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Creating a world in less than seven days

From: Blender 2.48 Essential Training

Video: Creating a world in less than seven days

Setting up the background for your CG world or your scene is pretty complicated, and there are a few settings that we need to go over and talk about when we talking about setting up a world. First, there is an entire sub- context over here under Shading. If you press F5 you get the Shading context, and then down here with the little World icon over on the right is the World button. So when you click that, you get a whole set of panels that allow you to setup the world. So I'm going to go ahead and put these away. Let's walk through them. First of all, you have a control for obviously naming the world.

Creating a world in less than seven days

Setting up the background for your CG world or your scene is pretty complicated, and there are a few settings that we need to go over and talk about when we talking about setting up a world. First, there is an entire sub- context over here under Shading. If you press F5 you get the Shading context, and then down here with the little World icon over on the right is the World button. So when you click that, you get a whole set of panels that allow you to setup the world. So I'm going to go ahead and put these away. Let's walk through them. First of all, you have a control for obviously naming the world.

So you can have different kinds of worlds within the same blend file. This particular world has three colors that are setup. One is the horizon color. The next is the zenith color or the color that if you go outside and you look straight up, that's the color that you would see as you stare out into space. Then the third color is the color of the ambient light that is in your scene. So this is kind of a yellow color, reflecting a nice yellow, warm, sunny day. This scene has setup to be sort of at the beach color, nice little pastel colors with a beautiful clear day.

The ambient light color affects all of the other objects in the scene as we saw in the Ambient Occlusion and lighting video. And these Exposure and Range settings help you adjust the amount of light and how it affects the overall tone of the image. So up here in this Preview panel we see the combination using a blend of the horizon and zenith. If we take blend off, then we get just the horizon color as a flat background color. And if we press F12 now, here we just have that flat black color.

If we Blend it, now we blend from the bottom of the image to the top color, and I'm going to go ahead and set this top color a little darker or let's say a little darker blue just so you can see a little more. Now however that's from the bottom of the image, which assumes that the bottom of the camera is looking out at the horizon. If the camera is looking straight out at the horizon, then we want to use the Real option, which sets the middle of the image to be the horizon color and then above to be the zenith color and then also down below to be the zenith color.

Paper extenuates the shading by providing an absolute gradient from top to bottom no matter what the camera is looking at. So those are your three options that can be used in combination to define where and how you want your background colors to merge. The next panel is the Mist and the Stars. The Mist, if you enable Mist, now as objects recede often to the distance, they will actually fade out to the horizon color. This is used to simulate a kind of effect that goes in the real world as things fade out often to the distance just, because there is mist and moisture in the air.

Now you can get pretty fancy with these settings to actually simulate a very foggy kind of environment by setting a Height here, and setting up a Distance for the fade off to effect and then Distance from the camera for the misting effect to start taking the place. So to simulate a thin mist, you would specify a pretty far starting distance and with a long falloff. Stars brings up stars. Put the stars in the background just as you see here. You can have different colored stars as you can see here, and you would use this to set up, let's say, a real environment where you are trying to simulate a very clear open sky or if you are doing a space battle out in space, you can just quickly setup the stars control the size of the stars, how dense the stars are, how close they are to one another and like that.

The next is the Ambient Occlusion and there is a whole another section on Ambient Occlusion, but this is where you setup the different Ambient Occlusion methods for computing the dirt that collects in creases and corners. Last up is the Texture and as we have seen almost anything in Blender can be Textured to give it a little bit of variation as you can see here with the Blend, this is a perfect color and there is a never ever a perfect color. You can add Cloud textures and like that in addition you can also add what's called Angular maps or Spherical maps.

An Angular map is a very special kind of image that is used. So let's go ahead and add one of those. I'll give you an example of one. Once you would add a new texture you then have to come over here to the Textures panel and define what that texture is. Whether it's a Cloud, or Procedural or an Image or an Environmental map. In this case we are going to use an Image and when you click on Image you get all of this standard image controls. So let's go ahead and load up the Angular map from the library. We click Load and then one of our Windows will change to a file browser.

I would like you to get used to using a library. So under library we have textures that are separate from images. Images to me are images of real people or places or things, textures are a special picture that is used to add color or affect the surface in someway. So once we have loaded it up, we can see a preview in the Preview panel and as you can see this is a round picture that is rendered as if you were looking at a perfectly reflective sphere. And I take this one from Madcow.

This is a shoutout to Madcow in England who provides a whole bunch of these blenderartists.org. You can go out and grab them and use them to provide a very realistic world. So now if we click Real and Angular map, we can now map this image to the horizon. We don't need to really Blend it in with the background blue, but we can, we can use this blending to affect the sky color. Now when we do our render, we have a very photorealistic background for our composite. Let me go ahead and take off the stars, because I don't think we'll have the stars in the background and there is no mist in this picture.

So now when we do our render, we have our cube but now we have it set to into this background and as long as we match the lighting that was apparent in this angular map, we'll be able to blend in this cube into this scene so that it looks like it fits. There is other kind of mapping. There is a Spherical/Angular map, there is also a Tube-based mapping where if you can have a tube type of projection map, you can use that as the image background. So between the colors, the ambient light colors, and the textures, Blender provides a large array of settings just for the world background.

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This video is part of

Image for Blender 2.48 Essential Training
Blender 2.48 Essential Training

131 video lessons · 25883 viewers

Roger Wickes
Author

 
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  1. 12m 5s
    1. Welcome
      1m 16s
    2. Using the exercise files
      58s
    3. Using Blender's full capabilities
      4m 16s
    4. Getting and installing Blender
      3m 8s
    5. Mouse and keyboard differences on the Mac
      2m 27s
  2. 1h 6m
    1. Blender oddities
      7m 38s
    2. Introducing the User Interface, Console, and Render windows
      3m 8s
    3. Configuring the desktop for an efficient workflow
      6m 27s
    4. Using the mouse and tablet on a PC or a Mac
      5m 7s
    5. Acquiring keyboard skills
      7m 38s
    6. Window panes and types
      7m 53s
    7. Exploring the default scene
      5m 53s
    8. Setting themes, UI colors, and user preferences
      4m 0s
    9. Understanding how to safeguard your data with autosave and backups
      6m 52s
    10. Appending and linking assets
      7m 27s
    11. Using the open-source movies and assets
      4m 18s
  3. 2h 7m
    1. Working with objects in 3D space
      6m 24s
    2. Navigating 3D views
      4m 23s
    3. Understanding Blender modes
      1m 51s
    4. Understanding meshes
      2m 8s
    5. Editing a mesh
      3m 28s
    6. Using the Mirror modifier
      2m 55s
    7. Working with Vertex groups
      2m 35s
    8. Using Bézier curves
      3m 52s
    9. Working with text objects
      5m 23s
    10. Using reference images
      3m 38s
    11. Modeling boots by extruding circles and joining meshes
      8m 59s
    12. Applying the Mirror modifier to duplicate the boot and rotate
      1m 58s
    13. Modeling a helmet with NURBS and the Boolean modifier
      7m 14s
    14. Modeling a belt and pants by making a compound object from multiple primitive objects
      3m 51s
    15. Modeling legs by using edge loops and the Knife tool
      6m 9s
    16. Modeling a chest and arms using edge loops
      5m 30s
    17. Stitching the shoulders and neck
      5m 13s
    18. Modeling hands with the Proportional Editing tool
      9m 4s
    19. Linking vertices to create knuckle joints
      4m 7s
    20. Reinforcing modeling basics to create the face, eyes, nose, and ears
      13m 6s
    21. Appending and linking assets
      3m 54s
    22. Sculpting basics
      3m 3s
    23. Using the Subsurf modifier to smooth
      2m 34s
    24. Parenting
      2m 7s
    25. Working with groups
      2m 1s
    26. Understanding the endless possibilities for editing mesh with modifiers
      2m 37s
    27. Duplicating objects using the Array modifier
      1m 54s
    28. Modeling a set
      7m 52s
  4. 39m 41s
    1. Lighting overview
      4m 25s
    2. Using the Omni lamp
      4m 50s
    3. Working with the Area lamp
      2m 57s
    4. Using the Spot lamp
      4m 9s
    5. Using the Sun, Sky, and Atmosphere lamps
      4m 51s
    6. Using the Hemisphere lamp
      2m 3s
    7. Working with Ambient and Radiosity lighting
      7m 34s
    8. Lighting with three-point and other multipoint lighting rigs
      5m 30s
    9. Understanding shadows
      3m 22s
  5. 1h 21m
    1. Realism overview
      2m 56s
    2. Creating a world in less than seven days
      6m 36s
    3. Applying ambient occlusion
      3m 47s
    4. Working with basic materials
      3m 24s
    5. Working with node materials
      4m 27s
    6. Applying Pipeline options
      2m 51s
    7. Painting vertices
      3m 13s
    8. Using shaders
      7m 59s
    9. Using mirrors
      4m 41s
    10. Working with transparency
      4m 28s
    11. Using halos
      2m 40s
    12. Simulating with Subsurface Scattering (SSS)
      4m 26s
    13. Applying textures
      9m 34s
    14. Mapping image textures to an object to create a decal
      4m 19s
    15. UV unwrapping
      4m 54s
    16. Applying multiple materials to a single object
      3m 31s
    17. Painting in 3D
      4m 14s
    18. Using bump maps
      3m 14s
  6. 1h 25m
    1. Understanding animation
      4m 14s
    2. Keyframing objects
      6m 15s
    3. Keyframing materials
      3m 14s
    4. Creating Shape keys
      2m 28s
    5. Creating Facial Shape key animation using reference video
      2m 12s
    6. Animating by combining Shape keys
      2m 53s
    7. Working with lattices
      3m 37s
    8. Using hooks
      1m 30s
    9. Working with Vertex groups
      2m 33s
    10. Creating armature objects
      3m 44s
    11. Mirroring armatures for bilateral creatures
      3m 43s
    12. Attaching mesh to the armature by way of skinning
      5m 7s
    13. Posing a character
      4m 43s
    14. Using inverse kinematics
      4m 29s
    15. Creating a walk cycle with inverse kinematics
      6m 34s
    16. Completing the walk cycle
      3m 49s
    17. Limiting range of motion and degrees of freedom
      3m 47s
    18. Managing actions using the Action Editor
      3m 52s
    19. Blending actions together using the Non-Linear Animation Editor
      4m 34s
    20. Tracking
      3m 2s
    21. Following a path
      2m 21s
    22. Mimicking an existing animation
      3m 47s
    23. Using the grease pencil
      2m 56s
  7. 50m 43s
    1. Understanding particle systems
      2m 20s
    2. Working with game engine physics
      3m 52s
    3. Spewing particles
      7m 25s
    4. Guiding particles
      3m 43s
    5. Creating reactions and collisions with particle systems
      3m 15s
    6. Creating hair and fur
      4m 25s
    7. Grooming hair and fur
      3m 26s
    8. Jiggling and squishing soft bodies
      3m 43s
    9. Simulating cloth
      6m 10s
    10. Simulating fluids
      5m 47s
    11. Using boids to simulate swarms, schools, and flocks
      6m 37s
  8. 21m 29s
    1. Using Render controls
      6m 18s
    2. Radiosity
      3m 31s
    3. Stamping text on video
      2m 32s
    4. Setting up test renders
      4m 43s
    5. Rendering image sequences
      4m 25s
  9. 1h 5m
    1. Viewing node thumbnail images on certain Macs
      1m 31s
    2. Overview and integration
      2m 12s
    3. Render passes and layers
      4m 27s
    4. Using Input nodes
      6m 22s
    5. Using Output nodes
      3m 54s
    6. Working with Color nodes
      4m 29s
    7. Color mixing and layering
      3m 27s
    8. Using Distort nodes individually and in combination
      7m 15s
    9. Using Vector nodes
      6m 46s
    10. Creating effects with Filter nodes
      8m 49s
    11. Using Converter nodes
      6m 7s
    12. Chroma keying with Matte nodes
      6m 15s
    13. Understanding node groups and reuse
      4m 17s
  10. 38m 43s
    1. The Video Sequence Editor (VSE)
      11m 47s
    2. Integrating audio
      3m 31s
    3. Using VSE Greenscreen and other plug-ins
      5m 40s
    4. Integrating the Compositor with the VSE
      7m 50s
    5. Layering and splicing video
      6m 18s
    6. Speeding up and slowing down sequences
      3m 37s
  11. 5m 26s
    1. Putting it all together: Captain Knowledge visits lynda.com
      5m 12s
    2. Goodbye
      14s

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