:20 |
But if I were to add something else in
here, like this, it sometimes can switch
| | 03:24 |
up just a little bit.
This is very useful if you have something
| | 03:29 |
like a character where you want to move
the arm or you want to move a finger or
| | 03:32 |
something like that.
And you have that finger selected, you
| | 03:37 |
can use this in order to just orient your
tool-based off of the border of that selection.
| | 03:43 |
So, those are the various options for the
selection style of Action Center.
| | 03:47 |
Now, Element Action Center is another
very useful one that is often misunderstood.
| | 03:52 |
If I turn on Element Action Center and
press the W key, you can see that nothing
| | 03:55 |
happens at first, because I don't have
any elements selected.
| | 03:59 |
Now, if I move over my 3D object, you can
see that my edges, vertices, and polygons
| | 04:04 |
are all pre-highlighting.
Once I click on one of these, it will
| | 04:09 |
actually place my axes in space, and
orient them based off of the point that I
| | 04:13 |
clicked on.
This is very useful if you want to rotate
| | 04:18 |
around a certain point.
Or you want to move it based off of a
| | 04:22 |
certain point in space on the object or
on another object in the scene.
| | 04:27 |
So, this can be really, really helpful as
far as aligning your axis very quickly
| | 04:32 |
with something in 3D space that's already
existing.
| | 04:37 |
The Scene Action Center is one that is a
little bit difficult for a lot of people
| | 04:40 |
to understand, and it's a little bit
finicky.
| | 04:43 |
So, use with caution, but it is very
helpful if you know an exact perspective
| | 04:47 |
that you want.
So, let's say I have this perspective
| | 04:50 |
here that I've taken.
Now, as soon as I click it's going to
| | 04:53 |
orient my axis on the basis of the
current perspective so that you can see
| | 04:57 |
right now the way I'm looking.
It looks like the x is going straight up
| | 05:02 |
and the y is going to the side.
But then if I look at my right, front,
| | 05:05 |
and top views these orthographic views.
You can see that this is facing a really
| | 05:08 |
weird angle.
And that's just because those axes and
| | 05:11 |
those handles have oriented themselves
based off my current perspective.
| | 05:16 |
You can see if I rotate around to a
different perspective, you can see that
| | 05:19 |
that happens to be a very odd angle
indeed.
| | 05:21 |
And if I click again, it will
automatically re-orient itself to
| | 05:25 |
whatever my current screen position is.
So that one can be very helpful if you
| | 05:30 |
have a very specific angle you've gotten
to.
| | 05:32 |
Otherwise, it's usually best to use one
of the other ones because it's not going
| | 05:36 |
to be aligned to anything else other than
your current perspective.
| | 05:40 |
The Origin, we'll basically just drop the
tool right in at the origin at 000, x, y
| | 05:45 |
and z with y up and then x and z along
the ground plane.
| | 05:51 |
It's really simple and good if you want
to often times use that for the Scale
| | 05:53 |
tool or Rotation tools to bring
everything in towards the center.
| | 05:57 |
Or rotate everything around the center
point that can be a very useful one.
| | 06:02 |
Parent is used oftentimes for, in a lot
of animation options, and that will be
| | 06:06 |
when you have object hierarchy going on.
Not when you use very common and simple
| | 06:11 |
modeling but very useful when you are
animating.
| | 06:15 |
And the same thing also goes with pivot
and pivot center parent axis.
| | 06:19 |
These are used more heavily for animation
and not so much for basic controls.
| | 06:23 |
Now, the local one is very, very useful
when you have multiple objects or
| | 06:25 |
multiple selections.
So, I'm just going to take this entire
| | 06:29 |
set of polygons and I'm going to Copy and
Paste it and move one over here.
| | 06:36 |
And let's Copy and Paste that one, and
move one over there.
| | 06:39 |
And oh, let's do one more.
Copy and Paste and move this one over there.
| | 06:45 |
So now, I've got four different spheres
here in my scene.
| | 06:49 |
And let's say I want to take all of these
and scale them down by say, 10%.
| | 06:56 |
Now, if I wanted to keep them in the same
space, and just hit the Scale tool.
| | 06:59 |
And I'm on something like automatic or
origin.
| | 07:01 |
It's either all going to just scale
towards the middle, which isn't what I want.
| | 07:05 |
Now, if I want these to all scale based
on their own local space, then that's
| | 07:09 |
where local access comes in very handy.
So, return that to local.
| | 07:14 |
It's going to snap to one of these
spheres, but that can be a little bit misleading.
| | 07:17 |
Actually, as I scale this down, you can
see that each one is getting its own scaling.
| | 07:22 |
So, I could take this down at 10%, and
I've done that evenly throughout all of them.
| | 07:27 |
Another thing to note here is that if you
have different orientations on some of
| | 07:31 |
your objects, let's say I take with this
one and rotate it over here.
| | 07:36 |
And this one and rotate it over there,
and this one here, and I'll rotate it
| | 07:39 |
down that way.
So they're all facing different direction.
| | 07:43 |
If I use my Scale tool again, you can see
that it is now oriented itself based on
| | 07:47 |
this last one in the selection order.
And now if I scale this out, each one is
| | 07:54 |
going to get scaled in its own similar
axis.
| | 07:58 |
So, this can be really nice if you have a
bunch of duplicated objects.
| | 08:02 |
You decide, oops, they all need to be a
little bit smaller.
| | 08:04 |
Something like that.
This can handle that very quickly.
| | 08:07 |
Also has to do with moving.
So, if you need to move things relative
| | 08:10 |
to their own positions, you can see
they're all going to move in their own
| | 08:13 |
relative direction based on the angle
that they're facing.
| | 08:18 |
And if you have a really specific need
for an action center, you can also create
| | 08:22 |
them by yourself.
So, you have controls for the individual
| | 08:26 |
control of the center, so you can set the
center to any one of these settings that
| | 08:30 |
are again the settings that we have
already looked at.
| | 08:34 |
You can set your access, which is
orientation of your tools to any one of these.
| | 08:39 |
So, you can create combinations of any
one of the action centers in order to get
| | 08:43 |
exactly what you want, using the basic
ones will usually be a good way to start out.
| | 08:50 |
But very quickly, you might realize that
you want to do things a particular way.
| | 08:53 |
Modo will let you do that by letting you
building your own custom action centers.
| | 08:57 |
That's when the system becomes very very
powerful when it let's you work the way
| | 09:00 |
you want to work.
And get it all done without going under
| | 09:04 |
the hood or going anywhere else in the
program.
| | 09:08 |
They're just right here, easy for you to
select.
| | 09:09 |
So, I could select say a local action
center, but I want the access to be auto.
| | 09:15 |
Now, you can see each on of these if I go
to scale uniformly in it's own particular space.
| | 09:23 |
But it's also going to scale based on
the normal up, down, left, right, x, y, z
| | 09:27 |
access in world space.
Action Centers are a key to what makes
| | 09:33 |
Modo a very powerful modelling
application.
| | 09:36 |
| | Collapse this transcript |
| Symmetry| 00:02 |
In this video, we'll have a look at
symmetry in Modo.
| | 00:04 |
And how it can be used in object creation
and editing in order to make your
| | 00:07 |
workflow much faster.
So, Modo can use symmetry in x, y, or
| | 00:11 |
z-axis at one time.
So, I'm going to choose symmetry on the x
| | 00:16 |
and pick up my trusty Tube tool.
And now as I click out points, you can
| | 00:21 |
see that it is mirroring across my
x-axis.
| | 00:24 |
This even works if you happen to cross
the axis.
| | 00:28 |
If I click over here, see that it will
follow this across.
| | 00:34 |
Then as I go back and edit this, you can
see that the edits are all taking place
| | 00:39 |
across both axes simultaneously.
So, this can be really useful in quickly
| | 00:45 |
creating mirrored geometry that you might
want to be working on.
| | 00:50 |
This is also useful if you already have
geometry.
| | 00:52 |
Let's go ahead and drop that and throw in
a sphere by Shift-clicking on this Sphere
| | 00:56 |
button there.
And again, with symmetry on, on the x.
| | 01:01 |
If I click and select Polygon, as you can
see that mirror polygons are being selected.
| | 01:07 |
Now, this can also be very useful.
and you can switch to any different axis.
| | 01:12 |
So you can see, now if I switch to the y,
it's going to mirror my selections around
| | 01:15 |
the y, or z is going to be very similar
to the x.
| | 01:18 |
Just across the oppisite axis.
So, this also takes effect for painting
| | 01:23 |
and sculpting in a lot of different
places, that will allow you to do
| | 01:26 |
symmetrical editing of your geometry on
polygon vertex, or edge level.
| | 01:31 |
And also on a stub polygon level, when
you're working with sculpting, and even
| | 01:35 |
when you're working with textures and
texture painting.
| | 01:39 |
As you paint on one side, it will mirror
across and allow you to get good mirrored symmetry.
| | 01:45 |
Then if you want to go back and create
some difference on both sides, you can
| | 01:48 |
turn off symmetry and make some small
edits to either side.
| | 01:51 |
And you're ready and good to go.
So working in symmetry is very good to
| | 01:55 |
get a handle on.
Remember that if you are off axis.
| | 01:59 |
So, if I take this entire thing, let me
turn my symmetry off here.
| | 02:03 |
And move my sphere over to the side a
little bit.
| | 02:05 |
And now if I turn my symmetry on in the
x, this isn't going to work.
| | 02:08 |
Because it works on the axes themselves.
So, since this is now off axis, I'm not
| | 02:13 |
going to have anything symmetrical to
work with.
| | 02:20 |
So, something to keep in mind.
If your symmetry gets broken at any time,
| | 02:23 |
then you'll probably want to do something
like delete half of the object.
| | 02:28 |
So oftentimes, what will happen is if,
let's just say for the sake of argument I
| | 02:31 |
have this part here indented a little
bit.
| | 02:34 |
Now, the symmetry might read that here so
let's give it a quick look.
| | 02:38 |
Oops, let's go to the z symmetry.
Now, you can see because of that edit,
| | 02:43 |
I'm no longer getting symmetry in this
area because this part here is is not symmetrical.
| | 02:49 |
If I get down to lower sections and all
the section around it, see, I still have
| | 02:53 |
symmetry but this block in the middle has
lost its symmetry.
| | 02:57 |
So, let's say I wanted to keep symmetry
on that one side.
| | 03:00 |
There's a very quick workflow technique
that you can use to get your symmetry back.
| | 03:04 |
There is a tool to fix symmetry, but a
lot of times I like to do this the manual
| | 03:08 |
way it's good to know how to get your
symmetry going again.
| | 03:13 |
I'm going to turn symmetry off.
And I'm going to just right-click, just
| | 03:20 |
to the left side of my y-axis here.
So, Click and Drag that around.
| | 03:26 |
And then again, remember that we have a
straight line that connects our
| | 03:29 |
selection, so release right down there.
And now, you can see that I selected the
| | 03:33 |
entire right-hand side.
Or if you're looking at the View port in
| | 03:35 |
this perspective, it's the left -and
side.
| | 03:39 |
This is the unedited side.
Then I can take this and cut it out.
| | 03:44 |
Now, if you wanted to deleted the other
half, remember you can use the open
| | 03:47 |
bracket key next to the P key to invert
your selection.
| | 03:51 |
So, let's just go on the left-hand side
and cut that out.
| | 03:54 |
Now, I have just half of my object.
Once you have one half selected and
| | 03:59 |
deleted, you can press Shift+V, which is
your Mirror tool or the mirror generator.
| | 04:04 |
Which is also found under the Duplicate
tab here in your modeling options.
| | 04:09 |
And make sure that you're going the right
direction.
| | 04:11 |
In this case, I want to duplicate across
the z.
| | 04:13 |
So I choose the z-axis and click Apply.
We can see that has now created a
| | 04:17 |
duplicate of my geometry that has this
little dent included.
| | 04:21 |
So now, if I turn my z symmetry on, I
have my symmetry back and ready to go.
| | 04:27 |
Now oftentimes, when you're working on an
object, it's very common to get your
| | 04:31 |
symmetry broken.
That's a really quick way to get you back
| | 04:35 |
on track and be able to edit once again
in symmetry.
| | 04:39 |
So, symmetry is a quick way of getting
your work done and really only having to
| | 04:43 |
do half the work.
A lot of things that you might model are
| | 04:46 |
going to be symmetrical.
Look for that symmetry, use your symmetry
| | 04:49 |
and it will save you a lot of time.
| | 04:51 |
| | Collapse this transcript |
| Falloffs| 00:02 |
In this video, we'll have a look at
Falloffs.
| | 00:03 |
This is a very powerful function that
lets you change the way that your tools
| | 00:07 |
operate on your 3D objects.
Now in order to illustrate these, I'm
| | 00:12 |
going to draw out a simple plane with
some subdivisions.
| | 00:16 |
So drag this out.
I need to go in numerically here and make
| | 00:20 |
it two by two.
I'm going to center it up at the origin
| | 00:23 |
zero, zero, zero.
And let's add ten segments in the x and
| | 00:27 |
ten in the z, so I have a nice ten by ten
grid to work with.
| | 00:31 |
So, Falloffs have a variety of styles.
All of them are based off of modulating
| | 00:39 |
the effect of a tool from zero to full
effect.
| | 00:44 |
So, if I turn on the linear Falloff.
Maximize this section over here, and then
| | 00:49 |
turn on my Move tool.
You can see that once I have a tool
| | 00:52 |
activated, my Falloff appears.
And it's going to by default, auto-fit
| | 00:56 |
itself to whatever geometry you have
selected, or whatever geometry is visible
| | 01:00 |
in your current layout there.
So in this case, it just oriented itself
| | 01:05 |
along my axis here, and now if I move,
you can see that I'm no longer just using
| | 01:11 |
the tool to move the entire piece up and
down.
| | 01:17 |
I am moving only a part of it.
And it's based off of the wide area.
| | 01:23 |
In this case it's on the left, it's 100%
of my effect of my Move tool.
| | 01:27 |
And the pointed area, that place where it
terminates is giving me 0% of my effect.
| | 01:33 |
One of the very cool things about this is
the fact that these remain live as long
| | 01:37 |
as you keep your tool active.
So, if I move this up, something like that.
| | 01:43 |
And I move my handles for my Fall Off,
you can see that it affects the Falloff
| | 01:49 |
live in my 3D space.
I can also change how the Falloff behaves.
| | 01:55 |
I can choose here you can see shape
preset right now is set to ease out.
| | 01:59 |
Default is actually linear, which here if
I pull this back out, pull that back out.
| | 02:04 |
You can see that it's just a straight
interpolation.
| | 02:07 |
0% up to, well not quite 100% because
I've pulled out too far, there we go, out
| | 02:11 |
to 100%.
And it modulates very cleanly.
| | 02:16 |
Ease in, will go and start quickly, ease
into its Falloff and ease out will give
| | 02:20 |
you the inverse so the inverting curves.
Smooth will ease in and ease out at both ends.
| | 02:28 |
And then custom, lets you create kind of
your own variation here.
| | 02:31 |
Each one goes from zero to one in
positive and negative.
| | 02:36 |
So you can ease in or ease out, and each
easing can happen positive or negative.
| | 02:41 |
So I could do like positive 1 in the n.
-1 on the out, and that would be
| | 02:46 |
something like my ease in option.
But then I could also say, well, let's
| | 02:51 |
take this and move that there, and this
is similar to the smooth option but different.
| | 02:57 |
So I can get a very precise amount of
easing on here with my Custom options.
| | 03:03 |
Generally, one of the presets will
probably do the trick for you, but
| | 03:07 |
overall this is going to be a very quick
way to get your geometry edited.
| | 03:11 |
So, if I go to something like my Rotate
tool now, you can see that I can twist
| | 03:16 |
this and it still obeys the Falloff.
So I can move the Falloff live and get
| | 03:22 |
that to change, and adjust the way that
this tool is working.
| | 03:27 |
And there you go.
So this is a very quick way of editing
| | 03:29 |
your geometry as opposed to sitting and
moving points one at a time.
| | 03:34 |
So let's go ahead and back that up to
just plain empty space.
| | 03:37 |
And now, let's look at some of the other
Falloffs.
| | 03:40 |
We can have a quick look at them.
Cylinder moves in one direction.
| | 03:44 |
So imagine just a circle in one
direction.
| | 03:47 |
So if I take this and let's change this,
my Cylindrical Falloff to the y.
| | 03:52 |
Now you can see it's just a cylinder.
And this is going to project down
| | 03:56 |
through, 3D space on whatever axis you
have chosen.
| | 03:59 |
So, if I have the y-axis chosen, it's
always going to be in the case of this.
| | 04:04 |
It's going to have 100% of the effect at
zero and it's going to have 0% of the
| | 04:07 |
effect at the outside edge, which I can
adjust.
| | 04:12 |
And then as I use my tool, you can see
that it changes the effect of it based on
| | 04:16 |
basically a circle projected down through
3D space.
| | 04:22 |
This is good if you want to have the
effect go all the way through some
| | 04:25 |
geometry, and you don't want it to be
affected by one axis.
| | 04:29 |
This works very well for that.
Again changing your presets for ease in,
| | 04:33 |
ease out, you can get a variety of
effects very quickly.
| | 04:37 |
So kind of like this, but then in 3D
space is the Radial Falloff.
| | 04:43 |
So if I use the Radial Falloff, you can
get (INAUDIBLE) key.
| | 04:47 |
Right now the Radial Falloff doesn't have
much as far as 3D space.
| | 04:51 |
But if I pull this out, you can see the
effect of it.
| | 04:55 |
So, now if I use my Move tool.
First this is going to look a lot like
| | 04:59 |
the Cyclinder tool.
But since this has a lot of depth to it,
| | 05:03 |
it's only going to happen inside this
capsule here.
| | 05:08 |
So let's go ahead and undo that, and
let's create a sphere in 3D space here.
| | 05:15 |
Let's hide our plane for right now and
let's turn on a Radial Falloff.
| | 05:20 |
Get my Move tool and what I'm going to do
is scale down this Falloff here.
| | 05:28 |
And then I'm going to move the Falloff to
a different point.
| | 05:32 |
So let's move it over so it's outside on
the edge of the sphere here.
| | 05:36 |
So you can see it's just intersecting the
sphere at this point.
| | 05:40 |
Now if I use my Move tool, better yet,
let's just use the Scale tool, you can
| | 05:44 |
see that I am only scaling inside that
area of influence.
| | 05:48 |
I can very quickly put a dent into there
or a bump onto that, and it's only
| | 05:53 |
going to happen where I have my Falloff.
If I moved that Falloff around the change
| | 06:01 |
in scale will follow my Falloff.
So here, let's quickly go through the
| | 06:07 |
rest of these cause all of them are based
off the same principal.
| | 06:13 |
And some get more complex, and will be
ones that you won't you will use on a
| | 06:16 |
basic level.
So, just to show you the more simple ones
| | 06:19 |
that you're going to be common.
Let me elect a selection here, and we'll
| | 06:23 |
change our Falloff to Element.
And now when I turn on something like my
| | 06:27 |
Move tool, I'll have that same kind of
thing that we saw with action centers,
| | 06:31 |
where it's pre-highlighting a selection.
So you can just select here and Move, and
| | 06:37 |
you can see that it falls off based off
of that particular element that's been chosen.
| | 06:45 |
And I can do that multiple times here
within a session of using the tool in
| | 06:48 |
order to get what I want.
And this is going to be something like
| | 06:53 |
using the Transform tool.
But you see that I'm getting some smooth
| | 06:58 |
Falloff of what happens when I'm actually
doing that.
| | 07:01 |
Let's go ahead and drop that one back up.
And other ones that are very useful here.
| | 07:08 |
Just a couple more we'll look at, is the
Noise Effector.
| | 07:13 |
Now, if I do something like scale, you
can see that everything is scaling very,
| | 07:18 |
very oddly, and lumpy.
And that's just because this is based off
| | 07:24 |
a fractal noise pattern, so areas of
influence and no influence are mixed together.
| | 07:31 |
The Noise Falloff also has a scale that
goes with it.
| | 07:34 |
And so if I scale this down to lower
percentages, you can see that the Falloff
| | 07:38 |
gets more turbulent.
As I go to higher values.
| | 07:42 |
Say, up above 100 percent, you can see
that it gets less turbulent.
| | 07:45 |
So less bumpy in the way that it happens.
So you can use that to pretty quickly
| | 07:49 |
fine tune and get a nice lumpy shape,
however you might need it.
| | 07:53 |
If you want something like an asteroid,
it can get more complex.
| | 07:56 |
If you want something that just has very
slight undulation, you could go to
| | 08:00 |
something higher, two or 300%.
And then you just have something very
| | 08:06 |
lightly lumpy, but definitely not
uniform.
| | 08:10 |
All right so, the last one that we'll have
a look at here is the Soft Selection Falloff.
| | 08:15 |
So first I'm going to start by actually
selecting something.
| | 08:17 |
And I'm going to go to my Soft Selection,
turn on the Move tool.
| | 08:20 |
And you can see that I have a Falloff now
kind of being painted into my 3D space
| | 08:24 |
along the edges that are around this
selection.
| | 08:29 |
Also going to change my action center to
my selection, so that it's going to be
| | 08:31 |
facing the same direction as this
polygon.
| | 08:34 |
Now as I pull this out, and see that I
get this Soft Falloff going on.
| | 08:38 |
And I can increase the radius, which will
increase the area of effect of the Falloff.
| | 08:43 |
And again this all happens live, so that
I can edit this very dynamically.
| | 08:48 |
You can use the rotate tool now, and
rotate that around.
| | 08:51 |
Now you can see that getting this kind of
flow of polygons without using a Falloff
| | 08:56 |
would be a really, really big hassle.
Not that it can't be done.
| | 09:01 |
Not that it's impossible.
But that it would take a lot longer.
| | 09:05 |
So, the basis behind Falloffs is that
they simplify your workflow.
| | 09:10 |
They let you act more intuitively and
move things as groups, with smoothness,
| | 09:13 |
as opposed to just having to move
individual vertices, and edges, and polygons.
| | 09:19 |
And then go back and readjust and
resmooth, in order to get something
| | 09:23 |
that's curved or something that has a
flow to it.
| | 09:27 |
It can be done very quickly just by
turning on Falloffs, knowing which
| | 09:30 |
Falloff to use, and then using it well
with your action centers and your selections.
| | 09:36 |
So, use Falloffs they will make your life
easier in 3D.
| | 09:43 |
| | Collapse this transcript |
|
|
5. Materials, Textures, and SurfacesThe preview renderer| 00:02 |
In this video, we'll have a look at how
to use the Preview Render when working on
| | 00:05 |
textures and materials.
And also a few just general setup things
| | 00:09 |
for a good workflow when you're working
with materials and lighting.
| | 00:13 |
So, here I have opened two scenes, and
these are both included in the Scenes folder.
| | 00:18 |
There is the Material Spheres Start and
then also the Material Spheres Basic,
| | 00:23 |
which has basic materials plotted on all
of the individual spheres.
| | 00:28 |
Now this, by way of introduction of the
scene, is just a very simple scene with a
| | 00:33 |
little backdrop or a simple background.
And then, it also has these six spheres,
| | 00:39 |
or sphere-like objects.
In addition to that, all of the
| | 00:44 |
individual frames are sent to where your
main camera, which you can see here in
| | 00:48 |
the View port, is focused on one of the
spheres at each frame.
| | 00:54 |
And that will allow you to go through,
work on each of the materials without
| | 00:58 |
having to worry about moving your camera
around to see them.
| | 01:02 |
And then also, these cameras are both
locked.
| | 01:06 |
If you do want to lock cameras or any
other object, simply Right-click and then
| | 01:09 |
choose Lock/Unlock.
And then, you'll get the Lock icon if
| | 01:13 |
it's locked.
That way, the default behavior is that
| | 01:15 |
when you're mouse is over a View port.
The scroll wheel will zoom in and out.
| | 01:20 |
And in the case of something like this,
where we have keyframes set up on a
| | 01:22 |
camera, we don't want things to move
around.
| | 01:24 |
Scrolling in and out might cause some
real problems.
| | 01:27 |
And additionally, if we're rendering here
and we're waiting for a preview to render.
| | 01:31 |
One inadvertent bump of the scroll wheel
can cause the position of the camera to
| | 01:34 |
change and are rendered to start over.
So, you might be waiting for something to
| | 01:37 |
refine and get an idea of how it's going
to look.
| | 01:40 |
And then, it just has to start all over
just because you lightly bumped the
| | 01:43 |
scroll wheel when your mouse was over the
Preview window.
| | 01:46 |
So, I don't want that to happen so the
cameras are locked down.
| | 01:49 |
Now, for the majority of time when you're
working with materials, I would really
| | 01:53 |
recommend making Modo just about the only
thing open.
| | 01:56 |
Don't open other applications as much as
you can just because you want as much
| | 02:00 |
speed as you can eke out of this in order
to have the workflow very smooth and fluid.
| | 02:05 |
And the other thing I would recommend is
maximizing, 0 on the numeric keypad, the
| | 02:09 |
Preview render, so that you get it as
large as you can.
| | 02:13 |
And you can see your materials very
clearly.
| | 02:15 |
And then, make heavy use of the paint to
Preview option.
| | 02:19 |
Remember, that's moving your mouse over a
section of the Preview Render in order to
| | 02:24 |
refine the rendering and make it look
better in focus your computer's
| | 02:27 |
processing power right on that area where
you want look.
| | 02:32 |
That way, you don't have to wait for
everything to finish just find out how
| | 02:35 |
the reflection is going to look on one
part of your environment.
| | 02:39 |
Under the Options, there's a few things
that also need to be set up.
| | 02:42 |
Your Quality by default, is going to be
set to Draft Quality, which is fine in
| | 02:46 |
some cases for speed.
The difference between all of these
| | 02:50 |
really on speed is not going to be very
much.
| | 02:53 |
But that they will continue to refine for
longer.
| | 02:56 |
At Final Render Quality, things will go
up to whatever render qualities you have
| | 02:59 |
setup, which are likely going to be the
default at Extended Refinement Passes.
| | 03:04 |
The image is going to keep getting better
and better and better until you tell it
| | 03:07 |
to stop, or until you change something.
So if you sit here and leave this, like
| | 03:11 |
the entire time I've been giving the
intro to this scene.
| | 03:15 |
And it's just going to continue to refine
and get clearer and clearer.
| | 03:17 |
You can see that this, that started off
very grainy, is now very smooth.
| | 03:21 |
Very nice clean reflections.
So, setting that two extended refined
| | 03:24 |
impasses is always a good thing.
Everything else, for the most part, can
| | 03:28 |
be left on default.
If you're working with animation at any
| | 03:31 |
point, you can turn on the Preview of
Motion Blur.
| | 03:34 |
I don't have any motion blur on in this
scene, because we want each individual
| | 03:37 |
frame to be very clear.
So, but if you are previewing some
| | 03:40 |
animation, you want to see how the motion
blur works.
| | 03:42 |
Click that on and it lets you see a good
preview of what the motion blur is going
| | 03:45 |
to look like on the final render.
And then, the last thing that I recommend
| | 03:49 |
turning on, and this goes hand in hand
with not trying to run many other
| | 03:52 |
applications at the same time, is turn on
use all threads.
| | 03:57 |
That's going to take every possible bit
of energy that your computer has available.
| | 04:02 |
Every core, and every hyper threaded
core, if you've got a computer that has
| | 04:06 |
some hyper threading.
And it's going to dump it all into this
| | 04:09 |
preview rendering.
That way, you're going to get your
| | 04:12 |
refinements to happen as fast as
possible.
| | 04:14 |
So when working with Preview window,
there's a couple of things to remember as well.
| | 04:21 |
If you have the Shader Tree's selected,
the tab over here on the right-hand side,
| | 04:24 |
clicking on an object will take you to
the spot in the Shader Tree where that
| | 04:28 |
material resides.
So if I click on the background, you can
| | 04:32 |
see it's taking me to my ground.
Or if I click on the first sphere, it's
| | 04:36 |
taking you to ball one.
On the second one, it will take me to
| | 04:39 |
ball two, etc., etc.
Now if you right-click, it will actually
| | 04:42 |
give you all the things that influence a
particular object.
| | 04:46 |
So, we can see that there are render
outputs, which are these top two things
| | 04:49 |
with the little Mona Lisa icon.
Those tell you what is going to be
| | 04:52 |
rendered when you create a finished
render.
| | 04:54 |
So, in this case, there's the final
output color, which is essentially just
| | 04:57 |
the color you see here onscreen.
And then, there is the alpha output,
| | 05:01 |
which, if we had anything with
transparency, or any part where there
| | 05:04 |
wasn't a model on the scene.
There would be an alpha channel rendered
| | 05:08 |
out included with that.
We don't have an alpha channel, but by
| | 05:11 |
default that is turned on.
There's also the Bay Shader, which
| | 05:14 |
governs the general way that lighting
behaves on materials.
| | 05:19 |
This is the default Bay Shader.
We haven't done any editing.
| | 05:22 |
But it will just give you your standard
lighting like you see in this scene.
| | 05:26 |
And then, you can see that the material
is here.
| | 05:30 |
This is the material group.
This is the material, what is inside the group.
| | 05:34 |
In this case, it's just what sets this up
to be a red sphere.
| | 05:37 |
And then, there's the base material which
is underneath everything.
| | 05:41 |
This is the default material that comes
in when you boot up Modo, when you apply
| | 05:44 |
a new material this is what you will get.
The base materials always there underneath.
| | 05:50 |
And then render, this is just our render
settings so this tells us exactly how the
| | 05:53 |
image is going to come out.
So, all those things go into making this up.
| | 05:59 |
And if I right-click on another area, you
can see I have different settings for
| | 06:02 |
each material.
In this case the ground has a couple of
| | 06:06 |
grids set up to make it luminous to give
it the orangish color on the grid lines.
| | 06:12 |
If I go over here to the second sphere,
you can see it has its own individual settings.
| | 06:16 |
So, this will allow you to very quickly
hop through your Shader Tree, and this is
| | 06:20 |
a very simple one.
It only has half a dozen materials for
| | 06:23 |
the spheres.
And then, stuff for the backgrounds and
| | 06:26 |
things like that.
But if you have something more complex,
| | 06:28 |
this can be a very fast way to get to
anything that you need to work with.
| | 06:33 |
For example, if I wanted to change the
color of the grid here, I just
| | 06:35 |
right-click on the grid.
Go down to Diffuse Color and release.
| | 06:39 |
And it's going to take me right to the
grid that is affecting my Diffuse Color.
| | 06:43 |
And then, all I have to do is switch my
hue here.
| | 06:48 |
We'll make it something more obvious.
And I'll do the same thing with my
| | 06:50 |
luminous color, switch these over to
blues and there we go, I have got blue
| | 06:51 |
grid lines as opposed to the orange ones.
I'm going to undo that because I set them
| | 06:52 |
orange for a reason, I like the way they
interact and add a little more to the scene.
| | 06:54 |
So, that's it.
This is how to do get into the preview
| | 06:56 |
renderer I would set it up.
Very similar to high hut here.
| | 07:14 |
Obviously, this will vary a bit depending
on the computer you have.
| | 07:18 |
This is one of the places it's going to
max your computer outing, use everything
| | 07:21 |
you've got, if you let it.
So, you want to get the best preview.
| | 07:25 |
So, you're setting up your materials the
best you can, and your not waiting too
| | 07:29 |
long at render times.
So, this is a good place to use
| | 07:32 |
everything that your computer has.
And by setting it up this way, you'll
| | 07:35 |
guarantee that you do.
| | 07:37 |
| | Collapse this transcript |
| Basic material channels: Diffuse| 00:02 |
In this video, we'll have a look at the
diffused settings on the basic material.
| | 00:06 |
Which in this case is just going to
govern the color, and the brightness of
| | 00:10 |
the color, and the nature of the color on
the surface of the 3D object.
| | 00:15 |
If you'd like to follow along, with
exactly what I'm doing here, you can open
| | 00:18 |
up the materials sphere's basic.
Which has all these materials on them already.
| | 00:22 |
Then you can go and just further explore
the settings that I'll be talking about.
| | 00:26 |
And if you'd like to build these from
scratch, you can open up the material
| | 00:30 |
spheres start project, and that will give
you the same thing but with just no
| | 00:33 |
materials added on.
Just blank materials in the place on each
| | 00:38 |
individual sphere so that you can start
building those from scratch.
| | 00:41 |
So, in this case I'm going to have the
material spheres basic up, and we'll have
| | 00:45 |
a look at our defuse settings.
So, the defuse is the first chunk under
| | 00:50 |
the material ref settings for a basic
material.
| | 00:54 |
There are two sections, material ref and
material trans.
| | 00:58 |
Ref has to do basically with the
attributes of a material that are
| | 01:02 |
reflected back at the viewer, or are
absorbed.
| | 01:06 |
So in this case everything but red is
being reflected back, and then there's
| | 01:08 |
some other things going on to make it
look a little bit nicer.
| | 01:12 |
For now I'm going to actually zero out
everything but the diffuse amount, and
| | 01:15 |
the diffuse color, and the diffuse
roughness here.
| | 01:19 |
So, now we have just basically a red
sphere that has 80% diffuse amount and no
| | 01:23 |
roughness, so what does this mean.
The diffuse amount governs how much of a
| | 01:29 |
diffused color, the next setting, is
actually reflected back at the viewer.
| | 01:34 |
So if I set this to something high like
100%, where the ball is completely illuminated.
| | 01:39 |
Which is over here to the left and on the
top side.
| | 01:42 |
You can see that we're getting back
something very close to our red color,
| | 01:45 |
which is right in there.
And you can see that it's relatively bright.
| | 01:51 |
Now, if I have other things going on a
surface, reflectivity, some transparency,
| | 01:55 |
other things like that, then this defuse
amount should really probably come down.
| | 02:00 |
And most surfaces are going to have a
little bit of a mix of, multiple things going.
| | 02:04 |
So, the default is 80%, and I think I'm
going to leave that for this here as well.
| | 02:09 |
Now the diffused color then is, what
color you're actually going to see.
| | 02:12 |
Now there are a couple of different ways
that you can edit this diffused color.
| | 02:17 |
You can click and drag on any of the
individual numbers here, which are red,
| | 02:21 |
green, and blue, represented here, so
across from left to right.
| | 02:25 |
So if I increase the green, you can see
it's going to get more orange.
| | 02:29 |
If I increase the blue it's going to get
more pinky purpley, but I'm just going to
| | 02:33 |
back up to what I had there.
And you can also hold Shift, and then
| | 02:38 |
click and drag here to raise the overall
brightness of that hue, down to black,
| | 02:42 |
and then back up to different versions of
it.
| | 02:46 |
And if that's not enough and you want a
more visual approach, you can simply
| | 02:50 |
click on this color swatch, and it will
bring up a color wheel that'll let you
| | 02:53 |
change your color, visually here based on
this color wheel.
| | 02:58 |
All right.
That's going to be true of any of the
| | 03:03 |
color swatches that you see here.
They're going to have the three values
| | 03:07 |
for red, green and blue.
And you can click and drag, Shift click
| | 03:10 |
and drag, or click to bring up a color
wheel, and edit them.
| | 03:13 |
And so any time we see a color like that,
that's going to be how you can edit it
| | 03:16 |
very easily.
The next thing here under the diffuse, is
| | 03:21 |
the diffuse roughness, and this has to do
with how much a light spreads across the
| | 03:26 |
surface of an object.
If you think of something shiny versus
| | 03:31 |
something matte, or even something
chalky, like brick or dry clay, you know
| | 03:34 |
that the light is going to spread
differently across the surface.
| | 03:38 |
Now, with diffuse roughness set to zero,
this is dealing with roughness on a
| | 03:42 |
microscopic detail, by the way.
With is set to zero, you're looking at
| | 03:46 |
something that's relatively smooth.
It doesn't have any real roughness on a
| | 03:50 |
microscopic level, it's not chalky or
anything like that.
| | 03:53 |
You know, like a nice of matte plastic
might be a good example, but you get
| | 03:56 |
something like this.
Now, if you're going to deal with
| | 03:59 |
something like I said dry clay or brick,
then really this is actually going to
| | 04:02 |
look a little bit too shiny, probably.
because the light is not spreading across
| | 04:06 |
the surface enough.
So I take this and turn my diffuse
| | 04:08 |
roughness up to, we'll go all the way up
to 100%, you can see that it's going to
| | 04:11 |
darken a bit.
And we lose a lot of that variation in tone.
| | 04:18 |
And the light is spread much more evenly
across the surface.
| | 04:21 |
It really tends to flatten out the
overall appearance.
| | 04:23 |
It's going to make it look like something
that is a bit rougher like brick or clay.
| | 04:27 |
So setting it back down to zero, you can
see we get a little bit more gradation
| | 04:30 |
from this point here where it's facing
the light, to where it's facing a little
| | 04:34 |
more perpendicular to the light.
And that will depend on the kind of
| | 04:38 |
surface that you're actually trying to
create.
| | 04:41 |
And the last setting here, which isn't
going to make much difference on our
| | 04:44 |
current settings is, conserve energy.
And that's going to take all of your
| | 04:48 |
different settings that you have going on
for reflectivity, for transparency and
| | 04:51 |
what not.
And it's going to balance them out so
| | 04:55 |
that the number of light rays coming in
are equal to the number of light rays
| | 04:58 |
being reflected, absorbed, transmitted or
diffused through the surface.
| | 05:04 |
In this case it won't make much
difference because, or probably any
| | 05:06 |
difference, because we only have diffuse
settings going on.
| | 05:10 |
But if I were to turn on some
specularity, or some reflection, it would
| | 05:12 |
start to look very different.
And in some instances this is going to be
| | 05:17 |
very useful to make your material look
more realistic.
| | 05:20 |
In some instances it's going to tend to
blow things out a little bit, and it will
| | 05:23 |
take some of your control away.
So I personally leave that off most the
| | 05:27 |
time and do the balancing by hand, in
order to get a much more control over the
| | 05:31 |
actual material that I'm creating.
So, that's it for the diffuse settings.
| | 05:37 |
They will govern the color and the kind
of nature of how the color spreads across
| | 05:40 |
your surface.
And and also the brightness of that
| | 05:44 |
color, and that's how you would set up
just basic coloration on a 3D material.
| | 05:49 |
| | Collapse this transcript |
| Basic material channels: Reflection| 00:02 |
In this video well have a look at the
reflective properties under the material
| | 00:04 |
ref and also just give a quick mention to
our surface normal settings, which aren't
| | 00:07 |
going to change a whole lot here on the
basic materials.
| | 00:11 |
So we'll just look at those very quickly.
Now, really reflection in 3-D is broken
| | 00:16 |
up into.
Two and in this case three separate kinds
| | 00:19 |
of reflection.
There is Specular reflection, Real
| | 00:22 |
reflection, and then Modo also has clear
cone amount option.
| | 00:27 |
Now the Specular reflection is actually a
fake reflection that has to do with 3-D lights.
| | 00:33 |
So lights inside of a 3-D scene.
Sense lights in 3-D scenes are not actual objects.
| | 00:38 |
They are not something that shines light
visually, they can be reflected.
| | 00:42 |
the specularity is actually used to fake
the reflection that would happen based
| | 00:47 |
off bright areas of light.
So, with no specularity on, you can see
| | 00:51 |
that this surface looks relatively even.
It's hard to tell exactly where the
| | 00:55 |
light's coming from, other than, just
kind of generally up and to the left.
| | 00:59 |
Now if I turn on some specularity here,
I'll go up to 10%, we'll see that we get
| | 01:02 |
this little bit of a hot spot starting to
appear.
| | 01:06 |
And that's going to give our eye a visual
on where that light is exactly coming
| | 01:09 |
from and it's going to help make this
material more believable as something
| | 01:13 |
kind of like a bit of a dull plastic.
Now, For Nil Amount is actually the same
| | 01:19 |
function here and there's actually a
similar function for reflectivity, but it
| | 01:23 |
takes the idea of that specularity and
then it will vary it depending on the
| | 01:28 |
surface normal or the surface direction
of the given material.
| | 01:34 |
So, in this case with the Fresnel effect,
things that are facing straight towards
| | 01:38 |
us will be governed by this basic amount.
Things that are facing perpendicular to
| | 01:43 |
us, like at the edges of the sphere will
receive the Fresnel amount.
| | 01:47 |
The Fresnel effect in real life is going
to increase reflectivity as the incidence
| | 01:52 |
angle becomes more perpendicular to our
viewpoint.
| | 01:57 |
So, think of a puddle as you're walking
down the street and you see a puddle.
| | 02:00 |
Down at the end of the block, it's going
to look really reflective.
| | 02:03 |
You're not going to be able to see
through it at all, most likely.
| | 02:06 |
And you're going to see the environment
reflected around, it's also kind of a
| | 02:08 |
mirage effect.
But as you get up close to the puddle and
| | 02:12 |
are looking directly down into it, it's
going to be limited in its reflective properties.
| | 02:17 |
Probably not very reflective at all.
And then you'll be able to see straight
| | 02:19 |
through it, down to the bottom of a
puddle.
| | 02:22 |
So that's the Fresnel effect, you know,
in action in real life.
| | 02:24 |
So, I'm going to turn the Fresnel effect
actually up to 100%.
| | 02:28 |
And we'll see, it just has a very, very
slight effect here on this specular
| | 02:31 |
amount, and it just is giving us a little
bit more of a kick here at this odd
| | 02:35 |
glancing angle.
This is a very important thing because
| | 02:39 |
this is a real life property.
Throwing it onto your 3D objects will
| | 02:43 |
help them look much more vibrant and
alive.
| | 02:46 |
So, you also have the specularitry, the
specular color.
| | 02:48 |
And just like, with the diffused color,
this is just a color value that tints our specularity.
| | 02:54 |
So, changing this to a different color.
So if I change this to something like
| | 02:57 |
whiute, you can see that this hot spot
becomes a lot brighter white.
| | 03:01 |
And depending on the kind of surface
that you're trying to create, The color
| | 03:05 |
of this will vary.
If I want to create something where my
| | 03:08 |
colors here blend in with the
specularity, I'm going to actually want
| | 03:11 |
to go with something that's more like my
actual diffuse color.
| | 03:15 |
So I'm going to turn this back down to
where I had it, which is actually the
| | 03:18 |
exact same as my diffuse color, and then
you can see it just gives a little bit of
| | 03:21 |
lightness and it brightens up that hot
spot.
| | 03:25 |
Now if I wanted to take that and just
brighten it just a little bit, it's going
| | 03:28 |
to make the hot spot more visible.
So, you know, something to keep in mind
| | 03:32 |
as you are creating your surfaces knowing
what kind of surface you're looking at.
| | 03:36 |
If you're looking at something that is
going to reflect more the actual values
| | 03:40 |
that are in the color, then you'd want to
tint it more.
| | 03:44 |
If you're going to want something that
looks a little brighter and a little
| | 03:46 |
shinier in its reflections.
Then you would brighten that tint a
| | 03:49 |
little bit.
Now, moving down, we have, two other
| | 03:53 |
values that have to do with, kind of
messing up the, the reflections and the specularity.
| | 03:58 |
And those are roughness, and the
roughness is going to define how shiny or
| | 04:01 |
how matte the surface is.
So if I turn the roughness down to
| | 04:05 |
something really low, like 10 percent.
And see that my highlight gets very
| | 04:08 |
small, and the surface is going to tend
to look shinier.
| | 04:11 |
Turning it up to something higher, we'll
go all the way up to 100 here.
| | 04:14 |
You can see that it becomes much more
broad, and the surface looks more matte.
| | 04:19 |
So that roughness is going to control how
that looks.
| | 04:21 |
Now the other setting here with roughness
is anisotropy.
| | 04:24 |
And that's the tendency on some objects,
if you take like a brushed metal, like
| | 04:27 |
you'd see on elevator doors or something
like that.
| | 04:30 |
You look and the reflections are
stretched across the surface.
| | 04:33 |
They aren't uniform and they aren't even.
That's anisotropic reflections.
| | 04:38 |
So, by turning up the anisotropy here
we'll go up to 100% we'll see that that's
| | 04:42 |
specularity is stretch now across the
surface.
| | 04:46 |
This is based off of a UV map since these
are basic spheres, they have built-in UV maps.
| | 04:51 |
If you have an object that does not have
built in UV maps.
| | 04:54 |
This anisotropy is not going to work.
So just something to keep in mind.
| | 04:57 |
Now if I take this anisotropy and make it
a negative amount.
| | 05:00 |
It's actually going to invert in its
direction.
| | 05:03 |
So instead of going up and down.
It's now going around this way.
| | 05:06 |
So you can see it's going around kind of
concentrically now.
| | 05:09 |
And values in between will just give
different variance.
| | 05:13 |
Here, you can see this is looking more a
mix of being blurred and stretched, so
| | 05:16 |
it's not quite as streaked-looking.
You can take that down to any value that
| | 05:21 |
you want, just to kind of control how
reflections and specularity are stretched
| | 05:24 |
across the surface.
Okay?
| | 05:27 |
Now as I mentioned specularity is kind of
a fake reflection, just dealing with 3D lights.
| | 05:33 |
And since these really are the same
function and just different ways of
| | 05:36 |
looking at it, there is an option for
making your reflective amounts actually
| | 05:39 |
match the specular amount.
And if I do that, we're going to get
| | 05:43 |
reflections, real reflections that are
reflecting the environment in other
| | 05:48 |
objects layered on top of our other
surface attributes here.
| | 05:53 |
And you can see in this case since it's a
very low specular amount, it's a low
| | 05:56 |
reflective amount here in the front.
And it doesn't look like reflections much
| | 06:01 |
at all.
But then at the edges we are getting a
| | 06:04 |
little bit more reflectivity.
Now one thing to note is that I do have
| | 06:08 |
blurry reflection on, and that will make
the reflection amount actually obey this
| | 06:11 |
roughness here, so the higher the
roughness, the more blurred my
| | 06:14 |
reflections will look.
If I turn this down to something low like
| | 06:20 |
10 percent, we'll see that I still have
some blur on my reflections, but it's
| | 06:23 |
much less and now this is looking more
like a reflective object and Less like a
| | 06:26 |
matte object and if I put this up to
something like 80 we get kind of a mix
| | 06:29 |
here and as this resolves more you'll see
that those reflections tend to look like
| | 06:33 |
they are going away except for just kind
of on the incidence angles here around
| | 06:37 |
the edges of the sphere.
And that will give us the, the hint of
| | 06:44 |
some reflection without it being really
heavy.
| | 06:47 |
If I turn Blur Your Reflection off
entirely the reflection's going to be
| | 06:50 |
totally clear and if you're going for a
non-reflective surface this is going to
| | 06:54 |
totally blow the effect here and this
going to look reflective.
| | 06:58 |
But having that Blur Your Reflection on
can help you make things look Look nice
| | 07:01 |
and clean and included in the environment
without them looking really reflective.
| | 07:06 |
I'm going to take here just to
demonstrate and turn my frenel down to
| | 07:09 |
like 50%, so this is a lot, a lot weaker
here at the edges.
| | 07:13 |
And we'll let this resolve here for a
second.
| | 07:16 |
I'm going to mouse over it in the middle
to kind of clarify my reflections and
| | 07:18 |
make them look less grainy.
And now you can see this isn't looking
| | 07:22 |
like a reflective surface but we are
getting some little bits of reflectivity
| | 07:25 |
there helping pull it into the
environment.
| | 07:29 |
This is an important thing to include on
objects that you want to have a smooth
| | 07:33 |
clean appearnce.
And then the last thing under our
| | 07:36 |
reflectivity is the clear coat.
And I wont' check this on because it's
| | 07:40 |
acutally already demonstrated on the next
sphere over so that we Can save some,
| | 07:44 |
preview render time, here.
Just look at this blue sphere, which has
| | 07:48 |
blue reflections, and they're blurry,
then it also has the clear coat on top,
| | 07:52 |
and that is an extra amount of clean,
clear reflections that appear over the
| | 07:56 |
top, of any other reflections, or
specularity.
| | 08:01 |
And if I click on this, you can see the
setting here.
| | 08:03 |
This actually has no diffuse, it's just a
reflective object.
| | 08:07 |
So 100% reflection and 100% has a blue
tint to the reflection.
| | 08:11 |
The reflections are blurry and then it
has that 100% clear coat that also obeys
| | 08:14 |
the frinella effect.
So it will get heavier towards the edges
| | 08:18 |
of the object.
And then the last thing under here which
| | 08:21 |
we will get into- More when we're looking
at other surface attributes, though.
| | 08:24 |
Are our surface normals.
And this has to do with how rough the
| | 08:27 |
surface is when youre using things to
modulate the surface to make it look more
| | 08:31 |
rough or less smooth.
Then these will control, kind of
| | 08:36 |
globally, how much that is actually taken
into account.
| | 08:40 |
So, there you go, there'a all of our
reflective properties.
| | 08:43 |
You can see how they work to create
objects that are not transparant and not
| | 08:47 |
translucent in any way but help to have
more reflective qualities on the surface.
| | 08:53 |
| | Collapse this transcript |
| Basic material channels: Transparency| 00:02 |
In this video we'll be looking at the
transparency sections under the Material
| | 00:06 |
Transit setting or basic material
attributes.
| | 00:10 |
And this is once again, looking at the
material spheres basic scene file.
| | 00:14 |
So you can open that up and we're on
frame two now, which is going to focus on
| | 00:18 |
the third sphere in the group.
Which is purely a, kind of a, a
| | 00:23 |
reflective glass ball.
We look at our settings here, this
| | 00:27 |
material actually has a little bit going
on in the Material Ref setting.
| | 00:31 |
It has a little bit of specular and a
little bit of reflection.
| | 00:35 |
And then it has the Fresnel Effect turned
on in the match specular, so that we get
| | 00:38 |
a little bit of increased reflection
around the edges of the osphere.
| | 00:43 |
So, under the Material Trans setting,
this is where the bulk of the actual
| | 00:47 |
Material settings are going on here.
And we have, transparent amount, which
| | 00:52 |
is, how transparent things are.
This is just, a simple value, 0 to 100%,
| | 00:57 |
and is going to govern how much light is
actually passing through the sphere.
| | 01:03 |
There's also the option for transparent
color, which will allow you to tint transparency.
| | 01:07 |
In this case if you go back and do
anything with you're diffuse color, it's
| | 01:11 |
going to have zero effect because we're
not seeing anything diffuse here.
| | 01:15 |
And actually as a side note I have the
diffuse amount set to zero.
| | 01:18 |
In a real service you might have a little
bit of difuse amount here, 3, 4 or 5%.
| | 01:23 |
But you actually get a relatively
significance performance gain by taking
| | 01:27 |
that diffuse amount and zeroing it out.
So, just a side note, it will decrease
| | 01:31 |
your render times if instead of having a
little bit of diffuse amount, you turn it
| | 01:35 |
off and then just deal with more
reflectivity and transperancy alone, just
| | 01:38 |
a side note.
So, the amount and the, and the color
| | 01:43 |
here are relatively common, if you've
looked at other material settings inside
| | 01:46 |
of (UNKNOWN)
Where this transparency section gets more
| | 01:50 |
complex are in the next few options here.
Absorption distance, refractivity over
| | 01:55 |
the refractive index disspersion and
refractive roughness.
| | 02:00 |
So these are all going to govern how
light behaves once it enteres the surface
| | 02:04 |
of this object.
So that the absorption distance tells the
| | 02:09 |
rendering engine, how far a light ray can
go through the surface before it returns
| | 02:14 |
back our transparent color here.
In this case the transparent color is
| | 02:20 |
just white, it's basically untinted,
clear glass.
| | 02:24 |
If, however, you have something like
water that has a blue color to it.
| | 02:28 |
Setting this absorption distance to
something proper, will allow the water to
| | 02:32 |
be lighter and more bright in areas that
the water is more shallow, and it will
| | 02:36 |
become darker and more saturated in areas
where the water is deeper.
| | 02:42 |
So this is a really important setting to
have in order to keep transparency
| | 02:45 |
looking good.
The default is actually 0%, which means
| | 02:49 |
that you'll always get the tinted color
back.
| | 02:52 |
But with some absorption distance set it
will give more depth of realism to your
| | 02:57 |
transparent objects.
Now refractive index, this is based off
| | 03:01 |
of a real world index.
So if I click over here on the right,
| | 03:05 |
there is an arrow and that will give me a
listing of common refractive indices.
| | 03:11 |
So air in a vacuum actually is 1.0, so no
refractive index.
| | 03:16 |
And then there are a bunch of other ones.
common ones like water is 1.33.
| | 03:20 |
I have mine set for zinc crown glass,
which is 1.517.
| | 03:24 |
you can see there's all the different
ones here.
| | 03:27 |
So you can either use ones that are in
here, you can keep them in manually to
| | 03:30 |
get something specific to how you'd like.
Or if there is an exact material that you
| | 03:35 |
want to duplicate, you could actually
just look up the refractive index of it,
| | 03:39 |
key it in, and it's going to be
accurately displayed here on your 3D material.
| | 03:45 |
Now the next two setting are the real
render hogs of transparency.
| | 03:49 |
And those are dispersion and refraction
roughness.
| | 03:53 |
Dispersion is kind of a prismatic effect.
And what that does, is it allows light to
| | 03:58 |
spread into it's components, and give you
a rainbow effect as light penetrates the surface.
| | 04:05 |
Now as this happens, it is also
multiplying the number of light rays that
| | 04:09 |
are required by the rendering engine to
give you the rendered look.
| | 04:15 |
So I am going to turn on some dispersion
here, I'll go to 0.1.
| | 04:19 |
And then we will look up here at the top,
and I will mouse over it to clarify it
| | 04:22 |
more quickly.
You can see that now we're starting to
| | 04:25 |
get that bit of a rainbow effect here.
And so we get that prismatic effect.
| | 04:30 |
You can see it also down here on the
bottom realitively heavily.
| | 04:34 |
It will get less heavy as I mouse over to
clarify the rendering.
| | 04:37 |
You can see that effect happening here.
It's a nice effect that is great for
| | 04:41 |
adding some extra realism to transparent
surfaces.
| | 04:46 |
It is, as I said, a big render hog.
So, usually the best idea here is to get
| | 04:50 |
it set, figure out the setting you want,
and preview it.
| | 04:55 |
Know where you want it to be.
And then when you're working on other
| | 04:57 |
things and doing test renders and what
not, zero it back out.
| | 05:01 |
(LAUGH) And then once you're ready to do
your final renders and then, when you're
| | 05:04 |
just ready to bite the bullet on render
time because you want your best possible quality.
| | 05:09 |
Go back and turn it back on to where you
had it set.
| | 05:11 |
Obviously, you can make the choice to
have it on all the time.
| | 05:14 |
But really it's going to be much less
headache and you're going to get much
| | 05:17 |
faster renders as you're developing your
3D scenes if you leave it off.
| | 05:22 |
Now likewise, refraction roughness is a
really big time hog.
| | 05:27 |
And this is very much like blurring
reflections, how that made the reflection
| | 05:30 |
amount equal the roughness.
Now, since this is just a, isn't just an
| | 05:35 |
on or off scenario, there is no roughness
to deal with.
| | 05:38 |
It's just refraction roughness.
Having it zero is basically having it
| | 05:41 |
off, and having it set to any percentage
will start to blur out your refractivity
| | 05:46 |
or the way that light transfers through.
So think of something like a fogged
| | 05:52 |
shower glass door something like that
where it is transparent but the, the
| | 05:56 |
transparency is not clear.
So if I turn this to something even
| | 06:01 |
pretty low like 10%.
And we'll have to mouse over this just to
| | 06:04 |
get it to clarify in this area.
You can see that all of sudden my, my
| | 06:08 |
transparency is very very blurred out
here.
| | 06:11 |
And it's not looking clear at all, and
this is really fogged this up.
| | 06:15 |
We can see this really well down here
where those windows are, and that's at
| | 06:19 |
only 10 %.
If I take something lower like 3%, we
| | 06:23 |
still get something fogged but not as
badly.
| | 06:26 |
And if we turn it up to something really
high like, heaven forbid we should use 100%.
| | 06:31 |
This is going to be completely blurred
out, and there will be nothing really
| | 06:34 |
that you can discern through that
transparent object.
| | 06:38 |
It's just going to be kind of a mass of
colors that fit in here.
| | 06:42 |
Now one thing to note is the refraction
rays is how many samples are used to make
| | 06:46 |
this look clean, and not grainy as it
does right now.
| | 06:51 |
The higher your refractive roughness
value, the higher the amount of rays that
| | 06:54 |
you will need in order to make it look
good at render time.
| | 06:59 |
Since I have my options set to Extended
Refinement Passes, I can actually just
| | 07:03 |
mouse over this, and it's going to exceed
my refraction rays.
| | 07:06 |
Or if I just leave it sitting here for
minutes and minutes.
| | 07:10 |
It's going to exceed those
refractionaries.
| | 07:12 |
But when I actually render, it's only
going to go up to the 64, do whatever it
| | 07:15 |
does, and then that's going to leave it
at that, and then 64 and 100%.
| | 07:19 |
I guarantee it's going to look very, very
grainy.
| | 07:21 |
So something to keep in mind here.
And you know, set this back down to 0.
| | 07:27 |
And if you use dispersion and refraction
roughness together, this is actually
| | 07:30 |
multiplying the number of rays, as the
light goes in, for the dispersion, and
| | 07:33 |
then, it's multiplying those for your
refraction roughness.
| | 07:38 |
So, be careful using those two together,
you can get some very beautiful,
| | 07:42 |
realistic looks.
But it is going to increase your render
| | 07:45 |
time a lot, so be very careful about
using those two together.
| | 07:50 |
If you do need it, again, get your
settings, get them figured out, I would
| | 07:53 |
even say do them one at a time.
Or do a really low resolution test render.
| | 07:57 |
And then turn them off until you're ready
for the final render, and then kick them
| | 08:00 |
back on.
And probably count on leaving your
| | 08:03 |
computer running overnight, because they
will take a long time to render.
| | 08:07 |
And the last setting here underneath
transparency is the Dissolve Amount.
| | 08:11 |
And this is kind of the cloaking device
of your 3D Material settings.
| | 08:15 |
This doesn't work just like transparency,
but it will get rid of diffuse.
| | 08:19 |
It will get rid of reflections, it will
get rid of specularity, everything.
| | 08:24 |
If I turn my dissolve amount up to 100%,
you see that this completely disappears.
| | 08:30 |
And so that's how you can make an object
completely invisible without having to
| | 08:33 |
actually delete the object.
So if I turn that back down to 50%, we
| | 08:36 |
see we just get kind of a ghosted version
of it, kind of a soap bubble kind of look here.
| | 08:41 |
And then the different values in between
will just kind of give you different
| | 08:44 |
variations on that diffuse amount.
So I'm going to turn it back down to 0%
| | 08:48 |
and then we get a fully rendered sphere
again.
| | 08:51 |
That, is not being dissolved at all, in
any way.
| | 08:55 |
So there you go.
There's a look at the transparent settings.
| | 08:58 |
Look at them, use them and play with with
them.
| | 09:00 |
It's a great way for getting good
realistic transparency on your 3D
| | 09:03 |
objects, and all the settings are really
right here.
| | 09:07 |
Its not a lot of settings but they have a
lot of power inside them.
| | 09:11 |
| | Collapse this transcript |
| Basic material channels: Subsurface scattering| 00:02 |
In this video, we'll be looking at
sub-surface scattering and luminosity.
| | 00:06 |
These are the kind of, final main chunks
of the material trans-settings.
| | 00:10 |
And we'll see how they can be used to
create much more complex surfaces.
| | 00:14 |
And also add lighting to your surfaces,
that will Take effect on other objects.
| | 00:20 |
So we'll actually start down lower here
with the luminous intensity, or the
| | 00:23 |
luminosity settings.
So you can see this sphere here on the
| | 00:27 |
left, has a luminous intensity of ten.
That's a relatively bright luminous object.
| | 00:32 |
And you can see it's bright enough that
this luminous color is actually disappearing.
| | 00:36 |
But when we look at it in reflections and
we see the effect that it has on other
| | 00:40 |
objects, We do still get that warm hue
coming out.
| | 00:44 |
So, even though the object itself isn't
appearing that color, its affect is felt.
| | 00:49 |
You think of something like a light bulb
that has a little bit of a tint to it.
| | 00:52 |
If you look right at the light bulb it's
still going to look, pretty much, white,
| | 00:54 |
because it's going to be brighter than
your eyes are going to want to see.
| | 00:58 |
But then if you look at the color of the
light that it actually casts, then you
| | 01:02 |
would see that reflected here.
Now in order to see actual luminous
| | 01:07 |
intensity appear to light the scene,
Global Illumination has to be turned on.
| | 01:12 |
And that's found underneath the Render
settings.
| | 01:15 |
And so you go up to Render, here, at the
top of the Shader tree, and Global Illumination.
| | 01:19 |
And it has to be enabled.
With that turned off, this will still
| | 01:22 |
appear to be white.
But it's not going to cast any light onto.
| | 01:26 |
The other objects in the scene.
So let's go back here to our settings here.
| | 01:32 |
And here is our material transient.
So you can see by setting this color, and
| | 01:36 |
setting this luminous intensity.
We can get the effect of light actually
| | 01:40 |
coming from objects in a 3D scene.
And this is going to be a much more
| | 01:44 |
powerful way of doing 3D lighting, which
we'll We'll discuss later.
| | 01:47 |
As opposed to using just a traditional CG
lights.
| | 01:50 |
The ones that cause us to have
specularity.
| | 01:53 |
Now, let's move over here.
We're now on frame four of the material
| | 01:58 |
spheres basic file.
So move over to frame four you'll see
| | 02:02 |
this kind of Ball with ears on it and the
reason I put some ears on this ball is
| | 02:06 |
because this object has subsurface
scattering turned on.
| | 02:12 |
And you'll see here in a moment why
subsurface scattering is important to
| | 02:15 |
have some more contour in order to
actually demonstrate what it's doing.
| | 02:19 |
Now, some objects are opaque, some
objects are trasparent.
| | 02:24 |
And some objects are not transparent, but
they are kind of translucent.
| | 02:28 |
You can think of anything from curtains,
that are sheer and light shines through,
| | 02:33 |
to candles that have wax.
And while you can't see through them,
| | 02:38 |
light does penetrate the surface.
And when that happens, the light rays
| | 02:42 |
actually bounce around.
Some of them continue to go through the object.
| | 02:46 |
Some bounce out and go off at a glancing
angle and some bounce back directly at
| | 02:49 |
the viewer and that effect is called
subsurface scattering or the scattering
| | 02:53 |
that happens underneath the surface of an
object.
| | 02:57 |
So in this case I have a relatively basic
setup.
| | 03:01 |
If we look at the basic BRDF functions
here, we can see it's got a green diffuse
| | 03:04 |
color, it has a little specular amount
and a little Fresnel.
| | 03:09 |
And then it has the match specular turned
on for reflectivity with blurry reflections.
| | 03:13 |
So, it's going to be a relatively clean
object that looks like it has a little
| | 03:17 |
bit of environmental inclusion here.
You can see the reflectivity taking effect.
| | 03:22 |
That makes it look a little bit shinier,
a little bit more alive.
| | 03:25 |
But where this actually starts to look
like an object with some real depth is
| | 03:28 |
when the sub surface scattering is turned
on.
| | 03:30 |
So, I'm going to go ahead and turn sub
surface scattering off here for a moment
| | 03:34 |
and you can see that, really, it just
looks like a green object with a little
| | 03:37 |
bit of shine to it.
Can see the light here coming from this
| | 03:41 |
sphere next to it, that is brightening up
the edge, but overall, it's just a basic
| | 03:45 |
green sphere.
Now, turning that 20% sub-surface amount
| | 03:49 |
on, and having a sub-surface color set to
something, in this case, more fleshy, or
| | 03:53 |
more like blood, then you actually start
to get the effect that this is something
| | 03:57 |
more alive.
And if you think of something like skin.
| | 04:03 |
Think of what is underneath the surface
of your skin.
| | 04:06 |
If you were to cut your skin open,
obviously, you're going to see red.
| | 04:08 |
You're going to see blood.
So I have, kind of, a little bit of a, a
| | 04:11 |
variation of that here on this.
And then that's allowing us to see some
| | 04:15 |
of that stuff mix between that green
(INAUDIBLE)
| | 04:19 |
Remember how green it was with That
subsurface turned off and how much that
| | 04:22 |
green is muted a bit by this subsurface
color.
| | 04:26 |
Now the subsurface amount and the
subsurface color, just like any other
| | 04:30 |
amount in color settings, reflectivity or
transparency or diffuse, are basically a
| | 04:34 |
percentage and then a color.
So, That's nothing new.
| | 04:38 |
But the sub surface scattering distance
is where we actually start to see what is
| | 04:43 |
really going on with this.
So this is set to 50 millimeters.
| | 04:47 |
So that means that the light can
penetrate the surface 50 millimeters into it.
| | 04:53 |
And then bounce back out.
Now these spheres are actually a meter in diameter.
| | 04:57 |
So 50 millimeters is not too far.
And that's why I've pulled up these
| | 05:01 |
little ears.
Just by taking a few vertices and pulling
| | 05:04 |
them out off to the side so we can have
some thinner areas.
| | 05:08 |
And so in those thinner areas, you
actually see this sub-surface color start
| | 05:12 |
to come into play and add more depth to
the object.
| | 05:16 |
Now one other side note here that has to
do with global illumination, is that in
| | 05:20 |
order to see this happen with anything
besides just basic lights Here under
| | 05:23 |
Indirect Illumination there is a
Subsurface Scattering section and you can
| | 05:27 |
have it either Direct Only, so only just
plain 3-D lights will cause this
| | 05:30 |
subsurface scattering effect and that's
actually the default, and then you can
| | 05:34 |
have the Indirect Lighting.
So things like this sphere over there
| | 05:41 |
that's lit up affect the subsurface.
You can the lighting effected by the subsurface.
| | 05:47 |
So, light can penetrate it and shine
through on something like sheer curtains,
| | 05:50 |
something where that would be used.
And then the setting that I typically
| | 05:54 |
tend to use is both and that gives your
subsurface scattering full interactivity
| | 05:58 |
with the lighting in the scene.
It's going to be the most realistic.
| | 06:02 |
It has a little bit of a time hit on your
rendering.
| | 06:05 |
but, in general, is going to give you
very nice look.
| | 06:09 |
Let's go back to our material transfer
and see some other things.
| | 06:11 |
We have a maximum depth, which is the
kind of the end-cap of how far light can
| | 06:15 |
actually penetrate.
So by setting this to something higher,
| | 06:19 |
we're going to see less of the color
appearing here on the surface.
| | 06:22 |
And as we get deeper objects, we'll see
less and less of the subsurface take into
| | 06:27 |
account with much thicker objects.
This is only a meter and my maximum depth
| | 06:31 |
is set to a meter.
So.
| | 06:33 |
Really the maximum depth isn't really
affecting it much in this case.
| | 06:36 |
And we also have front waiting, which is
going to control the amount of light that
| | 06:39 |
is actually scattered forward.
So towards the viewer.
| | 06:43 |
Turning that down.
So down to like 25%.
| | 06:46 |
We'll get more of that light bounced
forward.
| | 06:50 |
So we see it Balance here a little bit
differently, turning it to something higher.
| | 06:54 |
We'll see more of a blend, going to let
that kind of render out there.
| | 06:59 |
And the default is 50%.
I've weighted this one a little bit
| | 07:02 |
higher just to give it a little bit less
influence here on the front.
| | 07:06 |
Any time you see samples on material
setting in Modo, that's just going to
| | 07:09 |
basically control the quality of it.
If you get your subsurface is starting to
| | 07:14 |
look grainy increase the samples its
going to increase your render time but
| | 07:17 |
also increase the quality of the setting.
The same thing goes with your refraction
| | 07:22 |
rays your blurry reflection or anything
like that.
| | 07:25 |
So, the last option here, which is same
service, only it's just a check box
| | 07:29 |
controls whether or not some surface
scattering will effect other materials.
| | 07:35 |
Turning that on will speed up your render
time a little bit, but might cause some
| | 07:38 |
difficulties when multiple sub-surface
scattered objects are kind of close
| | 07:42 |
together, in close proximity because they
won't interact with each other.
| | 07:47 |
It's usually a minor difference but when
you're getting to better quality
| | 07:50 |
renderings or more complex surfaces or
more complex scenes, you might actually
| | 07:54 |
notice that there so I usually leave that
off as the time savings are typically not
| | 07:58 |
worth it.
Now this last object over here to the
| | 08:03 |
right, and let's actually scoot over to
it, is a really relatively complex surface.
| | 08:09 |
It actually has a rim of polygons on the
underside That contain a luminous material.
| | 08:15 |
So it's actually shining some light down.
And then, this material has a really
| | 08:17 |
broad mix of a lot of different things.
It has a little bit of subsurface with
| | 08:22 |
kind of a pinky undertone.
And just a light scattering on that.
| | 08:26 |
So it's only 5 millimeters.
So it's just kind of softening the
| | 08:28 |
overall appearance.
And then on the material ref, it has some
| | 08:32 |
defused color, it has some specular, some
fernel.
| | 08:35 |
It has matched reflection with the
specularity.
| | 08:37 |
It has a little bit of an ice atropy, you
can see that my reflections are a little
| | 08:40 |
bit streaked.
And then it has a tiny bit of clear coat
| | 08:44 |
over the top of that, so that's our clear
reflections over the top.
| | 08:48 |
So this gives you a good example of when
you start to really mix all of your
| | 08:51 |
settings together.
and make a more complex surface the
| | 08:54 |
kind of thing that you can get.
The actual look here is much more complex
| | 08:58 |
than any of the simpler previous ones
that we've looked at but overall it shows
| | 09:02 |
the kind of thing that you can do when
you mix everything together to get a good
| | 09:05 |
complex surface.
That's a look at, sub surface scattering
| | 09:11 |
and luminosity.
You can see how they add real depth and
| | 09:14 |
other lighting options, to your 3D
scenes.
| | 09:18 |
They'll help you make your materials more
alive and also increase the quality and
| | 09:23 |
look of your lighting in 3-D.
| | 09:27 |
| | Collapse this transcript |
| Procedural textures| 00:02 |
In this video we'll have a look at how to
add extra detail to materials using
| | 00:05 |
Procedural Textures.
Now Procedural Textures are a kind of
| | 00:10 |
texture that is added onto an object,
onto an object material, that is based
| | 00:14 |
off of some kind of mask.
So this isn't going to be anything that
| | 00:19 |
uses images or anything like that.
It's rather going to be something, on the
| | 00:23 |
background here you see this grid
texture.
| | 00:26 |
That's a very simple example of a
procedural texture.
| | 00:28 |
It's simply based off of the spacing of
grid lines, the way that the grid lines
| | 00:32 |
fade out, and then the color of the lines
versus the empty space.
| | 00:36 |
So in this example I'm going to use the
Materials Spheres start file, and that
| | 00:40 |
will give me a nice clean basis to some
of the materials on top.
| | 00:45 |
So I can start by clicking on the first
sphere here, and in the ball one material
| | 00:48 |
I'm going to add some extra texture
layers, here.
| | 00:51 |
And extra textures are found inside the
Add Layer menu up at the top of the
| | 00:56 |
shader tree.
If you choose Add Layer and then go down
| | 01:00 |
a little ways.
You can see there are a few different
| | 01:04 |
kinds of procedural textures that we can
add.
| | 01:06 |
There are the Enhanced Modo Textures,
which have a variety of different styles.
| | 01:10 |
There are displays.
You can do a counter or LEDs.
| | 01:12 |
There are geometric ones that are
relatively even, math based ones like
| | 01:17 |
boxes or dimples or grids, things like
that.
| | 01:22 |
There are noise ones, these are more,
kind of, randomized ones.
| | 01:26 |
If you're familiar with Photoshop, you
can think of like the Photoshop clouds function.
| | 01:30 |
These are kind of different variations on
those.
| | 01:33 |
There are also organic ones, which are
very similar in a lot of ways to the
| | 01:36 |
noise ones and worth exploring.
There are panels, which give you the feel
| | 01:41 |
of different, kind of plates on a
surface, so if you think of something
| | 01:44 |
like a space ship that might have a lot
of plates, or the hull of a large boat,
| | 01:47 |
that might have a lot of plates and
things on there.
| | 01:52 |
And you know, as you go down, there are
more here to explore.
| | 01:55 |
Obviously, not enough time, in a video,
to look at all of these, but we'll look
| | 01:58 |
at some basics here, and how to add them.
So, I'm going to start by going to Noise.
| | 02:02 |
And I'm going to choose, the
Multi-Fractal, and this is very much like
| | 02:06 |
a Photoshop Clouds kind of function.
You can see it drops in here, and it
| | 02:11 |
drops into whatever material group I have
selected.
| | 02:15 |
So, I had this, back up here, I had the
basic material selected.
| | 02:19 |
And then when I choose Add Layer and Add
In a Layer, it's going to add it directly
| | 02:22 |
above wherever I had chosen.
So, let's go back in here again.
| | 02:26 |
I'm going to choose the Multi-Fractal.
That will drop in.
| | 02:28 |
And by default, it's going to affect just
the diffuse color.
| | 02:32 |
But each individual texture has two
different options, it will have a Texture
| | 02:36 |
Layers, tab, here in the properties on
the right.
| | 02:40 |
And this is where you control the general
appearance of the texture.
| | 02:44 |
So, the type of noise, you can choose and
change the different kind of noise, here,
| | 02:48 |
in order to get a different look.
The noise seed, this is just going to randomize.
| | 02:55 |
How the noise is on there.
So you can just click different seeds,
| | 02:58 |
and it will give you a different
variation on it.
| | 03:01 |
Octaves is going to be the number of
depth in this case.
| | 03:03 |
So if I change it to two, it's going to
get less layered.
| | 03:06 |
If I change it to four, it will have more
layers.
| | 03:09 |
As you can see, it can add differences
that way.
| | 03:10 |
And then the frequency is the changes
between the different.
| | 03:14 |
Octaves increment and offset also will
adjust the way the layers interact with
| | 03:18 |
each other.
So, there's a lot here, and the best way
| | 03:21 |
to really get a handle on these is to
just sit and adjust and play with them
| | 03:24 |
and get a good idea of how they work.
And you can also control the clipping, so
| | 03:30 |
that perhaps you have more black or less
black, or more or less white.
| | 03:36 |
And see, as I change those, I'm changing
the way that this is clipped.
| | 03:42 |
You can also adjust the bias and gain,
just as you would on an image in Photoshop.
| | 03:46 |
And then here, lower down, let's actually
maximize this so we can see all of it.
| | 03:50 |
You have colors for the background and
the foreground, so if I wanted this to go
| | 03:54 |
between blue and red for example, I can
make it.
| | 03:57 |
Red for the background and blue for the
foreground, and there you can see it goes
| | 04:01 |
between those two colors instead of black
and white.
| | 04:06 |
Now this only illustrates how this would
effect a diffused color.
| | 04:09 |
You can also change this to any other
attribute of a material.
| | 04:13 |
So, if I Right Click where it says,
Diffuse Color, I can choose basic channels.
| | 04:17 |
So, Clear Coat Amount, Diffuse Color is
what we're on; Diffuse Amount.
| | 04:21 |
Which will have a very similar effect in
this case, because we just have a white material.
| | 04:25 |
But if I had something like a blue color
in my basic material, that's going to
| | 04:29 |
affect just the amount to diffuse.
So, this Diffuse Amount now is being
| | 04:34 |
overridden by Multi-Fractal.
Now let's go back to white.
| | 04:38 |
So you can choose any of your basic
material settings here.
| | 04:41 |
Reflection amounts, let's see I can get
reflection that will be in different
| | 04:44 |
chunks here.
Anything can be adjusted here in the
| | 04:48 |
basic channels.
There are also more advanced things for
| | 04:51 |
when you get to different material
settings, but one other one that I would
| | 04:54 |
like to mention here is under Surface
Shading.
| | 04:58 |
Now we gave brief mention of Bump Maps,
but this will actually let us demonstrate
| | 05:01 |
and see what a Bump Map is.
So, if I change this to Bump, you can see
| | 05:05 |
that the surface of this material starts
to appear to have a lot of actual bump to it.
| | 05:10 |
Now, the actual amount of bump, the
actual depth, is actually controlled in
| | 05:13 |
the material.
So, if I go to the material here, you can
| | 05:16 |
see that my Bump Amplitude is set to 2
millimeters.
| | 05:19 |
If I increase that to 20 millimeters,
it's going to give the effect of much
| | 05:22 |
much deeper bump.
If you look at the edges of the sphere,
| | 05:25 |
it's still round.
This isn't actually affecting the shape
| | 05:28 |
of the sphere at all.
It's just changing the way that it appears.
| | 05:32 |
If I want to actually affect the shape.
Then I need to set that to a displacement.
| | 05:39 |
So again, right-click, go down to Surface
Shading.
| | 05:42 |
You can see Displacement is the next one.
And this will actually physically move
| | 05:46 |
the polygons on the scene.
Now the preview mode here is set to a
| | 05:50 |
draft quality, a lower quality.
If you want to get a better idea of how
| | 05:53 |
that's going to look.
Go down and see Draft Displacements here
| | 05:56 |
in the Options.
Uncheck that, and it will take longer to
| | 05:59 |
preview, but you will get a much higher
quality version of that displacement.
| | 06:04 |
And now we see that effect on the
surface, but also at the edges you can
| | 06:07 |
see that is no longer spherical.
Okay, so that's the basic idea of using
| | 06:12 |
procedural textures to add more detail
inside your materials in Modo.
| | 06:18 |
They can override anything in your basic
materials, and then they can also do some
| | 06:21 |
more advanced things that, as you learn
more about 3D texturing, you'll see how
| | 06:24 |
those can be used.
| | 06:27 |
| | Collapse this transcript |
| Bitmap textures| 00:02 |
In this video, we'll have a look at
image-based textures, or Bitmap textures.
| | 00:06 |
And how they can be used to add more
depth and interest to your 3D materials.
| | 00:10 |
There are a couple of different ways to
add in image-based textures.
| | 00:15 |
Right now, I'm in the Materials Sphere
start scene, and I have selected my
| | 00:19 |
material for ball one.
If I know where an image is in my Finder,
| | 00:23 |
if I've got a folder set aside on my
Desktop, I can choose to load an image or
| | 00:27 |
any image sequence.
If you have an animated multi-frame
| | 00:31 |
texture that you'd like to add on.
So, if I can choose Load Image, then I
| | 00:35 |
can just navigate to wherever that image
is.
| | 00:38 |
I'm actually going to just pull though
from the default content that ships with Modo.
| | 00:43 |
So, if you, over on the left-hand side,
see your assets over here.
| | 00:47 |
I'm going to choose Images.
Inside the Images here, I'm going to
| | 00:51 |
scroll down to the PH Textures, and I'm
going to go to Concrete.
| | 00:56 |
I'm always kind of a sucker for putting
concrete materials on these spheres.
| | 01:00 |
I don't know why.
So, if you have this material here, this
| | 01:02 |
texture here, this image, you can just
take straight out of the content and then
| | 01:06 |
drag it into your Shader Tree.
So, I'm going to drag it just above my material.
| | 01:11 |
And it's going to place my image directly
on my sphere.
| | 01:15 |
Now, with image-based textures, the
second tab here becomes much more important.
| | 01:22 |
That's the Texture Locator.
And this is going to decide how the
| | 01:25 |
texture is placed in 3D space.
By default, it's going to go to a UV map.
| | 01:30 |
Now, if you don't have a UV map on your
object, then that can be problematic.
| | 01:34 |
But there are other types of projections
that you can choose if you don't have a
| | 01:38 |
UV map or you're not going to make a UV
map.
| | 01:42 |
You can choose to project it solid, which
is not going to work very well for
| | 01:45 |
image-based textures.
You can project it in a planer fashion,
| | 01:48 |
so straight along the x, y, or z.
You can wrap it cylindrically, you can
| | 01:53 |
wrap it spherically, which in this case
is going to look a little bit funny
| | 01:56 |
because of the scaling that I currently
have.
| | 01:59 |
So, let's say I want to choose though a
spherical wrap.
| | 02:02 |
I want to wrap it around the y so you can
see my projection axis.
| | 02:06 |
And then for size, right now it's set to
1 meter in all directions.
| | 02:09 |
I'm going to choose to Auto-size that,
and it's going to position this.
| | 02:14 |
You can see it's changed the position,
it's kept the size the same because this
| | 02:17 |
is a 1 meter sphere.
But it's changed the position to align
| | 02:20 |
this with the polygons that have this
particular material on it.
| | 02:24 |
So, you can see it's moved it over on the
x and up on the y a bit, and now it's
| | 02:27 |
wrapping cleanly around this object in 3D
space.
| | 02:31 |
Now, if I change the projection axis,
it's just going to wrap it in different directions.
| | 02:35 |
See, there's along the x.
If I do it along the z, see?
| | 02:37 |
We get it.
We start to get it wrapping around there,
| | 02:39 |
and there's the y.
I'm actually, for this case, going to go
| | 02:42 |
back to the UV map because I think that
has the best mapping here for this
| | 02:45 |
particular object.
Now with that done, there's a lot that
| | 02:49 |
you can do with image-based textures, and
with textures in general, to help improve
| | 02:53 |
the look of your 3D models.
Right now, it's just set to the Diffuse
| | 02:57 |
Color, but I want to have multiple
versions of this texture doing multiple
| | 03:01 |
things on this material.
So, I'm going to Right-click where it
| | 03:05 |
says Concrete 01.
Here, I'm going to Right-click on that
| | 03:08 |
and I'm going to choose to duplicate it.
Now at first, that's not going to do
| | 03:12 |
anything because it's created another
duplicate that's just set to defuse color.
| | 03:16 |
Well, I'm going to change that one to
Specular Color.
| | 03:19 |
So now, the specularity is being
modulated by this same texture.
| | 03:23 |
Just like how you can use a set color to
modulate the specularity if you're not
| | 03:27 |
using texture layers on your base
material.
| | 03:32 |
And then, I'm going to duplicate it once
again here and I'm going to make this one
| | 03:36 |
set it to my Specular Amount.
So, let's set the two as Specular Amount.
| | 03:43 |
And now, you can see that this gets
really bright.
| | 03:45 |
And the reason for this is that it takes
all of the pixels, dark to bright, in the
| | 03:49 |
image, and it will map them to a low and
a high value.
| | 03:53 |
So, it's essentially looking at a gray
scale version of the texture at this point.
| | 03:57 |
And the low values, the dark areas, are
getting 0% specular.
| | 04:00 |
And the light areas, and this is a pretty
light texture, are getting 100% specular,
| | 04:04 |
which is much higher than our base
material which only had 20% specular.
| | 04:09 |
So, let's change that.
And let's set our high value something
| | 04:13 |
lower like perhaps 20%.
There you can see that blends in a lot better.
| | 04:18 |
Now, we're only getting a little extra
sheen off there.
| | 04:22 |
And I'm also going to take my Roughness
and increase this a bit.
| | 04:25 |
I'm going to change it up to say 75%.
And at that, point I think this sheen is
| | 04:29 |
a little bit heavy.
So, I'm going to go and back off my
| | 04:31 |
specularity even a little bit more and
set it down to maybe 15%.
| | 04:35 |
So, now you can see we're just getting a
little bit of an accent here.
| | 04:39 |
Now, an interesting thing is that if I
choose to turn on Match Specular for my
| | 04:43 |
reflections, I'm also going to get that
reflection obeying those specular levels
| | 04:47 |
on my material.
So, I'm going to turn on Match Specular,
| | 04:52 |
and I'm also going to turn on Blurry
Reflection, which was actually already on
| | 04:55 |
for this material.
And you can see now I'm getting little
| | 04:59 |
bits of environment color bouncing onto
my object.
| | 05:02 |
So, this is giving it kind of the
appearance of a nice, sealed concrete
| | 05:06 |
that has a little bit of gloss to it.
You can see I'm getting little bits of
| | 05:10 |
yellow-orange pickup down here, and
little bits of color from the environment.
| | 05:14 |
Now, I'm going to make one last
adjustment here.
| | 05:17 |
I'm going to duplicate this one more time
and I'm going to set this to a Bump Map.
| | 05:21 |
Now, if I've already used a material
setting here.
| | 05:25 |
So, one of these basic channels or any of
the other ones, it will actually appear
| | 05:28 |
here in my recent folder which is up at
the top.
| | 05:31 |
So, I'm just going to go up into here,
set it to Bump.
| | 05:34 |
And now, it's just going to add a little
bit of bump to kind of help offset that.
| | 05:38 |
Now, right now my high value is still at
15% because I'm just duplicating my
| | 05:41 |
Specular Amount I had.
I'm going to increase that back up to
| | 05:46 |
100% so that I get a little bit more
bumpiness out of this.
| | 05:50 |
Now, if I want to go in and increase that
farther, I can even go down to my
| | 05:53 |
Material and change my Bump Amplitude.
Right now, it's at 2 millimeters, which
| | 05:57 |
is probably pretty close.
But let's bring it up just a little bit
| | 06:00 |
up to 3 millimeters, and we'll add a
little extra depth to my material.
| | 06:04 |
So, you can see I've got now one image
that's controlling my Defuse Color, my
| | 06:08 |
Specular Color, my Specular Amount, and
my Bump.
| | 06:12 |
And very quickly, I've gone from a pretty
basic material, like the one on the
| | 06:16 |
right-hand sphere here, to something
that's relatively nice and complex.
| | 06:22 |
That would actually be suitable for
something in a 3D scene.
| | 06:25 |
So, that's the basics of using Textures.
You can use any kind of image, just
| | 06:29 |
remember one note, is that it is going to
come in as a square image.
| | 06:34 |
So, if your going to be using a
photograph that you've taken, make sure
| | 06:37 |
that you crop it to a square size.
Unless you particularly know that it's
| | 06:41 |
going on to an object that is not a
square size.
| | 06:44 |
If you're just going to use something as
a general texture, it would be a good
| | 06:48 |
idea to go to Photoshop and crop it down
to a square aspect ratio.
| | 06:52 |
Llike this one is 600x600 pixels, using
image-based textures, along with
| | 06:55 |
procedural textures.
Under Material settings, you can get a
| | 06:59 |
nice look on your 3D models relatively
quickly.
| | 07:02 |
And then, you can go and customize them
from there.
| | 07:04 |
| | Collapse this transcript |
|
|
6. UV MappingUV basics| 00:02 |
In this video we'll be looking at UV maps
and how they are used to apply textures
| | 00:06 |
into 3D space on 3D objects.
So we're going to start by putting a
| | 00:10 |
little bit of geometry in the scene and
start with something simple like a cube.
| | 00:14 |
So I'm going to hold down the Shift key
and then click on my cube to drop a cube
| | 00:18 |
into the scene.
Now I want to do two things here.
| | 00:22 |
I want to place a new material on this
cube and then I want to put an image into
| | 00:25 |
that material.
So, to put a new material onto my
| | 00:28 |
polygons, in this case every polygon in
my layer, because I only have one layer
| | 00:32 |
here with one cube in it.
I just press the M key, and any polygon
| | 00:37 |
selected, or if you have nothing
selected, all of the polygons, will
| | 00:40 |
receive this new material.
So we'll call this material Cube.
| | 00:45 |
I'll click Okay.
Now there's a new material on here.
| | 00:47 |
So if I go to my Shader tree.
Can see that I have a cube material that
| | 00:51 |
was now created.
And now I'm going to grab a preset image.
| | 00:55 |
So if I want to grab the presets here, up
in the upper left, you'll see that there
| | 00:59 |
is a presets button, and if I click on
that, I'm going to get a little window
| | 01:02 |
pop up that has all of my preset content
that is inside of Modo, and this is the
| | 01:05 |
same kind of thing that you can access
through the Render tab when you're
| | 01:08 |
applying materials and things like that.
So I'm just going to go to the Images set here.
| | 01:16 |
So let's open up Assets, and I'm going to
go down to Images, and I'm going to use a
| | 01:20 |
Dosh Designs one here, and then I'm going
to go to the DTUS architecture.
| | 01:26 |
And it just has two items in here.
I can use these because they're pretty
| | 01:29 |
high quality.
They're pretty large images.
| | 01:32 |
One thing to note is that they are not
square.
| | 01:34 |
They're 3264 by 2448.
They do tile, so if you lay one next to
| | 01:38 |
the other, you won't see a seam between
them.
| | 01:42 |
But they're a little bit off squares.
But for the sake of this video, they'll
| | 01:46 |
do nicely.
Having a nice high resolution helps to
| | 01:49 |
illustrate here.
So what I'm going to do is just grab this
| | 01:52 |
and drag and drop it onto my material.
And you can see that it has placed, that
| | 01:57 |
image into my defuse color right inside
my Cube material.
| | 02:02 |
So I'm done with that for now.
So let's go ahead and close that.
| | 02:04 |
And then we'll hop over to the UV map and
we can see what's going on.
| | 02:08 |
So you can see right away here on my UV
tab.
| | 02:12 |
On the left-hand side I have my UV map,
which is my cube unwrapped.
| | 02:16 |
Since this is a basic, primitive shape,
it has a built-in UV.
| | 02:21 |
And basically you could think of this as
somebody has taken box cutters, and let
| | 02:25 |
me just go and select all of these
boundary edges so that you can see them.
| | 02:30 |
Somebody has taken box cutters, in all of
the highlighted areas here.
| | 02:35 |
And sliced it.
And then just laid it out flat.
| | 02:37 |
So that's the basic idea behind UV maps.
It's taking this 3D shape.
| | 02:44 |
Cutting it up in some way or another and
then placing it flat so that my material
| | 02:48 |
can lay on top.
If I just select one chunk of the
| | 02:52 |
geometry, the polygon, let's just focus
in on this for a minute.
| | 02:57 |
To hide everything else, I'm going to
hold Shift and press H.
| | 03:01 |
H hides what you have selected.
Shift plus H will actually hide whatever
| | 03:05 |
is not selected.
So hide everything else in this case.
| | 03:08 |
So if I focus in on this you can see that
here in my UV map.
| | 03:13 |
In the top section I have this bit of
border coming in through here.
| | 03:18 |
Then straight across through the middle
and then down the right side.
| | 03:21 |
I have, again, this grout over here and a
little bit leaving there, so if I look at
| | 03:24 |
this on my object in 3D space, you can
see that we have the same thing.
| | 03:28 |
So here is the grout through there
running left to right, up and down and
| | 03:32 |
then leaving out to the side there.
Now, there is one thing that you can
| | 03:37 |
notice, and it doesn't take a very
perceptive eye to notice that these two
| | 03:40 |
things are not exactly the same shape.
So, let's have a look at why that is.
| | 03:46 |
Right now, you can see that my cube, as
it's laid out.
| | 03:49 |
All of the six sides should be completely
even.
| | 03:51 |
But right now, they look all stretched
vertically a bit.
| | 03:55 |
The reason for that is, if we're taking
the square space here, which is called
| | 03:58 |
the zero to one.
For UV's, it just goes 1, 2, 3, 4,
| | 04:02 |
across, horizontally, but it's 1, 2, 3
vertically.
| | 04:07 |
So, these ones, all need to be stretched
downwards a little bit, so that they take
| | 04:11 |
up less vertical space, really, they need
to be stretched down to about 75% of
| | 04:14 |
their current height.
so that the width matches the height.
| | 04:21 |
So I'm going to set my Action Center to
Origin then turn on my Scale tool and I'm
| | 04:25 |
just going to scale this down.
You can see all of the textures actually
| | 04:30 |
moving on the 3D model while I scale this
down, and then I'm going to scale it down
| | 04:34 |
to 75 percent in the hue which over here
you can see the scale is hue and this is
| | 04:39 |
U is horizontal and V is vertical.
So once I've done that now you can see
| | 04:46 |
that everything fits in there pretty
nicely, and these are looking square again.
| | 04:51 |
And there it is wrapped onto my 3D object
a little bit better.
| | 04:54 |
Now I do have one other problem here and
that's the fact that.
| | 04:58 |
It's kind of weird the way that it tiles
around here.
| | 05:01 |
The tiles look really big.
And what I would like to see would be
| | 05:04 |
this entire image on each one of these
cubes.
| | 05:08 |
So there are a couple ways that I could
actually get that.
| | 05:10 |
I could take each individual polygon
here, and make it fill up the whole
| | 05:13 |
space, and have them overlap each other.
And there is another way that you can do that.
| | 05:18 |
That actually happens within the image
itself.
| | 05:21 |
If we look at the image properties for
the texture locator.
| | 05:24 |
Let's go in here.
There is a horizontal wrap and a vertical wrap.
| | 05:28 |
And this is how many times the image will
tile in UV space.
| | 05:33 |
Right now, it's going to tile once.
So it's filling the entire area.
| | 05:36 |
And it looks pretty much like.
It looks on our UV map here.
| | 05:39 |
But if I change this up and increase it,
let's say, to four by four, now we can
| | 05:43 |
see that really what's happening doesn't
look the same as the UV space anymore.
| | 05:49 |
But what's going on is that this image is
now been shrunk down to a quarter its size.
| | 05:54 |
So that it tiles four times vertically.
Four times horizontally.
| | 05:58 |
And is actually making a grid of 16 of
the images across the UV space.
| | 06:02 |
And now with that done, can see that all
of my different faces have the same image
| | 06:08 |
on them.
Which could be a problem if you're going
| | 06:12 |
to have a good shot on the side here.
And you can see that They are indeed the
| | 06:16 |
same but if you're not going to show
anything directly like that, that will
| | 06:19 |
work pretty well as far as getting this
across all of your individual polygons evenly.
| | 06:25 |
So that's the basics of UV's.
There are some more complexities that
| | 06:32 |
happen beyond this and there is a bit
more that goes into constructing them but
| | 06:35 |
just understanding this will get you a
good way towards being able to use UV's
| | 06:38 |
in your 3-D space.
They are used to unwrap your models, to
| | 06:44 |
flatten them out, and kind of make
polygon skin rugs of your 3D models.
| | 06:49 |
| | Collapse this transcript |
| Basic projection| 00:02 |
In this video we will have a look on how
to actually construct basic UV's.
| | 00:06 |
If you would like to follow along with me
you can open up the UV basic start file
| | 00:09 |
from the projects folder.
And that just has this basic cube with a
| | 00:13 |
texture already on it.
And we'll go the UV tab.
| | 00:20 |
And then I'm going to zoom in here and
over in my lists, it has a bunch of
| | 00:23 |
different mappings.
One of these is UV maps, and you can see
| | 00:26 |
that there's a texture map, which is what
we already have on there.
| | 00:30 |
And if I'd like to see the image in the
background, I can always go down to Backdrop.
| | 00:35 |
And it's right now set to current image
selection, so if I go to my shader tree
| | 00:39 |
and actually go fish out and find my
cube, and find my image here.
| | 00:44 |
That will pop up in the background.
If you'd like something else to show up
| | 00:46 |
in there, you can either choose a
particular image that you already have
| | 00:49 |
loaded into the scene, or you can load an
image.
| | 00:52 |
And that will bring up a dialog box and
let you load in an image that is not
| | 00:55 |
currently in your scene.
So let's have a look at how this is
| | 00:58 |
actually constructed.
If we look at the edges here, we see that.
| | 01:03 |
Let's get those all selected all the way
around this border here.
| | 01:07 |
Don't want any of the internal edges.
This is just giving us kind of where the
| | 01:11 |
virtual box cutters were used to cut this
open.
| | 01:14 |
Okay?
So you can see that there's one
| | 01:17 |
continuous piece that runs along this
polygon.
| | 01:20 |
Through this polygon, towards the left,
through that polygon and through that
| | 01:23 |
polygon and then terminates.
And then here on the top there's one that
| | 01:27 |
has cuts on all three edges but then it
runs through this polygon and then down
| | 01:30 |
through that polygon.
And that covers all six of the faces of
| | 01:34 |
this cube.
Now there are a number of ways that we
| | 01:37 |
can actually create UV.
So we'll create a couple here.
| | 01:40 |
In order to start a new UV you can choose
New map, and that will just automatically
| | 01:44 |
create a new one.
And we'll call this cube 1.
| | 01:48 |
Go ahead and click okay.
And now that doesn't have anything in there.
| | 01:52 |
So if I go to my Diffused color, and go
to the Properties, and I set my UV map to
| | 01:55 |
cube 1, see, we don't get anything.
Because right now there aren't any
| | 02:00 |
polygons from this cub in this UV map.
So now we can go and actually unwrap this
| | 02:05 |
and get them back into the scene.
So there are two main ways of creating UV
| | 02:10 |
maps, and those are the UV Projection
tool and the UV Unwrap tool.
| | 02:16 |
There's also a Project From View tool,
but that's used a little less frequently,
| | 02:19 |
so we'll just look at the other two for
right now.
| | 02:21 |
So the UV Projection tool, if you turn it
on, gives you a few different options.
| | 02:26 |
It has Planar, Cylindrical, Spherical,
Atlas and Berrycentric Atlas too, these
| | 02:30 |
are all a little bit more complex ones.
And then Cubic is the other more basic
| | 02:34 |
one down at the bottom.
So basically, you can unwrap it based off
| | 02:38 |
of a cube, based off of a sphere, a
cylinder, or a plane in a single direction.
| | 02:42 |
So, let's maximize this view, with the 0
key on the numeric key pad.
| | 02:47 |
If I use a planar view, and it's planar
on the y, which is going to be facing
| | 02:50 |
straight down.
Just click out here in UV space.
| | 02:53 |
It's going to put all of my polygons as
if I'm looking straight down.
| | 02:57 |
So basically it's taking a view like this
and it's projecting straight through.
| | 03:01 |
Which gives me a problem along all of the
sides, because now they don't have any UV space.
| | 03:06 |
These polygons are being stretched
vertically.
| | 03:09 |
They're actually appearing here at these
edges.
| | 03:11 |
You can see this right-hand edge.
Is both of these edges together.
| | 03:15 |
So, the polygon that's in the middle.
If I select it, you can see it's only
| | 03:18 |
vertically represented right here.
It has no horizontal value.
| | 03:22 |
So, on the bottom polygon, however, it's
the same as the top, so it looks pretty
| | 03:26 |
good to go.
This, however, is not going to be our
| | 03:28 |
best way of creating a UV because, as you
can see, it causes a lot of stretching here.
| | 03:33 |
So, we have other options that we could
use to project this.
| | 03:37 |
And if I select all these polygons, I can
try again with a different map and all
| | 03:41 |
it's going to do is override the existing
map.
| | 03:44 |
So, let's do something funny like
Spherical and I'm going to go ahead and click.
| | 03:48 |
And you can see it's trying now, it's
making a little bit more of an effort to
| | 03:51 |
give us something.
And you can see it's wrapped around the y
| | 03:54 |
axis, so it has all of these polygons
working very, very well, okay.
| | 03:58 |
But the bottom and the top are having
problems.
| | 04:01 |
And again we can see why, if we select
the polygon.
| | 04:03 |
You can see that this polygon is
stretched horizontally along the length
| | 04:07 |
of all three of those polygons, and then
has no verticality.
| | 04:12 |
Same thing on the bottom.
Stretched along those three, again, no verticality.
| | 04:16 |
So, I could select those individual
polygons.
| | 04:19 |
Go to UV Projection tool, go to Planar,
and map those out and then scale them down.
| | 04:25 |
Now all of your transform tools work in
here.
| | 04:27 |
So I can Scale, Move, Rotate, and
whatnot, and I can just scale these down
| | 04:29 |
and then move them over to the corner.
And then let's just select the top here
| | 04:34 |
and I'll move it over there and then get
these and move them up there.
| | 04:38 |
So, there I've got everything represented
now in my UV space, but these are
| | 04:41 |
stretched vertically in my UVs, so
they're not going to appear right.
| | 04:45 |
These are pretty good, they're nice and
square, so they'll work well but overall
| | 04:49 |
not exactly doing what we want.
So lets do another new map, here we'll
| | 04:53 |
call this one Cube 2.
And with this one, we'll actually use
| | 04:57 |
kind of that box cutter technique, and
we'll use the UV Unwrap tool.
| | 05:02 |
So, just to make life easier here, I'm
actually going to go back to the basic texture.
| | 05:05 |
Go to my edges.
And I'm going to select all of those
| | 05:08 |
border edges again.
So, I'm going to select them.
| | 05:12 |
One side note, if you see edges selected,
you will actually see the edges that
| | 05:15 |
you've clicked on selected in orange.
But every edge in this 3D view actually
| | 05:20 |
could have two possible edges in UV space
because this edge and this edge down
| | 05:24 |
here, highlighted in purple, are actually
the same edge.
| | 05:30 |
So just so if you see that, you know
what's going on.
| | 05:33 |
So hold down Shift and continue to click
and get the rest of those.
| | 05:36 |
So now I have my Box Cutter selection
made.
| | 05:39 |
You can make this, manually.
Obviously I just did this there to save a
| | 05:43 |
little bit of time.
So now let's go back to my cube 2, which
| | 05:45 |
has nothing in it.
And while I'm here, I'm going to go over
| | 05:49 |
to my properties, and I'm going to set my
image to cube 2 so we can see this work
| | 05:52 |
in real time.
Now I'm going to choose Unwrap tool, the
| | 05:57 |
the Unwrap tool is going to assume that
any edge selected is where I want slice
| | 06:00 |
my model apart and unwrap it.
So, if I click in UV space, you can see
| | 06:05 |
that pretty quickly I've got a nice UV.
Now, sometimes you might do this and it
| | 06:11 |
might come in like this.
Depending on how the unwrap actually works.
| | 06:17 |
And that actually wouldn't be a problem
here as long as you have everything attached.
| | 06:20 |
One thing you'll note is that all of the
polygons are actually a nice even square.
| | 06:25 |
So I'm in good shape so far.
So what I would have to do then is
| | 06:28 |
reorient this and just kind of fit it in
a little bit better.
| | 06:32 |
So orientation is actually pretty easy.
There's a Orient Pieces option which you
| | 06:35 |
can see here on the left.
So if I Click that, I can either orient
| | 06:39 |
them horizontally or vertically or
automatically.
| | 06:42 |
So it will just choose the closest to
horizontal or vertical for each
| | 06:46 |
individual piece.
So let's just go ahead and click OK.
| | 06:49 |
And now, you can see that has given me
nice orientation here.
| | 06:53 |
The only problem with fitting this in
exactly is the fact that I've got a
| | 06:56 |
little bit of a gap over here.
So again, there's another tool that will
| | 07:00 |
help you fix that up and that is going to
be the Fit UVs tool.
| | 07:04 |
So I go ahead and fit UVs.
I want to keep the proportion, otherwise
| | 07:07 |
it's going to stretch it to fill the
whole space.
| | 07:10 |
And we'll just go ahead and click okay.
So now it's jumped up, it's filled the
| | 07:13 |
entire space.
It's even from top to bottom.
| | 07:17 |
So we have gaps at the top and bottom.
So if I wanted this to look exactly like
| | 07:21 |
the built in UV, I could just get my Move
tool and then move down.
| | 07:25 |
You can do the math in your head if you'd
like.
| | 07:27 |
But if we had four total polygons in
height.
| | 07:31 |
And we divide them evenly we're going to
have half of a polygon on top.
| | 07:34 |
Half on bottom.
So there's going to be one eighth.
| | 07:37 |
So I moved it down in the v negative
.125.
| | 07:40 |
One eighth in other words.
And then there you've got that and if I
| | 07:43 |
go over to my List View here and select
my texture.
| | 07:47 |
You can see that they're a tiny, tiny bit
off (LAUGH)
| | 07:50 |
These two edges are slightly different.
They're the top and the bottom, but
| | 07:54 |
pretty much I've gotten the exact the
same thing between my unwrap, that I did manually.
| | 08:00 |
And that texture that was the built-in
UV.
| | 08:02 |
So that' show you can start unwrapping
simple UVs, ones that don't have a lot of
| | 08:06 |
organic flow to them.
Box models or things like this that have
| | 08:10 |
relatively flat even surfaces, are pretty
easy to unwrap in this method.
| | 08:15 |
Get your unwrap tool, or get one of your
projection methods depending on how it's
| | 08:18 |
going to work best.
And then start making your selection with
| | 08:22 |
your edges use the Unwrap tool, cut it
apart and start adjusting from there.
| | 08:28 |
And then you have your basic UV's set up
and ready to go.
| | 08:31 |
| | Collapse this transcript |
| Organic UV projection| 00:02 |
In this video, we'll have a look at more
complex UVs, or UV's where, the actual
| | 00:06 |
polygons, in 3D space, are not as evenly
laid out as in the example of something
| | 00:10 |
like a cube.
Now, a sphere, gives us a really good
| | 00:14 |
example of that, even though a sphere is
a relatively simple shape.
| | 00:17 |
If we go in and look at the actual
polygons, here on this sphere, They are
| | 00:20 |
of different sizes as they go up, and
they also have different orientations,
| | 00:23 |
they start to taper a little bit as they
go up.
| | 00:27 |
And then at the top we have all this
pinching that goes on.
| | 00:30 |
If you look at the default UV map for us
here, you can see that the triangles at
| | 00:33 |
the top are kind of just pulled apart.
And all of the other four-sided polygons
| | 00:38 |
are just evenly mapped into space even
though in 3D space they have very
| | 00:41 |
different scales.
And this causes a lot of pinching and
| | 00:46 |
warping in general of our image map when
it's applied.
| | 00:49 |
And then at the top, all of this
segmenting causes some real ugly issues.
| | 00:54 |
Now this brings up a very interesting
thing to have to consider when you're
| | 00:57 |
building complex UVs.
And that is a balance between continuity
| | 01:02 |
and distortion.
In this case, this is a very continuous
| | 01:05 |
UV map.
All of the individual polygons are mapped
| | 01:08 |
onto a single continuous chunk in the UV.
So that means that I'm not going to have
| | 01:12 |
any seam issues, except for here on the
very top where things aren't attached
| | 01:16 |
because all of these edges are ripped
apart.
| | 01:19 |
But around the rest of the sphere I don't
have any problems with continuity, but I
| | 01:23 |
do have a big problem with distortion and
there's an easy way to view distortion
| | 01:26 |
here right in the UV map.
And that's under the options and pull
| | 01:31 |
down all the way to show distortion.
So in this map, this is kind of like a
| | 01:36 |
heat map, that shows red polygons are
ones that are being compressed in the UV
| | 01:40 |
space, you can see that this polygon for
example is square in 3D space, and it's a
| | 01:43 |
very stretched out rectangle in UV space,
so not exactly what I want.
| | 01:51 |
And the example here up at the top.
These ones are opposite.
| | 01:55 |
And blue polygons show up as ones that
are expanded in UV space as compared to
| | 01:59 |
how they are in 3D space.
So the way that we would get something
| | 02:04 |
better out of this would be to look at
breaking it up into individual pieces.
| | 02:10 |
So let's go ahead and make a new map
here, we call this sphere 1, and we'll go
| | 02:14 |
to the UV projection tool and before I do
that, I'm going to go over to my image
| | 02:18 |
map here and go to the properties and
change the UV map that it's looking at
| | 02:22 |
from texture to sphere 1.
And at first it's just going to go all
| | 02:29 |
solid colour because there aren't any
polygons in our UV.
| | 02:33 |
Let's go back here, and go to our sphere.
And there's one type of UV projection,
| | 02:36 |
actually there are two variations of it,
that will really illustrate this point
| | 02:39 |
very well.
And that is the atlas projection, or just
| | 02:43 |
atlas, will just break the model up into
several different chunks, and then place
| | 02:48 |
it into UV space.
So if I just go ahead and click.
| | 02:52 |
We'll see that it's broken up into six
different juncts: the top, the bottom,
| | 02:56 |
and then four different quadrants.
And while this is not ideal, and it has
| | 03:02 |
a lot of warping where the seams appear,
it's actually keeping the textures
| | 03:06 |
relatively nice and even.
And we can see that there's a lot less
| | 03:10 |
distortion here.
If I do something like relax this UV,
| | 03:13 |
there's a tool called the UV relax tool.
I can click and that will smooth this
| | 03:18 |
about a bit, and removes almost all of
the distortion.
| | 03:22 |
But this is giving us a real big problem
here with our continuity.
| | 03:26 |
And if I just back up here, if I choose
the atlas 2, you can see this even More
| | 03:30 |
in depth that if I go ahead and I'm
going to just put this in here and right
| | 03:34 |
now my segments are set to 12.
So, that means the atlas is actually
| | 03:40 |
breaking this up into 12 different
pieces.
| | 03:43 |
If I decrease the number, you notice the
lower I get, the more distortion appears.
| | 03:48 |
The more continuous it's getting because
here at three pieces I only have three
| | 03:51 |
separate UV chunks which are also known
as islands.
| | 03:55 |
But they're being very distorted around
the edges in order to do that.
| | 03:58 |
The more segments I add, the cleaner this
is.
| | 04:01 |
The less we get of those distortions.
We're getting more of that undistorted color.
| | 04:06 |
But we are getting more and more
segmentation.
| | 04:09 |
So depending on the model that you have,
this might not be an issue.
| | 04:12 |
If you have no real need for really good
continuity then it's not a big deal to
| | 04:16 |
have multiple pieces.
But when you're actually doing something
| | 04:20 |
that does have a need there, then you
have run a balance between having the
| | 04:24 |
segments and then having continuity.
So I'm going to back up here and I'm
| | 04:29 |
going to change this to atlas.
One here.
| | 04:32 |
And then we're going to look at how we
can improve this overall look.
| | 04:36 |
So, I have these six different pieces,
and I have this piece and this piece are
| | 04:39 |
right next to each other.
And then I have this piece and this
| | 04:43 |
piece, which are also right next to each
other.
| | 04:46 |
So if I want to improve my overall
continuity, I want to attach some of
| | 04:50 |
these different islands together.
And get them to be more continuous.
| | 04:56 |
So if I go in and select the Edges here,
I can see that I have a pair of Edges
| | 05:00 |
across from each other.
So I'm just going to select both sides of
| | 05:05 |
each of these and with those selected I
can actually Sew these together.
| | 05:10 |
And if we look over here and pull down
and Maximize this, we can see that I have
| | 05:14 |
Move and Sew options.
I can move and so the selected right now
| | 05:18 |
both sides are selected.
So selected and unselected won't make any
| | 05:22 |
difference, but I can also choose
averaged, and that's going to take
| | 05:24 |
everything that I have here and sew it
together.
| | 05:28 |
And you can see that causes a little bit
more distortion, but we can fix that in a moment.
| | 05:32 |
Now you're going to look at the same
thing here, and you can see that that
| | 05:34 |
side Where I really need to sew this
together is this side versus this side.
| | 05:38 |
So, just to make things easier, I'm
going to grab this piece here.
| | 05:41 |
Move it over there.
And I'm going to go down here and this
| | 05:46 |
time I'm just going to select one side
here.
| | 05:48 |
So, that you can see that even though
these are not both selected here.
| | 05:53 |
If I run averaged, it's still going to
stick them together.
| | 05:56 |
And you can see that that's created
something very similar to what we had before.
| | 05:59 |
So now I'm going to take this piece, and
just move it back into my UV space.
| | 06:03 |
And now I'm going to go ahead and run my
relax tool on both of these pieces.
| | 06:07 |
So I'll select both of those, go UV
relax, and go ahead and click.
| | 06:12 |
And now, that's removed a lot of the
distortion.
| | 06:15 |
So you still have a little bit.
This is a little red, this one.
| | 06:17 |
And a little bit blue around here.
And I could go in and move individual vertices.
| | 06:22 |
In order to clean this up a bit but, this
is close enough for now.
| | 06:27 |
What this really illustrates well is that
balance between continuity and distortion.
| | 06:33 |
In order to get a good balance of both
you usually best to go and pull apart
| | 06:36 |
multiple pieces and then stick them back
together as best that you can and that
| | 06:39 |
way you can get a nice clean UV.
That has good, undistorted textures that
| | 06:47 |
apply to it.
But at the same time does not have a lot
| | 06:50 |
of seems.
Now, if you're doing this on a more
| | 06:52 |
complex object, like say a character or
something like that, you want to put the
| | 06:55 |
seems in places that are going to be more
hidden.
| | 06:58 |
So, want to take like a character's are,
you'd want to run A seam perhaps under
| | 07:01 |
the armpit and then down the underside of
the sleeve and then as that unwraps
| | 07:04 |
you're not going to see that seam because
its in a hidden place.
| | 07:08 |
So I'm trying to find good spaces for
those scenes that you put in and you'll
| | 07:15 |
end up getting a nice UV that uses your
continuity well and then uses.
| | 07:23 |
Also, your distortion well and keeps them
both balanced and looking the best they can.
| | 07:27 |
| | Collapse this transcript |
|
|
7. AnimationAnimation basics| 00:02 |
In this video, we'll have a look at
different types of animation and what can
| | 00:05 |
be accomplished when animating in 3D.
Now, there are essentially, as far as
| | 00:09 |
we'll look at this, three different types
of animation.
| | 00:12 |
There's simple animation where the motion
of objects and vertices, and polygons is
| | 00:16 |
based off of simple points of time, like
this bouncing ball.
| | 00:21 |
Where all that's going on in the
animation is that the ball is set in
| | 00:24 |
different places at different times.
And once those different frames are run
| | 00:30 |
together, you get the effect of an
animation.
| | 00:33 |
There's then more complex animation,
where some pieces are controlled by other pieces.
| | 00:39 |
In the case of this robot, there is these
unrendered pieces.
| | 00:43 |
These spheres and these circles that
control different aspects of the robot's animation.
| | 00:48 |
Like this controls the blinking of the
eye, these ones over here control the
| | 00:54 |
rotation of the claws.
Or the different angle that the claw can
| | 01:03 |
take, and then the movement of the arm is
actually, instead of basing this off of
| | 01:07 |
moving all the individual pieces, is
based off of the idea of taking a goal.
| | 01:14 |
Which is down here in the wrist.
And then, having everything else line up
| | 01:19 |
to meet that when it's moved in 3D space.
So, you can see there's much higher level
| | 01:24 |
of complexity there that allows it to be
much simpler to animate but takes more in
| | 01:27 |
the setup stage.
And then, the last kind of animation that
| | 01:33 |
we'll look at is animation that is based
off of actual physics.
| | 01:38 |
In this case, all of the different pieces
of the cloth, of the different vertices
| | 01:42 |
and polygons, are animated based off of
physical properties of cloth.
| | 01:46 |
So that when you press Play, it actually
calculates the movement of the geometry
| | 01:50 |
based off of the interaction between the
different surfaces, based off of gravity,
| | 01:54 |
based off of wind.
And you can see that there's everything,
| | 01:59 |
even little bits of noise ripple in the
animations that is just the wind blowing
| | 02:03 |
and ruffling the cloth a little bit.
So, those three kinds of animation are
| | 02:09 |
what we'll look at and consider in order
to create animation inside of Modo.
| | 02:15 |
Simple animation based off of individual
movement of different values in time.
| | 02:23 |
More complex animation where some objects
are controlled by other objects.
| | 02:31 |
And then, physics animation where the
actual movement is based off of actual
| | 02:37 |
physical interactions.
| | 02:41 |
| | Collapse this transcript |
| Creating keyframes| 00:02 |
In this video, we'll have a look at
simple animation, that is called Keyframe
| | 00:05 |
Animation, and how that's set up inside a
Modo.
| | 00:08 |
And if you open the scene file, bouncing
ball start from your Projects folder.
| | 00:13 |
You'll have this file that has a simple
ground plane, and then has a sphere.
| | 00:17 |
And everything is set up, ready for you
to animate.
| | 00:20 |
So, the idea behind keyframes is that at
major points in time in an animation
| | 00:25 |
different values are set for pretty much
anything.
| | 00:29 |
They could be position, they could
rotation, scale, could be a color.
| | 00:33 |
Anything that you can change, you can
actually keyframe.
| | 00:37 |
And if you've been looking through the
Modo interface, you may have seen this
| | 00:40 |
little circles appearing on the left-hand
side of a lot of values.
| | 00:44 |
They appear for position values, they
appear for material values.
| | 00:48 |
Like here, you can see it on diffuse
amount, diffuse color, diffuse roughness.
| | 00:53 |
These all have these little check boxes.
And what those do is actually allow you
| | 00:58 |
to create animation.
So, if we select this ball, we can see
| | 01:02 |
that its current position is at half a
meter or 500 millimeters positive on the
| | 01:06 |
y, which makes it sitting directly on the
ground.
| | 01:11 |
And it is zeroed out in the x and the z,
it's just kind of sitting in the middle
| | 01:14 |
of the space, and up on top of this
ground plane.
| | 01:17 |
So, if I want to be able to animate this
ball rolling left to right across the
| | 01:21 |
screen, I would need to do two things.
I need a first set up the position to
| | 01:27 |
have it change from left to right, and
then set up and animate the rotation so
| | 01:30 |
it will appear to roll across the scene.
So, let's look at how we can do that.
| | 01:36 |
Start by going to the beginning of your
animation timeline, which is at the
| | 01:40 |
bottom of the Animate tab.
You can just Click and Drag inside the
| | 01:44 |
timeline to go to any point in time.
And I'm going to go here to frame zero,
| | 01:48 |
and I'm going to start by just taking the
ball and turning on my Move tool.
| | 01:54 |
The W key moving the entire item over to
the left.
| | 01:57 |
Make sure that you are in Item mode
because animation with keyframes depends
| | 02:01 |
on moving items and not the individual
components of vertices, edges or polygons.
| | 02:06 |
So, once I have it in it's initial spot,
I'm going to go ahead and turn on
| | 02:10 |
keyframing for just the x position.
Because I only really want this to move
| | 02:15 |
across the x here to start.
So, I'm going to click on this.
| | 02:19 |
And if I leave my mouse over for a
second, you can see the different options
| | 02:22 |
that you have for channel states for
animation.
| | 02:25 |
When it's red, it means that it's an
animated channel and that it has a key at
| | 02:29 |
the current time.
If it's green, it's animated but it
| | 02:33 |
doesn't have anything there.
And if it's gray, it's not turned at all.
| | 02:36 |
And then the other ones, we'll consider
when we look at more complex animation.
| | 02:39 |
So, you can also see here in my timeline,
at frame 0, I have a little white box.
| | 02:45 |
And that means that I have a keyframe at
that point and time.
| | 02:47 |
If I scroll all the way down here to
frame 120, you can see that I don't have
| | 02:52 |
a keyframe anymore.
So, if I drag this over to the right, see
| | 02:58 |
that now we do have a keyframe here at
120 now.
| | 03:03 |
And also, there is this green line that
connects the two keyframes.
| | 03:07 |
And those in between frames, or tweens as
they're called, are created automatically.
| | 03:11 |
So now, if I just scrub across the
timeline, we'll see the ball roll from
| | 03:16 |
left to right.
If I go backwards, from right to left.
| | 03:20 |
So, now the ball's moving and it just
needs to rotate in order to look like
| | 03:24 |
it's actually rolling across the ground.
Now, we could go in and do the math to
| | 03:29 |
figure this out to get the exact amount
of rolling based off of the radius of it.
| | 03:34 |
But in this case, we'll just eyeball it
here and we'll just make a guesstimate.
| | 03:39 |
So, I want to animate the rotation of
this ball.
| | 03:44 |
So, I'm going to rotate it around the
z-axis, which is the blue one.
| | 03:48 |
So, I'm going to go ahead, go back here.
And I'm going to turn on keyframing for
| | 03:54 |
my z-axis.
And then, I'm going to scrub all the way
| | 03:58 |
down to frame 120, and then I'm going to
set.
| | 04:02 |
I'm just going to guess and say that
about 3 rotations.
| | 04:06 |
We'll get this all the way around.
So, I'm going to put in 1080 for my
| | 04:10 |
rotations at that point.
And actually, you can see if I scrub this
| | 04:14 |
in the timeline, I actually went the
wrong way.
| | 04:16 |
(LAUGH) So, it's rotating in the wrong
direction.
| | 04:18 |
So, all I have to do is go in to this
last keyframe here, frame 120, and enter
| | 04:23 |
in a negative 180.
And now as I scrub this and see the ball
| | 04:28 |
rolling across the screen.
So, that's really all there is to setting
| | 04:32 |
up keyframes inside a Modo.
You set the frames that are the most
| | 04:36 |
important points that will change
anything drastically.
| | 04:40 |
And in this case, it's going to be
position to position and rotation value
| | 04:43 |
to rotation value.
If you wanted to change the color, you
| | 04:46 |
could do something like that and keyframe
the color.
| | 04:49 |
So let's do that and add that on very
quickly, and we'll call this ball and
| | 04:53 |
we'll set that.
And I'm going to animate my diffuse
| | 04:57 |
colors so we'll make it go from white to
black.
| | 05:00 |
We'll just go simple here.
Now, if I scroll from my timeline, we'll
| | 05:03 |
see that the ball changes color.
Here I'm going to deselect it so you can
| | 05:08 |
see it more clearly and the ball rolls.
Now, let's turn on some wire frames so
| | 05:15 |
you can actually see it rolling.
And so we, we scroll across, the ball
| | 05:21 |
rolls across the screen and changes to
black as it goes.
| | 05:24 |
Keyframing is simple and it's the basis
of animation Modo.
| | 05:31 |
| | Collapse this transcript |
| Using the graph editor| 00:02 |
In this video, we'll have a look at how
to get further control over the way
| | 00:04 |
keyframes are interpolated one to another
by using the Graph Editor.
| | 00:09 |
So, in this case, we want to make this
ball bounce across the scene.
| | 00:13 |
We'll just make it do a single bounce as
it goes.
| | 00:15 |
So, I would want it to start somewhere on
the left and up and then end down on the
| | 00:20 |
lower right.
And have it bounce once in the middle.
| | 00:24 |
So, we'll start by setting up the
keyframes.
| | 00:27 |
I'm going to start by animating the x,
and I'm going to take the ball and move
| | 00:31 |
it over to its initial start point.
Then I'm going to scrub down to frame
| | 00:37 |
120 and I'll move it to its ending point.
Right there.
| | 00:40 |
Right there, I can see I've got my
keyframes in there and ready to go.
| | 00:44 |
And now, I need to also keyframe the
vertical position, or the y.
| | 00:48 |
So since it's already sitting on the
ground, I'm going to go down to the last
| | 00:50 |
frame, which is where I want it to end
up.
| | 00:53 |
And turn on keyframing.
And that will set that initial keyframe there.
| | 00:56 |
And then if I scrub back in time, I can
take the ball, and move it up in the air.
| | 01:01 |
And now, the ball is just kind of
floating down towards the ground.
| | 01:05 |
But I want it to bounce right here on
frame 60.
| | 01:09 |
So, what I'm going to do is go to frame
60.
| | 01:11 |
And then I'm going to manually go and key
in 0.5, which will put it sitting on the ground.
| | 01:17 |
And now if I animate this, you can see it
looks nothing like a bouncing ball.
| | 01:22 |
And that's because Modo is taking the
keys that I have said, and it's trying to
| | 01:25 |
give me a nice, smooth interpolation
between them.
| | 01:29 |
In order to change that, I have to look
at the Motion Graph and edit it in order
| | 01:33 |
to get a nice bouncing animation.
So, the Motion Graph is located down
| | 01:37 |
underneath the Timeline next to the
Options, and it looks like a little line graph.
| | 01:42 |
So, you see as I pull this up, I have my
animation.
| | 01:46 |
And if I just click on position y, you
can see that this actually looks
| | 01:49 |
something like the motion that my ball is
taking vertically.
| | 01:53 |
And you can see here that this looks
nothing like a bounce.
| | 01:55 |
It looks like it hits the ground.
Goes underneath the ground and scoops up.
| | 01:58 |
So, if I want to fix that, I need to
adjust these different animations handles.
| | 02:04 |
So, just like a curve in something like
Illustrator, these are Bezier curves.
| | 02:08 |
They have interpolation and they can be
broken so that the interpolation is not
| | 02:12 |
smooth and continuous.
But in between, they will still kind of
| | 02:17 |
stick together.
So in order to do this, I'm going to
| | 02:20 |
right-click on this keyframe.
Go down and choose Break, and I want to
| | 02:23 |
break the slope and the weight.
And that will give me full control over
| | 02:26 |
both of these handles.
So now, I can edit this as I would in Illustrator.
| | 02:31 |
Let's go up and I want this to kind of
come and arc and bounce and hit the
| | 02:34 |
ground, and then bounce back up.
And I want to do the same thing here at
| | 02:38 |
the end.
And even though there's nothing after it,
| | 02:40 |
I'm going to go ahead and just break this
one anyway so I'll put in slope and weight.
| | 02:44 |
And oh, there we go.
So, we'll do something like that.
| | 02:48 |
Now, this is going to be relatively slow
because really, this would, in all
| | 02:51 |
actuality, bounce one more than once as
it fell this, over this amount of time.
| | 02:55 |
But now, you can see already, as I scrub
this animation, it's looking much, much better.
| | 03:00 |
The only problem now is that Is going
very slowly at first.
| | 03:04 |
And then it picks up speed.
And it slows down towards the end, like
| | 03:07 |
it's hitting into something.
So really I want the x motion across the
| | 03:10 |
screen, left to right, to be linear.
And right now, it eases in and eases out.
| | 03:15 |
So if I look at my position x, you can
see, yep, sure enough, I've got this
| | 03:19 |
slope that goes up.
And I can change the slope of these.
| | 03:23 |
Right now, it's curving and it's an
automatic slope.
| | 03:26 |
So, if I click up here on slope in the
top of this window, I can choose linear
| | 03:29 |
out for here, and now you can see it goes
out linear.
| | 03:33 |
I'm going to choose this last frame.
Go to Slope > Linear In.
| | 03:36 |
And it's a nice linear motion.
So now, if I scrub the timeline, I get
| | 03:40 |
something much more like a bouncing ball.
So, that's the basics of the Graph Editor.
| | 03:46 |
All it takes is adjusting your individual
Interpolation between your keyframes that
| | 03:52 |
you've already setup.
And you can get more complex and more
| | 03:56 |
controlled animation while still only
having a few different actual keyframes set.
| | 04:03 |
| | Collapse this transcript |
| Rigged animation| 00:02 |
In this video, we'll have a look at how
animation can be rigged or set up so that
| | 00:05 |
individual items are not directly
keyframed.
| | 00:09 |
So, in this example, if you Open up the
Parenting Start File from your Projects
| | 00:12 |
Folder, you'll see I have an Earth, which
is a large sphere and a Moon, little bit
| | 00:16 |
smaller sphere.
Not to scale, but you know, hey, we'll go
| | 00:20 |
with that.
And if I wanted to make this Moon orbit
| | 00:23 |
the Earth, it would be probably easy
enough to go and set up keyframes, so
| | 00:27 |
that it's here, and then here, and here
and here and here.
| | 00:32 |
But getting an exactly circular path
could be a little bit challenging.
| | 00:36 |
There are a couple of different ways that
you can actually go about this, and the
| | 00:40 |
first way to get one objects behavior to
follow another object is by simple parenting.
| | 00:47 |
So, if I wanted to do that, I could just
take the Moon here.
| | 00:49 |
And I want to make it a child of the
Earth.
| | 00:53 |
So, all I'd have to do for that is take
the moon, drag it up onto the earth.
| | 00:57 |
And you see I get that orange arrow to
the left side.
| | 01:00 |
And then when I release, can see that the
moon is inside the earth.
| | 01:03 |
So, now, if I take the earth, and rotate
it.
| | 01:06 |
The moon is going to rotate with it.
Okay.
| | 01:10 |
So, that, is a good way of setting up
some basic relationships between objects,
| | 01:13 |
and it's going to be the basis of a lot
of other kinds of animation.
| | 01:17 |
If, however, you don't want to have to
rotate the Earth in order to make the
| | 01:20 |
moon orbit it.
You'd want to use another object.
| | 01:24 |
So, let me go ahead and take the moon and
drag it back out from underneath the
| | 01:27 |
earth and then I'm going to go over to
the Setup tab.
| | 01:31 |
And there is a, kind of, a magical
underlying gem of animation that exists
| | 01:35 |
in 3D animation programs and that's
called a locator.
| | 01:40 |
In some programs they call it a null.
And if we look over here in the top left
| | 01:44 |
side of our tool bar, we'll see this
little locator, that look like basically
| | 01:47 |
a directional axis with x, y and z, and
then alternating white axis for the
| | 01:50 |
negative x, y and z.
So I click on that, it's going to drop a
| | 01:56 |
locator into the scene.
And this is something that I can use for
| | 01:59 |
animation purposes, it won't show up in
any finished renders, but I can use it to
| | 02:03 |
organize, to animate, to do other kinds
of parenting.
| | 02:07 |
If I, for example, take my moon, and make
it a child of the Locator, now I can
| | 02:12 |
rotate the Locator, and the moon will go
without having to rotate the Earth.
| | 02:22 |
I can even go a step further, and here,
let's back up to before I had made the
| | 02:26 |
moon a child of the Locator.
I'm going to take this, and I'm going to
| | 02:30 |
rotate it up a few degrees.
It's kind of facing the direction that
| | 02:34 |
the moon is there.
And now I'm going to take the moon, and
| | 02:39 |
once again I'm going to drag it into
there, and now if I select this Locator
| | 02:43 |
and I set my action center to selection.
See it's going to orient itself with my
| | 02:50 |
actual axis there.
And now if I rotate it, it's going to
| | 02:54 |
spin around the earth that way.
So I can change my orientation, and also
| | 02:58 |
rotate any other direction that I want,
it's going to directly obey that.
| | 03:03 |
So, that gives you kind of a simple idea
about how parenting can work.
| | 03:08 |
And then if I wanted I could take that
Locator make it a child of the earth.
| | 03:12 |
And now wherever the earth moves, the
Locator and the moon will go with it.
| | 03:17 |
So, could use that to set up a larger
orbit for the earth around the sun, and
| | 03:21 |
then the moon around the earth, and using
a couple of different locators, that
| | 03:24 |
would be a really simple animation to set
up.
| | 03:29 |
There are times, however, when we don't
want to use direct parenting, because you
| | 03:33 |
don't want one object to completely
control another object, and that's when
| | 03:36 |
constraints become very, very useful.
So, I'm going to just make a new scene
| | 03:42 |
here very quickly.
And I'm going to pull up my model tab
| | 03:46 |
here and just add in a Sphere.
So, that I have a camera, light, sphere
| | 03:51 |
and that's it.
So, if I look here at the sphere, and I
| | 03:54 |
look at the camera, and I'm going to want
to look through the camera's perspective now.
| | 04:00 |
So I'm going to click here where it says
Perspective and change it to Camera.
| | 04:04 |
And let's just set up a really simple
animation for the camera.
| | 04:07 |
I want to turn on keyframing for all the
position and rotation values.
| | 04:11 |
And let's say I want to start the camera
down here.
| | 04:15 |
And then by frame 120.
I want the camera to be up and over here.
| | 04:22 |
Seems very simple, but when I actually
scrub this animation, you'll see that
| | 04:27 |
there's a lot of swing to it.
That might not be really what I want.
| | 04:31 |
I want to actually track the position of
that sphere so that it stays in focus all
| | 04:35 |
the time and doesn't move across my scene
and, you know, stays in, targeted as far
| | 04:39 |
as the animation goes.
So, I could make the camera point at the
| | 04:45 |
sphere, but we'll skip over that and add
in another locator.
| | 04:49 |
I can make the camera now point at the
locator using a direction constraint.
| | 04:55 |
You can see the constraints over here on
the left-hand side.
| | 04:59 |
So to do that all I need to do is select
my camera, which is what I want to do the pointing.
| | 05:03 |
And then I'm going to hold Control on
both the Mac and the PC, and click on the locator.
| | 05:08 |
And that's what I want to point at.
So now you can see with that done, all
| | 05:12 |
these three constraints become active.
So I can constrain my position, my
| | 05:16 |
rotation, or my direction.
In this case, I want to constrain my direction.
| | 05:21 |
So that the camera is pointing at the
locator.
| | 05:22 |
Now nothing is going to happen right off
the bat until I move the timeline but, as
| | 05:26 |
soon as I jar the timeline one frame, now
I can scrub my timeline and you can see
| | 05:30 |
that the sphere always stays in focus.
So I can use that same kind of option to
| | 05:37 |
constrain the position, the scale, the
rotation of different objects, and that
| | 05:41 |
way, some objects can be controlled by
other objects without having to have
| | 05:45 |
every different attribute be controlled
by them.
| | 05:51 |
So, in short, setting up good parenting
and good hierarchy in general, and then
| | 05:55 |
using constraints, will allow you to
simplify your animation work flow, and
| | 05:58 |
really make it a lot easier to do more
complex animations and more smooth
| | 06:02 |
animations without some of the issues of
doing things with keyframes alone.
| | 06:08 |
| | Collapse this transcript |
| Physics animation| 00:02 |
In this video, we'll take a quick look at
physics-based simultation, so this is
| | 00:05 |
animation that does rely on keyframes or
parenting or anything like that, any kind
| | 00:09 |
of rigging.
This is simply based on setting up actual
| | 00:14 |
physical properties And then letting
physics do it's thing.
| | 00:19 |
Now, we can actually mix some keyframe
animation along with the physics
| | 00:22 |
animation, which we'll see later here in
this video.
| | 00:25 |
So, let's hop on over here in the animate
tab.
| | 00:29 |
And I am in the file physics start, it
will be in your projects file if you want
| | 00:32 |
to follow along, and what you see here,
initially is a really simple scene.
| | 00:37 |
It has a block, a cube.
And then a plane, which is the ground.
| | 00:41 |
So, there are 3 main elements of physics
that we'll cover here in our video.
| | 00:46 |
And those are active ridgid bodies, so
something that does not bend or give way
| | 00:51 |
in it's shape.
Active means that physics acts upon it.
| | 00:57 |
So, gravity, other objects that are
moving will cause these objects to move.
| | 01:02 |
Then there are passive rigid bodies and
these are actually again things that
| | 01:05 |
don't deform and don't give or buckle in
their shape at all but they can still be
| | 01:08 |
keyframed and physics doesn't act upon
them.
| | 01:12 |
So, gravity isn't going to cause them to
fall, for example.
| | 01:14 |
And then, soft bodies, so you could think
of things like cloth.
| | 01:18 |
Or rubber or anything like that.
So we'll have a look at all of those here
| | 01:22 |
and make a simple scene.
So here is a cue like I said and a plane
| | 01:26 |
sitting underneath it.
So first off, we'll just make this box
| | 01:30 |
fall on the ground.
Simple enough.
| | 01:32 |
Now we want this box to be acted on by
gravity, so we'll choose Make Active
| | 01:35 |
rigid body.
So we click and there we go.
| | 01:39 |
We got an active rigid body.
And if we look around our items list here
| | 01:42 |
and we pull this down, we should see that
a recoil notice popped in there.
| | 01:48 |
So we know that recoil which is the
physics simulation is engaged now.
| | 01:52 |
So I'm also going to choose this plane
here on the ground and I want to make
| | 01:55 |
that a passive rigid body because We just
want it to sit there.
| | 01:59 |
It's the ground.
So, we do that and now there is a Play
| | 02:02 |
button here.
Use this play button as opposed to this
| | 02:05 |
one in the bottom in the timeline.
It will cause some less problems here so
| | 02:08 |
let's go ahead and hit play and we'll see
that the box falls, bounces on the ground
| | 02:12 |
and then comes to rest.
Pretty simple.
| | 02:17 |
All right, well, let's not stick with
pretty simple, let's get a little bit
| | 02:20 |
more complex, so you'll see that in our
Items list there is a folder.
| | 02:24 |
Title extra blocks.
And if you open that up, it's got a lot
| | 02:28 |
of extra blocks in it.
All named cubes down through cube 80.
| | 02:32 |
So, this is a big grid of blocks.
And there they are.
| | 02:37 |
So, now what I'm going to do is I'm
going to apply physics then to all of these.
| | 02:40 |
So, I'm going to click on the top one,
scroll down and Shift-click on the bottom.
| | 02:44 |
You should see the all selected.
Actually the one that isn't selected is
| | 02:47 |
going to be that first one that you have.
This one right in the middle.
| | 02:50 |
Click make active ridget body.
Now those all will become active ridget bodies.
| | 03:01 |
All right.
So now we uncheck those.
| | 03:02 |
I'm going to hide those again.
(UNKNOWN) Now as a side note, these are
| | 03:05 |
in what we call a (UNKNOWN) locator.
It's not anything other than organization
| | 03:10 |
in my items list.
You can select multiple things.
| | 03:14 |
Right click and choose parent to group
locator.
| | 03:16 |
And it's just going to put them in a
folder.
| | 03:17 |
It won't affect anything on the
animation.
| | 03:19 |
It just allows you to align your scene a
little bit better.
| | 03:22 |
So, now, with that done, I'm going to go
ahead.
| | 03:24 |
And once again, hit the play button.
Now you can see they all settle.
| | 03:27 |
And there's a little bit of wiggle to
them, you can see here.
| | 03:30 |
These are.
Actually having a little bit of balancing
| | 03:32 |
act going on.
And they're kind of teetering back and
| | 03:34 |
forth a bit.
So if you want to scrub through the
| | 03:37 |
animation, you can do that.
And you can see the animation playback.
| | 03:41 |
One note is, you don't want to get back
to frame one when you're doing this.
| | 03:45 |
Because that will actually cause the.
Physics simulation to reengage.
| | 03:50 |
And then, if you try to scrub through
your timeline, it's not going to be able
| | 03:53 |
to calculate it at the speed that you're
scrubbing which is much faster than real time.
| | 03:57 |
So, if you go past here, just want to go
ahead and hit play again and then you'll
| | 04:00 |
see everything settle and there you go.
So you have the start of some nice,
| | 04:04 |
simple physics animation.
All right, now as I mentioned at the
| | 04:09 |
beginning of this video you can actually
mix keyframed animation along with
| | 04:12 |
physics animation.
So lets do just to that.
| | 04:17 |
I'm going to unhide the ball here which
is just as the name indicates, a ball and
| | 04:22 |
it actually has some keyframe data on
it.
| | 04:26 |
It just moves, from right to left.
So it moves across into the screen now if
| | 04:31 |
I go ahead and hit play we're not
going to get anything happening with that
| | 04:34 |
ball other than it passing straight
through at first because the ball is not
| | 04:37 |
a physics object.
So let's go ahead and back up to frame
| | 04:41 |
zero and select the ball.
And this one we want to keyframe so in
| | 04:45 |
that way its just like the ground.
We want to make that a passive rigid body.
| | 04:50 |
So I'm going to go ahead and click make
passive rigid body and now let's go ahead
| | 04:54 |
and hit play again.
Now, all of a sudden we get something a
| | 04:58 |
little bit more interesting.
Now this is working alright for me except
| | 05:02 |
it's a little slow and it's not causeing
enough damage.
| | 05:05 |
I'd liked to see a little bit more
impact.
| | 05:08 |
So, I'm going to do 2 things.
I'm going to go into polygon mode and
| | 05:10 |
select this ball.
I'm going to scale it up a little bit.
| | 05:14 |
Not too huge, but a little bit bigger,
alright?
| | 05:17 |
And now I'm going to go into my graph
editor.
| | 05:20 |
You can see I have my position x and y
here.
| | 05:23 |
I'm just going to go grab this keyframe,
which you can see is at frame 60.
| | 05:27 |
And that's going to be where the ball
comes to rest.
| | 05:30 |
And I'm just going to pull that back to
frame 30, and then I'm also going to take
| | 05:34 |
my position Z here which is it moving
right to left and I want to change my
| | 05:38 |
slope to linear in, so it's not going to
slow down.
| | 05:44 |
It's just going to go straight up into
it.
| | 05:46 |
It'll come to a pretty quick stop, but
you know we're not really focusing on the
| | 05:49 |
ball, so that'll be alright.
So, now, you can see that my animation is
| | 05:52 |
taking much less time.
And see if I scrub this.
| | 05:55 |
You can see since I've changed something
and I was back at frame zero, I'm not
| | 05:59 |
getting actual interaction, but if I drag
back to frame zero, press play, now we'll
| | 06:02 |
see that's something a little bit more
interesting.
| | 06:07 |
So that's causing a lot more damage,
which is more in line with what I wanted.
| | 06:11 |
So there you go, that's the gist of basic
interaction between Key framed and
| | 06:15 |
physics data and, you know, hey, let's go
one step farther.
| | 06:20 |
Why not, right?
My mention is that there is this soft
| | 06:22 |
body in here, which is going to simulate
cloth and things like that.
| | 06:26 |
So, hey, if you look here in our items
list, I have a cloth item prepared for
| | 06:30 |
you and that is basically a Polygon
plane.
| | 06:34 |
A plane of polygons, divided up
relatively heavily because this is going
| | 06:38 |
to bend and buckle, actually need
polygons in order to handle that.
| | 06:44 |
And I'm going to apply soft body to
that.
| | 06:48 |
So make sure that you have the items
selected, and just click on Make Soft Body.
| | 06:53 |
And you'll see here that now we get a
little plus sign by the cloth And we have
| | 06:56 |
this soft body influence.
So down in the properties here for the
| | 07:00 |
soft body, you can see that by default,
it just turns it on.
| | 07:05 |
One thing that I am going to turn on
here, other than leaving everything else
| | 07:08 |
at default, is I am going to do
self-collisions.
| | 07:11 |
That way, if the cloth ends up hitting
itself, it's going to have something to
| | 07:14 |
collide with.
Not just only the environment objects.
| | 07:17 |
So, you might be able to guess what's
going to happen here.
| | 07:20 |
As I hit play, that clock is going to
drop.
| | 07:23 |
But it's not going to drop fast enough to
escape the ball.
| | 07:26 |
Now you'll notice here now, and actual
problem with this, and that is that when
| | 07:31 |
the ball passes through, it doesn't quite
make full contact with that.
| | 07:39 |
In between each frame, that ball is
actually moving too much for Recoil to
| | 07:44 |
track at it's default settings.
We can actually make it improve.
| | 07:49 |
So, let's go down, go to recoil, and this
is going to be the general way that you
| | 07:52 |
will improve accuracy.
Or the quick way that you improve
| | 07:55 |
accuracy in Recoil, is taking steps here.
This is the number of steps in between frames.
| | 08:00 |
It is actually tracking in order to solve
the physics puzzle here.
| | 08:04 |
So I'm going to take that and turn it up
to 50 so you get a nice, clean simulation.
| | 08:08 |
I'm going to play those, it'll take a
little bit longer and then bang.
| | 08:12 |
It whacks into that and because the
blocks can't go forward as much stuff
| | 08:16 |
will fly out a little farther And then it
just takes that cloth down and lays it up
| | 08:20 |
on the ground.
So there you go.
| | 08:25 |
The basics of cloth, rigid body, and
physics interactions inside of Modo.
| | 08:32 |
If we look here, we can actually back up,
let's go ahead and grab a good frame
| | 08:36 |
here, take something like that And I'm
going to go over here to render, and this
| | 08:39 |
is actually set up in a pretty nice
scene.
| | 08:44 |
So let's go in here, let's get this a
nice shot here, and actually, I also have
| | 08:49 |
other materials on here.
I have a base material kind of hiding
| | 08:54 |
everything else, just to make it easier
to see, but if I turn that off, then we
| | 08:58 |
can see a cloth with some blocks and a
concrete ground.
| | 09:02 |
We can turn it around this way, we'll be
able to see the ball inside there.
| | 09:07 |
But you can see getting something like
this modeled would take you a lot longer
| | 09:11 |
than it does in simulating the physics,
so.
| | 09:15 |
There you go.
Physics can make your life easier in
| | 09:18 |
modeling, scene layout, and definitely in
animation if you use rigid, passive, and
| | 09:24 |
soft-body dynamics in MODO.
| | 09:29 |
| | Collapse this transcript |
| Vertex maps| 00:02 |
In this video we'll have a quick look at
vertex maps, and how they can be used to
| | 00:05 |
help improve physics based simulation.
Vertex maps actually exist on a number of
| | 00:10 |
levels and can do a lot of things.
But in the case of what we're looking at
| | 00:15 |
here, we'll look at vertex maps and how
they can be used to contain physics or
| | 00:20 |
cloth simulation in order to make it work
a little bit better.
| | 00:26 |
So I'm going to go ahead here and I'm
going to choose, I have a weight map
| | 00:29 |
actually already set up on here.
And you can see what this vertex map
| | 00:33 |
looks like.
Under weight maps you see that we have
| | 00:35 |
subdivision, which has to do with
subdivision surfaces.
| | 00:38 |
Not what we're concerned with right now.
And they have pin one and pin two.
| | 00:41 |
Let's actually look at pin one, because
it's going to be the one that helps with
| | 00:43 |
this simulation the most.
And if I want to see what this vertex
| | 00:47 |
map looks like, here, where it says,
Advanced Open GL, which is my redraw for
| | 00:51 |
this scene, I can go down and choose
Vertex Map.
| | 00:55 |
And you can see, that everything in here
has kind of this drab olive grey color.
| | 00:59 |
Which essentially means 0% weight.
And then up here on the very top, I have
| | 01:05 |
this edge, this very top edge has bright
red, which equals 100% weight.
| | 01:11 |
And you can set Vertex Map Weights.
It's really simple, all you need to do is
| | 01:15 |
select an object, select some vertices,
and I'll just select some here, and I'll
| | 01:19 |
undo this.
And you can go to Vertex Map, and the
| | 01:25 |
Weight tool.
Shift + W is the hot key.
| | 01:30 |
And then clicking and dragging will set
the vertex map.
| | 01:33 |
Now, if I bring up my model view here,
and press Shift + W, you can see my
| | 01:37 |
actual weight value there.
So, that's a 200 and go down to their at
| | 01:43 |
0, you see its green, grey color and then
if I go to negative it turns blue.
| | 01:50 |
I can use this in order to constrain, my
actual class simulation.
| | 01:56 |
So what I'm going to do is select the
cloth here and I'm going to go over to my
| | 02:00 |
setup and let's scroll down here until we
find the cloth hiding in here somewhere.
| | 02:08 |
There it is, there's our cloth.
We'll go to Properties and you can see
| | 02:11 |
that I have a bunch of different maps.
And all these maps will refer to a vertex
| | 02:15 |
map, and the one that we're concerned
with here for this is a Pin map.
| | 02:19 |
And what a pin map will do is actually
freeze or partially freeze, if you don't
| | 02:23 |
have a 100% value on your vertex map, the
simulation in an area.
| | 02:27 |
So, if I turn on for pin map, if I choose
Pin, then this top edge is not going to
| | 02:31 |
move, isn't going to be affected by the
physics simulation.
| | 02:37 |
So if I just hit play here.
And actually to make this a little easier
| | 02:40 |
to see, I'm going to go back and recheck
the base material that's on top of
| | 02:43 |
everything so that we just get kind of a
nice white coloring, where you don't have
| | 02:46 |
to worry about all the materials on here.
I'm going to go ahead and just press Play.
| | 02:53 |
And eventually our ball is going to come
busting through there.
| | 02:56 |
There we go.
And now you can see instead of just
| | 02:58 |
flying off with the sphere this thing
acts more like a curtain.
| | 03:03 |
It flies up, it gets knocked out of the
way by the ball and then it just will
| | 03:06 |
come back down to rest.
So you can set this up to work anyway
| | 03:10 |
that you want.
You can use a variations of values, you
| | 03:13 |
don't have to set it to 100% or zero.
You can set gradations, you can set maybe
| | 03:18 |
one edge at 50% and the other edge at 10%
and then it will have much more effect on
| | 03:22 |
this side than this side and I can do all
sorts of things here.
| | 03:28 |
So, these can also be used to a lot of
different things in physics.
| | 03:32 |
You can use it to setup how structurally
sound it is, how much it will stretch,
| | 03:35 |
how much it will bend.
That way, you can really customize the
| | 03:39 |
cloth, because not all the cloth,
obviously, is completely uniform across
| | 03:42 |
the entire surface.
So, we can use a vertex map to simulate
| | 03:46 |
that unevenness that exists inside of
cloth.
| | 03:49 |
| | Collapse this transcript |
|
|
8. LightingLighting styles in 3D| 00:02 |
In this video, we'll have a look at some
of the lighting styles and options that
| | 00:05 |
are available inside of Modo.
We'll look at directional CG lights,
| | 00:09 |
which are the kind of basic lights that
are used in a lot of 3D packages, and
| | 00:12 |
will actually transfer from 3D package to
3D package pretty well.
| | 00:17 |
And we'll look at some more complex
lighting.
| | 00:19 |
And we'll also look at global
illumination or radiocity, which is a
| | 00:22 |
more complex and advanced lighting style
that will let you have more realism in
| | 00:25 |
your 3D renders.
So, this scene here demonstrates a good
| | 00:30 |
example of just a basic CG lighting
scene.
| | 00:33 |
You can see that the light is clearly
coming from the upper left.
| | 00:37 |
It has kind of this round sheen on the
sphere and then this straight sheen on
| | 00:41 |
the cone.
The shadows are black and dark except for
| | 00:45 |
we have a little bit of reflection
creeping in onto the edge of the cone,
| | 00:49 |
and in under here around the cube, and
then off even the side of the environment.
| | 00:55 |
Just kind of hard rough shadows.
You get the feeling of depth.
| | 01:00 |
You get the feeling of the lighting and
the shadows.
| | 01:02 |
But it leaves a lot to be desired as far
as actual realism, and being a little bit
| | 01:05 |
more compelling.
Now, using this kind of lighting, you can
| | 01:09 |
actually get very good results if you use
it very carefully.
| | 01:12 |
If you use it very deliberately.
And then also combine it with materials
| | 01:16 |
that are well optimized for.
And example of that would be this old man
| | 01:21 |
here who has just basically three very
simple lights pointed at him.
| | 01:28 |
And what we can't even do here is go and
grab these lights.
| | 01:37 |
Just three of these are known as
spotlights.
| | 01:39 |
They're just very simple lights kind of
like a stage light and if we take these
| | 01:44 |
and rotate them around the origin, we can
change up the lighting style pretty
| | 01:48 |
quickly here.
So, if I spin these all around this way,
| | 01:53 |
we can get a little bit more front
lighting.
| | 01:57 |
We can see so now the light's coming from
over here.
| | 02:01 |
Spin it even farther over that way, we
can get kind of a more nice balanced
| | 02:05 |
light coming from the left, and then a
little bit coming from the right.
| | 02:09 |
Keep going around even farther and get a
nice bit of edge lighting that works well.
| | 02:15 |
We can rotate them up this way to get
some really different varied lighting styles.
| | 02:20 |
Just using these three simple lights.
So, it can be a good way to get nice
| | 02:23 |
lighting and typically you're going to
get faster render times with this kind of lighting.
| | 02:29 |
But what you will miss in doing something
like this, let's make it larger so you
| | 02:33 |
can see it.
What you will miss is a kind of, added
| | 02:36 |
level of softness and nuance that comes
from more realistic lighting.
| | 02:40 |
And that's the global illumination or
radiosity that I mentioned earlier.
| | 02:44 |
So, we can see here's the same subject in
a scene that uses a more complex lighting.
| | 02:52 |
This is actually lit by a combination of
CG lights and also of an environment image.
| | 02:58 |
That is an actual photograph, a spherical
photograph taken, stitched together of a
| | 03:02 |
number of photographs.
And then, those photographs are used to
| | 03:06 |
calculate the lighting in a scene.
The nice thing about this kind of
| | 03:10 |
lighting is that, you can change it up
just by changing the environment image or
| | 03:14 |
the image that's surrounding the scene.
So, if basically, you can go in and take
| | 03:20 |
some good quality photo's of something in
high dynamic range or at you know, above
| | 03:24 |
the kind of the standard JPEG range.
You can get good lighting out of them and
| | 03:30 |
can use these two.
Have at least the start of very good
| | 03:33 |
lightning scenarios built.
So, using different types of 3D lighting,
| | 03:37 |
you can achieve a good look no matter
what it is you're doing.
| | 03:42 |
Even if you're just using simple
lighting, knowing how your lights work
| | 03:45 |
and using them well, will allow you to
get good results.
| | 03:49 |
And then, if you have more time and more
need for better looking lighting, then
| | 03:52 |
you go with more complex and advanced
lighting styles.
| | 03:56 |
It can add a lot of realism and extra
detail to your 3D renderings.
| | 04:01 |
| | Collapse this transcript |
| Direct illumination| 00:02 |
In this video we'll have a look at the
basic types of lights that are available
| | 00:05 |
in MODO, and how they work and some of
the options to make them look better.
| | 00:09 |
So, the first one that we'll look at here
is the basic light that comes turned on
| | 00:13 |
by default when you start a scene in MODO
and that is a directional light.
| | 00:19 |
directional light is something kind of a
kin to sunlight.
| | 00:22 |
It doesn't come from a particular point
in space, you can see the actual light
| | 00:25 |
here, highlighted in orange, and if I
move this light around, it's actually not
| | 00:29 |
going to effect my lighting at all.
It will force my Preview Render to start
| | 00:34 |
re-drawing, but it's not going to change
anything.
| | 00:37 |
All that matters with the directional
light is the angle that it's coming from, so.
| | 00:41 |
If I take it and rotate it so it's coming
from a lower angle, you can see that
| | 00:45 |
that's going to change my lighting, but
the actual position of the light really
| | 00:48 |
is irrelevant.
So, that's the most basic style of lighting.
| | 00:53 |
There are some things you can do to make
it look a little bit better, but we'll
| | 00:55 |
come back to those in a moment.
So, the next kind of lighting we have
| | 00:59 |
available is a point light.
And this would be something kind of like
| | 01:03 |
a light bulb.
So, you can see it up here represented by
| | 01:06 |
this star in the scene.
And with a point light it's actually
| | 01:09 |
opposite of a directional light.
The angle or the rotation of it doesn't
| | 01:13 |
matter at all.
All that matters is position, because it
| | 01:17 |
is a point in space that has light
emanating from it.
| | 01:21 |
So let me go back to an automatic action,
and center here.
| | 01:23 |
If I take this and rotate it It's not
going to do anything to my lighting but
| | 01:26 |
if I take it and move it, we'll see the
angle of the shadows changing, we get
| | 01:30 |
more blown out because it's getting much
closer.
| | 01:35 |
Now this does obey a realistic light fall
off, so as it gets closer to things, it
| | 01:38 |
is going to cause them to be much
brighter and more blown out, and the
| | 01:42 |
farther away it gets, it will fade out,
just like a real light would if you move it.
| | 01:49 |
Away from an object, that's a point
light.
| | 01:53 |
Now next most basic style of lighting
which in some ways is a little bit better
| | 01:57 |
and in some ways not is a spotlight.
And the spotlight's position and
| | 02:02 |
direction both matter.
You can think of this as something like a
| | 02:06 |
stage lighting.
It's a light eminating from one point in space.
| | 02:10 |
But you can move it and rotate it and any
of those things will actually affect the rendering.
| | 02:15 |
So if I take this light and move it down,
see that the actual lighting is changing
| | 02:20 |
in the 3D scene.
And also if I take it and rotate it.
| | 02:25 |
Again, the lighting is changing.
With a light like this, you actually do
| | 02:28 |
get control over the cone angles.
So you can see here the purple circles
| | 02:33 |
that are being drawn back at the end of
the light will actually control the
| | 02:38 |
radius of the light is the outer one.
So how wide the spotlight is open essentially.
| | 02:45 |
And the second one is how softly it falls
off.
| | 02:48 |
Now, you should notice that the edges
here will get more soft, but it's not
| | 02:52 |
going to make the shadows any softer.
There's some other things you'd have to
| | 02:56 |
do, and it's actually similar across all
of the different lights that will allow
| | 02:59 |
this to actually soften your shadows and
look a little better in general.
| | 03:03 |
So, that's a spotlight.
The we get into some slightly more
| | 03:06 |
complex kinds of (UNKNOWN)
There're basically 3 different ones that
| | 03:10 |
we'll look at here and they're all
kind of variations on a theme, because
| | 03:13 |
they're emitting light, not from a single
point in space, but from a particular area.
| | 03:19 |
So, the first one is actually an area
light and this is a light that (no
| | 03:23 |
period) If we look at it here in our 3-D
scene, is basically a square.
| | 03:29 |
And it's a square that shines light down
onto the scene.
| | 03:33 |
So you notice that the shadows have
become much softer.
| | 03:35 |
This is getting to look a bit more
realistic and it's a bit more compelling.
| | 03:40 |
Doesn't look as static as.
Say this directional light did.
| | 03:44 |
(UNKNOWN) hard edge shadows, much more
unrealistic.
| | 03:48 |
But the aerial light is starting to get
a, a little bit better looking because
| | 03:52 |
it's not casting light from a single
point in space which I don't know too
| | 03:55 |
many light sources that are (UNKNOWN)
small but, it does cast light from an area.
| | 04:01 |
So, another variation on that is a
cylinder light, which can think of
| | 04:04 |
something kind of like a neon light.
Is going to cast light from a kind of
| | 04:09 |
cyclindrical area.
And you can see the effect again, is
| | 04:12 |
something significantly softer.
And a little bit more compelling than
| | 04:17 |
those first basic ones.
The the last one of these that we'll look
| | 04:20 |
at is a dome light.
What the dome light does is actually
| | 04:24 |
creates a dome and lights the scene from
that dome.
| | 04:27 |
So light is coming in from all point
around our 3D scene.
| | 04:34 |
So this one is a relatively basic one.
And it is a relatively slowly rendering one.
| | 04:39 |
So it's not really one that we use very
often.
| | 04:42 |
There are other options for rendering
similar kind of looks, that will actually
| | 04:45 |
achieve the look more efficiently and
look better as well.
| | 04:48 |
So, let's go back and look at some of the
options that we can use to make these
| | 04:51 |
lights look better.
So with directional lights, point lights
| | 04:55 |
and spot lights, there are some extra
options down here and let's go ahead and
| | 04:59 |
maximize that.
You can see that we have a radius here.
| | 05:04 |
And this, is my spotlight, which, let's
make sure that I've got the right light visible.
| | 05:08 |
I've got a radius that I can, in Control
here.
| | 05:11 |
So, if I take this radius, and increase
it, let's put it up to, oh, half a meter,
| | 05:14 |
so it's relatively big, alright.
That's too big, let's go to 200
| | 05:18 |
millimeters, there you go.
Now, you can see this is actually
| | 05:21 |
softening out my shadows a little bit,
but it has done nothing to My highlights
| | 05:24 |
the highlights are still the same shiny
ugly ighlights.
| | 05:28 |
Thats becaus ethere is an option on all
these lights called ismple shading.
| | 05:32 |
Simple shading means that no matter how
big a light source is its size and its
| | 05:35 |
area that it casts light from is only
going to effect shadows.
| | 05:40 |
Its not going to affect the highlights
and things like that but if I turn that off.
| | 05:44 |
It softens things a bit and we get some
nicer specularity and other things like
| | 05:47 |
that so it's looking a little bit better.
Let's have a look at that same option
| | 05:52 |
here even on a point light we can get the
same thing.
| | 05:55 |
So if I take and put my radius.
My point light up to, let's see, .25, a
| | 06:02 |
little bit bigger, and then turn off
simple shading.
| | 06:06 |
See that we're starting to get something,
again, a little bit nicer.
| | 06:11 |
Now, the next thing would be to take this
and jump a step farther and choose
| | 06:14 |
something like an area light, which,
let's turn off that point light and turn
| | 06:18 |
on the area light.
And now, let's turn off simple shading
| | 06:23 |
for the aerial light.
You can see, all of a sudden, we get a
| | 06:27 |
much much softer, nicer looking scene.
And there are actually more options with
| | 06:32 |
the aerial lights, these are new in Moto
6.01.
| | 06:34 |
You can make it visible to the camera, so
you would actually see it.
| | 06:38 |
If you are to move the camera around, so
you'd actually see the square of light.
| | 06:42 |
To make it visible to reflection, and
invisible to refraction.
| | 06:44 |
So something transparent.
So let's turn all three of those options on.
| | 06:48 |
And we'll actually see now, because these
objects have some reflectiveness on them.
| | 06:54 |
Actually see kind of a squarish shape in
that reflection.
| | 06:58 |
So that's going to add a lot of realism
as opposed to the look Of, a, regular
| | 07:01 |
specular highlight.
Specular highlights, unless you're using
| | 07:05 |
anisotrop you're always round.
So this little bit of, kind of squared
| | 07:10 |
off edge, really helps this look a lot
better.
| | 07:15 |
That's a quick look at all of the basic
light styles inside MODO.
| | 07:19 |
Using a combination of these in lighting
with multiple points, and then adding
| | 07:23 |
some coloration to the light.
Can actually help you produce relatively
| | 07:27 |
compelling imagery with, you know, just
the use of these basic lights.
| | 07:31 |
| | Collapse this transcript |
| Indirect illumination| 00:02 |
In this video, we'll be having a look at
Global Elimination.
| | 00:05 |
And how it can be used to light your
scenes with more subtlety and nuance than
| | 00:08 |
using the traditional CG Lights.
This is the Global Elimination Start
| | 00:13 |
Project file, and it has inside of it a
backdrop, three little objects that has a
| | 00:18 |
group of lights.
But they're all turned off at the moment.
| | 00:23 |
So, all of the lighting in this case, is
going to have to come from the actual
| | 00:27 |
luminous environment objects.
So, what we have in here, if we hop over
| | 00:34 |
to our model Quad view, are three little
four polygon lights.
| | 00:41 |
So, it's basically four polygons that
have been smoothed and have a little bit
| | 00:44 |
of contour to them, and each one of them
has a different light material on them.
| | 00:49 |
So, the light materials, if we look here
at one of these, let's grab light three here.
| | 00:56 |
Has a material with basically a luminous
intensity setting, and then a luminous
| | 01:02 |
color and that's about it.
So, it's a very simple, yet effective way
| | 01:08 |
of lighting your 3D scene, so I'm going
to go back here and hide all of these for
| | 01:12 |
the moment.
And let's hop over to the Render Preview.
| | 01:16 |
And we can see what happens when we turn
each one of these on.
| | 01:18 |
The first one is the overhead light.
We can see as I turn that on, we have the
| | 01:22 |
overhead light appear.
Now, this scene already has Global
| | 01:26 |
Illumination turned on.
But if you don't have Global Illumination
| | 01:30 |
turned on, that's found under Render, and
then Global Illumination.
| | 01:34 |
And Indirect Illumination is what you
need here.
| | 01:36 |
If I turn this off, you'll see that I
still get the reflection from this light
| | 01:40 |
polygon up here.
But we don't get any actual lighting from it.
| | 01:44 |
We just see that little bit of
reflection.
| | 01:46 |
But once I turn that on, there.
We actually start to get some real light
| | 01:49 |
coming off of these, alright?
So, three different lights.
| | 01:53 |
The second light, it's a cooler lighten
again.
| | 01:57 |
It's just four polygons that are
subdivided.
| | 01:59 |
They're in sub (UNKNOWN), and then
there's a little bit of contour.
| | 02:03 |
So, you see you get the cool light coming
from the left-hand side.
| | 02:06 |
And then, we have the warmer light coming
from the right.
| | 02:09 |
And you can see how this actually bounces
around a little bit and starts to fill in
| | 02:12 |
areas that are not directly hit by the
light as well.
| | 02:16 |
And you can increase the amount of light
bouncing that happens.
| | 02:19 |
Under Indirect Illumination, you can see
that there is an Indirect Bounces option.
| | 02:23 |
If I turn that up by one, everything is
going to get a little bit lighter.
| | 02:27 |
And we actually start to get some light
bouncing even more off of the different surfaces.
| | 02:31 |
This will take longer to render, so
beware turning on these extra balances is
| | 02:34 |
going to slow you down when it comes to
render time.
| | 02:38 |
I'm going to turn them off right now so
we get a faster preview.
| | 02:41 |
So, when we start to combine these, we
can build a kind of multi-point lighting system.
| | 02:45 |
So, there's the warm and the cool lights
and they're together.
| | 02:48 |
And then we'll throw in the light up on
top.
| | 02:51 |
All right, so that simply we have our,
our scene lit.
| | 02:54 |
If I turn these off, I can go and add a
light material to one of these objects.
| | 02:58 |
For example, let me go grab this here,
here.
| | 03:02 |
And I'm going to press N to apply a new
material, and then I'm going to go
| | 03:04 |
through here and grab light and click OK.
And you can see this sphere now is
| | 03:08 |
actually illuminated, and it's casting
light into the scene.
| | 03:12 |
So then, I could also turn on other
lights to kind of help highlight and
| | 03:15 |
accent things if I want.
I'm going to turn this back on to the
| | 03:20 |
ball material that doesn't have anything
on it.
| | 03:24 |
And let's go ahead and bring back our
light.
| | 03:28 |
And the other bonus that you get with
Global Illumination is that you get light
| | 03:31 |
play start to bounce back and forth
between different colors.
| | 03:35 |
So for example, if I take this ball
material, I'm going to click on the ball
| | 03:37 |
in the Preview Render.
That's going to bring up my settings for
| | 03:40 |
the ball here.
I can take my diffuse color and let's add
| | 03:43 |
something nice and bright.
Let's go with green.
| | 03:49 |
Now, you can see I start to get a little
bit of light play between the objects.
| | 03:53 |
And I start to get a little bit of color
spill off on each of those.
| | 03:57 |
I can change this to something like red.
You see that we get a little more warmth
| | 04:02 |
in there.
So, changing around the colors here,
| | 04:06 |
because I have light bouncing in this
scene will allow me to get more color
| | 04:09 |
bleed between objects.
Once you get again a little bit more
| | 04:13 |
believability and realism, there is one
other way that we can get Global
| | 04:17 |
Illumination to apply light into a scene.
So, I'm going to turn off these three
| | 04:23 |
lights here, and in my Content browser, I
am currently in the Environments folder.
| | 04:29 |
And with Modo, by default, you'll ship
with indoor, outdoor, and studio, and
| | 04:32 |
then I have some other ones that I've
brought in.
| | 04:36 |
But let's go in here and go to our indoor
ones.
| | 04:40 |
HDRI Environment, so it's high dynamic
range indoor environment.
| | 04:45 |
It's basically a photograph that has a
higher spectrum of colors between low and
| | 04:50 |
high that exist in it.
So, it's higher than like a JPEG.
| | 04:54 |
But this extra amount of data can be used
to extrapolate 3D lighting.
| | 05:00 |
So, I'm going to take this Trigrid 01
here at the bottom, and double-click on it.
| | 05:04 |
And when I do that, it's going to
actually drop that image into our scene.
| | 05:08 |
And it's a little bit hard to visualize,
so what I'm going to do is in my
| | 05:11 |
Perspective view, I'm going to go to
Advanced OpenGL, GL background.
| | 05:16 |
And I'm going to choose the environment
so that I can actually see the
| | 05:18 |
environment that's in here.
And if I look around, you can see that
| | 05:22 |
I've got this simple environment now
surrounding the object.
| | 05:28 |
If I go to my Shader Tree and go down to
the Environment, you can see I have one
| | 05:31 |
environment that's visible to the camera.
And I have another environment that is
| | 05:35 |
visible to everything.
I'm just going to turn this one off for
| | 05:39 |
now so that we can see everything
together.
| | 05:41 |
So, now you can see that we have this
image in the background, and it's a
| | 05:46 |
photograph, and it has different colors
coming from different directions.
| | 05:53 |
And this scene is now going to be lit as
if it were in the middle of this environment.
| | 05:57 |
You can see I have no lights in my scene
now.
| | 06:00 |
I don't even have luminous polygons in
the scene.
| | 06:02 |
But I still have lighting coming from the
environment.
| | 06:05 |
You can always augment this with other
lights.
| | 06:08 |
I could use more of my fill lights that
I've created, my little olygon fill lights.
| | 06:14 |
I want to add some more kick to this.
But overall, you can see that I get good
| | 06:18 |
control, good high quality look.
And something that looks very subtle and
| | 06:22 |
realistic for my lighting using Global
Illumination.
| | 06:26 |
| | Collapse this transcript |
|
|
9. RenderingCamera setup| 00:02 |
In this video, we'll have a look at the
camera and how its used in Modo.
| | 00:06 |
Some of the options it has, and how it
gives you your View port for finished renders.
| | 00:11 |
So, the camera is an item just like any
other item in Modo a model, or a texture
| | 00:15 |
or anything like that, a light.
So, you can see the camera in our 3D
| | 00:20 |
display here in our Perspective view.
And then in the Upper views, of course,
| | 00:24 |
is the view through the camera, and then
the rendered preview of what the camera
| | 00:27 |
is actually seeing.
Now, the camera behaves in many ways like
| | 00:32 |
a real world camera.
You can go to the Camera properties,
| | 00:36 |
maximizing that you can see that there
are a lot of options that let you control.
| | 00:41 |
Not only the position and rotation of the
camera, but also things like target
| | 00:44 |
distance that can deal with depth of
field.
| | 00:47 |
You can control the focal length of the
view and even lense distortion on the camera.
| | 00:53 |
For example, if I wanted to have a more
zoomed in camera, I can increase my focal
| | 00:59 |
length with the 70 millimeters.
You can see now my camera view is more
| | 01:05 |
zoomed and that camera itself hasn't
moved.
| | 01:07 |
You can see its in the same place in our
3D scene, but now it's zoomed in more.
| | 01:11 |
I can also lens distortion.
That will affect the way the camera
| | 01:18 |
actually views.
And you can see we have different options
| | 01:22 |
for our distortions here.
So, you can do pincushion distortion, no
| | 01:26 |
distortion, or barrel distortion.
And of course, you can do anything in
| | 01:31 |
between those by adjusting the values
yourself.
| | 01:37 |
A lot of the other camera options are
under the Camera Effects view.
| | 01:41 |
So, let's go to the Camera Effects here.
Actually, before we do that let's back
| | 01:45 |
off our focal length a bit.
So, we can see this sphere on the left
| | 01:49 |
that's up close.
And in Camera Effects, you have options
| | 01:52 |
for Depth of Field, which is your focus
and your focal length.
| | 01:57 |
Have options for Motion Blur.
So, if you have moving objects or moving
| | 02:00 |
camera they can blur between frames to
give a more realistic look to the movement.
| | 02:06 |
You have options for Stereoscopic, which
takes two side-by-side cameras.
| | 02:09 |
And you can render them out separately
for use in doing two image, 3D.
| | 02:15 |
And then also for a Clipping plane.
And that would be just taking everything
| | 02:19 |
closer than a given distance.
In this case, we can turn it on and see
| | 02:22 |
if I turn my clipping plane up that
clipping distance.
| | 02:26 |
You can see that blue sphere starts to
disappear and even the shadow off of this
| | 02:29 |
white sphere.
So, everything closer than two meters is
| | 02:33 |
completely gone.
So, as I dial this up, let me get rid of
| | 02:37 |
that white sphere.
So, I can do that and now I've gotten rid
| | 02:40 |
of all the things that are closer than
two and 2 3rd meters from the camera.
| | 02:45 |
So, you can use that to kind of clip
things away that may be blocking your view.
| | 02:50 |
So with depth of field, you can enable
that and you can either set a focus
| | 02:54 |
distance manually or you can auto focus.
So, if we auto focus it's going to take
| | 02:59 |
the very center of the camera view.
And it's going to set whatever object is
| | 03:02 |
directly at the center of the camera view
as your focal distance.
| | 03:07 |
And then, you can control your F-Stop to
get either more or less depth of field.
| | 03:12 |
So, if I decrease my F-Stop, let's pull
it down to something really low here to
| | 03:15 |
make this obvious.
We'll go down to one.
| | 03:20 |
You can see now that my objects that are
in focus are very crisp.
| | 03:25 |
But here, as we get things a lot closer
we lose that a lot.
| | 03:28 |
Now, if I increase my F-Stop to something
higher, we'll get a much more subtle effect.
| | 03:33 |
So, the things that are here close to the
Camera view are a little bit out of focus.
| | 03:37 |
But everything is relatively good.
And you also have presets for these by
| | 03:42 |
clicking on the arrow to the right of the
F-Stop.
| | 03:46 |
You can also control the number of iris
blades and the iris rotation, and then
| | 03:50 |
edge waiting.
And this has to do with the bouquet effect.
| | 03:54 |
When you see bright spots that are out of
focus, they become more bloomed out and
| | 03:58 |
blown out in the view.
So, you can even choose to edge wait
| | 04:01 |
those so that the bloomed out areas have
more of a ring or more of a flat kind of
| | 04:05 |
disc appearance.
So, a lot options here for making your
| | 04:09 |
finished renders look very nice with
regards to a real Camera view.
| | 04:15 |
So, that's a quick look at the camera.
You can move it around, obviously in your
| | 04:18 |
3D scene, to get any perspective that you
want.
| | 04:21 |
And then once you do that, it's just a
matter of setting up the options so that
| | 04:25 |
you get it to look like what you want
your finished render to look like.
| | 04:31 |
| | Collapse this transcript |
| Render settings| 00:02 |
In this video, we'll have a look at
Modo's Render settings and how we can
| | 00:05 |
control the quality.
And also the scale of the images that are
| | 00:09 |
rendered when we complete a final render.
So, on the Render item in the Shader
| | 00:14 |
Tree, you'll find a lot of properties for
your render.
| | 00:18 |
You have Frame, Settings, and then Global
Illumination which all will control
| | 00:22 |
different aspects of the quality and the
scale of your render.
| | 00:27 |
So, the first one is the Render Frame.
This is where you choose the camera that
| | 00:31 |
you'd like to render from.
In this case, we only have one camera so
| | 00:33 |
there's only one option there.
And choose how many frames will be
| | 00:37 |
rendered in an animation, and then how
many steps will be rendered in each pass.
| | 00:42 |
So, you can choose to skip every other
frame or something like that in order to
| | 00:45 |
get an animation done more quickly with
less frames so that you can get a preview.
| | 00:49 |
If that's the kind of option that you're
looking for.
| | 00:51 |
And then, you can also choose how to name
or how the naming conventions will be
| | 00:55 |
chosen if you have render passes enabled.
So, all sorts of different options there
| | 01:00 |
if you're working with render passes.
Which in an early level you probably
| | 01:03 |
won't be, but that is there should you
start to delve into render passes.
| | 01:08 |
Also, in here is the frame controls.
And this just controls the actual scale
| | 01:11 |
of your rendering.
The default is 720x480 pixels, at a 1.0,
| | 01:16 |
or a square pixel aspect ratio.
You can choose to pick inches or
| | 01:21 |
centimeters and then control the DPI.
So, for example, if I wanted to render it
| | 01:27 |
8x10 at 300 DPI.
There you go, 8x10 300 DPI.
| | 01:32 |
And then, you can also change your pixel
aspect ratio is you're going to rendering
| | 01:37 |
out in something other than just a square
pixel.
| | 01:41 |
For digital or HD or print.
Additionally, you have control over the buckets.
| | 01:45 |
And this is a little bit more under the
hood than you'll typically need to worry about.
| | 01:49 |
This is simply the scale of the
individual blocks that appear when you
| | 01:53 |
render your image.
Under Settings, we have some more control
| | 01:58 |
over the actual quality of the rendering
here.
| | 02:01 |
So, Anti-aliasing has to do with how the
object is smoothed.
| | 02:06 |
If we're looking at a diagonal group of
pixels, a stairstep group of pixels.
| | 02:12 |
If you want that to look like a diagonal
line, obviously black and white pixels
| | 02:15 |
won't do the trick.
But you need extra shapes of gray in
| | 02:18 |
between in order to smooth it out and
make it look more like an actually
| | 02:21 |
straight line.
And that's where Anti-aliasing actually
| | 02:24 |
comes in.
Now, Anti-aliasing is actually handled in
| | 02:27 |
3D applications is that areas of high
contrast, where you might have something
| | 02:31 |
that would look jagged.
The rendering engine will zoom in, render
| | 02:36 |
it at a higher quality, zoom back out,
and average the the pixels to give you a
| | 02:40 |
better result.
So, the number of samples per pixel will
| | 02:45 |
give you smoother results as you can get
higher numbers per pixel, 8 is the default.
| | 02:51 |
That's usually alright for preview
renders.
| | 02:53 |
But oftentimes, for finished renders or
animations, you'll want to go with
| | 02:57 |
something higher, 16 or 32 at least.
And if you have a lot of things causing
| | 03:02 |
noise or general rough looking parts of
your image, you'll want to go to
| | 03:05 |
something even higher.
So, a lot of times, blurry reflections or
| | 03:09 |
things like that will require higher
numbers of samples in order to make them
| | 03:11 |
look nice and clean.
Also in here, you can choose different
| | 03:16 |
filters for how the anti-aliasing is
actually handled.
| | 03:19 |
Again, this is a bit more under the hood
than you'll probably need to go.
| | 03:22 |
But Gaussian is the default, and is
usually a pretty good option.
| | 03:25 |
You can also use Catmull Rom if you need
it sharper, more crisp.
| | 03:29 |
Anti-aliasing and Mitchell Netravali is
good if you have areas where there is
| | 03:33 |
some noise that isn't resolving easily
with your typical anti-aliasing.
| | 03:38 |
Just so that you know that.
Now, Environment Shading, Refinement
| | 03:42 |
Shading, Refinement Threshold, these all
handle how while your anti-aliasing
| | 03:46 |
filter actually works.
And for most, beginner uses the default
| | 03:50 |
settings is probably fine.
Here is also where you can enable or
| | 03:54 |
disable depth of field and motion blur.
You can turn those on per camera, but
| | 03:58 |
then you can enable and disable them
here.
| | 04:00 |
So you can see, if I turn off depth of
field, it's going to click off here in my
| | 04:03 |
render even though I have them on for my
camera.
| | 04:06 |
I click them back on.
I can also turn on Motion Blur, which
| | 04:09 |
isn't on for my camera.
So, it isn't going to make any difference
| | 04:13 |
in this Preview, but the option is there
to globally turn these settings on and off.
| | 04:19 |
So, aside from that, nothing else in here
is anything that you would really
| | 04:22 |
typically need to worry about on a
beginner level.
| | 04:25 |
This is just for more fine-tuned
rendering.
| | 04:29 |
Once you get a handle on the basics of
rendering, these might be areas to look
| | 04:32 |
at for improving the quality of your
renders.
| | 04:35 |
And the last bit of your render settings
that you usually need to consider is the
| | 04:39 |
Global Illumination setting.
And really, we can bake this down to a
| | 04:43 |
pretty simple look at.
If you have noisy-looking lighting and
| | 04:48 |
you're using Global Illumination,
increase the radiance rays.
| | 04:53 |
Higher radiance rays is going to cause
cleaner looking renders at the cost of
| | 04:57 |
render time.
So higher number, better quality, slower render.
| | 05:03 |
Lower number, lower quality, quicker
render.
| | 05:05 |
So, it's a typical trade-off between how
much time you can spend and how good you
| | 05:09 |
want it to look as is the case in many
applications.
| | 05:14 |
Other things down here, again as I said,
are relatively unused for a beginner level.
| | 05:20 |
The one thing that I would say to look at
is if you're rendering animations with
| | 05:23 |
Global Illumination.
And you're doing something like an
| | 05:27 |
architectural rendering or something
where there isn't a lot of animation of
| | 05:30 |
anything besides the camera.
So, if the camera is just moving around a
| | 05:34 |
static scene enable walk through mode.
And what this will do is it will clean up
| | 05:39 |
your image so that you don't get
flickering of your lighting in between frames.
| | 05:44 |
And it will also decrease your render
time on animations.
| | 05:48 |
So, just something to keep in mind if
you're rendering animations of that sort.
| | 05:52 |
So, that's a quick rundown of the basic
settings you need to handle.
| | 05:56 |
If you are creating renders in Modo, and
going through those and keeping an eye on
| | 06:01 |
those should keep, you're in good shape
for creating your first basic renders in 3D.
| | 06:09 |
| | Collapse this transcript |
| Render outputs| 00:02 |
In this video, we'll have a brief look at
at an essential piece of finished renders.
| | 00:05 |
And those are Render Outputs.
Now, Render Outputs control what images
| | 00:09 |
are exactly created when you make a
finished render.
| | 00:13 |
The Render Outputs exist right underneath
the Render Item in the Shader Tree.
| | 00:18 |
So, you can see by default, we have a
final color output, which is just the
| | 00:20 |
color that you see on screen in your
Preview Render.
| | 00:23 |
It's the adding together of your lights,
your textures, your colors, and your
| | 00:28 |
objects, all your shading.
that's your final color output.
| | 00:32 |
There's also an alpha output.
And if you have a space where there is no
| | 00:35 |
geometry in the scene.
So for example, if we didn't have the box
| | 00:39 |
that these spheres were sitting inside,
the Alpha Channel would be just the shape
| | 00:42 |
of the spheres themselves.
Because there would be nothing behind them.
| | 00:47 |
In this case, our alpha will actually be
white because we don't have anything underneath.
| | 00:51 |
Now, you can add more render outputs as
many as you want.
| | 00:54 |
You can either duplicate ones that are
here by Right-clicking and choosing
| | 00:58 |
Duplicate, or by choosing Add Layer >
Special > Render Output.
| | 01:02 |
So in, in this case, we don't need any
more, so we'll just modify the ones that
| | 01:05 |
are here, namely the alpha, in order to
see the other ones that are available.
| | 01:09 |
Now, if you Right-click on the effects,
so over here we'll click on Alpha and see
| | 01:12 |
all of the render outputs that are
available.
| | 01:16 |
Now, a lot of these are ones that you
will not use very often, and some of
| | 01:19 |
these are ones that you will probably
never use.
| | 01:23 |
But there are a few that are extremely
important and I think are worth learning
| | 01:26 |
about, even right from the get go.
So, there are three that we'll consider
| | 01:31 |
right now, and they are Ambient
Occlusion, Depth, and \surface ID.
| | 01:35 |
And since we're down here, let's start on
Surface ID.
| | 01:37 |
Now, what the Surface ID is, is takes
each individual object in the scene, and
| | 01:42 |
each material in the scene.
And per object, it will apply a flat
| | 01:47 |
color to each material.
So, it's easier to see than explain.
| | 01:51 |
So, I can preview this by choosing, in
the top of my Render preview, Effect.
| | 01:56 |
And you can see I have the two render
outputs that are existing right now,
| | 01:59 |
Final Color and Surface ID.
So if I choose Surface ID, you see I get
| | 02:03 |
a preview of my Surface ID.
So, this can be very useful for going
| | 02:08 |
into Photoshop and creating masks.
Based on individual materials, and that
| | 02:13 |
way you can change things like the color,
or you can blur a particular object.
| | 02:17 |
Or do other things to it in Photoshop
because you can easily create a mask just
| | 02:21 |
based off of a selection of, you know,
these individual colors and pixels.
| | 02:26 |
So, this can be very useful as you adjust
your images in post processing.
| | 02:32 |
The other two are depth and ambient
inclusions.
| | 02:35 |
Let's move up and look at depth next.
Now, the depth pass is actually a grey
| | 02:39 |
scale representation of the position of
the camera to a set given distance away.
| | 02:46 |
The default setting is 10 meters.
And right now, this one has decreased to
| | 02:51 |
2.1 meters so that it can show more
closely the environment.
| | 02:55 |
So, if I increase that depth, you can see
that the image becomes more washed out.
| | 03:00 |
So, setting this back to around 2 or 2.1
will give me more contrast, and then it
| | 03:04 |
will give me more to work with in
Photoshop.
| | 03:08 |
More than any other image editing
application or animation application like
| | 03:12 |
After Effects for that matter.
And this can be very useful for doing
| | 03:16 |
things like adding fog, adding lens blur
in Photoshop.
| | 03:20 |
You could use this as your Blur layer so
that you could add something like depth
| | 03:23 |
of field in post-process instead of doing
it with your camera in 3D.
| | 03:28 |
That way you can save time and you can
also adjust the amount of blur that
| | 03:31 |
you're getting very quickly.
As opposed to having to re render an
| | 03:35 |
entire scene or an entire animation.
So, that's our depth output.
| | 03:40 |
And the last one we'll look at here is
Ambient Occlusion.
| | 03:43 |
Now, this Ambient Occlusion has actually
already been modified by default.
| | 03:47 |
Your Ambient Occlusion will look a bit
more like this, in this case, it's all black.
| | 03:54 |
And the reason for that is that Ambient
Occlusion takes the idea of bringing in
| | 03:58 |
light from all directions.
And then, showing where shadows would lie
| | 04:02 |
if light is coming from all around.
So think, overcast stay, you set
| | 04:06 |
something, you set a white ball on a
white piece of paper, and what you see is shadows.
| | 04:11 |
And that's kind of what you get here.
And since these spheres are all inside a
| | 04:14 |
closed box, we're not really going to see
anything.
| | 04:18 |
So, I can show this to you in two ways.
First way is to just take the walls and
| | 04:22 |
ceiling and hide them.
And now, you can see there are these
| | 04:25 |
spheres sitting on the ground.
And that's kind of the typical view you'd
| | 04:29 |
get if you have non-enclosed areas.
But if you do have enclosed areas, so go
| | 04:33 |
ahead and unhide those.
And you want to be able to see some of
| | 04:37 |
this Ambient Inclusion anyway, you can
set the Depth.
| | 04:40 |
And you can increase the Depth in order
to have the rays benefit polygons that
| | 04:44 |
are existing.
So, if I increase this just a little bit,
| | 04:48 |
it's initially going to go straight to
white because these polygons have no thickness.
| | 04:55 |
I would say paper thin, but they're not
even that thick.
| | 04:57 |
So as I increase this, it will start to
pull a little bit more of the detail in.
| | 05:02 |
So, let's just increase this.
I'll keep going.
| | 05:05 |
And there we go.
And I'll sit and let this refine for a second.
| | 05:08 |
And there, you can see kind of a good
look at the interior of this scene.
| | 05:15 |
And again, controlling this occlusion
range can give you a variety of effects
| | 05:19 |
depending on how you'd like to visualize
this.
| | 05:23 |
This can be very useful for adding a
little bit of extra depth and emphasis to
| | 05:27 |
textures and lighting, and post process.
And also, can be used to highlight
| | 05:31 |
individual objects in your 3D scene.
Now in your finished render, you may find
| | 05:36 |
that the default of 64 occlusion rays is
going to look a little grainy and a
| | 05:39 |
little rough.
And we have the typical trade-off here of
| | 05:43 |
higher numbers equals smoother and better
quality.
| | 05:45 |
But also slower render time.
So usually, I like to go for a nice
| | 05:49 |
balance of somewhere around 256 rays.
That gives you a nice, clean look without
| | 05:54 |
taking too long to render.
If it still looks a little grainy, you
| | 05:58 |
can bump it up to 5,12 and that will look
really nice and still give you a decent
| | 06:02 |
amount of speed and quality.
So there you go, render outputs in a nutshell.
| | 06:08 |
They're great for adding extra detail
when you're post processing your images
| | 06:11 |
and they appear anytime you render as
long as they are enabled.
| | 06:15 |
You can see the little eyeballs here like
in Photoshop.
| | 06:18 |
If the eyeball's there, it's enabled.
So, when I go up to Render and render to
| | 06:22 |
create a finished render, you'll see that
I have my default color here.
| | 06:28 |
And I can see my output at the top, final
color output.
| | 06:32 |
And then, my other option that will come
out here in a second is Ambient Occlusion.
| | 06:35 |
And I'll wait a second to enable that so
that you can see it.
| | 06:39 |
So first, it does an irradiance cache,
and this helps define the lighting
| | 06:42 |
because we're using Global Illumination.
And as soon as that is done, it will go
| | 06:49 |
through and make the finished render
pass.
| | 06:52 |
This is the last radiance pass.
And now, it's going to go through and render.
| | 07:01 |
And so, this is my finished rendered
color there.
| | 07:04 |
And if I switch down to Ambient
Occlusion, I can see the Ambient
| | 07:06 |
Occlusion render coming in the same
space.
| | 07:09 |
And you might see a little bit of a
difference because I switched back and forth.
| | 07:12 |
But once this is actually completed, it
will balance out and make the colors even across.
| | 07:18 |
And see there's my final color output.
And here's my Ambient Occlusion.
| | 07:30 |
I can see it's looking even again, just
because I switched back and forth.
| | 07:35 |
But as soon as this completes, the pass
here, there you go.
| | 07:39 |
And we can see, there's our final color,
there's our Ambient Occlusion which is
| | 07:43 |
looking a little funny, but that's just a
glitch here in this redraw.
| | 07:48 |
There you go.
So, as I zoom in full size, you can see it.
| | 07:51 |
So, there's are Ambient Occlusion.
There's our final color.
| | 07:55 |
And I can choose to save the individual
images or I can save layered images.
| | 08:01 |
So, it would, that will give me both of
my passes into one layered image, and
| | 08:05 |
they'll be ready for me to edit in
Photoshop.
| | 08:09 |
| | Collapse this transcript |
| Rendering animation| 00:02 |
In this video, we'll have a look at
Rendering Animations in Modo.
| | 00:05 |
Now, rendering animations is really
pretty simple.
| | 00:07 |
But there are a couple of things to keep
in mind.
| | 00:09 |
To render an animation, if you have
animation setup as we do in this scene,
| | 00:12 |
this is an animated rendered scene if
you'd like to open it up and render it out.
| | 00:19 |
So, I can render an individual image by
just going to render or also hitting F9.
| | 00:24 |
And then, I can pull down to render
animation if I want to render out an
| | 00:28 |
entire animation.
And you'll be presented with a couple of
| | 00:32 |
dialog boxes when you render an
animation.
| | 00:35 |
And I'd like to cover these so that you
know what to expect here.
| | 00:38 |
You get your first frame and your last
frame.
| | 00:40 |
If you want to render the entire thing,
then just choose the entire range, 1 to 120.
| | 00:45 |
And you can also choose the frame steps.
So, if you want to skip frames, and say
| | 00:48 |
render something at half the number of
frames just to get a preview out.
| | 00:53 |
And you can choose that by increasing
your frames depth, and then you have a
| | 00:56 |
few options for how your images are
saved, and also for render passes.
| | 01:01 |
And we don't have any render passes set
up here, so there's no options there.
| | 01:05 |
But for saving the images, you have a few
options.
| | 01:08 |
And you can save them as an image
sequence a movie or layered images.
| | 01:13 |
Now, I would always recommend saving as
either image sequence or layered images.
| | 01:18 |
You can save out as a QuickTime movie.
And when the render is actually done, it
| | 01:21 |
will be just a playable QuickTime movie.
But there is one issue with that.
| | 01:26 |
And that's that a QuickTime movie is not
a complete file until it is completely rendered.
| | 01:31 |
So, if you've got 120 frames.
It's not an actual playable movie until
| | 01:35 |
120 frames have been rendered out.
If you happen to have a computer crash or
| | 01:39 |
something on frame 120, guess what?
You lost all of the rendering you just did.
| | 01:44 |
If you're rending that as an image
sequence or a layered image sequence, if
| | 01:47 |
you have multiple render passes.
Then if you have a crash on frame 120,
| | 01:52 |
you simply reboot your computer.
You open the scene, you render frame 120
| | 01:58 |
and you're done.
There's no big drama in there and then
| | 02:02 |
you can use QuickTime Pro, you can use
After Effects.
| | 02:06 |
Even Photoshop, you can use frames to
assemble sequences into a finished
| | 02:09 |
animation and then save out a QuickTime
movie from there.
| | 02:12 |
It's an extra step, but it's worthwhile
if you're doing renders that take, you
| | 02:16 |
know, more than a few minutes.
If you're doing short renders, that only
| | 02:19 |
take a few minutes to render.
A lot of times I will personally go and
| | 02:23 |
save as a QuickTime file.
Because if I lose five or ten minutes,
| | 02:26 |
because it's a short render.
It's not the end of the world, and then
| | 02:29 |
it saves me the steps of going through
and creating a finished render.
| | 02:32 |
So, once you have everything set up the
way you want, go ahead and click OK.
| | 02:37 |
And you'll be presented with a dialog
box.
| | 02:40 |
And from here, you can go ahead and save
out your image sequence.
| | 02:44 |
Usually best idea to put it into a
folder.
| | 02:49 |
And then, you'll get all your images in
there you can choose the format, just
| | 02:53 |
like any other option.
And if you're doing a layered format,
| | 02:56 |
you'll get a layered PSD files.
And then, you can pull those layered PSD
| | 03:01 |
files in with all the individual render
outputs into something like After Effects
| | 03:05 |
and then layer them up after the fact.
So, let's go ahead and cancel because I
| | 03:10 |
don't want to render right now.
There you go, that's it.
| | 03:13 |
Our rendering animations in Modo.
It's very simple.
| | 03:15 |
Just make sure that you know what options
you want to have and render out the best
| | 03:19 |
output for your personal needs.
| | 03:22 |
| | Collapse this transcript |
|
|
ConclusionModeling next steps| 00:00 |
Creating good UV maps is an integral and
crucial part of the 3D modeling and
| | 00:04 |
animation process, and I would encourage
you not to shy away from it.
| | 00:10 |
In my experience it tends to be one of
those topics that is the bane of most 3D
| | 00:13 |
artist's existence.
But really, it's something that once you
| | 00:16 |
can get a hold of and master and start to
enjoy a little bit.
| | 00:20 |
You'll find that it makes your entire
pipeline much, much more powerful.
| | 00:23 |
Because then it allows you to do more
things with your textures than you can if
| | 00:27 |
you either don't do very good UV's or
just kind of skip over the process
| | 00:30 |
entirely and don't use them.
And really the core of what happens with
| | 00:36 |
good UV mapping is really just like
things that we've discussed.
| | 00:39 |
If we look at the UV map for this column
even thought it's a relatively complex
| | 00:43 |
multi part piece, really everything has
just been pulled apart.
| | 00:47 |
If I double-click on individual pieces in
the UV map, you can see that I've got
| | 00:51 |
individual chunks here that are just
being taken apart.
| | 00:55 |
And then put back together throughout the
UV space.
| | 00:59 |
Everything's represented here and is
unwrapped relatively cleanly.
| | 01:03 |
It takes a little time, it takes a little
patience.
| | 01:05 |
My best advice is to get used to the
little bit of a puzzle that exists in
| | 01:08 |
doing it.
Find a little joy in it, and it'll make
| | 01:11 |
your life a lot easier as you do so.
And there's one other tool that I thought
| | 01:14 |
I would mention, it's not really a tool
it's more of just a little tip.
| | 01:18 |
But when you're using your UV maps, and
trying to create a good UV map,
| | 01:20 |
especially on something complex, there's
a great tool that you can use.
| | 01:25 |
Let's go over here to my model tab, and
I'm going to open a Presets.
| | 01:29 |
And under the Images, in the Presets and
then all the way down you'll see a UV
| | 01:32 |
section, and this has some UV images.
Now, the one that I really like to use is
| | 01:37 |
the Modo UV Checker, just take that and
drop it onto your UV mapped image.
| | 01:41 |
And you can see that this grid is going
to appear all across your model.
| | 01:45 |
This will allow you to very quickly and
easily find distortions in a real live context.
| | 01:50 |
And the upside of using this as opposed
to just looking for distortions in the UV
| | 01:54 |
map itself is that you can see which ones
are important.
| | 01:59 |
And which ones are only causing minor
problems with your UV's.
| | 02:03 |
Notice I've got a little bit of an arc
coming through this part of the UV, it
| | 02:06 |
might be an issue if I'm using something
like a marble texture.
| | 02:09 |
It's probably not going to come into play
at all.
| | 02:12 |
Also through here there's a little bit of
stretching going into these divits.
| | 02:16 |
But again, depending on the type of
texture youre using it might not be
| | 02:18 |
important at all.
And if you're painting your own textures,
| | 02:20 |
then it can probably be just something
that you don't even worry about.
| | 02:24 |
But all the other large, kind of flat
open areas, the round area around here on
| | 02:28 |
the base.
These are all covered very well, very
| | 02:31 |
cleanly, and you see that all of my UV
maps are giving me a nice, clear grid,
| | 02:34 |
because they're nice and evenly laid out.
So, this can be something that helps you
| | 02:40 |
in the process, by using this and other
techniques inside the UV layout itself.
| | 02:46 |
Such as the Show Distortion tool, it will
allow you to make these UV's the best
| | 02:50 |
that you can.
Don't shy away from this, it's really
| | 02:54 |
important for making good quality models,
especially when you're working in
| | 02:58 |
something like Low Polygon, Real Time
application.
| | 03:02 |
Where UV maps are going to be integral in
pulling in data from your high poly or
| | 03:05 |
your more complex models onto your lower
density, lower poly more simplified models.
| | 03:11 |
So, making good UV's there is really
really important.
| | 03:13 |
But throughout the entire 3D creation
process these UV's are going to be key to
| | 03:17 |
making good 3D work.
So, work on them, practice them, master
| | 03:21 |
them, and you'll be very happy that you
did.
| | 03:24 |
| | Collapse this transcript |
| Texturing next steps| 00:02 |
As you work on mastering the basics of
moving around vertices, edges and
| | 00:05 |
polygons, using them as direct polygons
or as subdivisions surfaces, you'll begin
| | 00:08 |
to see that there's a lot more that you
can do with these modeling techniques.
| | 00:15 |
There are a lot of other tools that we
have not gone over here, but will help to
| | 00:18 |
speed your workflow as you begin to get
more in depth in how you are creating
| | 00:20 |
your 3D models.
Here I have a quick example of something
| | 00:26 |
modeled with subdivision surfaces and
just how complex they can really get.
| | 00:31 |
This is actually out of the Modo stock
content library.
| | 00:35 |
These are all individual lego pieces that
were pulled out of there.
| | 00:38 |
And these are all actually modeled
completely by hand with subdivision surfaces.
| | 00:43 |
So, if we take for example a piece like
this.
| | 00:46 |
Let me look here on the underside.
We can see that every little nook and
| | 00:50 |
cranny is actually modeled here and you
can see the amount of detail in the
| | 00:53 |
actual model that allows the surfaces to
be controlled in the exact way that we
| | 00:56 |
them to.
You can see here every little bit is
| | 01:01 |
working together nicely.
Also, you can see as the pieces fit
| | 01:05 |
together, there is, you know, little bits
of rounding and little gaps and things
| | 01:09 |
that add to the accuracy of the pieces.
Kind of like a little gap in here is all
| | 01:15 |
included, so.
That's a good example of what kind of
| | 01:19 |
things you can do with subdivision
service modeling.
| | 01:23 |
You'll also see that as you increase the
complexity of subdivision surface models,
| | 01:26 |
there are other things that you can do to
create models as well, more organic
| | 01:29 |
modeling techniques, such as sculpting
and solid sketch.
| | 01:34 |
As you dive more into these, you'll be
able to create just about anything that
| | 01:37 |
you can possibly imagine.
So, keep practicing the modeling tools
| | 01:40 |
that you've learned here.
Continue learning and training and
| | 01:43 |
finding new things to do, new projects to
work on and your modeling skills will
| | 01:46 |
increase all the time.
| | 01:49 |
| | Collapse this transcript |
| UV mapping next steps| 00:00 |
Texturing is a deep and complex topic all
on its own.
| | 00:05 |
You could easily spend many hours
learning and mastering techniques for
| | 00:09 |
creating good textures.
While we've covered all of the basics of
| | 00:13 |
what goes into a texture, there is still
a lot left to cover.
| | 00:18 |
Mastering the Shader Tree will allow you
to complete complex textures, create
| | 00:22 |
things that you see in real life or
things that you need to visualize.
| | 00:26 |
Perhaps, that you have not seen in real
life.
| | 00:29 |
In order to master the Shader Tree, it's
really important to consider your layering.
| | 00:33 |
Look at how layers cover each other, look
at how different layers interact with
| | 00:37 |
each other.
A good way to study materials is to
| | 00:41 |
actually study the presets that ship with
Modo.
| | 00:45 |
And there are many more that you can find
for free on the Luxology website.
| | 00:50 |
Though, looking here at materials, and
let's give ourselves a little bit more
| | 00:55 |
space here.
If we take a look, like at the enhanced.
| | 01:00 |
Look here and let's just go to Materials.
I've just got one in there, and it's a
| | 01:03 |
nice interesting example though.
This puts together a lot of different
| | 01:08 |
layers in order to build the actual
material.
| | 01:12 |
You can see that there is regular Base
layer, there's a diffuse amount and
| | 01:15 |
there's a Bump layer that go into there.
You'll find other materials here in the
| | 01:20 |
presets that add more and more layers of
complexity in order to create the desired result.
| | 01:25 |
Sob studying what other people have done
is a great way of figuring out how to do
| | 01:28 |
what you would like to do.
Remember that any time you use a preset
| | 01:32 |
material, everything that goes into that
preset will be included as you apply it.
| | 01:37 |
Sob applying a preset will dump all of
the different layers for that preset into
| | 01:41 |
your Shader Tree and let you see how they
interact.
| | 01:44 |
And how they layer, and how they create
the desired material.
| | 01:48 |
Keep studying these, they're a fantastic
resource.
| | 01:50 |
And you can see that way that other great
artists are creating wonderful textures
| | 01:53 |
of their own.
| | 01:54 |
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| Animation next steps| 00:02 |
We've really only scratched the surface
of what is possible with creating
| | 00:05 |
animation inside of Moto.
Although, a lot of the basics are covered
| | 00:09 |
with parenting and relationships between
objects, there's a lot more that you can
| | 00:13 |
also do.
You'll learn that there's the ability to
| | 00:16 |
attach Mesh structures, like this one
here.
| | 00:20 |
This basic sloth character that I've
created using the Solid Sketch tool, is
| | 00:24 |
overlaying a basic rig, or an armature
created of joints and skeletal bones,
| | 00:28 |
that are put together, and then control
the actual mesh itself.
| | 00:35 |
Then on top of that, there is a layer of
Inverse Kinematics, which allows some
| | 00:39 |
control pieces, the cubes here that you
see in the scene, to act as goals.
| | 00:45 |
And so, as one of these pieces is moved
around, the other joints will reorient
| | 00:49 |
them self, in order to keep the system
together.
| | 00:53 |
You can see even if I pull this over
farther, it will pull on the character itself.
| | 01:00 |
This kind of rigging is very common, and
very powerful for creating complex
| | 01:05 |
characters, and other complex moving
pieces.
| | 01:10 |
So as you continue learning about
animation, if that's something that
| | 01:14 |
interests you, look at ways that you can
attach your models to other types of
| | 01:17 |
control rig, so that you can gain greater
control over the model, and so that you
| | 01:21 |
can create things that will move in
interesting and also predictable ways.
| | 01:28 |
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| Lighting and rendering next steps| 00:00 |
Lighting in 3D scenes is not always the
same as it would be in real world
| | 00:04 |
lighting scenarios.
But that said, the real world is a great
| | 00:10 |
place to look for references on how to
get better lighting in your 3D scenes.
| | 00:15 |
You can see in this simple sample of the
glass bottle sitting on a black
| | 00:18 |
background, with a little bit of
reflectivity.
| | 00:22 |
That the actual scene setup is very
similar to how one would be setup in the
| | 00:25 |
real world.
There are two large soft lights sitting
| | 00:28 |
off to the side, and then on the left and
right of the scene there are also these
| | 00:32 |
large transparent.
Translucent kind of tissue paper kind of constructions.
| | 00:37 |
And those serve together to blend out the
lighting and the reflection on the object.
| | 00:43 |
So, this is a very common setup that you
might see in a photo shoot.
| | 00:48 |
If you have experience in photography,
draw on that experience in order to
| | 00:52 |
create more depth of your 3D lighting and
3D rendering.
| | 00:55 |
If you don't have experience in
photography, find someone who does, find
| | 00:58 |
books that talk about it.
There's a lot of information that you can
| | 01:02 |
grab from the real world as you look at
lighting scenarios and lighting setups
| | 01:05 |
that will help you make your 3D scenes
richer and more compelling.
| | 01:09 |
Draw on the real world, and include some
of your own imagination to create scenes
| | 01:15 |
that are beautiful, compelling.
And exactly what you want to put into
| | 01:22 |
your 3D portfolio.
| | 01:24 |
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