IntroductionWelcome| 00:04 | Hi! I am Dan Ablan, and I would like to
welcome you to modo 501 Essential Training.
| | 00:09 | Luxology's modo has quickly become,
and continues to be, one of the most powerful
| | 00:12 | and widely used 3D
applications on the market today.
| | 00:15 | In this course, we're going to cover
navigation through the modeling tools and
| | 00:18 | the Shader Tree, and we'll explore the
workflow that has made modo so popular.
| | 00:22 | You'll see how to model with both
polygons and subdivision surfaces and use the
| | 00:27 | Shader Tree to apply materials.
| | 00:29 | We'll look at how to set up scenes with
various objects, then animate them using
| | 00:33 | keyframes while editing
motions in the Graph Editor.
| | 00:36 | Beyond the basics, I will show you how
to create lighting for product shots,
| | 00:39 | environmental lighting,
and even volumetric lighting.
| | 00:42 | Finally, we will render the
animation for various playback media.
| | 00:45 | I have been using modo since version
1.0 way back in 2004 and I am happy to
| | 00:49 | share this knowledge, with you.
| | 00:51 | Now, let's get started with
modo 501 Essential Training.
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| Using the exercise files| 00:00 | If you have access to the exercise
files for this program, you can put them
| | 00:03 | pretty much anywhere you want.
| | 00:05 | Just simply put them on the desktop
here. I've got mine lying right on the
| | 00:09 | desktop, and you can see all of the chapters.
| | 00:11 | You can double-click on any of the
files inside there to open them up;
| | 00:16 | it will know that it's a modo file.
But at the same time you can go to the File
| | 00:20 | menu and just click Open and point your
system down to any one of those files.
| | 00:27 | If you don't have access to the
exercise files, a good bit of what we've done,
| | 00:31 | if we hadn't modeled it, was also found
from the Layout tab in the assets that
| | 00:36 | come with modo when you install them.
| | 00:39 | So those are mentioned throughout the
course, and you can load up any one of
| | 00:42 | these models and follow along.
| | 00:44 | Now in some instances throughout the
course I have saved off the files we've
| | 00:47 | been working on, so you can load
those up and take a look yourself.
| | 00:50 | For instance, if we go up to the File menu
and select Open, you can look at the fire
| | 00:55 | extinguisher that was built as we went
through the course--and I had saved the
| | 00:59 | versions as we had made changes,
| | 01:01 | so you can feel free to
load up any one of those.
| | 01:03 | I will press the A key to fit this to
view and then just kind of zoom in. And you
| | 01:08 | could take a look at the stages that
we built this, from the base stage up
| | 01:12 | through the texturing stage, and even
to the point where we had embossed it.
| | 01:16 | So open up these files, take a look
at them, and put your own unique brand
| | 01:20 | into them. See if you can modify them
in some way or use them as a basis for
| | 01:24 | additional models.
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1. Getting Started in modo 501 Understanding the interface| 00:00 | When you start up modo 501 you are going to
a comfortable-looking interface like this.
| | 00:05 | Now I have got this model loaded here,
which is from the assets that come with modo.
| | 00:09 | Don't worry about loading that just yet;
| | 00:10 | I will show you how to
do that in the next video.
| | 00:12 | We see the interface.
| | 00:13 | On the left side you are
going to have your basic tools.
| | 00:16 | These are basic primitives which we are
going to use for all kinds of modeling projects, but
| | 00:20 | something to pay attention to is down
the side of this column here you are
| | 00:24 | going to see other tabs, such as Deform,
Duplicate, Mesh Edit, Vertex or Points,
| | 00:31 | Edges and Polygons.
| | 00:33 | These are additional tools we can use
to change our models and manipulate and
| | 00:38 | add more things to our model itself. But when I
select any of these tools, such as the Box tool,
| | 00:44 | down at the bottom you will see the
properties. And at the same time, if you come
| | 00:47 | over to the right side under the Items
tab, this is where all of our elements in
| | 00:52 | our scene live, such as a camera
and object, a light, and so on.
| | 00:56 | When I select any one of those items,
such as an object, you are going to see the
| | 00:59 | properties for that down at the bottom.
| | 01:03 | If you need more room in any one of
these panels, you can simply just move your
| | 01:06 | mouse over and you will see the cursor change.
| | 01:08 | You can click and drag and just pull that
up, so you can get to all the properties.
| | 01:14 | So the interface is very modular and
because of that, the team at Luxology has put
| | 01:19 | together a number of
different layouts that you can use.
| | 01:21 | So if you come up to the top, you will
see the Layout dropdown, and then you
| | 01:25 | will see Layouts flyout over here.
And you can actually go back to some of
| | 01:29 | the previous versions.
| | 01:31 | So here's 201, here is 301, and here is 401.
| | 01:39 | Now this doesn't mean you are
going back to the 401 program;
| | 01:41 | it's just the look of the interface.
| | 01:44 | For this project we are going to use
everything set in the 501 Default Layout.
| | 01:48 | You can always go back to that.
| | 01:50 | So for instance, if you take one of
these panels and you look at the top right
| | 01:54 | here, you will see a
little dot in the top corner.
| | 01:56 | You can right-click on that and
duplicate, copy, detach, and so on.
| | 02:01 | So let's say I accidentally delete that panel.
| | 02:04 | You can always go back to Layout and hit 501
Default and that will bring that panel back up.
| | 02:10 | You can also look at layouts such
as Animate, Model, and Simplified.
| | 02:15 | And Simplified is really nice
| | 02:16 | if you're working on a model and
you have very little to do in terms of
| | 02:20 | animation and surfacing. You can put a
simplified interface up like this and just
| | 02:24 | use your basic tools and
just get to work on your model.
| | 02:27 | It works really well if you have a 27-
or 30-inch monitor. And then we can just
| | 02:32 | come back to our 501 Default.
| | 02:35 | The team has also gone ahead and put
together different views across the top.
| | 02:39 | You will see these tabs up here.
Now, these are nothing more than
| | 02:42 | different arrangements.
| | 02:43 | In the model Quad, if you're
modeling from the old-school days of other
| | 02:48 | programs where you have a top, a front, a right
and a perspective view, you can jump to this view.
| | 02:54 | I can't see the model right here, so I am going
to press the A key and that fits that to view.
| | 02:59 | That's something we are going to use all the
time, so just remember the A key for fit.
| | 03:04 | There is a Painting tab which we are
going to cover, and we are going to be able
| | 03:06 | to paint in sculpture models.
| | 03:08 | We will talk about UVs a little bit.
| | 03:11 | In the Layout tab, this is where we
are actually going to get our model.
| | 03:15 | So I am going to press the A key,
and you'll see down here is where our assets
| | 03:19 | are when we installed modo, and we
will talk about those in the next video.
| | 03:24 | Under these Setup tab we are going to
talk a little bit about animation and
| | 03:28 | rigging in here. And I can just click
and move these panels to see all my tools.
| | 03:33 | In the Animate tab of course,
self-explanatory, we can animate with this tab, and
| | 03:37 | we can see our timeline down here.
| | 03:39 | So later in the course we are
going to put some things in motion.
| | 03:42 | And finally, the Render tab, and this is
where we will actually see our render.
| | 03:47 | And again I will press the A
key and it fits that to view.
| | 03:51 | The modo interface is
actually very easy to navigate.
| | 03:53 | If you are ever curious about what
something does, just hold your mouse over and you
| | 03:56 | will see a small pop-up
automatically come up and tell you what's there.
| | 04:00 | You will also see other options.
| | 04:02 | So if I hold Ctrl I get a unit cylinder
on this, or Shift, I get a cylinder item,
| | 04:08 | and that's when you see that little
tiny square in the bottom of these tools.
| | 04:12 | So if you press and click and hold,
you will actually see the additional tools.
| | 04:17 | So, don't worry about those just yet.
| | 04:19 | We will get to those as we model our
projects. And even in this view, I can move
| | 04:22 | my mouse and press the A key and rotate around.
| | 04:25 | So let's get into the next video and
I'll show you how to bring this up and
| | 04:29 | make some changes.
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| Understanding the workplane| 00:00 | So I am going to go ahead
and just clear this out.
| | 00:02 | So we will go up to the
File menu > Close scene.
| | 00:07 | We don't need to save. All right!
| | 00:09 | So everything is cleared out, so let
me show you how to load that model up.
| | 00:12 | Now this is a model that comes with modo.
| | 00:15 | Typically, we are going to say File and
of course Open, but in this case if we
| | 00:21 | go to the Layout tab all of these
models are already included. And I am going to
| | 00:26 | pull this up just so you can see what's in here.
| | 00:28 | If you look at the tabs here, we have
got Materials; Environments; Meshes;
| | 00:34 | different items, which we will talk
about later; Assemblies, which gets a little
| | 00:38 | more complex; and then different profiles we
can use for beveling and things like that.
| | 00:42 | But let's jump back to Meshes.
And then here in this list, if you click and
| | 00:47 | hold, you can actually see all the different
objects, or meshes, as they are called in modo.
| | 00:52 | So, I have the Human section selected.
| | 00:55 | You can also see there is Electronic
Devices; some exterior things, like awnings,
| | 00:59 | fences, different railings you can pull
in; and you can build different types of
| | 01:04 | models with these assets.
| | 01:06 | You can use them in your existing scenes.
| | 01:08 | You can use them and manipulate them, or
you can just use them entirely on their
| | 01:12 | own and build scenes that way.
| | 01:14 | So let's jump back to the Human, and you
can see that there's a hand--
| | 01:19 | couple of textured ones--but we
loaded up just this fun old Picasso here.
| | 01:24 | You can load in two ways: you can double-click it,
or you can simply just click and drag into the
| | 01:28 | interface. And I will pull
this back down so we can see it.
| | 01:31 | And when you load this in you can see
over here in the Items tab Picasso is loaded.
| | 01:37 | Now, a couple of things you should know about.
| | 01:39 | By default, you are going to see this
blank mesh layer and it's a blue box.
| | 01:45 | A mesh is a 3D object.
| | 01:47 | Because we use this existing
preset, it came in as a group.
| | 01:50 | You see like a little folder icon right
there. And if you toggle the arrow then
| | 01:55 | you'll see the blue box, just like the
mesh up here that's blank, but you will
| | 02:00 | see the Picasso Bust object in there.
| | 02:03 | Up in the top-right corner you are
going to see a Move, a Rotate, and a
| | 02:06 | Zoom button, and to use these, click and hold
on them with the left mouse and then drag.
| | 02:12 | I can go up and down, left and right.
| | 02:15 | Same with the Rotate.
| | 02:16 | Click and hold on it and then you can
drag around to rotate your view, and of
| | 02:21 | course the same works for the zoom.
| | 02:23 | But one thing we are going to do a lot
is you are going to hold the Alt key or
| | 02:27 | the Option key--Mac or PC it's the same--
and then you can actually click and
| | 02:30 | drag your view that way.
| | 02:35 | So, very easy to work with.
| | 02:36 | Now, you will notice that in this layout
I've got one large perspective view, and
| | 02:42 | I can jump back to my model tab
here, just so we get a full view,
| | 02:45 | press the A key to fit that in, and you
are going to think "Well, most 3D programs
| | 02:50 | have that four-view quad
look." modo doesn't by default.
| | 02:55 | It's got one big view. And it took me a
little while to get used to modeling this
| | 02:58 | way, but now it's very
hard to model any other way.
| | 03:01 | The reason this works is because of the
workplane. And if you look down here at
| | 03:05 | the very bottom-left corner,
you are going to see this icon.
| | 03:07 | That's your workplane.
| | 03:09 | And what the work place is this third
grid that you can use for a number of
| | 03:14 | different modeling functions.
| | 03:16 | So if I hold the Alt or Option key and
I rotate around, you can see that that
| | 03:20 | icon rotates with me.
| | 03:22 | You can see that I'm working down the Z
axis now, and that gray place right there,
| | 03:27 | that little line, is drawn
between the X and the Y axis.
| | 03:32 | And you see this grid that covers our whole
scene, that large grid? That's the workplane.
| | 03:37 | But what does that mean to me?
| | 03:39 | Well, let's say I go ahead and I want
to create just a flat plane in front of
| | 03:44 | our little model here.
| | 03:45 | Well, if I want to draw let's say
curtain, I can just click and draw this out, and
| | 03:49 | notice it draws on the proper axis.
| | 03:52 | This object I've drawn matches the
workplane position. Simple enough.
| | 03:58 | So I am going to Command+Z
on the Mac, Ctrl+Z on the PC.
| | 04:02 | Then I will hold the Alt or Option key
again, and I am going to rotate it down
| | 04:06 | until that workplane goes to the Y axis.
| | 04:09 | You see that pop right here?
| | 04:11 | Now my Y is dominant and that work place
is between the Z and the X axis, and you
| | 04:16 | can actually see here in the
interface that the workplane is now flat.
| | 04:20 | What does that mean if I was
going to draw that curtain again?
| | 04:23 | Well, it's actually going to draw it laying
down like a ground, rather than vertical
| | 04:29 | in front of my model, because it's drawing
on this workplane at the very bottom.
| | 04:34 | Okay, so that is the workplane in
its simplest form, and I will Command+Z or
| | 04:39 | Ctrl+Z to undo that.
| | 04:41 | But up at the top right you are
going to see Work Plane. And here you can
| | 04:44 | reset the workplane,
| | 04:46 | you can align workplane to
a selection, rotate, offset and edit
| | 04:50 | with the workplane.
| | 04:52 | As we work through this course, we are going
to use different aspects of this workplane.
| | 04:56 | From here we are just going to
manipulate the polygons, the edges, and the points
| | 05:00 | of this model so you can see how
simple it is to create something entirely
| | 05:04 | different from an existing asset.
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| Understanding Action Centers| 00:00 | Now one of the most important things
you are going to have to learn in modo is
| | 00:03 | the Action Centers, and that is right here.
| | 00:06 | You are going to see this whole list
as you click and hold on that button,
| | 00:09 | from Automatic to Selection, Selection
Border, Elements, and so on, but what are these?
| | 00:14 | Well, what I'm doing here is I'm
actually going to combine in this video a
| | 00:18 | little project that combines the use
of the Action Center along with use
| | 00:22 | of Pivots and Centers.
| | 00:24 | And if you just click and hold on the
Items button, you'll see that Pivot and Center.
| | 00:29 | So let's do this.
| | 00:30 | From the File menu, I'm going to click
Open and from the exercise files, under
| | 00:34 | CH01, load the SimpleDoor, an object in
modo where a scene is an LXO file.
| | 00:40 | Some programs have objects and scenes
and images, and modo of course has images
| | 00:46 | as well, but whatever we do in modo
will be in LXO file when we save it.
| | 00:50 | And when you load that you'll see over
here on the Items tab SimpleDoor.lxo, and
| | 00:55 | within that Scene file is our Door mesh,
and that's that blue icon right there.
| | 00:59 | All right, so we've got this door and
let's say we just want to animate it.
| | 01:03 | We're just going to pivot it,
just rotate it. Easy enough.
| | 01:06 | We'll come over here to the Basic tab
and click Transform, and look what happens.
| | 01:11 | My tool to control that--and it's simply,
you know what? I'm going to go back one more.
| | 01:15 | Let's choose Rotate.
| | 01:17 | And this first tool here we're going to use lot.
| | 01:19 | This is the Transform tool, and this
actually has Move, which are these little
| | 01:23 | arrows; has Rotate, which the circles;
and also has Scale, which are the squares.
| | 01:29 | So it's a Move, Rotate, and Scale tool,
all in one, and I use that one all the
| | 01:33 | time. But you'll also see here the Move,
Rotate, and Scale tools on their own.
| | 01:38 | So, let's just simplify and go to the Rotate.
| | 01:41 | And then I am going to click and drag
on the green handle to rotate it around
| | 01:45 | the Y axis. Look what happens.
| | 01:46 | It rotates from the center, but we need to
rotate that from the side of the door itself.
| | 01:51 | Well, that's where an action center can come in.
| | 01:53 | So come up to Action Center,
click and hold, and choose Automatic.
| | 01:57 | Now you're going to think it should know
where to put that, right? Well, not really.
| | 02:01 | The Action Center is the action
center of my mouse and when I choose
| | 02:04 | Automatic it's almost like choosing
Manual, because I can then manually click
| | 02:09 | and choose where I want that rotation
to happen, where I want the action of
| | 02:13 | my mouse to happen.
| | 02:14 | So I'm just going to rotate my view a
little bit by clicking and holding on
| | 02:17 | that top corner button.
| | 02:18 | And then I'm going to click right on
the edge of the door here. And then when I
| | 02:21 | click and drag on the green handle
I'm now rotating it from that point.
| | 02:25 | My action of my mouse, my rotation action,
is from that clicked area. Easy enough.
| | 02:30 | But let's say I want to keep that.
| | 02:33 | I'm going to click and hold on the Action
Center and select Automatic to turn that off.
| | 02:38 | You'll see that it jumps
back to the very center.
| | 02:41 | Well, if I go up to Items, click in
dropdown, and choose Pivot, we'll see a little
| | 02:46 | kind of pivot right there.
| | 02:47 | And I'll zoom in and move up.
| | 02:49 | And I'll click on that Pivot, and then
I can actually choose, let's say the Move
| | 02:55 | tool, and I'll move this over.
| | 02:58 | And so now I'm telling my object that your
pivot from now on is on the side of that door.
| | 03:04 | It doesn't matter that it's at the
bottom of the door, because we're just going
| | 03:07 | to rotate around the Y, so it
can be anywhere on this side.
| | 03:11 | And now when I go back to Rotate--
and we'll just go back to item,
| | 03:15 | so from Pivot, click and hold and
choose Items, then we'll choose Rotate--
| | 03:19 | you'll see now that the rotational
handle inside that part of the door, but my
| | 03:24 | Action Center is no longer on Automatic.
| | 03:26 | It's just its default.
| | 03:28 | So now whenever I select this item,
it will rotate from that position.
| | 03:32 | And that's it, very simple.
| | 03:34 | You don't have to choose different
action centers and different pivots for
| | 03:38 | each of your items.
| | 03:39 | It's only certain times:
a specific thing like this, like a door.
| | 03:42 | It's very simple to move that just by
selecting Pivot, moving it, and then you're
| | 03:47 | good to go. But we're going to use
different Action Centers as we model, because
| | 03:51 | these are certain times where we're
going to want to control things from a
| | 03:54 | certain element of an object, element
being an edge or a point or a polygon.
| | 03:59 | There are certain times where the
border of a selection might be needed for our
| | 04:04 | action of our mouse.
| | 04:05 | So as needed, just like our workplane,
we'll come across these and use them when
| | 04:09 | needed throughout our projects.
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| Working with the modeling tools| 00:00 | So you've seen some of the basics of how
modo works so let's actually just do something.
| | 00:05 | I'm going to start with the basic 501
default layout, and remember that's up
| | 00:08 | here: Layouts > Default Layout.
And then I'm going to be in the Model tab and
| | 00:13 | from the Model tab,
I can choose any one of these primitives.
| | 00:16 | So of course everybody knows I like
doughnuts, so I'm going to click the Doughnut tool.
| | 00:20 | It's also called the torus in
the more professional world.
| | 00:25 | And when I do that, I get a Property
panel down at the bottom that I can pull up
| | 00:29 | and show. And in here I can choose the
number of sides, and number of segments,
| | 00:33 | the size of the hole in the middle,
and so on. But I have no object here.
| | 00:37 | Well, that's because I haven't drawn it yet.
| | 00:38 | So I can just click and drag.
| | 00:41 | Remember the workplane.
| | 00:43 | Well, my workplane is set down to Z axis,
so I'm drawing my doughnut standing up.
| | 00:48 | So I'm going to undo with a
Command+Z, or Ctrl+Z on the PC.
| | 00:53 | Hold the Alt or the Option key, Mac and
PC, and we'll just click and drag around
| | 00:57 | that's all that workplane
now jumps to the Y axis.
| | 01:02 | Torus is still selected, and now I can
click and drag and draw it out this way.
| | 01:05 | Now you'll notice that I'm
kind of just free-forming it here.
| | 01:09 | For me, that's fine.
| | 01:10 | I would like to kind of model that way,
but some people like it little more
| | 01:13 | precise, and that's where
these Position tools come in.
| | 01:17 | So for position here we can say -20
millimeters, press the Tab key, and then
| | 01:22 | also do -20 millimeters, but it's still flat.
| | 01:26 | I need maybe a little more thickness
on it. And I can just click and drag up
| | 01:31 | like this and you'll see that the
Radius now changes in here as well.
| | 01:36 | Let's make these even by going 200
millimeters, 200 millimeters, 200
| | 01:43 | millimeters, and now I
have a perfect-size doughnut.
| | 01:47 | The sides, I can double that if I
wanted and doubled the segments and you could
| | 01:51 | see there is more detail. And we can
change a size of the hole, we can make
| | 01:56 | it bigger--whatever we need.
| | 01:59 | And once you're done, click
back on the tool to turn that off.
| | 02:02 | What might happen is just you say oh, I
think I want to make that hole different,
| | 02:05 | and you turn this back on and you
click again. Well, you're not going to be
| | 02:09 | able to re-edit that.
| | 02:11 | You're building a new object entirely.
| | 02:13 | It's not much of an issue, because you
can use some of the edit tools, but that was
| | 02:17 | kind of a lot of work to make that, wasn't it?
| | 02:19 | Part of modo's workflow is that you
don't have to jump through a lot of hoops,
| | 02:23 | which I just made, to get things done.
| | 02:25 | Here is a couple of options for you.
| | 02:27 | So rather than clicking the tool and
dragging and seeing all the numerics, hold
| | 02:30 | the Shift key and watch what happens.
| | 02:32 | You see a little plus come
up on all of these icons.
| | 02:36 | And when I do that, take a
look over here in the Items list.
| | 02:39 | We had a blank mesh layer,
and that's where we draw our object.
| | 02:43 | Similar to something in Photoshop where
you have the layers and you build in a layer,
| | 02:46 | that's kind of what we're doing here.
| | 02:48 | But when I hold the Shift key and I get this
plus command and I click two things happen:
| | 02:53 | I get an perfect torus and I also
get a torus in its new own mesh layer.
| | 02:59 | Let's skip that blank one
altogether and create a new one.
| | 03:02 | I can do the same with the ball,
Shift+Click; same with the cube,
| | 03:07 | Shift+Click; and so on.
| | 03:08 | I've got all these primitives instantly added.
| | 03:10 | To get rid of these, I can hold the
Shift key, select one, and then select the
| | 03:15 | others, and then right-click
on these and choose Delete.
| | 03:21 | And like I have said in all my training,
whenever in doubt, right-click. There is
| | 03:24 | always functions in most
programs where you can right-click.
| | 03:26 | For instance, if I right-click
directly here in the interface,
| | 03:30 | you can see I can choose different elements.
| | 03:32 | Same way I can choose them
up here; it's just a quicker way.
| | 03:35 | One more way: hold the Ctrl key,
and when you hold the Ctrl key you get these
| | 03:40 | edge rulers, and what that will allow
me to do, it will say "script failed."
| | 03:44 | And the reason is because I've not selected
a mesh layer, "No active mesh is in the scene."
| | 03:49 | What that means is I need to tell
modo I want to create something inside
| | 03:54 | this blank mesh layer.
| | 03:55 | Then when I hold the Ctrl key and
I select that I create the mesh inside
| | 04:01 | of that blank layer.
| | 04:02 | It doesn't look a lot different, but it
was just a way to create a very perfect
| | 04:06 | unit primitive, meaning it's even on all sides.
| | 04:09 | Another thing about the tools is that you
can then manipulate them in the Deform tab.
| | 04:15 | And now that I have a mesh layer to
work, with you'll see that all of these
| | 04:18 | tools become active.
| | 04:20 | I can duplicate things with all these
terrific tools, which we're going to do
| | 04:24 | in our first project.
| | 04:25 | Let's simply just go to the Array tool.
| | 04:27 | A lot of times people want to click tool
and have it work, but with modo, after you
| | 04:32 | turn on a tool, you always
want to click in the interface.
| | 04:35 | And when you do that you'll actually
see your object coming to life with
| | 04:41 | whatever you're doing, in this case an array.
| | 04:43 | Similarly to the torus, as we put the
specifics into the size, we can put the
| | 04:48 | specifics in for the
Array Count, however we need.
| | 04:52 | And of course if you're adding more,
it's going to start to slowing down just a
| | 04:55 | little bit depending on what your object
is, but quite easily I just made myself
| | 04:59 | a "Dan dozen" as I like to call it, of doughnuts.
| | 05:02 | So very easy to use these tools,
and we're going to use them in all of our
| | 05:05 | projects throughout the course.
| | 05:06 | You'll see how well they work
and how easy they are to use.
| | Collapse this transcript |
| Understanding surfaces| 00:00 | Now along with building model, the
next thing that would come natural is
| | 00:04 | surfacing a model, and modo makes this very easy
with the Shader Tree. But before we get
| | 00:08 | in to the Shader Tree, let's just
talk about surfaces a little bit.
| | 00:12 | I'm going to jump over to the Layout
tab and from the Mesh tab, go ahead and
| | 00:16 | choose from the Miscellaneous
category, the Toy Tractor. And you can just
| | 00:22 | double-click to add that to your scene,
| | 00:25 | press the A key to fit, and you'll
see this nice little tractor model.
| | 00:29 | And then let's jump over to the Render tab.
| | 00:31 | Now the render tab is a three-port view.
| | 00:34 | It's got the Perspective view at the
bottom, the Camera view on the top right, and
| | 00:38 | then a Render view, a preview render.
| | 00:41 | If you press F8 on your keyboard,
you'll actually see this view pop up, a
| | 00:45 | little preview window.
| | 00:47 | That's the same window that's right here.
| | 00:50 | So if you're working with the dual monitor,
you could put that off to one side if you like.
| | 00:54 | I'm going to press the A key to fit all
of this to view. And let's just arrange
| | 00:59 | this a little bit, so we can
see more of these views up here.
| | 01:03 | Over on the left-hand side--now
I'll just click and drag this open--
| | 01:06 | you see a set of preset
surfaces and a Browser toolbar.
| | 01:10 | Now the reason that comes up is because
our screen is sort of squeezed in a bit.
| | 01:16 | So let's just pull this out and once
you get enough room here, you'll actually
| | 01:19 | see that bar now appear.
| | 01:22 | It's not always going to look like
that depending on the size of your screen.
| | 01:25 | Just keep that in mind: if you don't
see it, click Browser toolbar to get it--
| | 01:28 | or better, just open up your screen a little
bit and you'll see the controls right here.
| | 01:32 | And what this allows you to do is
cycle through existing materials, again,
| | 01:37 | that come with modo.
| | 01:38 | I could take a look at Light,
Glass, Fabric, Organic, and so on.
| | 01:42 | I'll go to Plastic for this one.
| | 01:44 | You can see these thumbnails.
This little guy here will actually slide these
| | 01:47 | folders open so we can read them better.
| | 01:50 | And then we can look at High Gloss.
Double-click to open, and here are some preset surfaces.
| | 01:54 | So what can I do with these?
| | 01:56 | On a simple level, I can just drag
and drop them on, and now I've got a nice
| | 02:01 | shiny plastic blue toy tractor.
| | 02:03 | Very nice, but notice it
went to the whole entire model.
| | 02:06 | So I'm going to Command+Z to undo on
my Mac, or Ctrl+Z on the PC, and let's
| | 02:11 | take a look over here.
| | 02:13 | I'm going to shrink this down, just click
and drag these panels to the Shader Tree.
| | 02:17 | Now I'll open this up so you can see it.
| | 02:20 | This tab is called Shader Tree.
| | 02:21 | Now this is pretty complex, but at
the same time you can very easily view
| | 02:25 | simple surfaces without much effort.
| | 02:28 | By default, we've got a Base Material,
but before we get into that, let's just
| | 02:32 | talk about the surfaces here.
| | 02:34 | This existing model had a Toy Window,
Toy Wheels, Lights, Buttons, Body.
| | 02:40 | When I hit dragged the existing preset
onto that, it just cover the whole thing, and
| | 02:45 | that's because I was in Item mode.
| | 02:46 | If I jump to Polygon mode and I drag
that on, it jumps at right on the wheels,
| | 02:53 | because that's what I had selected and chose.
| | 02:56 | And all we did was just replace that
material with a preset. It's that simple.
| | 03:00 | These materials are pretty easy to
use and as I said in the very beginning,
| | 03:05 | whenever you select any of the items,
you'll see the properties for it below.
| | 03:09 | So let's take a look at the tractor
itself. What helps is if you close these up
| | 03:15 | when you're not using
them, just to keep organized.
| | 03:18 | I'm going to go down to the Body itself,
and you could see that now I can easily
| | 03:22 | see just that material.
| | 03:23 | When I select the material the color
values for it all appear in the properties.
| | 03:28 | If I don't want to use perhaps one of
the presets included with modo, I can come
| | 03:33 | in and just change the color itself.
| | 03:35 | So I'll click in here and
say I want to make this green.
| | 03:38 | Now let's talk about that
Color panel for a minute.
| | 03:40 | When I click this, this very nice new
color panel pops up, a lot different than
| | 03:44 | it was from previous versions of modo.
| | 03:46 | And I can use a hexadecimal color for
web-type colors for instance; HSV for hue,
| | 03:51 | saturation, and value; Kelvin
temperature if you want to match daylight for
| | 03:55 | instance; and so on; or just do what
I did, which is just click a color.
| | 04:01 | Once I move my mouse off, that panel goes away.
| | 04:04 | It doesn't actually have a Close
button--just move your mouse off of it.
| | 04:08 | As I work my way down on materials, you
can see that I can change Reflection, I
| | 04:12 | can change Specular for shine, and so on.
| | 04:15 | We can get to the Transmissive category
later for transparency and things like that.
| | 04:20 | On a simple level, the Shader Tree
is where all of your surfaces will be
| | 04:23 | applied to your model.
| | 04:24 | So this model had some materials created
already. How would you create your own?
| | 04:28 | Let me show you how to do that.
| | 04:30 | Let's go to File > Close All.
| | 04:33 | We don't need to save this.
And I'm going to open up the Model tab.
| | 04:37 | And the reason this is here is that
while we have been using the Model tab itself
| | 04:41 | over here to create models,
| | 04:43 | in the Render tab, we actually have a
Model tab right here. And if I click that,
| | 04:47 | what you'll see is my modo Tools pop-up,
allowing me to quickly just add a model.
| | 04:53 | So in this case, if I click and hold on these,
you can see I've got Tube and Solid Sketch.
| | 04:57 | If I click and hold,
I've got Capsule and Cylinder.
| | 05:01 | Click and hold, I've got an ellipse and a sphere.
| | 05:04 | So it's just some other
options here if I wanted.
| | 05:06 | In this case, let's just choose a
capsule, and then I'm going to click and
| | 05:10 | drag in the view, grab the little blue plus
and stress it out. I can make a little capsule.
| | 05:17 | Close the Model tab and then I'll press
the A key to fit that to view and then
| | 05:21 | click and drag to rotate.
| | 05:23 | So we've got a little pill, and perhaps we
wanted to create a little surface for it.
| | 05:27 | Now simply I could drag on any one of
these materials and I'm pretty much set.
| | 05:33 | The only thing with that is that it
applied it to the base material, and if I
| | 05:37 | have other objects in the scene, when I
hit the Model tab--I'll hold the Shift key
| | 05:43 | and click the Flat Plane--
| | 05:45 | well, now my flat plane has the same surface.
| | 05:48 | I've not told those objects
that they have different surfaces.
| | 05:51 | So all I need to do then is in Polygon
mode jump to Item mode, and here is the
| | 05:57 | first Mesh, and I can just double-
click on that, and I'll press the M key for
| | 06:03 | material. And I will give this a name
and we'll call this Pill and click Return.
| | 06:09 | Now that has its own unique surface.
| | 06:10 | When I goes to the plane, the flat plane and
press M--and we can call this ground let's say.
| | 06:19 | Just to give it a little color, we
can just click and drag on here to add a
| | 06:24 | little color to it and also click OK,
and now you see I've got two items with
| | 06:29 | two different surfaces.
| | 06:31 | And if I jump back to the Shader Tree,
now you can see I've got the pill and
| | 06:35 | the ground materials.
| | 06:37 | And then from there, I can open these
up and inside I have got my material for
| | 06:42 | the ground and my material for the pill,
which means I can drag one on here and
| | 06:49 | perhaps drag one on there
for the ground. Pretty easy.
| | 06:53 | We can get much more complex with all
kinds of included materials that come with
| | 06:57 | modo, do layer masks, stenciling,
things like that, but for now this really
| | 07:02 | help you get started which just
the defaults that come with modo.
| | 07:06 | So try that out. Go ahead and make some
models, play with the primitives, and put
| | 07:09 | some surfaces on and see
what you can come up with.
| | Collapse this transcript |
| Selecting elements| 00:00 | In the previously video when we put
some simple surfaces on our models I
| | 00:04 | quickly selected the polygons in
order to create two different surfaces.
| | 00:07 | So in this video I want
to show you how that works.
| | 00:10 | Selection and deselections in modo are
one of the very first things the program just
| | 00:14 | came up with back in modo version 1,
| | 00:17 | because modo is all about workflow and
speeding up your workflow, and a good
| | 00:20 | part of that is working
with different selections.
| | 00:23 | What are these selections?
| | 00:25 | We can work with Vertex, or vertices,
which are the points of your model, the
| | 00:29 | edge of your model, the
polygons, and then the Item mode itself.
| | 00:34 | It gets a little confusing and you will
at times move a polygon when you want
| | 00:37 | to move the item and move the item
when you want to move the polygon.
| | 00:40 | I still do it to this day,
after all these years of using modo.
| | 00:43 | Let's go ahead and load up a model
from the Layout tab. And under the
| | 00:47 | Miscellaneous, like we did before,
let's load up the Toy Tractor.
| | 00:50 | Just double-click to load that.
And then I am going to jump back to the Model
| | 00:54 | tab, only just to keep a
little bit cleaner interface.
| | 00:56 | I will press the A key on my
keyboard to fit that to view.
| | 01:01 | So what happens in Item mode--you can
see over here in the Items tab that the
| | 01:05 | Toy Tractor object is loaded--
| | 01:07 | in Item mode the entire object is
selected, and what that means is if I press my
| | 01:13 | Move tool, I can move
this around. Simple enough.
| | 01:17 | But what if I want to take
this wheel and pull that off?
| | 01:21 | Well, that's where I will go to Component mode.
And you will see the little icon right here.
| | 01:24 | You can click that and you
jump instantly to Component mode.
| | 01:28 | So if you hold your mouse, you can see
Item mode or Component mode. And if you
| | 01:31 | hear that term, that's what that means.
| | 01:33 | And what is a Component mode?
| | 01:35 | Well, a component of your model,
meaning a polygon, an edge, or a vertex.
| | 01:40 | So let's say I want to select this wheel itself.
| | 01:43 | I will first turn off the Move tool,
and now you see when I mouse over you can
| | 01:48 | see the highlight of that wheel.
| | 01:51 | If I click on it, obviously I am
selecting one of those polygons.
| | 01:54 | If I double-click, everything
connected to that will become selected.
| | 01:59 | I can press Shift+A to fit that
selection to view, and to deselect all I do is
| | 02:04 | just click away from it.
| | 02:05 | But there is other really cool
ways to select things. So watch this.
| | 02:09 | We can select one and hold the mouse
and select two, so, in order. And then I
| | 02:14 | will press the L key on my keyboard,
and that's select a loop, and with that I
| | 02:19 | can press the Scale tool, which is right
here, or the R key on your keyboard, and
| | 02:24 | I can scale that up.
| | 02:27 | I can also bevel that, and I
can move it and do everything else.
| | 02:30 | So one of the things to understand as
you work through modo is that, like other
| | 02:34 | programs, if nothing is selected, whatever
you do applies to everything in your scene.
| | 02:39 | In this case I have only selected this
rim around this tire, and of course that
| | 02:43 | is the only thing being affected.
| | 02:45 | So Command+Z to undo, or Ctrl+Z on the PC.
| | 02:47 | We will turn off that, and then we will
click at the little area outside of that
| | 02:51 | selection to deselect it.
| | 02:53 | Other things you can do to select
is maybe select one, then hold the
| | 02:56 | Shift key and select two.
| | 03:00 | Now the reason I hold the Shift key is
this: selections toggle with your mouse,
| | 03:03 | so if I Click+Hold my mouse, I
can just select polygons like this.
| | 03:09 | Let go on the mouse and now I am starting over.
| | 03:14 | Let's say you want to select just a
few key polygons. How do you do it?
| | 03:18 | That's the Shift key.
| | 03:19 | So I will select one, and I will hold the
Shift key, and then I can add to my selection.
| | 03:24 | And by the same token, Ctrl will let
you deselect. So hold the Ctrl key and
| | 03:29 | click to deselect polygons.
| | 03:31 | Now why would you do that?
| | 03:33 | Well, maybe perhaps you want to
select just these guys in here.
| | 03:37 | Accidentally, you get too far.
| | 03:39 | Hold the Ctrl key and click
on the one you don't want.
| | 03:42 | And now whatever I want to do, bevel, extrude,
can all happen to those selected polygons.
| | 03:48 | All of these techniques work
on the edges and vertex as well.
| | 03:51 | If we go back now, we can select one,
hold the Shift key and select another,
| | 03:55 | and I use my Up arrow,
| | 03:57 | now I can copy that selection pattern.
| | 04:00 | If I select one and maybe skip two of
them and use my up arrow, I can now just
| | 04:07 | go every three, like that.
| | 04:08 | We'll do it one more time like
this, and go all the way around.
| | 04:12 | We'll go with two of these here.
| | 04:15 | Alt key again to select a Loop,
and then if I use my left arrow on my keyboard, I
| | 04:21 | can slide that selection--
| | 04:22 | using my right arrow I
can go back the other way--
| | 04:25 | hold the Shift key and then use my up
arrow and I can expand my selection.
| | 04:30 | And we're going to use that a lot. Let's say I wanted
to just select this part of the wheel like this.
| | 04:35 | I can hold the Shift key and then
press my up arrow to expand that selection,
| | 04:40 | making it very easy to then select the
Transform tool and just pull that out.
| | 04:45 | And then we'll click to deselect.
| | 04:48 | There are two ways to turn off a tool.
| | 04:50 | So if we have our Move tool on, we'll
click and drag to pull this, hit the
| | 04:55 | spacebar to turn off your tool,
and then you click to deselect.
| | 04:59 | And also, if you continue with your
spacebar--watch up here--you can toggle
| | 05:03 | between Vertices, Edges, and Polygons.
| | 05:06 | So let's stop at Edges real
quick and take a look what happens.
| | 05:10 | Now when I mouse over in Edge mode
| | 05:12 | that tells modo I'm working with edges.
| | 05:14 | So I can very easily just double-click
and select an edge, just the way we did
| | 05:18 | with a set of polygons.
| | 05:20 | I can then of course use the
Scale command and scale that edge up.
| | 05:25 | And edges are very powerful, and we're
going to use those throughout the course.
| | 05:29 | And at the same time we can
use Vertex and do the same thing.
| | 05:32 | We can select one, hold the Shift key,
select two, press the L key to select
| | 05:37 | Loop, press the R key for Scale,
and you can scale those points up.
| | 05:43 | Now, everything I've done here doesn't
look a lot different from Points to Edges
| | 05:46 | to Polygons based on just scaling these,
but perhaps we wanted to tighten up the
| | 05:51 | edge of a model in here.
| | 05:53 | Well, that we want to do just with an edge.
| | 05:57 | Or we want to extrude the front end
here of these polygons, so that we work
| | 06:01 | just with the polygons.
| | 06:03 | Depending on the project at hand,
working with selections of points, edges, and
| | 06:08 | polygons vary greatly,
| | 06:09 | but all of the tools work on each of those.
| | 06:12 | For instance, I am able to bevel points,
I am able to bevel edges, and I am able
| | 06:15 | to bevel polygons by pressing the B key.
| | 06:19 | Many programs have different
functions for different modes.
| | 06:22 | You are going to use a different mode
for beveling edges than you do with
| | 06:25 | polygons, but not in modo.
| | 06:27 | So it makes it very simple to just
control and work with your model.
| | 06:31 | Another thing we would use selections for:
let's say, we want to put these on a separate layer.
| | 06:35 | So I would double-click this wheel.
| | 06:37 | I'd hold Shift, double-click this wheel.
| | 06:39 | Then I'll hold the Alt or
Option key and rotate around.
| | 06:43 | Shift, double-click, Shift, double-click.
| | 06:48 | On my keyboard, just Ctrl+X to cut.
| | 06:50 | Go to a blank mesh layer, right here
in my Item List, and Ctrl+V to paste.
| | 06:56 | And now I've got those into a new layer.
| | 06:59 | The reason I do that is let's say I
want to animate them, or I want to work
| | 07:03 | with them separately, or perhaps they're a
reference for another model. Maybe it took a
| | 07:07 | really long time to model that portion.
| | 07:09 | You're done with it. Keep that in
the background as a reference and then
| | 07:12 | model in another layer.
| | 07:14 | Similar like you would do
in Illustrator or Photoshop.
| | 07:16 | You can always combine those layers
later, but this is a way to separate your
| | 07:20 | model and protect parts
that you've already made.
| | 07:23 | Just a little bit there about
selections and deselections.
| | 07:25 | As you work, you're always going
to be selecting and deselecting.
| | 07:29 | We're going to do a lot more
of it in the next few videos.
| | Collapse this transcript |
| Understanding the elements of a 3D model| 00:00 | You've seen how working with
existing models is relatively easy in modo,
| | 00:04 | how you can select and deselect
polygons and edges. But let's take a step back
| | 00:09 | and talk about the basic fundamentals of a
model, which are vertices, edges, and polygons.
| | 00:14 | I'm going to rotate around here until my axis
| | 00:16 | is on the Y, and you can see right
there on my icon in the bottom-left screen
| | 00:22 | that means my workplane is on the Y axis.
And just hold the Alt key and click and
| | 00:26 | drag around, Option key if you're on a PC.
And what I'm going to do is just come
| | 00:31 | up to my basic tools--
| | 00:32 | I'm in the Model tab--and
draw out a simple flat box.
| | 00:36 | It doesn't look like much, but it actually
has a few elements that we can talk about.
| | 00:43 | Before I turn this off, create a few
more segments just by clicking the right
| | 00:47 | arrow on the X and the Z, and that
gives me nine panels within that cube.
| | 00:53 | We're not going to do any thing on the Y;
| | 00:55 | we're just going to keep it flat.
| | 00:57 | And when you model you can also come up
here to Center Selected and choose All,
| | 01:03 | and that just centers it out and
where does is center it? On the 0, X, Y, Z
| | 01:08 | axis, right at that center there.
| | 01:09 | I will press the A key to fit,
and what I'm also going to do is press W,
| | 01:15 | which is my Transform tool, and I'm just
going to move this up a little bit, so
| | 01:19 | we can make it clear, because what
you're seeing in the background there is the
| | 01:22 | grid that represents our world
measurement. And that world measurement is down
| | 01:27 | here, 10 mm. What that means is every one
of these squares is 10 mm in size, so a
| | 01:33 | lot of people that I've trained over
the years ask, "Well, some of these values,
| | 01:37 | where do they come from?
| | 01:38 | So when we were building this box
we had these millimeters in here.
| | 01:42 | It's based off of this measurement
down here, this world grid, so it's just
| | 01:46 | something to keep in mind.
| | 01:47 | As far as percentages, when we look at
the scale of an object, that's relative
| | 01:52 | to the object's shape.
Don't get too hung up on the numbers.
| | 01:56 | So getting back here.
| | 01:58 | We have nine polygons within this
large mesh. What that means is I can
| | 02:04 | select any one of these if I'm
in the Polygon Component mode.
| | 02:08 | But how is this mesh made up?
| | 02:09 | It's made up of points, so we start there.
| | 02:12 | There is a point here and
here and here, and so on.
| | 02:16 | The edges between those points, it's
almost like Connect the Dots. And once those
| | 02:22 | are connected, they make a polygon.
And with that, depending on our model, you can
| | 02:27 | change how you want to edit.
| | 02:30 | It all really depends on what you are
trying to do. So in this case I want to
| | 02:32 | round the corners, so I
need to work with the points.
| | 02:35 | So I'm just going to select each of
these four corners, and all I have to do is
| | 02:39 | hold the Shift key and click on them.
And then I'm going to go to Bevel, so I
| | 02:44 | press the B key. Vertex Bevel comes
right up, and I'm going to click and drag.
| | 02:51 | Then notice that they're
straight, and I want to round those out.
| | 02:54 | Well, if I look at the properties for
the bevel, I can add a few segments to
| | 03:00 | it, and I can round out those corners.
But let's say I want to do something
| | 03:05 | with these edges here.
| | 03:06 | So I'll come to Edge mode, and I want
this one and this one and this one, and I
| | 03:12 | want to actually pull this up to make a
wave. Well, that's where working with that
| | 03:17 | edge is going to help.
| | 03:18 | If I went and pulled the polygon and
press the W key again, it pulls this
| | 03:22 | whole section up. Instead, I am going to
Edge mode, press W, and now I can pull
| | 03:30 | up just this one point. Turn that off.
| | 03:34 | As we move through the course, we're
going to be using all of these tools.
| | 03:37 | At certain times we'll we use our text,
at certain times we use edges, and at certain
| | 03:40 | times we use polygons.
| | 03:42 | modo has a lot of great tools for each
one of those, as you just saw with the
| | 03:45 | Vertex Bevel. There is Edge Bevels,
and there is Edge Wading to create different
| | 03:49 | types of scale and
sharpness on the edge of an object.
| | 03:53 | So we're going to use each of those.
Don't worry about getting too hung up on
| | 03:57 | which mode to be working in.
| | 03:58 | It all is going to depend on the model
you are creating and what you need to
| | 04:01 | do with it.
| | Collapse this transcript |
| Understanding symmetry| 00:00 | When you're creating models in modo,
every once in a while you need to do
| | 00:04 | something that is the same on both sides,
| | 00:06 | so rather than modeling twice or
editing twice, you can use Symmetry.
| | 00:11 | So up at the very top of the screen,
you'll see the Symmetry button,
| | 00:14 | which currently is off.
| | 00:15 | I'm going to switch it to X. What that
means is whatever I do on the positive X
| | 00:21 | axis will happen on the negative X.
Well, how do I know where that is?
| | 00:25 | Well, this goes back to the workplane
that we talked about earlier in the course.
| | 00:28 | You can see from the legend down here
at the very bottom corner, if I click and
| | 00:32 | hold the Alt or the Option key and I
rotate around, you can see that we're
| | 00:35 | working on the Y axis.
| | 00:37 | That Z axis is sticking out
of that workplane selection.
| | 00:41 | But if you look at the X, you
can see that it's left to right.
| | 00:44 | If I was to rotate it like this,
well, the Z is left to right.
| | 00:50 | So think of this as like a little
roadmap, almost like a GPS for your scene.
| | 00:54 | If that is still too
confusing, here is a simple way.
| | 00:58 | Rotate down and look at the end
of the grid. There's my Z axis;
| | 01:02 | this is my Z right here.
| | 01:04 | You know that Y is up and down;
always remember that.
| | 01:07 | Well, then you can just
look at the grid and say, oh!
| | 01:09 | There's positive X, so you can
see the plus X right back there.
| | 01:12 | Okay, so that's what we're going to do.
| | 01:15 | Now in order for Symmetry to work, your
objects', points' vertexes need to be
| | 01:20 | at the exact same position on the
negative side and on the positive side.
| | 01:25 | This dark cross here, this dark
center line, that is my 0 axis.
| | 01:30 | So it's positive on one
side, negative on the other.
| | 01:33 | So what do I want to do?
| | 01:34 | Well, I want to maybe
pull all of these points out.
| | 01:38 | If I stretch them out, it
wouldn't have the same effect.
| | 01:40 | So for instance, if I choose Stretch,
see those corners? They look stretched.
| | 01:46 | We don't want that,
| | 01:48 | so Command+Z to undo, Ctrl on the PC.
| | 01:51 | We'll turn that stretch off.
| | 01:53 | Instead, in order to move these points,
I need to select them and then move them.
| | 01:58 | To make it even, I have Symmetry on.
| | 02:02 | So I'm going to use the right mouse
button and Lasso+Select those points,
| | 02:08 | and look what happened.
| | 02:09 | When I did the right side, the
left side automatically was selected.
| | 02:12 | Then when I go to choose Move,
notice it only affects the right side.
| | 02:18 | When I move to the right, the left
goes with it, and my corners stay intact.
| | 02:25 | They don't actually become stretched.
| | 02:26 | So I click to turn off the tool and click
to deselect, and now I've used Symmetry.
| | 02:33 | By the same token, you can put it on
the Z and if our object was thick, you
| | 02:36 | could do it on the Y.
| | 02:36 | Well, that's all well and good,
| | 02:39 | but what happens when you have an object--
| | 02:43 | I'll just Shift+Click a ball here
and I'll press the A key to fit--
| | 02:50 | what happens when you have an object
like this and you want to do some work on
| | 02:54 | it that is not symmetrical?
| | 02:57 | There's a way to fix it in modo--
a lot of people don't know about that.
| | 03:00 | First of all, when you're not
using Symmetry, turn it off.
| | 03:03 | I'll go to the Polygon mode, and I'm
going to just take a few here and I'm going
| | 03:08 | to kind of move them around. All right!
| | 03:12 | Now here's a fun tool.
| | 03:13 | Let's deselect these. Press the T key.
| | 03:16 | That is Element Move, and we can just
click on an element and move anything we want.
| | 03:23 | Again, an element, that we talked
about, is a vertex, an edge, or a polygon.
| | 03:27 | So if I mouse over the polygon, I can get
it, or the point or the edge. Pretty good!
| | 03:34 | Now you're not going to see this
much of a variation in most models;
| | 03:38 | this is just for example. But you
might have the face and one eyebrow might
| | 03:42 | be a little off of the other and then
when you go to your Symmetry it doesn't work.
| | 03:46 | Well, there is a way to fix it.
| | 03:48 | You can go under the Geometry tab and
choose Symmetry Tool. And all you have
| | 03:53 | to do to use this tool is just
click and drag. It says Symmetry is not
| | 03:58 | active, so let's do that.
| | 03:59 | I'll put Symmetry on the X,
and then we'll just click and drag.
| | 04:04 | What happens is that it
matches the vertex position.
| | 04:09 | So now when I go back to my
Element Move, by pressing the T key, now
| | 04:16 | Symmetry will work.
| | 04:19 | So it's a great way to fix
models by using the Symmetry tool.
| | 04:23 | Hopefully, you won't have to do that.
| | 04:25 | Symmetry can really be a problem
sometimes, so just make sure to turn it off and
| | 04:30 | you won't have any problems with it.
| | 04:31 | Be very specific about it.
| | 04:33 | It's often used for
modeling faces and adjusting faces.
| | 04:37 | If you're using any kind of architecture,
or you're building an object like we
| | 04:40 | had just previous with those rounded
corners and you want them perfect on each
| | 04:43 | side, Symmetry is terrific for that.
| | 04:45 | But as a regular everyday modeling
tool, it's not something you're going to
| | 04:49 | have on.
| | Collapse this transcript |
|
|
2. Modeling with PolygonsBuilding a model| 00:00 | So anytime you're doing 3D, you
can look at many videos as you want
| | 00:04 | talking about the interface and tools,
but really the best way to learn is
| | 00:07 | to build something.
| | 00:09 | So in this chapter, we're going to
actually build a fire extinguisher.
| | 00:12 | I've got a reference here.
| | 00:13 | It is actually in the Images folder
within the Chapter 02, exercise files.
| | 00:18 | You can use any one, because we're
not necessarily going to build this
| | 00:21 | exactly over itself;
| | 00:23 | we're actually just going
to use this as a reference.
| | 00:25 | So if you've got a fire extinguisher
hanging on the wall of the office, you can
| | 00:27 | grab a shot of that. Or if there's one
sitting next to you, put it on your desk,
| | 00:30 | and you can look at the nuances.
Or just use this one right here.
| | 00:33 | Now, what we're going to use in this is
some simple primitives to get started,
| | 00:36 | of course a disc that we're going to
pull up, and kind of pull in little bit
| | 00:41 | with the Bevel tool and some other
tools to create this nice shape at the top.
| | 00:44 | But I'll show you how to do that and keep
that curvature while also having a sharp corner.
| | 00:49 | Later, I'm going to show you how to
build the tube with some unique tools.
| | 00:52 | We're going to use some other tools to
work with different layers to actually
| | 00:57 | build this band that goes around,
holding the hose into place.
| | 01:01 | But to get started, let's go
ahead and just choose the Disc tool.
| | 01:04 | I'm going to hold the Alt, Option key
and rotate around, so that I'm on my Y
| | 01:10 | axis, just like that, and I can see
with my workplane set to Y right there.
| | 01:14 | Then I'm going to click and
drag out a disc about yea big.
| | 01:19 | But I'm going to go to my Radius in my
Properties and I'm going to make sure
| | 01:22 | that these are equal.
| | 01:24 | So one is 545 millimeters and one is 570.
| | 01:27 | It doesn't necessarily matter which one
is which; just make sure they're both same.
| | 01:32 | Position, make sure these are the same too.
| | 01:35 | You don't have to do it this way.
| | 01:38 | You can very easily just go
ahead and center it out after.
| | 01:42 | So once that's done, we're going to
click the Disc tool to turn it off, and
| | 01:46 | center-select it all just to
make sure that it is centered.
| | 01:50 | So this is where our cylinder is going to
begin for the fire extinguisher. Easy enough.
| | 01:56 | Now, in order to bring this up,
I can do it in a number of ways.
| | 01:59 | We can do it as an extrude or as a
bevel, and really the choice is yours.
| | 02:03 | I'm going to go to Polygon mode,
and then I'll select that polygon, because
| | 02:07 | that's what I want to extend out from the base.
| | 02:12 | If I come down here to my Duplicate
tools, you can see I've got Array, Radial,
| | 02:19 | some other ones, Clone.
| | 02:20 | Well, we don't really want to clone
this because we don't want copies of it;
| | 02:23 | we want to bring it up more.
| | 02:25 | Well, what if I go down to Polygon?
| | 02:26 | Here you can see I've got
Bevel. I can choose that.
| | 02:30 | When I click and activate the Bevel, a
lot of people want to instantly click
| | 02:33 | with the mouse and do this, and that's great,
but you don't really have to do it that way.
| | 02:38 | I use Bevel all the time just as a
multiplication tool, just to multiply my selection.
| | 02:43 | So all I'm going to do is just drag that up.
| | 02:46 | The only thing is that when I do this
I don't have any segments in here.
| | 02:50 | The segments would be good if I was
going to bend this where I was going to
| | 02:53 | create a different shade around the middle.
| | 02:56 | But I can always go back and add that,
| | 02:57 | so I'm not too worried about it.
| | 02:59 | Now, we're not doing this exactly to scale.
| | 03:02 | We've not measured the fire extinguisher.
| | 03:04 | We're doing it by line of sight, simply
just so that you can learn the tools,
| | 03:07 | which is what the importance is here.
| | 03:09 | So we've got a basic shape right there.
| | 03:12 | So how do we handle the actual bevel of this?
| | 03:14 | Well, let's press B again, which is Bevel,
click to activate. And Inset is the red--
| | 03:22 | I'll click and drag on
that--and Shift is the blue.
| | 03:27 | You can see right there that we get
pretty much the basic shape right away,
| | 03:31 | but it looks a little chunky, doesn't it?
| | 03:32 | I can turn off the Bevel tool and
then click to deselect that top polygon.
| | 03:38 | What happens if I hit the Tab key?
| | 03:39 | We get sort of a bullet shape.
| | 03:42 | But really, it's very smooth, right?
| | 03:44 | Well, the Tab key turns on subdivisions.
| | 03:49 | This is something you're
going to use all the time.
| | 03:51 | In fact, when you create some little primitives,
by default, that subdivision is already on.
| | 03:56 | Okay, and what this is doing, you can
see over here with the mesh selected, down
| | 04:00 | here at the bottom, it
says Subdivision Level of 2.
| | 04:04 | It's subdividing each one of those
polygons to get a smoother shape.
| | 04:08 | So all I need to worry about is adding
more detail so that it sharpens it out.
| | 04:14 | So we can work with edges.
| | 04:16 | I'm going to double-click this
edge and I'm going to Bevel.
| | 04:20 | Press the B key and look what happens.
| | 04:22 | We suddenly have beveled out that edge
and added more geometry, allowing this to
| | 04:26 | curve more properly.
| | 04:29 | But I can add a Round Level to that
bevel, perhaps two, and what that does is
| | 04:34 | adds two segments right in there, just like that.
| | 04:38 | I'll hit the spacebar to turn off the tool,
and then I'll click away from this to deselect.
| | 04:43 | Now, you can see that we're starting to get
that shape a little bit more like we want.
| | 04:49 | But the top is not quite right.
| | 04:52 | So I'll jump back to Polygon mode. Choose this.
| | 04:57 | I'm going to bevel again.
| | 04:58 | Just click, and notice that as soon as
we do that, because of the subdivision
| | 05:03 | modes, we have a much cleaner object.
| | 05:05 | I can very simply just scale this
in a little bit and pull this up.
| | 05:11 | Then to make another bevel, hold
the Shift key and click one more time.
| | 05:18 | Now we've got a very nice shape to work with.
| | 05:20 | So I'll click the Bevel tool to turn it
off, click away from it to deselect that
| | 05:24 | polygon, and now we've got
that relatively nice shape.
| | 05:29 | It's a little too straight here.
| | 05:31 | So how would you then go about adjusting this?
| | 05:34 | Well, I'm going to go back to Edge mode.
Because I don't need to work with the polygons now--
| | 05:38 | I need to work with the edges--
| | 05:39 | I'm going to double-click this edge, and under
the Geometry menu, I'm going to choose Slide.
| | 05:47 | I'm going to move up my Properties here
so you can see what's happening, and
| | 05:51 | make sure that all these defaults are
on and Duplicate is off, because what
| | 05:56 | Slide will do is let you
drag this edge on that contour.
| | 06:03 | But a feature in modo 501 called
Preserve Curvature should be on.
| | 06:08 | What that will do is allow you to
keep any kind of curvature in that shape.
| | 06:13 | Now we've got a very nice even curve
across the top. So spacebar to turn off the
| | 06:18 | tool and then click a blank area to deselect.
| | 06:22 | Now the last thing we need to do on
this base, if we go down to the bottom and
| | 06:26 | hold the Alt, Option key to rotate around,
you'll notice that because polygons in
| | 06:29 | modo are one sided, we've got this open bottom.
| | 06:32 | The reason it's open is because, remember, we
had one polygon, and we just went up with it.
| | 06:36 | So there's really nothing there.
| | 06:38 | So again, in Edge mode,
double-click, just move your mouse--
| | 06:41 | I'll get close so you can see this--
move your mouse just right over that edge.
| | 06:47 | And I'm clicking and holding, by the
way, on the top right again. Click and
| | 06:51 | hold to move like that.
| | 06:53 | So when you see your mouse highlight
over that edge at the bottom, double-click
| | 06:57 | it, and then you can press
the P key to create a polygon--
| | 07:03 | another keyboard shortcut you'll use often.
| | 07:06 | That looks terrible, right?
| | 07:07 | That's okay, because what's happening
is that you've just attached all these.
| | 07:11 | You just created a polygon
from those selected edges.
| | 07:13 | You just need to add a little more detail.
| | 07:15 | So we'll jump back to Polygons and
because we just created that, it's
| | 07:19 | already selected for us.
| | 07:20 | Then we'll choose Bevel
and just click it like that.
| | 07:25 | That adds a little more geometry.
| | 07:27 | Then I'm going to Shift+Click to
activate Bevel again, and this time I'll
| | 07:32 | just inset it a bit.
| | 07:33 | I'll turn off Bevel, click to deselect.
And that extra bevel there, see how it
| | 07:40 | just rounded that corner for us very nicely?
| | 07:43 | That's all you really need.
| | 07:43 | You can always go back and add more edges.
| | 07:46 | I'll press the A key to fit, and the
last thing I need to do is press the M
| | 07:52 | key, Polygon Set Material. And we'll
call this Fire_Ex_Base, and
| | 07:59 | then I'll set a color for it.
| | 08:01 | I'll click the color wheel
and choose Red and click OK.
| | 08:04 | Now, you don't have to set a color right here;
| | 08:06 | you can always do that later.
| | 08:07 | The biggest thing is that you're
telling these polygons they have a specific
| | 08:11 | name named Fire Extinguisher, or
whatever you'd like to call it. I'll click OK.
| | 08:17 | Then we'll save. So File > Save.
| | 08:21 | Then I'm going to make sure this goes
to our Desktop > Exercise Files > CH02.
| | 08:28 | I'll call this Fire_Ex_v1.
| | 08:36 | That way you can load this up
and continue from here if you like.
| | 08:39 | So with a very basic primitive of just
a flat disc, within a matter of minutes
| | 08:43 | you can actually create a realistic model.
| | 08:46 | But of course, we've got a lot more to
do with this to create the hose and some
| | 08:49 | of the metal clamps.
| | 08:51 | So in the next few videos, you'll see
exactly how to do that with some of the
| | 08:54 | additional modeling tools.
| | Collapse this transcript |
| Editing geometry| 00:00 | In order to create the handle for this
fire extinguisher, we need to have some
| | 00:04 | sort of connection to it, and the way
we're going to do that is extend the top
| | 00:09 | and then we're going to use a basic
geometric shape to create the clamp that
| | 00:13 | will go on top of it.
| | 00:14 | So as we start building more complex
models, we're going to be working with
| | 00:17 | different mesh layers.
| | 00:19 | So this first object here in
the Items list, it says Mesh.
| | 00:23 | That's just a default name.
Just right-click on it and choose Rename.
| | 00:26 | You usually can click, wait, and click
again, and it will allow you to select
| | 00:30 | it; and if not, right-click. And we'll
call this Base, because the scene itself
| | 00:35 | is called Fire_Ex_v1, and then we have a base.
| | 00:38 | Now, I am going to take that base and I am
going to go to the Polygons here and we
| | 00:41 | are going to extend up just a little bit.
| | 00:43 | So I am going to zoom in just by
clicking and holding the zoom in the top
| | 00:46 | corner, and I am going to
select this center polygon.
| | 00:50 | I am going to hold the Shift key and
press the up arrow just one time, allowing
| | 00:53 | me to easily select that outer edge.
| | 00:56 | Then I am going to instead of
these Bevel, use Extrude, okay?
| | 01:01 | And the Extrude tool, just
Shift+X, so Polygon Extrude.
| | 01:05 | You can also look under the
Basic tab. It's right there.
| | 01:09 | Just click once, the tool becomes active,
and you can click and drag and pull that up.
| | 01:13 | That's all we need.
| | 01:13 | It's kind of like a little lip for it.
| | 01:16 | But notice that because we're using
the subdivision surfaces where we have
| | 01:20 | the Tab key on to make it a smoother object,
we get a little bit of smoothing on there.
| | 01:24 | We want it a little bit sharper.
| | 01:26 | So that's where I will come back to
Bevel and just click once, and that
| | 01:30 | just bevels that out.
| | 01:32 | Turn off the Bevel, click to deselect,
and now we've got that little end of the
| | 01:37 | fire extinguisher there.
| | 01:38 | Now look what happened too.
| | 01:40 | You'll see that because of this shape
in here, it looks like it's indenting a
| | 01:44 | little bit, and perhaps you don't want that.
| | 01:46 | If you hit the Tab key and turn
that off, you'll see what's happening.
| | 01:50 | There's an extra edge inside
there, and I like that extra edge.
| | 01:54 | It actually gives me a little more contour.
| | 01:57 | But it also means this a little too
sharp, and if I double-click, if I move it,
| | 02:04 | it's not going to really do much for me.
| | 02:06 | So I am going to hit the Tab key and go
back, allowing me to very easily select
| | 02:10 | this. And then just like we did earlier,
go to Geometry and choose Slide, and we
| | 02:16 | can slide that out a bit, just kind of
like that. And that just pulls that away
| | 02:24 | and helps from indenting.
| | 02:25 | The other option is you could bevel this.
| | 02:27 | So I will press the B key, and if I click
and bevel, that really helps flatten it out.
| | 02:35 | But wait! I can go one more. Let's take this
one right here, hit the B key for Bevel,
| | 02:41 | and watch what happens.
| | 02:42 | Now, we're really getting
that sharp edge that we want.
| | 02:45 | So I will turn off the Bevel, click to deselect.
| | 02:49 | So that looks really good.
| | 02:50 | We really flattened out that top,
but in doing so, because I have a round level
| | 02:55 | on that bevel, I got some extra
edges here that I really don't need.
| | 02:58 | These three in here are fine,
| | 03:00 | so how do I get rid of these?
| | 03:01 | Well, if I just go to one, double-click,
I can use the Backspace key to remove.
| | 03:07 | Or just so you see where it is, go to
the Edge tab and click Remove right here.
| | 03:13 | And do you want to keep
vertices? No, just click OK.
| | 03:15 | This is what's really nice about modo
is that you can very easily remove edges
| | 03:20 | and points without destroying
your model, and that's all I need.
| | 03:24 | In fact, I probably don't even need this
one. And does it change the model much?
| | 03:30 | A little bit, but it doesn't
mean that I need to keep those.
| | 03:35 | You want to learn to work efficiently
and even though those few edges will make
| | 03:40 | no difference whatsoever in
terms of rendering or file size,
| | 03:43 | it's just kind of a good habit to get
into to keep the model as clean as possible.
| | 03:48 | So Command+S, or Ctrl+S, to save here on
the PC, and then now let's create a new
| | 03:54 | mesh layer, because now we're going to
build this clamp that's going to go on the top
| | 03:57 | that's going to not only hold the handle,
it's what would put this unit on a wall.
| | 04:01 | So from the Items tab in the top right,
under Add Item, click and hold and
| | 04:07 | choose Mesh, and that's a new blank
layer that we can put a model into.
| | 04:11 | Then I am going to go to the Top view.
| | 04:14 | So I am going to click and hold over
here, the top left, to get to the Top
| | 04:18 | view like that, just choose a
different view mode. And I can press the A key
| | 04:22 | to fit that to view.
| | 04:24 | Then from the Basic tab, we are going
to choose a box. And we're going to
| | 04:28 | build the box across the top, kind of
like this, longer left and right and
| | 04:32 | narrow forward and back.
| | 04:34 | Then let's get down to a front view,
and you can see that I built that right at
| | 04:39 | the base, so we want to move that up.
| | 04:41 | We're going to turn that off.
And then using the Extrude, we're going to
| | 04:45 | pull that straight up.
| | 04:47 | So let's jump back to the Perspective
view, select the polygon, then choose
| | 04:53 | Extrude right there from the Basic tab,
click on it, and then let's extrude that up.
| | 04:59 | Now, it doesn't look like much, but as
I am doing this, before I turn the tool
| | 05:04 | off, I am going to add some
sides, about three sides to it.
| | 05:07 | Let me zoom in so you can see what's happening.
| | 05:09 | So I added some segments there by
adding that Side button right there.
| | 05:14 | Turn off the tool, click to deselect,
and now we've got this really nothing box
| | 05:19 | that's sitting on the top, but we can
use this to manipulate for the model.
| | 05:25 | So we're going to press the W key to
move this over, and what I want to do now is
| | 05:32 | extend out from this area here.
| | 05:34 | So I am going to select this polygon--
and this is why I had created more
| | 05:38 | segments, because I need to pull these out.
| | 05:41 | What we're going to do is extrude again.
| | 05:45 | So I will click here, and I will
extrude this out. And modo remembers that I had
| | 05:52 | four sides chosen for my
previous extrusion, so that's fine.
| | 05:55 | I will turn off Extrude and deselect
and then just rotate around, select this
| | 06:01 | polygon, extrude, click to activate,
and then pull it down on the Y. Turn off
| | 06:09 | Extrude and click to deselect.
| | 06:11 | So we just made that clamp that's going
to allow it to sit on the wall. And I think
| | 06:16 | what we'll do is press the Scale
command, and I am actually going to scale it
| | 06:20 | out this way a little bit. And then
the Move tool or Transform and let's pull
| | 06:28 | that back, just so it's covering up entirely.
| | 06:31 | Then I'll turn the tool off.
| | 06:36 | So we've got that clamp, but now I
need a place for the handle to sit, and I
| | 06:41 | need this to be cut out.
| | 06:43 | Well, how would I do it?
I essentially need the opposite view of this.
| | 06:46 | You saw that extruding this out
and then extruding that down works,
| | 06:50 | but there's another way using Booleans
where you can actually cut a hole in something.
| | 06:54 | So first, let's name this layer.
Just click and hold and then click again.
| | 06:59 | We'll call this Clamp, save the scene,
and then we're going to add another blank
| | 07:05 | mesh layer for the Add Item layer.
And what I am going to do here is create a box
| | 07:10 | in another layer that's going
to represent what I'd like to cut.
| | 07:18 | So from the one view, that's about as
wide as I want it. And then clicking the
| | 07:22 | red center--not the arrow, but that red plus--
| | 07:26 | I can pull and extend this out.
And then I will turn off the Box tool.
| | 07:33 | So in one layer I have got a box that
will be used to cut the layer behind it.
| | 07:39 | Once it's built, I can press the W
command and just kind of tweak it a bit
| | 07:43 | for position, okay.
| | 07:45 | So I'll turn that off.
| | 07:47 | Now I am going to make sure that my
Clamp layer is selected. I am going to turn
| | 07:51 | off the Base by clicking this little
eyeball. And so as you build larger scenes,
| | 07:56 | that's something to keep in mind,
that you can turn items on and off.
| | 07:59 | You're not deleting it;
| | 08:00 | you're just turning off visibility.
| | 08:02 | Now see, if I hold the mouse there,
it says Click to show or hide.
| | 08:05 | So the background layer is set as the wireframe.
| | 08:09 | That's how you know.
The foreground layer is our clamp itself.
| | 08:14 | Under Geometry, I am going to go down
to Boolean and choose Boolean, and I am
| | 08:20 | going to subtract the Driving Mesh
as the Background layer and click OK.
| | 08:26 | What that does is it allows that box
to cut out the box in front, so two
| | 08:30 | different ways to create that shape:
| | 08:33 | one using Extrude a Polygon and using a Boolean.
| | 08:36 | Then I will go back to this mesh layer,
right-click on it, and delete, turn my
| | 08:42 | base back on. And then let's hold the
Shift key and select both of these, and
| | 08:47 | now we have the clamp that sits on
top that we can put our handle into.
| | 08:52 | And if you want to adjust
it a little bit, you can.
| | 08:55 | I am just going to stretch it a little
bit more, just so it covers that end.
| | 08:59 | So here's one other thing you can do:
press the O key next to the P key on the
| | 09:05 | keyboard and you'll get your View and
Shading options. And in here, right in the
| | 09:09 | middle, it says Inactive Meshes.
| | 09:11 | It's set to Wireframe.
| | 09:13 | That means any mesh, any model in a
layer that is not active, such as our
| | 09:18 | background base, as you see right
there, is a wireframe. That makes sense.
| | 09:23 | Well, now that you know that,
what's cool about modo is you can make it flat
| | 09:26 | shaped or as same as your active item,
and just move your mouse to turn that off.
| | 09:32 | You have to remember that
your base now is a background.
| | 09:36 | So I left these on Wireframe for a
little while during this course, just so you
| | 09:39 | kind of get an idea.
| | 09:40 | But now that you are well suited with
modo, you know that you have to very
| | 09:45 | specifically click on one of
these items to be working with it.
| | 09:49 | So last thing I am going to do with
this clamp is press the M key. And I
| | 09:53 | will call this Clamp. And I will click
the color, and I am going to make it
| | 09:57 | just black, and then click OK,
and now we've got our clamp on the top ready
| | 10:04 | to be hung on a wall.
| | 10:06 | And, by the way, you'd think that it
wouldn't be enough to hang on the wall, but
| | 10:09 | these are how they're designed,
because there is a plate that goes on a wall
| | 10:12 | that extends out and then has like a
little hook that this part sits on to.
| | 10:16 | But we're not worried about it
being that precise at the moment.
| | 10:20 | So we've got a little clamp there.
| | 10:21 | Next thing we need to do is create our
hose and then our plunger that we squeeze
| | 10:25 | to have the fire extinguisher material come out.
| | 10:28 | So some basic geometric shapes.
We started with a disc with a base. Then we
| | 10:32 | started with just a box for the clamp.
| | 10:34 | By using just the simple tools in
modo, we can start creating more of a
| | 10:37 | complex object.
| | Collapse this transcript |
| Controlling geometry| 00:00 | In this video I want to show you how
you can control geometry with a few of the
| | 00:04 | cool tools that modo offers.
| | 00:06 | So what I am going to do is go to
the File menu, click Open, and we are
| | 00:10 | going to load the Fire_Ex_v2.lxo.
| | 00:13 | Fire_Ex_v1.lxo we created in the
previous video. And what we did in that was take
| | 00:19 | basic geometry, like a disc,
| | 00:22 | we extruded it out, and we beveled it in,
and then we controlled these edges, and
| | 00:27 | then we built this clamp. In the
clamp we used a Boolean function, as well as
| | 00:32 | additional extrudes. So, simple enough.
| | 00:35 | In this video what I want to do is
build a handle that will allow us to carry
| | 00:40 | it around, and then we are also going
to build a small little tube that's going
| | 00:43 | to come out from the top.
| | 00:44 | And we are not trying to
make this super accurate;
| | 00:47 | the idea here is just to really give
you an idea of all these different tools
| | 00:50 | you can use to create different shapes.
| | 00:52 | So from Add Item dropdown in the
Items tab, we are going to select Mesh.
| | 00:59 | That's a new blank mesh layer.
| | 01:01 | Its location in this list
does not matter at this point.
| | 01:05 | Sometimes the order is important,
especially when you get to the Shader Tree
| | 01:08 | for materials, but in the Item list
the order doesn't matter at this point.
| | 01:13 | Then what I am going to do is come to the
front view, and here is a trick to do this.
| | 01:17 | Right now, we are in a Perspective view.
And you can see if I click and hold on
| | 01:21 | the top right I can rotate
around and see my entire 3D space.
| | 01:25 | I can click on the Perspective and
choose any of other views, just to get a
| | 01:29 | little more control, but the way I like
to do it is if you press Alt+Space, you
| | 01:34 | can choose between Transform, Select,
Action, Center, and Falloffs, which we
| | 01:38 | haven't talked about yet; or if you
press Ctrl+Space at the same time you get
| | 01:42 | this Pie menu that pops
up wherever your mouse is.
| | 01:45 | So I can just press Ctrl+Space, move to
front and select it and I quickly jump
| | 01:50 | to the Front view. And don't forget
that we have, by pressing the O key on your
| | 01:55 | keyboard, with the View and Shading
commands, we have the Inactive Meshes set as
| | 02:01 | Active Item, same Shading.
| | 02:04 | And what that means is the background
is also the same shade as the foreground.
| | 02:08 | So everything in this case is
Advanced OpenGL, because that is my current.
| | 02:13 | So, just to keep it a little more
visible, I should say, we are going to put
| | 02:18 | this here to Wireframe.
| | 02:21 | So inactive meshes are wireframe,
meaning any mesh that's not selected, in this
| | 02:27 | case the clamp and the base, will be wireframe.
| | 02:30 | And you should know that that is our background.
| | 02:31 | That will help us work a
little bit more cleanly.
| | 02:35 | From the Basic tab, I am going to select
Box, and I am just going to draw out my handle.
| | 02:41 | But a few things I want
to do before I finish this.
| | 02:44 | I want to make sure that I have enough
room here to build a little hose that's
| | 02:48 | going to come up and out,
and I also want to shape this.
| | 02:51 | So we are going to do this
with a couple of different things.
| | 02:54 | So I have got it that way, and before
I turn off the tool, I am going to jump
| | 02:58 | over here to the Perspective view.
And notice that because we did in the front
| | 03:02 | view, it's just a flat object. That's okay.
| | 03:05 | So Ctrl+Space, and we will jump to
the right view .And then using the blue
| | 03:10 | plus handle in the middle of this Box command,
I can actually extend and move this around.
| | 03:18 | And let me just zoom in, so we can see this.
| | 03:20 | So click and hold on these buttons
here and then click and hold on the zoom
| | 03:23 | and drag to the right.
| | 03:24 | Now, we will just extend this and
then click on the plus, not the arrow.
| | 03:29 | The arrow is going to move it; the plus is
going to actually change the size and shape of it.
| | 03:33 | And now what I am going to do is just
fit this right inside there, like that.
| | 03:37 | And then Ctrl+Space, let's
get back to Perspective view.
| | 03:41 | The last thing I want to do before I
commit to this model is add some segments
| | 03:46 | to it. And we are going to do this
right here for the cube down in the
| | 03:51 | properties, and I'm just going to click
the right arrow and add some segments
| | 03:56 | across that. Just like that, that's
all I really need. And in fact, I might
| | 04:01 | actually take the top and just pull
this down slightly, like that. That's it.
| | 04:08 | Turn the cube off,
| | 04:10 | move over, and now it's looking pretty good,
but I need this handle to be angled down.
| | 04:16 | So I am going to press Ctrl+Space to get
to a front view and most people might
| | 04:21 | think okay well, let's choose Rotate.
| | 04:24 | We can move our Action to here by
clicking over towards that top corner--bottom
| | 04:29 | corner, that is--and go like this.
| | 04:31 | Well, that can work, but I want
these edges to be straight up and down,
| | 04:36 | so there is a better way to do
this rather than rotating it.
| | 04:39 | So Command+Z to undo or Ctrl+Z on the PC.
| | 04:43 | We are going to go to our Deform tab right here--
| | 04:45 | I will pull these back down, so you
could read--and I can choose Shear, and I
| | 04:50 | want to shear from that same point.
| | 04:52 | And then I am going to grab this green
handle and pull, but look what happens.
| | 04:57 | It does it from the wrong side.
| | 04:58 | We want to reverse this.
| | 04:59 | So Command+Z, or Ctrl+Z to undo, and in
the Properties for the Transform there
| | 05:05 | is a Reverse button.
| | 05:07 | Now, we will get into falloffs a
little bit more later on, but simply,
| | 05:11 | the Falloff is a way you can control a
movement, and in this case a Shear is a transform.
| | 05:17 | It's a move function.
| | 05:18 | But this tool, the Falloff tool, is
telling modo more falloff, more move on this
| | 05:26 | thick end, and less on this thin end.
| | 05:29 | So with it reverse, and I pull that down,
I have more movement where the thick end
| | 05:34 | is and less where the thin end is.
| | 05:36 | And this way I keep my forward and
backsides straight, but I get that angle
| | 05:40 | that I'm looking for. Pretty neat.
| | 05:44 | So we will turn off that, and we
will Command+S, or Ctrl+S, to save, then
| | 05:51 | Ctrl+Space to get to my pie menu,
and let's jump back to Perspective view.
| | 05:55 | And you can see we have a very nice
shape here that we can use as our handle.
| | 05:58 | But the problem is, on this fire
extinguisher, this handle is not solid.
| | 06:02 | So, very similar to the clamp, we need
to cut out this center, and there are a
| | 06:08 | number of ways we could do it.
| | 06:10 | We can use a Boolean like we did earlier;
| | 06:12 | we can select the Polygons and Delete
and then just Extrude or Bevel them;
| | 06:16 | and we can use another tool called
Thicken, but I am going to save Thicken
| | 06:20 | for the hose later on.
| | 06:22 | So in this case we could
just copy this and cut it out,
| | 06:26 | just another way to do things.
| | 06:27 | So over here in the Items list I am
going to right-click and then choose
| | 06:31 | Duplicate. And for the original mesh, or the
second mesh, doesn't matter at this point,
| | 06:36 | we will call this BaseHandle like that.
And I am going to turn off this Base and the Clamp,
| | 06:46 | and then go select this, and this will
be, we will just name this Cuttingtool,
| | 06:51 | like that. And then we want to go
back to our Basic tab and choose Scale.
| | 06:56 | Now, I will press the A key
to fit everything to view.
| | 06:59 | I will go back to Scale, and we want to
make sure we jump to Polygon mode,
| | 07:04 | what that's going to allow us to do is
scale these polygons down just like this.
| | 07:08 | Just click and drag right on that
center circle from the Scale tool.
| | 07:12 | The Scale tool keyboard equivalent is the R key.
| | 07:18 | But notice when I scale
it down it's inside it.
| | 07:21 | Well, that's not going to help us
much, because we want to actually see a
| | 07:23 | hole through the top.
| | 07:24 | So we will go back to Transform and we
will just slide this up, just so it comes
| | 07:29 | out. And then we are going to take the back side.
| | 07:33 | Turn off the Move tool, select this
polygon, and then put Move tool back on.
| | 07:44 | And then we are going to use this
little tool right here, because if I grab
| | 07:47 | this red handle, it's pulling out
straight based on that workplane in the
| | 07:52 | back, which is fine, but in this case
we want to pull it down. You can
| | 07:56 | simply do it like this,
| | 07:57 | but what's nice in modo is that the
tools have a double-axis control.
| | 08:01 | So while the green handle controls the
Y up and down, the red handle controls
| | 08:05 | the X left and right.
| | 08:07 | This little guy right here allows me
to use both of those at the same time.
| | 08:10 | I can just pull that out.
| | 08:11 | We will turn this tool off, hold the
Alt or the Option key to move around, and
| | 08:16 | select this Polygon,
and we will do the same thing:
| | 08:19 | W for Transform, grab that
little dot, and pull this out.
| | 08:24 | modo is all about workflow.
| | 08:26 | So when I add little tools like this,
rather than you might think that one
| | 08:30 | movement on the Y one movement on the X
is not a big deal, but over the course
| | 08:33 | of an entire model, especially when
it's paid job and time is money, little
| | 08:37 | things like this really help save time,
and all those little seconds do add up.
| | 08:41 | So I am going to click to deselect this,
and then I am going to reverse these layers.
| | 08:45 | So I will go back to the BaseHandle
and then that makes my CuttingTool in the
| | 08:49 | background. And just like we did
earlier, we are going to hit Geometry, come
| | 08:54 | down to Boolean, and choose Boolean.
| | 08:58 | And then Operation is a Subtract.
The driving mesh is our Background layer,
| | 09:03 | that one we just edited.
| | 09:04 | We will click OK and that background
now is cut out of that handle very nicely.
| | 09:11 | Go back to the Cuttingtool,
right-click on it, and delete it.
| | 09:16 | We do not need it anymore.
| | 09:17 | We will turn our Clamp back on, turn
our Base back on, and let's press the O
| | 09:22 | key to get our Viewing and Shading
options, and inactive meshes can now be
| | 09:27 | same a active mesh.
| | 09:28 | Now we have this nice
little handle to work with.
| | 09:32 | And we can do a little more detail on
it and work with these points to kind of
| | 09:35 | clean them up, but for now, that
actually is working pretty well for us.
| | 09:39 | The last thing we need on this is a material,
| | 09:41 | so let's make sure we select the Handle,
press M from Polygon Material, and we
| | 09:47 | will call this Handle.
And I don't want it to be black.
| | 09:51 | Let's just give it a gray color and click OK.
| | 09:55 | So now we know that that has its own unique
surface material, which we can edit later.
| | 09:59 | In an upcoming video what we are going
to do is using Mirror tool to create
| | 10:03 | another version of this, and then we
are going to create small little holes
| | 10:07 | using the Bend tool.
| | 10:08 | This video actually helps you create a
very nice-looking handle. Simple. But we
| | 10:13 | got use the Falloff tool, and we got
to use a Boolean, all right on these
| | 10:17 | simple geometric shapes.
| | 10:19 | This is a reason that most of these
models you will create start with these
| | 10:24 | geometrics, and that's why
these are all located right here.
| | 10:27 | It's the basis for almost
everything you are going to create.
| | Collapse this transcript |
| Bending geometry| 00:00 | A lot of times when you are making
different models you're going to need to bend.
| | 00:04 | And the Bend tool in modo is really powerful,
but it's often very confusing, so let's do this.
| | 00:10 | Let's take our existing model that we built in
the previous videos of our fire extinguisher.
| | 00:15 | So I'm going to go to the File menu,
click Open, and we're going to load up Version 3.
| | 00:19 | I'll click OK.
| | 00:23 | So Fire Extinguisher Version 3.
| | 00:24 | Press the A key to fit, and you'll see
the fire extinguisher from the base to
| | 00:29 | the clamp, to the handle that we've built.
| | 00:31 | Now we're going to come to the Items
tab, choose Add Item, and then Mesh, and that
| | 00:37 | creates a new blank mesh layer.
And what we're going to do is create a little
| | 00:42 | hose that's going to come out.
| | 00:43 | Now we're not going to build the big hose that
goes around the side just yet. That's coming up.
| | 00:48 | And by the way, just to scroll in like
that, I have a wheel on my mouse, and if
| | 00:52 | you have one, you can actually
scroll in and out every easily that way.
| | 00:56 | At the top here, what we want to do is
create a little bit of a hose that comes
| | 00:59 | out from the center and comes around.
| | 01:01 | I am going to do something here too.
| | 01:03 | I'm going to jump to the Shader Tree,
open up the Render, and here are the three
| | 01:08 | material groups that we created.
| | 01:10 | I am seeing that the black might be a
little bit hard to see, so let's do this.
| | 01:14 | Let's go to the Clamp and choose the
Material, and I'm going to the Material and
| | 01:20 | I'm just going to select this and make
this is kind of gray, like that. And move
| | 01:24 | the mouse off, and that's goes away.
| | 01:26 | And then we'll do the same for the handle.
| | 01:30 | It is already gray, but we are going
to make it a little bit brighter. And we
| | 01:34 | haven't placed our final surfaces
on here yet, so we are just doing a minor
| | 01:37 | adjustment. Let's turn
back to the Items tab now.
| | 01:40 | So now that you can see this little bit
better, we will be able to create our disc.
| | 01:43 | What I'm going to different here is press
Ctrl+Space and then jump to the top view.
| | 01:48 | So I'll select that with the left mouse,
and it jumps me over. And in our blank
| | 01:52 | mesh--let's make sure
that's selected in the Item list--
| | 01:55 | I'm going to choose the Disc tool, or
the Cylinder, and we're going to build a
| | 01:59 | disc like this. And I'm watching my
numerics on the left-hand side here, so it
| | 02:05 | just 90 millimeter is my
Radius, and it could be approximate.
| | 02:09 | Before I turn the tool off,
Ctrl+Spacebar again, to get to the front view, and
| | 02:14 | let's just make sure that this is
settled down kind of about there in the base.
| | 02:19 | Then I'm going to turn off the
Cylinder, go to Polygons tab, and then we're
| | 02:24 | going to choose Extrude.
| | 02:26 | So we'll choose Shift+X. It's a nice
keyboard equivalent for Extrude
| | 02:30 | And Ctrl+Space lets you
actually get to the Perspective view.
| | 02:35 | We're just going to click and pull.
| | 02:40 | Now why did that work that way?
| | 02:41 | Well, don't forget, we've got our
mesh layer selected, our brand-new mesh.
| | 02:46 | So even though you saw the whole
model, we were telling modo, we are only
| | 02:49 | working with this one layer.
| | 02:51 | So early in the course when I talked about
making multiple layers and why would we do that,
| | 02:55 | this is exactly one reason.
| | 02:56 | The base is fine, the handle
is fine, the clamp is fine;
| | 02:59 | we're not working with those at this point.
| | 03:01 | Now we're able to simply extrude what
we want without destroying anything else
| | 03:05 | we already built; it works really well that way.
| | 03:07 | So with this extrusion, I want to come
up about that far, just enough so that
| | 03:13 | I'll have room to bend that over.
| | 03:16 | Later we're actually going to build the
nice hose that comes around the outside.
| | 03:19 | We also want to make sure that
our sides have enough segments.
| | 03:22 | You cannot bend a straight object, so
when we build it, we want to make sure we
| | 03:26 | have enough segments.
| | 03:27 | So initially yours might be zero like
this, and what you end up with is only
| | 03:33 | just kind of that ring like that.
| | 03:36 | We won't be able to actually bend that
over, because there is nothing there to
| | 03:40 | allow us to do that. We need geometry.
| | 03:42 | In many ways it's like taking a straight
wall and trying to bend it. It will crack.
| | 03:47 | By adding segments, we make it more like
a screen door or window or screen window.
| | 03:52 | And with that mesh layer
there like that, that nice quad,
| | 03:55 | we can actually bend that over quite well.
| | 03:57 | So I'll turn off Extrude and then go
to the Deform tab, and we'll choose Bend.
| | 04:03 | It's also Ctrl+E, using the shortcut.
| | 04:06 | Now for bend, I like to be straight on
in orthogonal view, so Ctrl+Spacebar and
| | 04:11 | get to the Front. And let's just turn
off the Base and the Handle, so you can
| | 04:17 | see what we're doing, and the Clamp.
| | 04:20 | And what I am going to do with the bend
is just click right at the bottom, and
| | 04:23 | what happens is that I get this nice ring.
| | 04:25 | And with the Bend tool you can have
the action happen from the X, Y or Z, but
| | 04:31 | because I was in the front view, modo
knew that I wanted to down the Z axis.
| | 04:36 | And what that means is I can grab this and
bend it to the left or right, but there
| | 04:40 | is this line coming out. So let me
zoom out a little bit. This right here.
| | 04:44 | What this handle will do, it will allow
us to control the bend, so I want to put
| | 04:48 | this straight at the top and watch what happens.
| | 04:50 | So I am going to click and drag on this
blue handle here and I bend that entire
| | 04:56 | unit, and that's really all we want to do.
But let me show you what happens if I move this.
| | 05:01 | We're able to actually create a
different shape for the bend just by
| | 05:05 | pulling this handle.
| | 05:06 | This is what's really neat about modo's
tools is that they work live like this,
| | 05:09 | so you really can get a
good feel for your final model.
| | 05:13 | It's not as much trial and error
| | 05:15 | as it is just pull and push to the way you
want it when you see the action happen.
| | 05:20 | With the right amount of segments,
we're going to get a smooth shape.
| | 05:23 | If we didn't have enough of
these, it wouldn't be smooth enough.
| | 05:26 | So let's keep this like this just for a minute,
and let's put our Clamp and our Base back on.
| | 05:31 | Actually that's about right.
| | 05:32 | That's about where I want it.
| | 05:33 | I'm going to press the spacebar
to turn off the bend tool and then
| | 05:36 | Ctrl+Spacebar to go back
to the Perspective view.
| | 05:40 | And let's take a look,
| | 05:41 | now we've got just that nice little
tube coming out, just like we want.
| | 05:45 | Later we can build upon this to
create the rest of the hose. And again, we
| | 05:50 | are not trying to go for a perfectly
accurate model, but we definitely want it to work.
| | 05:55 | We don't want to have a hose floating
there on the side not really connected to it.
| | 05:59 | So last thing I need to do is name my
mesh layer, and we'll call this CenterHose, and
| | 06:06 | we'll press the M key for a polygon
material, and we'll also call this
| | 06:09 | CenterHose. And we'll do
Command+S or Ctrl+S to save.
| | 06:15 | So what we have done here is we've
taken a disc and we built our base.
| | 06:19 | We've taken a box and we built the clamp.
| | 06:22 | We've also take another
box and built the Handle.
| | 06:24 | We have used Booleans to cut them out,
and then we've used Falloff to shape that
| | 06:29 | Handle and we've also used another
disc with a controlled bend to build the hose
| | 06:35 | coming out of the center.
| | 06:36 | So all geometric shapes, with just
all of modo tools, can help you make a
| | 06:41 | great model.
| | Collapse this transcript |
| Adding detail with edges| 00:00 | Once you start building a model, you
work with the geometric shapes to get that
| | 00:04 | initial shape together, and then from
there you add details, and one of the best
| | 00:08 | way to details is with working with edges.
| | 00:11 | In this case, I've got the model
of our fire extinguisher loaded up--
| | 00:14 | this is Version 4, part of the exercise files--
| | 00:16 | and we're going to do two things.
| | 00:19 | First we're going to copy this handle
so we have a top handle to the clasp.
| | 00:23 | This bottom one is more of grip and
then the top one will actually be one
| | 00:26 | that you would squeeze.
| | 00:27 | So I'm going to press Ctrl+Spacebar
and get down to a front view, and we're
| | 00:31 | going to make sure that we select the
base handle. And what we're going to do is
| | 00:35 | mirror this. And the way we're going to do this--
| | 00:38 | let's go back to Basic tab--and with
mirror what you want to do is choose your
| | 00:43 | model and we're going to flip it over on the
Y axis, which is exactly how it's designed.
| | 00:48 | So you can press Shift+V,
which is the Mirror tool.
| | 00:51 | It's also under the Duplicate tab, if you want.
| | 00:54 | And when you do that you'll get the
Mirror generator that pops up. It can
| | 00:59 | be kind of confusing at first,
but really what I like to do is turn the tool on
| | 01:02 | and just click right in the interface,
and then I know that I can just click on
| | 01:06 | an axis and I have something
mirrored exactly where I want.
| | 01:09 | And that work pretty well,
| | 01:11 | because from there I can then
choose the edges and adjust them make
| | 01:14 | some modifications.
| | 01:15 | So with that I can just turn the Mirror
tool off. Pretty simple. But this handle is
| | 01:21 | actually in the same mesh
layer as my base. Is that okay?
| | 01:24 | Now, in this one it is, but if you had
to actually animate this on its own, it
| | 01:29 | should be its own item. So just keep
that in mind. And the way you would do that is
| | 01:33 | double-click this to select it, add a
new mesh layer, and then you would cut and
| | 01:38 | paste this into the new mesh layer.
| | 01:40 | You don't need to do that now,
but if you wanted to animate this handle,
| | 01:44 | that's how you would it.
| | 01:45 | What we really want to do now is
just kind of adjust this a little bit.
| | 01:50 | As we have worked, each part of this fire
extinguisher has had its own mesh layer,
| | 01:55 | so anything we did happened to
that the entire mesh. That was fine.
| | 01:58 | For the base handle now, this really
is just handle, so let rename it. And we
| | 02:04 | only want to work with this top one
right now, which means we have to select it.
| | 02:07 | If we don't do a selection, anything we
do will happen to the bottom as well.
| | 02:11 | And what I want to do with this is
stretch it and size it a little bit.
| | 02:14 | So let's jump back to the Basic tab,
choose our Scale tool, and I'm just going to
| | 02:20 | squeeze it a little bit and
squeeze a little bit, just like that.
| | 02:24 | That's all we need.
| | 02:25 | We don't need it be any thinner on x
axis, which is the axis we're looking at,
| | 02:30 | the blue axis. And what I mean by that
is if we press Ctrl+Space to Perspective
| | 02:34 | view, the blue axis is our Z right here.
| | 02:37 | We only needed the X and the Y,
just to shape that a little bit.
| | 02:41 | Then we'll press our Transform tool.
And again using these little circles to
| | 02:47 | control two axes at once, we can just
kind of come down here like this, and then
| | 02:51 | we turn that tool off and we can click
to deselect, and that creates a top clamp
| | 02:56 | for us, just to squeeze it.
| | 02:57 | The next thing I want to do is work with
these edges, so we'll jump to Edge mode,
| | 03:02 | telling modo we want to work with
edges, and I'm going to select just these
| | 03:07 | corners. And I'm rolling my wheel on
my mouse to zoom in, and I'm holding the
| | 03:11 | Shift key to select these others.
Hit Ctrl+Click to deselect any corners
| | 03:16 | that you don't want, Shift+Click to
add another one. And all we're doing is
| | 03:20 | taking these edges here, just those,
and now we can work with this one because it
| | 03:26 | is in the same mesh layer, and this one
and this bottom one, and what we're going
| | 03:31 | to do is B--that's our Bevel tool--
we're going to click and drag.
| | 03:36 | And I have a round level of two,
| | 03:39 | and that adds two segments as we
pulled that geometry into a bevel. And we
| | 03:44 | pull back here. Let's turn off the
Edge bevel and click to deselect, and
| | 03:48 | we've just added a little bit finer
detail to very simple object just by
| | 03:53 | beveling those edges.
| | 03:54 | It suddenly just add a little bit more to
it. And by the same token, we can do that
| | 03:59 | to our clamp. So let's make
sure we select the Clamp layer.
| | 04:02 | We can select this edge.
| | 04:04 | We can select the bottom edge, even the
inside edge if we want. And I'm holding
| | 04:11 | the Shift key to select these edges,
and this one, and the bottom one.
| | 04:18 | I am not going to worry about the
inside of this point. And again, just bevel.
| | 04:22 | We'll click and drag, and now we
have given that some nice detail.
| | 04:27 | Click the Bevel tool, turn it off.
| | 04:30 | If you go too far, like I just did
here, just Command+Z or Ctrl+Z to undo and
| | 04:35 | then press the B key to bevel again
and just not go as far and then click a
| | 04:40 | blank area to deselect, and now we have
just added much nicer detail on these.
| | 04:45 | You can experiment with that, choose
perhaps these bottom edges right here,
| | 04:49 | all the way around.
| | 04:50 | For this we wanted a
little bit more molded metal.
| | 04:54 | That has a nice look to it.
| | 04:55 | So working with edges makes it
very, very nice to add detail.
| | 04:59 | We can do one more time.
| | 05:00 | We will select right here just from the
top one, press the B key for Bevel, and
| | 05:05 | just bevel that out. Spacebar turns
off the tool, click the blank area to
| | 05:09 | deselect. And of course we Save.
| | 05:11 | What we also need to do on here is
just create a small, little plate that will
| | 05:16 | hold this clamp together. And again
we're not going for super detail, but we do
| | 05:21 | want it to look nice. You're taking time to
do it, and the idea is that you get used
| | 05:25 | to using all these tools and all the
variations that are available to you.
| | 05:29 | Play with the edges, see how it looks,
and don't forget you can always undo, but
| | 05:32 | save as you go, and you can do some
really nice details through out this model.
| | Collapse this transcript |
| Editing polygons| 00:00 | Working with our fire extinguisher,
we have used a lot of simple geometric
| | 00:03 | shapes and used a good bit of the modo tools.
| | 00:06 | But now you also want a little
bit of realism in this as well.
| | 00:09 | And we've done that by putting
edges together and beveling them.
| | 00:13 | But our little handle here
is just kind of floating.
| | 00:15 | And what we need to do is extend this clamp
up so that our handle is connected to it.
| | 00:21 | What we're going to do is go to the
Clamp itself, and let's turn off the
| | 00:25 | CenterHose and the Base from
visibility, just by clicking the little eyeballs.
| | 00:30 | And what we're going to do is edit
this Clamp so that it encompasses our
| | 00:34 | newly added handle.
| | 00:36 | And the way we're going to do that
is by jumping to the Ctrl+Spacebar and
| | 00:41 | choosing the Right view like
that. Or you can choose Left.
| | 00:44 | I think in this case, let's do Left.
| | 00:47 | And what we want to do is take
this handle and extend it up.
| | 00:51 | And we don't want to stretch it.
| | 00:53 | We actually want to take these
nice points and move them up.
| | 00:56 | Earlier in the course, I showed you
how stretching a rounded corner can
| | 01:00 | really kind of distort it.
| | 01:01 | We want to work with the points.
| | 01:03 | So we're going to go here. And in order
to see things better, I want to make sure
| | 01:07 | I'm in the Wireframe view.
| | 01:09 | And the reason is, other than visibility,
is that if I go like this, often I'm
| | 01:14 | only selecting what's in front
of me, because it's a shaded view.
| | 01:18 | If you take a look at a perspective
view, and I kind of just go like this, it's
| | 01:22 | only selecting what's in front.
| | 01:24 | Often you can't select all the way
down, because of the shaded view.
| | 01:29 | So by going to a Wireframe view--
we're on the Left side, looking at a
| | 01:34 | wireframe--we very easily can come in
with our right mouse button and select
| | 01:40 | all of those points.
| | 01:42 | And I know that those
will go all the way through.
| | 01:45 | We also want to take this
side and move all of these up.
| | 01:49 | So, very carefully, we're going to
select from in here with the right mouse
| | 01:53 | button, we're going to Lasso+Select
all the way around, and then let go.
| | 01:59 | And then I want to hold the Shift
key and add to the selection, like that.
| | 02:05 | Zoom out a little bit. W is our
Transform tool. And I'll click just the green
| | 02:09 | handle to move them straight up.
| | 02:10 | I am going to move those up to about there.
| | 02:14 | And before I turn this off,
Ctrl+Spacebar to a perspective view, and we can see
| | 02:19 | that it might be a little too high, so
we'll pull this back down right to about there.
| | 02:24 | And what that does is encompasses
the clamp and the handle altogether.
| | 02:29 | So let's turn off the Move tool, click
a blank area to deselect, and let's take
| | 02:34 | a look at the OpenGL view.
| | 02:36 | And now you could see that that handle
is tucked away very nicely in there.
| | 02:39 | Then we'll put on the Hose and the
Base to get a feel for the whole thing.
| | 02:45 | And it's looking pretty good.
| | 02:46 | And perhaps that hose might
want to come up a little bit more.
| | 02:49 | How would we edit that, now that
we've extended our clamp up a little bit?
| | 02:53 | Well, this was version 5 that we
started with, so let's do this.
| | 02:57 | So let's say File > Save As,
and I'm going to version 6.
| | 03:02 | Now I've been manually typing in these
versions, but there's a better way to do this.
| | 03:07 | So if you say File > Save
Incremental, what happens is, version 6 now
| | 03:12 | becomes version 001.
| | 03:14 | We don't necessarily need to do that,
but when you're start a new model on your
| | 03:18 | own, do that from the beginning.
| | 03:19 | For instance, you would name this Fire
Extinguisher and then the next
| | 03:23 | save, do it incrementally,
and it'll be 001, 02, and so on.
| | 03:27 | And I pretty much do that for
every single thing I do in modo.
| | 03:31 | And the reason I do that is because too
often people have final, final 1, final 2.
| | 03:36 | Well, your model is almost never final,
and if you save them in versions, you
| | 03:39 | always have one to go back to,
| | 03:41 | but you always know which is the
most current, because it is the one with
| | 03:45 | the highest number.
| | 03:46 | Let's get back down to the CenterHose now,
| | 03:49 | select that, and then I'm going to click
right on it in Polygon mode, and I want
| | 03:55 | to select all of it.
| | 03:56 | I'm going to hold the Shift
key and press my up arrow.
| | 03:58 | And we're able to go all the way down into that.
| | 04:03 | Now I don't want to select
the whole thing and move it;
| | 04:05 | I want to get down just enough.
That's the bottom, right there.
| | 04:10 | So let's do this one more time.
| | 04:12 | Select the front, Shift, and then up arrow.
| | 04:16 | And then what I want to do
is of course, just move it up,
| | 04:18 | so I'll press the W command.
| | 04:21 | But because I'm selecting only those polygons--
we'll turn the visibility off of the Clamp so
| | 04:25 | you can see what's happening--
| | 04:26 | we're only extending just what we need,
letting the Base remain inside there.
| | 04:32 | Very simple to edit these.
| | 04:35 | And now that's extended up just a
little bit more; it works pretty well.
| | 04:39 | We'll turn off the Move tool,
and we'll click the blank area to deselect.
| | 04:43 | Part of editing polygons might mean
adding a little bit more geometry.
| | 04:47 | So just for a little bit of added realism,
let's add a little bit of a rivet right here.
| | 04:51 | So I'm going to go to Add Item and choose Mesh.
| | 04:54 | I've a new blank Mesh layer.
| | 04:55 | Ctrl+Space to get to the front view
and then using the wheel on my mouse,
| | 05:00 | I'm going to zoom in; you can also do
it from the Zoom command in the top right.
| | 05:04 | We're going to select a disk and then
right about here, we're just going to
| | 05:10 | drag out like that, keeping an eye on your
radius at the very bottom to make those even.
| | 05:16 | And if you go up and down and left and right,
this is how you control the X and the Y.
| | 05:20 | And I'm doing this in the
front view just simply for control.
| | 05:23 | You can do it in any perspective view,
and you can also come in here and
| | 05:26 | manually punch in, just to even that out,
| | 05:28 | and then turn off the tool.
| | 05:29 | Ctrl+Space to get to the
perspective view and you can see it's right
| | 05:34 | there, which is fine.
| | 05:35 | We'll click on the polygon
and then press W to move it in.
| | 05:38 | And let's just make sure it touches.
| | 05:41 | Now this is the advantage of having
your background layer shaded as an OpenGL
| | 05:45 | versus Wireframe, because now I
know exactly where this is lining up.
| | 05:49 | If it's a wireframe,
I might not know where that is.
| | 05:51 | So I'm just letting it sit right on
there. Turn this off, and then I'm going to
| | 05:56 | press the B key to bevel it.
Click to activate the bevel.
| | 06:00 | Let's shift this out and inset it
just a little bit like that, and then I'm
| | 06:04 | going to zoom in a little.
| | 06:06 | Now to make another bevel, hold
the Shift key and click again,
| | 06:10 | and then we'll just push this in a little
bit, pull it out a little bit like that,
| | 06:16 | and then turn off the bevel
and then click to deselect.
| | 06:19 | Now we can move this whole thing in
by pressing W and just make sure it
| | 06:24 | sits right in there.
| | 06:26 | Lastly, Ctrl+Space back to
the front view. Zoom out.
| | 06:30 | I'm going to copy this, and the way
I'm going to do it is pretty easy.
| | 06:35 | That's one way of holding the
bottom and the top is what we need.
| | 06:38 | So we're going to double-click this,
go to Edit > Copy. Or you can use on
| | 06:42 | the Mac, Command+C--on the PC, Ctrl+C.
So we're going to copy this, move it
| | 06:47 | down, Edit > Paste.
| | 06:52 | Turn off the Move tool and deselect.
| | 06:54 | And then Ctrl+Space to the Left
view, and you can see that there's our
| | 06:59 | little rivets right there.
| | 07:00 | Now remember, these are on its own mesh
layer, so I don't have to select anything
| | 07:05 | if want to mirror both of them over.
| | 07:07 | Shift+V is our mirror generator.
| | 07:10 | And we want it on the Z axis, and the
reason I know this is because my workplane
| | 07:14 | icon down here shows that I'm looking down
the X axis and my Z currently is left and right.
| | 07:20 | I'm going to click right on the center,
and you can see that I'm a little off.
| | 07:24 | Those are a little off right there.
| | 07:26 | That's not really a big deal, because I
can go right here to center and choose
| | 07:29 | 0 and hit Return and
they're perfectly lined up.
| | 07:33 | Spacebar turns off the tool.
| | 07:34 | Now the only thing is that
this top one is inside this clamp.
| | 07:39 | So I can do two things.
| | 07:40 | I can take these points and move them up
for the clamp, or I can move the rivet down.
| | 07:46 | So what I'm going to do is move the clamp.
| | 07:48 | So I'll come back to the clamp, choose
the Wireframe mode, and with the right
| | 07:53 | mouse, I'm going to
Lasso+Select just around these points.
| | 07:58 | And if you don't get them
all, make sure you add to it.
| | 08:03 | So in this case, I was still in Polygon
mode and that can work, but I want to be
| | 08:06 | very specific and go to Vertices, or Vertex.
| | 08:10 | Now here's the advantage,
again, of a different mesh layer.
| | 08:15 | If I was building on the same layer, I
would have selected that rivet inside
| | 08:18 | there on all those points.
| | 08:20 | Because it's on its own layer,
I don't have to worry about that.
| | 08:22 | W key for the Transform tool,
and we'll just move those up.
| | 08:27 | Turn off that, click to deselect,
and this is going to be saved as version 6.
| | 08:34 | Finally, all I really need to do is
create some interior here if I want it.
| | 08:38 | The way you can do that, I'm going to
turn off all these things here so we can
| | 08:43 | see what's happening.
| | 08:45 | These rivets that we've created--
I can even turn off the Clamp--
| | 08:50 | you can very easily take
these edges and extend them in.
| | 08:52 | So if you go back to an OpenGL mode,
notice that the insides are blank--
| | 08:57 | very similar to how we created the
fire extinguisher from the very beginning.
| | 09:01 | We don't really need polygons in there,
| | 09:03 | but what we can do is come down here like
this, go to Vertices, choose one and then two.
| | 09:12 | And earlier in the course I talked about
the Loop mode, so press the L key, and it
| | 09:16 | selects that entire loop of polygons.
| | 09:18 | If you put the Clamp back on, as well as
the Handle, and then press the W key for
| | 09:24 | the Transform tool, you can just drag
these points until I hit that inside.
| | 09:31 | Spacebar turns off the Move tool,
click to deselect, and you can see that
| | 09:34 | those are now in there.
| | 09:37 | So, very easy to do, and you
can do those with the others.
| | 09:41 | And initially, these are the
things that happen as you're modeling.
| | 09:44 | I don't feel they're important because
we're only going to render from a view like this.
| | 09:47 | But if you're building this that you
had a fly through it for some reason,
| | 09:50 | and you wanted that to be more accurate,
something to consider before you copy
| | 09:54 | this one down and then mirror them over.
| | 09:57 | So let's name this layer, call these Rivets.
| | 10:01 | And then we'll put the Base back on,
and we'll save the model.
| | 10:05 | So editing polygons is not very
difficult, adding to your geometry.
| | 10:09 | And a good part of this is
staying organized throughout your scene.
| | 10:12 | Whatever you're building,
just stay organized.
| | 10:14 | Work in multiple mesh layers.
| | 10:16 | Work with simple geometry, so
you have a lot more control.
| | 10:19 | It's always easy to add more
geometry and add more detail.
| | 10:22 | It's a lot harder to take away.
| | 10:24 | Keep that in mind as you build anything in modo.
| | Collapse this transcript |
| Extending polygons| 00:00 | Throughout the last set of videos,
you have seen how just taking simple
| | 00:03 | shapes, editing their edges, using the
Move tool, Shear, and Bend can create a
| | 00:09 | pretty nice-looking object.
But what about creating something a little more
| | 00:13 | organic, like a hose?
| | 00:14 | How would you extend those polygons?
| | 00:15 | I am working with version 6,
and then we saved it incrementally to 001.
| | 00:21 | So you can load that up. And then I'm
going to save this incrementally again as
| | 00:26 | version 2, and this is the one we
are going to be editing right now.
| | 00:28 | What I want to do is create a hose
coming out from this piece right here that we
| | 00:33 | created, that we used the Bend tool for.
| | 00:35 | So how would I do that?
| | 00:37 | Well, I'm going to use first the
Curve Extrude, and what I want to do is
| | 00:42 | select that polygon.
| | 00:43 | So let's go to the CenterHose, select
that polygon, and then we are going to
| | 00:48 | choose Curve Extrude.
| | 00:51 | In order to keep this exactly where we
want, we are going to go to a front view.
| | 00:54 | So Ctrl+Spacebar, get to a front view.
| | 00:58 | And then I am going to click right on
that polygon, and you will see a little
| | 01:01 | yellow dot appear. And I am going to pull up
the properties, so you see what's happening.
| | 01:06 | Notice that we have got a
Curve Path and a Path Generator.
| | 01:10 | Don't worry too much about
those properties for the moment.
| | 01:12 | I am simply going to just click out
here, and what's happening is an extrusion
| | 01:18 | based on this curve that I am creating,
and it allows me to generate the shape
| | 01:25 | I need. And I am just going to come down
here like this, and we will flip out the bottom.
| | 01:31 | It's good, but it looks a little chunky though.
| | 01:34 | So look down here in the Curve Path tab.
| | 01:37 | You can see mode is set to Add,
which is what we just did.
| | 01:40 | Now we can go to Edit, but as we do
that, I want to note that you can very
| | 01:44 | easily go into edit without actually
choosing Edit mode. The only thing is
| | 01:48 | you have to be very careful because if you
click too far, you end up making another point.
| | 01:54 | That's where Edit mode is actually more
of a safety, where you can accidentally
| | 01:58 | click outside and make another point.
| | 02:00 | So what I can do with then is simply
come in and edit. But I might feel that,
| | 02:05 | well, one is too much.
| | 02:07 | Back to the mode, I will choose Delete,
and I can click right on one of these
| | 02:11 | little curve points and delete
as needed. Perhaps this one too.
| | 02:16 | And then I can come back to Edit mode
and then shape this a little bit.
| | 02:22 | It's important to understand that the
amount of geometry you have will also help
| | 02:26 | determine how the shape is.
| | 02:28 | Also, if I pull this base point where I
started, I can move this a little bit.
| | 02:33 | So we want it to be right against
this side of the base, and I want this a
| | 02:37 | little straighter here and a little
more curved here. And I will pull this down
| | 02:42 | just so that it straightens
out a bit and then pull this one.
| | 02:45 | It works pretty well.
| | 02:47 | To determine the amount of geometry,
come over here to the Path Generator, and
| | 02:51 | we have Steps of 24.
| | 02:53 | You can click on Automatic and see
what happens, and notice that it puts less
| | 02:57 | geometry in the length and a little
more on the curve, and for most cases
| | 03:01 | that works pretty well.
| | 03:02 | If you are creating a very large set
of tubes or pipes or cables, you are
| | 03:08 | going to want that Automatic on,
because it's going to help limit the
| | 03:11 | unnecessary geometry.
| | 03:13 | You can also just turn that
off and punch in an exact number.
| | 03:18 | So we will double this to 48, and you
will have a lot more geometry to work with.
| | 03:23 | If you want to go straight
like that, you want to bend it.
| | 03:26 | You can work with those and try that out.
| | 03:27 | I am going to go to Automatic.
| | 03:28 | I think that's all we need for this, and I
am just going to get the shape going.
| | 03:33 | Once you play with this, you realize
you're actually probably having a little
| | 03:36 | too much fun making these shapes.
| | 03:37 | I have actually made cords that lay on
desks, mouse cords, things like that,
| | 03:42 | because you can Ctrl+Spacebar to a
perspective view, and if you are building this
| | 03:47 | with something else, you can very easily
move these points to a different aspect
| | 03:51 | ratio, and to a different axis.
| | 03:53 | Like, let's say we take this one
and we push it this way. You can move it
| | 03:59 | to any place you want.
| | 04:01 | It doesn't have to be flat. And that's
where you are going to work with the Path
| | 04:04 | Generators just a little bit more.
| | 04:06 | That's going to go it for this one.
| | 04:08 | We are going to click on that
Curve Extrude to turn it off.
| | 04:11 | And notice that the bottom
polygon is still selected.
| | 04:14 | That's because we started with the
selection upfront, and we have extruded it
| | 04:17 | all the way through.
| | 04:19 | So with this bottom one selected, I am
just going to press Ctrl+X to delete it,
| | 04:24 | because we want this hose to be open;
otherwise the chemical inside the fire
| | 04:27 | extinguisher can't do its job.
| | 04:30 | But we have no material;
| | 04:31 | we need to thicken this up. So how we do that?
| | 04:33 | With the Thicken tool, and that's under Polygon.
| | 04:36 | Let's go to the Polygon tab, choose
Thicken, click once to activate, and you can
| | 04:42 | very easily just grab
these handles and go like that.
| | 04:45 | Very, very nice tool!
| | 04:46 | And that way we have got a nice
thick handle and hose to work with.
| | 04:49 | And I'll just make sure that the
top is not too extruded. Good.
| | 04:53 | You have to be carefully using
Thicken, a lot of times the polygons can
| | 04:57 | overlap each other.
| | 04:58 | What might happen if you are
free-forming it, you will get kind of this look,
| | 05:02 | see, at the bottom here.
| | 05:03 | So just be really careful with this,
and that's why I like just pulling
| | 05:06 | directly on these tools.
| | 05:08 | This is the Offset, and the red is the Scale.
| | 05:12 | So we just need to Offset it just
a little bit--not even that much.
| | 05:16 | Then, just like we have done before,
we can go to the Edge mode and I can
| | 05:21 | double-click to select the entire loop,
| | 05:23 | hold the Shift key to select that entire
loop, press B for bevel, and let's just
| | 05:28 | bevel that edge just a little bit.
And then spacebar turns off the bevel, and
| | 05:33 | click to deselect and you have
just made a nicer little shape there.
| | 05:38 | Just like that, we have created a nice
hose for this, but there is one more thing
| | 05:42 | we can do to help spice this up,
and that's creating sort of a metal brace here.
| | 05:47 | So first thing, notice that there is an
asterisk at the very end of this scene
| | 05:51 | file; it means we've made changes not yet saved.
| | 05:55 | So Command+S or Ctrl+S to save. Then I
am going to take this edge first, and we
| | 06:01 | are going to choose Geometry and Slide.
| | 06:03 | This is a tool we have used earlier.
| | 06:04 | And we are going to click and drag,
and we are going to slide that edge down.
| | 06:08 | Give ourselves just a little more control.
| | 06:10 | Then we will click to deselect.
| | 06:12 | We are going to double-click this edge
and Shift+Double Click this edge, and
| | 06:16 | then we will choose, under
Edge tab, Remove, and click OK.
| | 06:21 | And that gives us a nice section to work with.
| | 06:24 | You can also press the Backspace key
on your keyboard; that will also remove.
| | 06:29 | So now I am going to select a couple of
polygons like this and press the L key
| | 06:32 | for Loop. Then we are going to bevel these.
| | 06:34 | We are going to press the B key.
But we don't want to ungroup these,
| | 06:39 | so you don't want this.
| | 06:40 | That's not what we are doing.
| | 06:42 | We want to make sure that Group
Polygons is on in the Bevel properties.
| | 06:45 | And I am going to click to activate the
bevel, and I am literally just going to
| | 06:49 | shift it out--we don't
even want to inset it--just like that.
| | 06:53 | This is going to be that little metal
brace that's going to hold the hose.
| | 06:56 | As I do this, I want to be thinking
about the surfaces that we are going to
| | 07:00 | put on here, because as you get your
geometry more complex, it's going to be a
| | 07:03 | little harder to select those particular
polygons and make them set to a specific material.
| | 07:09 | So let me undo real quick. And I am
going to press the M key and we are going to
| | 07:13 | call this HoseClamp. And we will just
click OK, and that will create a different
| | 07:20 | surface for those polygons.
| | 07:21 | Then we will activate the bevel,
and we are going to just shift those out.
| | 07:25 | Spacebar to deselect and then click,
and then we will come back to Edges,
| | 07:29 | kind of the same thing, and I am going
to double-click that edge, Shift+Double
| | 07:34 | Click this edge, and we are going to
press the B key, and we are going to bevel
| | 07:39 | this just a little bit.
| | 07:41 | I don't want to bevel this inside edge,
because what will happen is that will
| | 07:44 | make it look like it's attached, kind
of like we did with the base here, like
| | 07:47 | it's molded in; instead we want
this to look like it's holding.
| | 07:51 | We want that clamp to be all the way around it.
| | 07:53 | Next, we will go back to Polygon mode,
select these two, and press the L key.
| | 07:58 | You are going to move your mouse
up. We are going to bevel these.
| | 08:01 | Click again, but this time we
are not going to use the Shift;
| | 08:05 | we are going to actually Inset.
| | 08:06 | Then we are going to press the
spacebar to turn off the bevel, and now we are
| | 08:10 | going to bevel again by pressing B. So we
turned it off, and we turned it on to reset it.
| | 08:15 | This time turn off Group Polygons,
and what that means is when we click to
| | 08:20 | activate the bevel, we can
actually use both our Inset and our Shift.
| | 08:25 | I am going to Inset these down
about 9 millimeters, and I am looking at
| | 08:30 | my values right here.
| | 08:32 | Then to reactivate the bevel, you can
turn it off or on, or hold the Shift key
| | 08:36 | and click. And this time just grab the
blue handle and shift these out a bit,
| | 08:42 | and then you can also inset
them if you like, like that.
| | 08:44 | Spacebar turns off the bevel and
then click to deselect. And so what you've
| | 08:51 | created is a nice little
metallic little ring there.
| | 08:54 | Very, very simple, but all based on
that exact same polygon that we had pulled
| | 08:58 | out and made the hose with.
| | 08:59 | Later when we get to surfacing, we will
use the same model and I will show you
| | 09:04 | how we can put black plastic on the hose,
but then we can put metal around that clamp.
| | 09:09 | But for now, this model is finished,
so I am going to make sure I save it.
| | 09:14 | So we have now created an
average-looking fire extinguisher, but we've used very
| | 09:18 | basic geometric shapes:
| | 09:20 | We have used a box and a cylinder,
that's it, to create this whole thing. And
| | 09:25 | using a combination of modo tools,
from Curve Extrude, to Edge Bevels, to
| | 09:29 | Booleans, we have created a nice shape
that I think is relatively recognizable.
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|
|
3. Modeling with SubdivisionsUnderstanding subdivisions| 00:00 | One of the biggest strengths in modo
is working with subdivision surfaces.
| | 00:04 | Now we say subdivision surfaces
when really we are talking about a
| | 00:07 | sub-divisional model.
| | 00:08 | It's often known as sub-Ds in 3D.
| | 00:11 | What I have got here is a simple curve.
| | 00:14 | This bottom curve we have got three
points, and of course we get a nice
| | 00:18 | curve across the top.
| | 00:19 | When we take that same curve and we put
points close together, that top becomes
| | 00:25 | a little bit sharper.
| | 00:26 | I am going to press the T key, which
is my Element Move, and as I move one of
| | 00:32 | these points, you can see
how that curve changes.
| | 00:35 | And here of course we have no extra points,
so it's really just that nice curve o top.
| | 00:39 | Imagine a 3D model like this.
| | 00:42 | How could we create this in 3D?
| | 00:43 | I am going to create a new scene, and I
am going to press Ctrl+Spacebar and jump
| | 00:50 | to my Perspective view.
| | 00:51 | I am going to hold the Shift key and select
the cube, and change this back to OpenGl view.
| | 00:58 | When I hit the Tab key, I turn my cube
into those same type of curves that I just
| | 01:04 | showed you, but again its applied
as a 3D model, not just as a line.
| | 01:09 | So what's happening here?
| | 01:11 | Every polygon that's in this model is
being subdivided two times, and you can see
| | 01:16 | that down here for the properties.
| | 01:18 | Let me close this up here.
| | 01:21 | Here is our cube, selected in this empty
scene, and our Subdivision Level is set to 2.
| | 01:26 | If I change this to 4 and hit Return,
every polygon is subdivided four times.
| | 01:34 | That is similar to our bottom
curve here that's very smooth.
| | 01:39 | Well, how can we make one of
the edges sharper like this?
| | 01:44 | Well, the way we would do that is
by working with some of these edges.
| | 01:48 | So if I go to Edge mode and I double-click,
then I will press Shift+A to fit that to view.
| | 01:55 | Let's bevel, so I will press the B key, and what
the bevel is going to do is add more geometry.
| | 01:59 | The geometry then, in a sense, is like
adding more points to that curve I showed you.
| | 02:04 | And when I click and drag, that's what
happens. And I have got a Round Level of 2.
| | 02:12 | Turn off the Edge Bevel and click to deselect.
| | 02:14 | And so now what I have taken is the cube.
| | 02:17 | I will press the Tab key. Bevel those edges.
| | 02:21 | So the subdivision now is working on
this big polygon, this big polygon,
| | 02:26 | this one as well, but in addition,
these polygons. And it's subdividing each of
| | 02:31 | those, and in turn making a sharper
end. So here you have got the smooth end
| | 02:37 | where we have our original simple two
polygons on that side, where we have this
| | 02:43 | end with our new edges that have
been beveled into additional polygons.
| | 02:46 | And now the advantage of this is that I
can create a lot more detail with a lot
| | 02:51 | less polygons, and create some unique shapes.
| | 02:54 | So if we take a look at this, this
is now like a gumdrop, or the top of a
| | 02:58 | bullet, or it could be a hat for
somebody--simply by hitting the Tab key and
| | 03:03 | subdividing those surfaces.
| | 03:05 | But again, consider when
you are doing this, these curves,
| | 03:09 | and then I am going
to go to Wireframe, so you can see the points.
| | 03:13 | The more points you have--or in our 3D
case, the more polygons you have--the
| | 03:17 | sharper that subdivision will be; the
less you have, the smoother it will be.
| | 03:22 | And really, it's as simple as that.
| | 03:24 | Now we are going to create all
kinds of models with subdivisions.
| | 03:28 | In the past, working in 3D was either
subdivisional or hard-surface modeling.
| | 03:34 | And what I found in modo is
that a lot of it is kind of mixed,
| | 03:37 | because it handles the subdivision so well.
| | 03:40 | Subdivisions in modo can really help
you create a lot more detail with a lot
| | 03:44 | less geometry, and you should use them
on your models as often as you can.
| | Collapse this transcript |
| Understanding Pixar-based subdivisions| 00:00 | Once you understand how
subdivisions work, modo offers two versions.
| | 00:04 | You have your standard subdivisions,
and then you have your Pixar-based
| | 00:08 | subdivisions, which
essentially is a different math function.
| | 00:10 | It's a different algorithm, and it
handles creases and edges very well.
| | 00:15 | Let me show you that. I can hold the Shift key
and add another cube. And in the previous video I showed
| | 00:20 | you how hitting the Tab
key subdivided this model.
| | 00:23 | Then we went to Edges and we
double-clicked an edge and we beveled it to add a
| | 00:27 | little more detail to help sharpen out
that subdivision on the one end, creating
| | 00:31 | kind of a unique shape.
| | 00:33 | We increased our Subdivision Level
to 4, which subdivided each of those
| | 00:37 | polygons four times. But there's
another way to handle this model, by using
| | 00:42 | Pixar-based subdivisions.
| | 00:44 | So what I am going to do is hit the
Tab key to turn the standard subdivisions
| | 00:47 | off, and then I am going to hold the
Shift key and hit Tab for the Pixar based.
| | 00:52 | Now, initially this doesn't look
much different. And we can see here our
| | 00:55 | Subdivision Level is still at 2,
but what I can do with this edge now, rather
| | 01:00 | than beveling it, go to Vertex Map and
choose the Edge Weight tool. And when I
| | 01:06 | click and drag, I actually weigh that curve.
| | 01:09 | So similar to adding more edges with
bevel, we are now actually changing the
| | 01:14 | weight of this curve. Ad to see
what's happening, you can change your view to
| | 01:18 | Vertex Map view, and the red signifies
that the curve is tighter, whereas going
| | 01:25 | to the left dragging, it's cooler.
| | 01:27 | It will be smoother.
| | 01:29 | But it doesn't really help you much.
So let me show you now, if I deselect this
| | 01:34 | edge and I hit Shift+Tab again then hit
the Tab key, notice that the Edge Weight
| | 01:40 | doesn't do much on the Standard
Subdivision; Shift+Tab, that Edge Weight has a
| | 01:45 | lot more control without adding more geometry.
| | 01:49 | So what's the benefit of all this?
| | 01:51 | Well, if I add a little more subdivision
here, so now it's subdivided four times,
| | 01:55 | now I can create even more
detailed objects without adding any extra
| | 02:00 | geometry. And all I am doing is weighting that
edge and using the Pixar-based subdivisions.
| | 02:05 | That's just the start of using Pixar
based; the other advantage is that you can
| | 02:08 | have creases and edges blend
smoothly with other objects.
| | 02:13 | in that let's say you have a circle that is
connecting with a box; that can blend smoothly.
| | 02:19 | In our upcoming project in this chapter,
we are going to build a staircase and a
| | 02:23 | banister, and you are going to see how
nicely those edges can blend together
| | 02:27 | using Pixar-based subdivisions.
| | 02:29 | So Pixar-based subdivisions and
standard subdivisions can really help create a
| | 02:35 | lot of extra detail in your models,
without creating too much extra geometry.
| | 02:39 | We will use subdivisions
throughout the course as needed.
| | 02:41 | Sometimes you will use Pixar-based
subdivisions and sometimes you use standard,
| | 02:45 | and I'll show you the
difference of when each is important.
| | Collapse this transcript |
| Creating a basic model | 00:00 | In explaining how important
dubdivisions are to your models in modo,
| | 00:04 | I want to actually show you a project
so it can make a little bit more sense.
| | 00:07 | Now I am going to show you an old
favorite that I have done before and have used
| | 00:10 | in many different programs,
but I haven't done it quite like this.
| | 00:12 | So I am going to show you how to create this
interesting model with a little bit of a twist.
| | 00:16 | I am going to hold the Shift key and
add a cube, just like we did in the
| | 00:19 | previous video showing you how
to create these subdivisions. But we are
| | 00:22 | going to take some of the other
techniques we've learned and build upon this.
| | 00:27 | We will go to Polygon mode,
and then I will select this front polygon,
| | 00:30 | press the B key to get our Bevel tool,
click to activate and then grab the shift
| | 00:35 | the handle which is blue and just pull that out.
| | 00:38 | Turn off Polygon. Spacebar.
Then we can rotate around.
| | 00:42 | Let's select this bottom polygon.
Bevel again. And you can extrude, too; that's
| | 00:47 | another option, but Bevel is just as easy.
| | 00:51 | As I Bevel this down, we are going to
stop right about there, and then we will
| | 00:55 | take this polygon and we
will bevel it. Same thing, kind of like that.
| | 01:00 | We will go back to the front, and I am
going to bevel this down a little bit now.
| | 01:04 | Instead of the Shift, I am
going to use the Inset like that.
| | 01:08 | And then I want to Bevel again, so I
am going to hold the Shift key, and what
| | 01:11 | will happen is I will reset the Bevel.
| | 01:13 | So watch the commands over here.
| | 01:15 | I will hold Shift and click right
there on that model, and you can see that
| | 01:19 | Shift and Inset are reset.
| | 01:20 | So Shift+Click resets the
Bevel, allowing me to bevel again.
| | 01:26 | Turn off the Bevel, click to deselect
and when I hit the Tab key, I have got sort
| | 01:31 | of a hair dryer, but not quite.
| | 01:33 | Thinking back to using subdivisions
and adding more detail on your curves, or
| | 01:38 | adding more detail on your edges in
this case, will help create more detail
| | 01:42 | in the model itself.
| | 01:44 | We will come to Edges and I will
double-click this edge, hold the Shift key, and
| | 01:49 | double-click this edge.
| | 01:51 | Now we have two options. We can Bevel them.
| | 01:54 | Hit the B key, click and drag, and then
when I hit the Tab key you will see how
| | 01:59 | that thickens out and sharpens that
area. Or, let me undo a couple of times with
| | 02:04 | Command+Z or Ctrl+Z, and what we can
do instead is use the Edge Weight tool.
| | 02:10 | So I am going to hold the Shift key
and press Tab, and this turns on our
| | 02:14 | Pixar subdivisions.
| | 02:16 | What I'll do is select these edges.
| | 02:18 | Now when you get into the Subdivision
modes, it's a little more difficult to
| | 02:21 | find the right edge. Even though it
looks like it's all the way in, it's not.
| | 02:26 | That is actually the edge
for the front of the hairdryer.
| | 02:29 | So don't be too confused with that.
| | 02:31 | There are no other edges.
| | 02:32 | And with those edges selected, we can
go to Vertex Map and choose the Edge
| | 02:36 | Weight tool, And I can click
and drag and sharpen those out.
| | 02:40 | I can go right about there.
| | 02:45 | And I am just clicking and dragging,
but then I can change my Subdivision Level
| | 02:49 | to about 4 to give it a little more detail.
| | 02:50 | And now with this Pixar subdivision,
we have really precise control just
| | 02:56 | using this Edge Weight,
| | 02:58 | just clicking and dragging.
And we are not adding more geometry. And I
| | 03:02 | have mentioned that before about not
adding more geometry, and why do I do that?
| | 03:06 | Let's say you have the hairdryer,
and then you build a mirror, and then you
| | 03:09 | build the sink, and then you build
the room, and then you build a chair.
| | 03:13 | That's a lot of geometry, and the more
efficiently you can work when you build
| | 03:17 | your models, the faster your
overall scene will render.
| | 03:20 | So just keep that in mind.
Plus, that's much really clean.
| | 03:24 | Let's finish up the bottom here.
| | 03:26 | Shift+Tab to turn off the subdivisions.
| | 03:30 | We need a little more detail in here,
| | 03:31 | so I am going to go to Polygon mode,
and I am going to select just two polygons
| | 03:36 | is all I need, and then we are going
to come down here to Mesh Edit, and use
| | 03:40 | this tool called Loop Slice.
And when I click, I can add edges, some more
| | 03:47 | polygons, some more geometry, to that
entire loop, meaning all the way around.
| | 03:52 | You can add a count of 3
or 4, however many you want.
| | 03:55 | So I am going to put in 5, and it puts 5 edges.
| | 03:59 | I can also click and drag that last
one, and you will see a little control
| | 04:02 | handle appear, which allows you to very
easily just space these, just like that.
| | 04:09 | Turn off Loop Slice, then click to Deselect.
| | 04:12 | Let's hit Shift+Tab
again, and look what happened.
| | 04:15 | Same principle applies.
| | 04:17 | When I have added more geometry, now
I have a little bit sharper object.
| | 04:21 | It's not just smoothing out the whole
thing, turning into just a nub of nothing.
| | 04:25 | But look how nice that bottom
looks with that Pixar subdivision.
| | 04:29 | Shift+Tab to turn it off,
and then just hit the Tab key.
| | 04:32 | It still looks pretty good
with that, but notice our front.
| | 04:36 | It doesn't look as good
with the standard subdivisions.
| | 04:41 | Tab key to turn that off, Shift+Tab
for our Pixar subdivisions--much cleaner.
| | 04:45 | The advantage here is that I can come
into this edge right here and right
| | 04:52 | here. Shift+Double Click.
| | 04:56 | Typically, you might think to bevel
this, and that's kind of what happens.
| | 05:00 | Every once in a while beveling polygons
doesn't really quite do the job for you,
| | 05:04 | especially down here.
| | 05:05 | That doesn't look so nice.
| | 05:08 | That's where the Edge Weight comes in.
| | 05:09 | Vertex Map > Edge Weight Tool,
and we will just click and drag.
| | 05:16 | With that Pixar subdivision and these
weights, we can really just give this a
| | 05:20 | very nice unique molded shape.
| | 05:23 | So spacebar turns that tool
off and we click to deselect.
| | 05:27 | And look in here. We have that really
nice sharp molding in there that would be
| | 05:30 | harder to get if you're using standard
subdivisions, or bevels for that matter.
| | 05:35 | So let's do the back. Shift+Double
Click. And normally I'd probably do these all
| | 05:41 | at once, but we are just doing it a
little bit at a time, and we are just kind
| | 05:45 | of sharpening that out.
| | 05:50 | Looking pretty good, but what we need now
is a little bit more control on this handle.
| | 05:54 | So that's what's great
about all these edge controls;
| | 05:58 | we can Shift+Double Click to select
that, press the R key for Scale, and I
| | 06:02 | can just scale that in.
| | 06:05 | Shift+Double Click here, press the R
key to Scale, and scale that one in; and
| | 06:11 | Shift+Double Click the bottom, press the
R key for Scale, and scale that one in.
| | 06:16 | And so now you have sort of a square
handle, but it looks a very plasticy and
| | 06:21 | molded, without being too rigid or too organic.
| | 06:25 | You can do the same with these polygons
here on this edge and go to Vertex Map >
| | 06:33 | Edge Weight tool and just play with this
weight as well. And what that's doing is
| | 06:39 | creating just a little bit tighter
shape right in there, around that unit.
| | 06:45 | And lastly, we can take this outer
edge, and every once in a while when you
| | 06:50 | double-click, it might not select the
entire loop you want, and if that's the
| | 06:54 | case, just hold the Shift key
and select the edges you need.
| | 06:57 | Vertex Map > Edge Weight Tool and we will
just kind of tighten that up just a little bit.
| | 07:05 | Spacebar turn turns off the tool and
click to deselect. And there we have just a
| | 07:09 | very nice molded look;
however, look at the inside.
| | 07:12 | Remember, we had beveled that polygon back?
| | 07:15 | It's very similar to the cube
when we first did our subdivision.
| | 07:18 | It just rounded out the whole thing.
| | 07:20 | So all we need there is a little more
geometry, and in this case we can just use Bevel.
| | 07:25 | We will select that polygon in the very
back, press the B key, and we will just
| | 07:29 | bevel it a little bit.
| | 07:31 | Spacebar turns off the tool
and then click to deselect.
| | 07:36 | From just a simple cube, we have a
very misshapen, deformed, overly powerful
| | 07:42 | hairdryer, just from one of the simple
box. So, an oldie but a goodie, but done
| | 07:46 | in a new way with modo Pixar
subdivisions and Edge Weights.
| | Collapse this transcript |
| Beveling with subdivisions| 00:00 | You may not even know it, but you probably
already have been working with sub-d models.
| | 00:04 | In this chapter, we've
talked about subdivision models.
| | 00:07 | We've seen how on a simple cubic it can
work, and how on a hairdryer we can change
| | 00:11 | those bevels and those edges and put
edge weights on to create a unique shape.
| | 00:15 | But if you jump over to the Layout tab,
you are going to see a lot of models
| | 00:19 | that are already set with subdivisions.
| | 00:21 | Here in the Food category for the
Meshes tab, if you double-click the apple
| | 00:26 | for instance and press A key to fit, you will
see that this model already has subdivisions on.
| | 00:32 | How do I know?
| | 00:33 | Just press the Tab key, and you can see
it becomes kind of a chunky little model.
| | 00:38 | On a side note, let me talk about
these boxes that suddenly appear.
| | 00:42 | Those are locators.
| | 00:44 | And I am going to press the O key on my
keyboard and go to Visibility, and here
| | 00:49 | you will find the locators.
| | 00:50 | I will turn those off.
| | 00:54 | So the Tab key, you can see
that's already subdivided.
| | 00:57 | If you look at any other models, like the Human--
| | 01:00 | Let's hold up the Child's Head, and I
will hold the Alt key and rotate around
| | 01:05 | and zoom out a little bit. Hit the Tab key.
| | 01:08 | That already had subdivisions on;
you can see how chunky that can be.
| | 01:12 | If you load up the male model and
zoom in a little bit, hit the Tab key,
| | 01:18 | that was subdivided.
| | 01:19 | So all of these models that are already
here inside of modo that came when you
| | 01:22 | installed your program
already have subdivisions applied.
| | 01:26 | And it's a good way for you to study
and determine how to build your models
| | 01:30 | based on some of these examples.
| | 01:32 | So in this upcoming project what I am
going to show you is working with this hand.
| | 01:37 | This hand model that comes with
modo has subdivisions already on.
| | 01:42 | Now most of these models have
just your standard subdivision.
| | 01:45 | So by hitting the Tab key, you can
actually see how chunky this hand looks.
| | 01:49 | But smoothing that out with
the Tab key really works well.
| | 01:53 | The reason we are using the standard
subdivisions is just because this model is
| | 01:56 | built pretty well with a normal
quad mesh, a standard quad mesh,
| | 01:59 | meaning every one of these
polygons is made up of four points.
| | 02:04 | For that we don't have any edges that
are odd in any kind of creases, kind of
| | 02:08 | like that we do with the hairdryer
where any beveling might really change its
| | 02:11 | shape, an edge might be needed.
| | 02:13 | In this case, just a simple subdivision works.
| | 02:16 | We don't need to worry
about the Pixar subdivisions.
| | 02:18 | So let's go ahead and open up a different model.
| | 02:21 | I am going to close all
of these and not save them.
| | 02:24 | On the exercise files we have a hand.
| | 02:29 | This hand is similar to the
one that's in the library,
| | 02:32 | but it's missing a finger
nail--I don't know why.
| | 02:36 | But what we are going to do
is create one with a bevel.
| | 02:40 | So in polygon mode, we will select just
those two polygons right at the tip of the
| | 02:45 | finger. Then we are going to press the
B key for bevel, and I want to make sure
| | 02:48 | that Group Polygons is on
for the Bevel properties.
| | 02:52 | Then what I am going to do is click to
activate the bevel, and I want to scale
| | 02:56 | this just a little bit.
| | 02:59 | And I also want to stretch it.
| | 03:00 | But look what happens when
I press the R key for scale.
| | 03:04 | My Scale command is equal to my world axis.
| | 03:10 | It's aligning to my world axis.
| | 03:11 | My world axis is this work plane, this
tall grid back here, and you can actually
| | 03:16 | see this icon down in the bottom left.
| | 03:19 | So the way to fix that is turn off this
tool and up here under Work Plane, I am
| | 03:24 | going to say Align Work Plane to Selection.
| | 03:27 | That changes that grid exactly to that
selection, allowing me to press the Scale
| | 03:32 | tool, and that now
perfectly aligns with the geometry.
| | 03:37 | So now I can actually just
scale that up a little bit more,
| | 03:41 | I'll press the spacebar to turn that
off, and then press the B key for Bevel.
| | 03:45 | We will click on this, and I am going
to scale that in just a little bit.
| | 03:49 | I will zoom in, and I am going to pull
that down, and that way we create that
| | 03:55 | nice little nail bed.
| | 03:57 | Then Shift+Click the bevel again, and I
am actually going to pull it back up.
| | 04:02 | Then press the R key for scale a little
bit more, and then we can just flatten
| | 04:07 | it out and lengthen it out.
| | 04:08 | You can even use your Transform tool
again just to kind of flatten that out.
| | 04:14 | The last thing I am going to do is
press the spacebar to turn off the tool,
| | 04:17 | Shift+Up Arrow to expand my
selection, and I am going to give this set of
| | 04:22 | polygons a unique name.
| | 04:24 | So I will press M for Polygon
Material, and because the hand already had two
| | 04:28 | surfaces, Skin and Nails,
| | 04:30 | I am just going to choose
Nails. And we'll click OK.
| | 04:35 | So now we've just added a finger
nail to the hand, just like the others.
| | 04:40 | If I needed to adjust this it at all--
perhaps he needed a little trim here--you
| | 04:44 | can press the T key, which is Element Move.
| | 04:48 | What Element Move does, it allows
me to click on any element--an edge or
| | 04:52 | polygon or point--and just
pull and slide that around.
| | 04:57 | If you look at the Tool Properties for
Element Move, you actually have a range.
| | 05:02 | So if I go like this you can see that
range changing, how much is being influenced.
| | 05:08 | For me an easier way to do
this is to right-click and drag.
| | 05:13 | This is the influence of this tool.
| | 05:15 | What that means is let's say I keep a
little bit larger and I click and drag; it's
| | 05:20 | going to pull that range.
| | 05:23 | So I don't need that much range in here.
| | 05:26 | So I am just going to scale this down,
just right-click, just about like that,
| | 05:29 | and then I am going to just
kind of shape this out a bit.
| | 05:38 | This is another reason using
subdivisions works really well, because we have
| | 05:42 | this kind of flexibility for models like this.
| | 05:45 | If we are working simply just with
polygons, well, think of how hard that would
| | 05:49 | be to create that kind of unique shape.
| | 05:51 | So beveling subdivisions works really
well when you adjust the Work Plane, when
| | 05:57 | you need specific detail, such as
finger nails, little tiny knobs, any kind of
| | 06:02 | little, small detail work really
well with bevels and subdivisions.
| | Collapse this transcript |
| Adding detail to models| 00:00 | One of the benefits of working with
subdivisions in modo is how well you can
| | 00:04 | add details to a model.
| | 00:05 | So what we are going to do here is
build a banister that we eventually are going to
| | 00:08 | build into a full staircase.
| | 00:10 | And we are going to start
up with a simple cylinder.
| | 00:13 | So click a cylinder, and what we
want to do is build this on the Y axis.
| | 00:16 | So we need to get our workplane set that way.
| | 00:19 | Currently, our workplane is on the Z.
I can see that my workplane icon shows
| | 00:24 | the Y, X axis, and the Z is sticking out,
| | 00:27 | meaning we are going to build on this Z.
Instead, I am going to hold the Alt or
| | 00:31 | the Option key and rotate my view until
the Y axis sticks straight up, and that
| | 00:36 | means I'm working on the Y,
allowing myself to draw out a disk.
| | 00:41 | But I want this to be round, and I can
very easily come into the Radius and
| | 00:45 | type in a numeric value
that's equal on all sides.
| | 00:48 | I can also hold the Ctrl key and
click and drag, and that will create a unit
| | 00:52 | primitive equal on all sides,
but what if I just want two axes?
| | 00:55 | Well, here is a little trick
that I've done for lot of years.
| | 00:59 | If you click and let go of the mouse to
activate the tool, then hold the Ctrl key--
| | 01:04 | don't click right on the tool;
| | 01:06 | click near it and drag out--
| | 01:07 | you can actually drag out a perfect
circle just on the X and Z, and it will
| | 01:15 | ignore that third axis on the Y.
That eliminates the need for entering in
| | 01:19 | specific numeric values.
| | 01:21 | A little trick from me to you.
| | 01:24 | Then we are going to go Center
Selected and choose All, just to make sure that's
| | 01:27 | centered out, which is going to be
important for some steps we are going to do later.
| | 01:30 | I am going to zoom out like this and
move my view around, just so I can have some
| | 01:35 | height here, because what we are
going to do now is extrude this.
| | 01:38 | So we will go to Polygon mode and
select that Polygon, Shift+X for Extrude,
| | 01:44 | click to activate the tool, and just
grab the green handle and drag it out.
| | 01:49 | But before you turn off the tool, take a
look at the Polygon Sides. There is only 1.
| | 01:55 | We want to have quite a few so we can do
what we are going to do in a little bit.
| | 01:59 | And I can just click the arrows
to add segments, which is fine.
| | 02:03 | You can see I just added a few.
But instead I'll click and drag, and that's a
| | 02:08 | much quicker way to add segments to something.
| | 02:13 | By the same token, you can click left
and drag to deselect or click more to add,
| | 02:18 | drag to the right, and so on.
| | 02:19 | Well, we only need about 30;
| | 02:21 | we don't need to drag too far to
the right--and right there is 30.
| | 02:25 | Simply you can enter any
value too, if you are so inclined.
| | 02:27 | I am going to click on the Extrude
tool to turn it off and then click a
| | 02:30 | blank area to deselect.
| | 02:33 | Now, we want to add some detail,
and we are going to do that by beveling.
| | 02:37 | So I need to determine what I want to
bevel, and I want to make this column a
| | 02:42 | little more classic,
| | 02:43 | so I need to take some of
these polygons and pull them out.
| | 02:46 | The way I am going to that was with a loop.
| | 02:49 | And I am going to select two polygons
here and press the L key, and notice that
| | 02:52 | the loop goes all the way around.
| | 02:54 | If I selected just one polygon and
pressed L, modo is going to select its
| | 02:58 | neighboring polygon and go the wrong way.
| | 03:00 | So I need to tell it, go this way.
| | 03:03 | So I needed just two. Then press the L key
and it knows to go that way to select the rest.
| | 03:08 | Then I am going to hold the Alt,
Option key and rotate around a little bit.
| | 03:11 | I am going to skip two rows, hold my
Shift key so I can add to my selection, and
| | 03:16 | again select two and press the
L key, and we will do the same.
| | 03:20 | Skip to rows, hold the Shift key, select two.
| | 03:23 | If you accidentally get an extra
polygon in there, hold the Ctrl key and click
| | 03:28 | right on that polygon to deselect it.
| | 03:30 | Then I will press the L key, and then we can
go this way, hold the Shift key and select two.
| | 03:37 | We will just rotate around, skip two
rows, hold the Shift key and just a
| | 03:43 | couple more. There we go.
| | 03:50 | Shift+A and then we will zoom in.
And then we are going to hold Ctrl key and
| | 03:56 | deselect the top and bottom, because
we don't need those in our selections.
| | 04:00 | So here's the thing.
| | 04:01 | We've got our selection--oops!
| | 04:02 | It looks like I missed one.
| | 04:03 | We have got our selections, so how do we
save these if we want to use them later?
| | 04:08 | Well, what you can very easily
do is save your selection set.
| | 04:12 | A lot of people aren't
aware that you can do that.
| | 04:15 | And the reason we want to do
that will be evident momentarily.
| | 04:18 | I am going to go to Select, drag all
the way down, and choose Assign Selection
| | 04:24 | Set. And this will be
called Bevels. I will click OK.
| | 04:29 | And here is why we want
to save our selection set.
| | 04:32 | When I go Command+S to save this--and
we are going to just save it right now;
| | 04:38 | it'll be in your Exercise Folder as column1.
| | 04:42 | When you go to subdivide
this, what's going to happen?
| | 04:45 | The principle applies that if something is
selected, whatever you do applies to just that.
| | 04:50 | So if I hit the Tab key, it's
going to apply just to my bevels.
| | 04:54 | it's not going to apply to the whole thing.
| | 04:56 | So for instance if I hit the B key to
bevel, we want to actually bevel these out.
| | 05:02 | And I don't want to come up.
I just want to come straight out like that.
| | 05:04 | Well, that's great, but the
problem is now I want to hit the Tab key,
| | 05:08 | it only applies to those
bevels, that subdivision.
| | 05:11 | I need that subdivision to
apply to my whole object.
| | 05:15 | While I could go to another mode like
this, like Edge mode, hit the Tab key, and
| | 05:20 | come back, really though,
that's an improper way to work.
| | 05:23 | It's a bad habit to be in.
| | 05:25 | So instead, we have got our selection set.
| | 05:28 | So I can just deselect these easily,
hit the Tab key, modify, do whatever I
| | 05:32 | need, but if I need to go back to that
selection, I can come up to Select and say
| | 05:37 | Use Selection Set, choose Bevels, and click OK.
| | 05:41 | I've got my selection now available to
me again, without going through the tedious
| | 05:45 | process of selecting everything.
| | 05:47 | So with that said, let me undo a few
times and get back to where we started, and
| | 05:52 | then what we are going to do is add a
little bit finer detail to the model.
| | 05:56 | So in this case, we want to bevel these out.
| | 05:59 | So press the B key, click Bevel, and I
just want to just pull these straight
| | 06:04 | out, kind of like that.
And we don't want too much of an inset.
| | 06:11 | We've got 300 millimeter we want.
| | 06:14 | Turn off the Polygon Bevel, and then
what I want to do is I want to select these
| | 06:18 | edges right in here.
| | 06:20 | So I am just going to double-click this
edge and double-click this edge. And I
| | 06:23 | am holding the Shift key to
do this, Shift+Double-click.
| | 06:27 | The reason I am doing these after--
Shift+Double-click--is because now that
| | 06:31 | this is beveled, that edge goes all the
way round, making it much easier to do
| | 06:36 | with you want to do.
| | 06:39 | If we had done the edges first, it
would have been a little harder to come all
| | 06:42 | the way round, just a lot
more of selection on our part.
| | 06:44 | So Shift+Double-click, and if you have
got a few extras like I just did, hold the
| | 06:49 | Ctrl key and then click on them to
deselect. Shift+Double-click, rotate around,
| | 06:56 | and I think we got them all. We sure did.
| | 07:02 | No! One more. Shift+Double-click.
| | 07:06 | So with this we can create a new selection set.
| | 07:09 | And this will be Select >
Assign Selection Set > Edges.
| | 07:15 | And that way we have that
saved with the model as well.
| | 07:18 | Now I am going to deselect these
and hit the Shift+Tab, which is our
| | 07:23 | Pixar subdivisions.
| | 07:24 | Then I will come back to Select > Use
Selection Set, choose Edges, and then
| | 07:31 | we are going to Vertex Map > Edge Weight
tool, and we're just going to sharpen that out.
| | 07:36 | Now I don't want it totally sharp.
| | 07:38 | I wanted it to be just tight, and then
spacebar to turn off the tool and click to deselect.
| | 07:46 | That's going to create our initial shape,
which we are going to deform in our next video.
| | 07:52 | By using edge weights we've created a
very nice model without, again, adding extra
| | 07:58 | geometry that we don't need.
| | 08:00 | So it's a really terrific way to work.
| | 08:03 | The last thing I am going to do is in
Polygon mode select the top polygon, A
| | 08:09 | key to fit, hold the Shift key, select the
bottom polygon, press the B key for bevel,
| | 08:16 | and because the top and bottom are
selected at the same time, they are
| | 08:19 | both going to bevel,
| | 08:21 | and I am just going to bevel this in.
| | 08:22 | Then we turn on Polygon Bevel,
and we will save the column.
| | 08:27 | So a very simple cylinder, but a number
of different tools and actions that you
| | 08:32 | can apply to any type of model and
selection sets, in order to save your
| | 08:36 | different selections so you have
more control and increase your workflow.
| | 08:40 | Adding detail to your model is
very easy to do with modo's tools.
| | 08:44 | One of the best ways do is using
selection sets so that you can save
| | 08:47 | selected edges and save selected
bevels, allowing you more detail in
| | 08:51 | improving your workflow.
| | Collapse this transcript |
| Deforming and shaping objects| 00:00 | The great thing about working with
subdivisions in modo, aside from adding
| | 00:03 | detail, is that we can also deform our
objects and have some really cool and
| | 00:07 | interesting shapes.
| | 00:08 | So what I am going to do here is use
the column1 from the previous video. And
| | 00:13 | before I do anything else, I am going
to save this as column2, and that way I
| | 00:19 | won't override what I have already done.
| | 00:21 | These new changes, how we deform this,
will actually be in a separate model.
| | 00:25 | So what I am going to do now is come in
here and I am going to go up to the top.
| | 00:28 | First thing I want to do is taper in
these inlets, and the way I am going to do
| | 00:33 | that is make sure I am in Edge mode and I
am going to double-click each of these loops.
| | 00:38 | I'm going to hold the Shift key to add
to my selection, and I'm going to hold
| | 00:43 | the Alt and Option key to rotate
around and hold the Shift key again, and just
| | 00:47 | make sure each one of these loops is selected.
| | 00:50 | If you accidentally get some edges
that you don't want selected, just hold the
| | 00:54 | Ctrl key and click right on them.
| | 00:55 | Then if I press the Scale command,
you would think that might do what you
| | 00:59 | want, but not quite. It seems to deform
it a little bit, and these sides are
| | 01:05 | still just as thick. They are just pulled in.
| | 01:07 | That's now what I want.
| | 01:08 | I want them to taper in.
| | 01:09 | Well, instead of doing that one at a
time, I can very simply come to my Action
| | 01:13 | Center and choose Local, and what that
allows me to do is scale them in and they
| | 01:20 | will work independently.
| | 01:23 | And so now I have just flattened out
that end, and if I turn my Action Center off,
| | 01:27 | just by clicking on Local again to
uncheck it, and I scale this whole group in,
| | 01:34 | now I get the look that I want,
which is a tapered bevel all the way in.
| | 01:38 | I will turn off my Scale tool, and I
will click a blank area to deselect, and
| | 01:45 | notice that it looks really good.
| | 01:47 | We have only subdivided this into a
level of 2 down here in the Item Properties.
| | 01:52 | So I am going to actually change that
to 4, and you can see how much cleaner
| | 01:56 | and smoother this is.
| | 01:58 | And remember, in the previous video we
actually weighted these edges with the
| | 02:02 | Pixar subdivisions, and so now we get a nice
and very clean, molded shape. So it looks good!
| | 02:07 | Let's do this one more time, and then
I press the A key to fit this to view.
| | 02:11 | And here is a little trick.
| | 02:13 | I can actually move my mouse down to
the bottom and press the G key to center
| | 02:17 | that area, and then I can press the
period key on my keyboard to zoom in.
| | 02:22 | Then I can hold the Alt,
Option key to rotate around,
| | 02:24 | move my mouse, and hit the G key to center
where my mouse is, just bring that to view.
| | 02:31 | Back to Edge mode.
| | 02:32 | We will double-click an edge, hold the
Shift key, and I can add to my selection.
| | 02:38 | So very quickly, I can just come
around and select all these bottom edges.
| | 02:44 | Press the R key for Scale, Change the
Action Center to Local, the action of my
| | 02:49 | mouse. I'll flatten out those edges,
| | 02:54 | turn off Local, and then scale these in.
| | 03:00 | Turn off the Scale tool and click to deselect.
| | 03:03 | Command+S to save, or Ctrl+S, and now we
have got that exact same look at the bottom.
| | 03:09 | It looks very nice.
| | 03:10 | Now feel free to go in on your own
and maybe even select this edge here.
| | 03:15 | You can weight that, or you can bevel
it if you want, just to sharpen that out
| | 03:19 | and create some unique shapes.
| | 03:21 | So the choice is yours, but we have a
very, very nice geometric shape to work with.
| | 03:26 | It's not overly built.
| | 03:27 | There are enough edges and enough
polygons that create some really fine details.
| | 03:31 | So work with that and play around with
them, have some fun with it. But for now
| | 03:35 | let's create the rest of
our column for our banister.
| | 03:38 | We have got a shape we want.
| | 03:40 | I am going to save this one more time before I
deform it again, and I will do a Save As, column3.
| | 03:47 | These files are very, very small,
| | 03:48 | so it's a really good idea just
to keep in the habit of saving
| | 03:52 | different versions.
| | 03:54 | Under the Deform tab, you can see all the
different types of Deform tools we have.
| | 03:58 | For this one, I am going to choose Twist.
| | 04:00 | Now when I activate this, you might
think, ahh, there are a lot of tools there.
| | 04:03 | A lot of people I know kind of get
freaked out with all these commands and all
| | 04:06 | these handles, but it's really very
simple once you take a look at it.
| | 04:10 | I am going to open up the
Properties and pull those up, just like that.
| | 04:13 | Well, we want the Action Axis to be on
the Y. We want to actually twist this.
| | 04:19 | So we are changing that to Y.
| | 04:20 | We are not going to use any snapping
at this point, so we will close that.
| | 04:23 | Then you will see this handle here at
the bottom and at the top. And if you look
| | 04:28 | closely--and I will zoom in--the top is
very narrow, and the bottom is very thick.
| | 04:33 | And what that means is this tool, the
Twist tool, will have more influence where
| | 04:38 | that tool is thick and
less influence where it's not.
| | 04:41 | So let me just click and drag this.
| | 04:44 | You can actually see the degrees in
there. Or, very simply, you can come into the
| | 04:48 | Angle itself and type in
exactly what you want, 180 degrees.
| | 04:53 | But if I wanted to use these
handles, I can do two things.
| | 04:56 | I can hit Reverse, which twists
more at the top and less at the bottom.
| | 05:01 | It doesn't make much difference for
this model--very similar to how we used the
| | 05:05 | Bend tool earlier. And then I can
actually move this handle and it would not
| | 05:10 | affect beneath it at all.
| | 05:12 | It would only be twisting from that
one point, which really adds a lot of cool
| | 05:18 | details to your shape.
| | 05:20 | So, for this one though, we do want to
twist the whole thing, so I am going to
| | 05:24 | bring this all the way back down.
| | 05:28 | And then we will turn off the
Twist tool, and we have our column.
| | 05:31 | I am going to zoom in, so you can
see how much detail we have created.
| | 05:36 | So just by creating a very basic
cylinder, beveling the edges, weighting, using
| | 05:41 | the scale on the edges and the Local
Action Center, we have created a very
| | 05:46 | detailed, very nice
column that we can work with.
| | 05:50 | Now in order to get more detail,
we can actually go ahead and bevel the top.
| | 05:56 | So we will do one more detail.
| | 05:57 | I am going to take this top polygon,
and I want to bevel this, but I don't want
| | 06:06 | to do a simple bevel. We can do something little more
complex. And I am also going to come back here
| | 06:12 | very quickly and change my
Subdivision back down to level 2.
| | 06:16 | The reason I am doing that is because I
can sense that my computer is starting
| | 06:19 | to slow down just a little bit as we
are adding more detail and twisting.
| | 06:23 | And what the Subdivision is doing,
remember, it's subdividing every polygon in
| | 06:27 | here by this amount.
| | 06:29 | So the less amount I have--
you can even change this to 0--
| | 06:32 | You will see a very chunky model.
And that's also the advantage of Subdivisions
| | 06:36 | is that you can work on a very, very
simple model and when you are ready to go,
| | 06:40 | up that for your render.
| | 06:41 | So in this case, we will just keep it
at 2 so we can see what we are doing.
| | 06:45 | And with the Bevel, before I pull this up,
we are going to come all the way up, and
| | 06:50 | look what's down here.
| | 06:51 | There is something called Profiles,
and you can pop this up if you want and look
| | 06:55 | at the different options for Door_
Edges, for panels, RouterBits, and so on.
| | 07:00 | There is quite a few in there.
| | 07:02 | But if I choose a Profile, what that
will allow me to do--and I will just
| | 07:05 | choose one of these--
| | 07:06 | when I click to Bevel, watch what
happens when I pull the shift: it actually
| | 07:11 | bevels based on this shape.
| | 07:13 | I am going to undo a couple of
times and choose another one.
| | 07:19 | Click to activate the bevel.
| | 07:22 | It creates all these different
profiles for that bevel, and those ship with
| | 07:28 | modo, so those are installed
when you install the program.
| | 07:30 | So by starting with a simple cylinder,
weighting the edges, beveling, using some
| | 07:35 | selection sets, tapering the ends with
the Local Action Center, and then applying
| | 07:39 | a deform of Twist, we have actually
created a very nice unique object that we can
| | 07:45 | then build into a larger mesh.
| | Collapse this transcript |
| Cloning| 00:00 | After you've taken so much time
building a model, sometimes you want to make
| | 00:03 | more of them, but you don't want to
go through the painstaking work of
| | 00:07 | rebuilding it, and that's
where the clone tools come in.
| | 00:10 | Let me show you how some of them work,
and then we're going to go back to our
| | 00:12 | column, and we will clone that.
| | 00:15 | So let's just add a
simple donut, something I like.
| | 00:19 | I'm going to hold the Shift key
and click right on that to add one.
| | 00:23 | And then we'll come down to the
Duplicate tab. And here you can see that there is
| | 00:27 | Radial Sweep, Mirror, Bridge, and so on,
quite a few. But right in the middle,
| | 00:31 | there is a number of different clone tools.
| | 00:33 | Well, before we talk about these other
ones, let's just talk about Clone. And I'm
| | 00:37 | going to click right on that, and what
happens is that we have a Generator that
| | 00:41 | appears at the very bottom in the tools.
| | 00:44 | And well, there is a number of
different things we can do with this.
| | 00:47 | Essentially, the way to see this work
is just click right in the interface, and
| | 00:51 | you're going to get these little handles.
| | 00:53 | And when you do, you'll be able to pull
one of them, and you're cloning your object.
| | 00:59 | How many clones? Well, that's right here
with the Number of Clones.
| | 01:02 | Let me just expand this so you can see.
| | 01:05 | And just like all of our other Tool
properties, you can click the right arrow
| | 01:08 | a few times, or you can click and drag the
mouse to make multiple clones very easily.
| | 01:14 | If I drag this handle while this
tool is still live, I am now actually
| | 01:19 | changing that clone.
| | 01:21 | One of the cool things in modo 501,
however, is that we can possibly say
| | 01:26 | well, we can estimate how many clones we want,
but with 501 we can make it more specific.
| | 01:31 | So let's say I want to
make my end clone right there.
| | 01:36 | Then if I click this button called
Between, I can actually just create clones
| | 01:41 | right in between those two, making it
a lot more exact then just trying to
| | 01:45 | randomly guess how many I need.
| | 01:47 | It works pretty well.
| | 01:49 | At the same time, I can come down and
play with my rotation of each of these.
| | 01:55 | I can play with the scale.
| | 01:58 | Okay, so a lot of really neat
things, all with the simple clone tool.
| | 02:03 | This is just the tip of the iceberg
with what you do can do with some of these.
| | 02:06 | So this is how we're going to
replicate our banisters from our simple column.
| | 02:11 | So let's turn this off. Hit File > Close All.
| | 02:16 | We don't need to save that,. And then
we're going to open up the column3 from
| | 02:22 | the exercise files.
| | 02:24 | This is the column with the twists and
the end that has been scaled in all the way.
| | 02:30 | Our Subdivision Level is set to 4.
| | 02:32 | I'm going to bring that down to 1,
and this is with the column Mesh selected and
| | 02:38 | the Subdivision in the properties.
| | 02:39 | I am going to close the
Transform tab, so we can see.
| | 02:43 | The reason I am bringing these
Subdivision down to 1 is because I don't want the
| | 02:47 | polygons generating too much, because
as we clone this, it's very easy to just
| | 02:52 | kind of lock up your system when
you're adding this much geometry to a scene.
| | 02:56 | So it's just something to be aware of.
| | 02:58 | I'm going to hold the Ctrl and spacebar
at the same time, jump to a front view,
| | 03:04 | and I'm going to hold and pull on the
Zoom tool just to zoom out a little bit.
| | 03:08 | And what we're going to do now is
actually clone this to create our staircase.
| | 03:15 | So we'll select Clone with this model
selected, we'll and pull this up like this so
| | 03:21 | you can see all of our tools.
| | 03:24 | And we'll probably do about ten of these.
| | 03:26 | So let's just click like this to activate.
| | 03:28 | Now what I want to do is turn off
between for the time being and get
| | 03:32 | our rotations back.
| | 03:34 | modo remembers what we had done in our
previous use of the tool, so you have
| | 03:39 | to be careful of that.
| | 03:40 | Okay, so now that we have this set,
we can very easily move these like this.
| | 03:47 | While I had just shown you the torus
cloned on one axis, you can very easily
| | 03:52 | just grab the handle and move these up.
| | 03:54 | And if you want it very precise,
you can see right here in your Offset.
| | 03:58 | So let's say you're doing architectural
animation and your architect says, "I need
| | 04:02 | those stairs to be a meter apart," or 10
millimeters apart, you can very easily
| | 04:07 | put those offsets in.
| | 04:08 | So I'm going to jump this up to 10,
| | 04:12 | hitting Replace Source if I wanted,
and then we'll pull this out, and that's a
| | 04:18 | little bit of a steep staircase.
| | 04:20 | So I'm just going to extend this
about like that and pull it back down;
| | 04:26 | I don't need it that high. And then
I'm going to hold the Ctrl and spacebar,
| | 04:30 | come around to my Perspective view,
and using my wheel on my mouse, I can zoom in.
| | 04:35 | Now these are all exactly replicated.
| | 04:38 | If you chose to rotate them, you could
do so, but because they're round, it's
| | 04:43 | not really going to make too much of a difference.
| | 04:45 | If you choose it on the X axis, however,
some of them will actually be straight
| | 04:51 | down. And that can be kind of a unique
thing, depending on if you're creating
| | 04:55 | logs in a forest perhaps, but I think
for right now, these will work quite well.
| | 05:00 | And we want them to be all the same.
| | 05:02 | You wouldn't have a banister where they're
all each different, although you might.
| | 05:07 | So that is actually how the clone
tools work, on a very simple level.
| | 05:10 | There are other clones, which we'll get
in to, but it's a very easy way to take
| | 05:15 | this initial shape which started just
as a simple disc and bevel it, work with
| | 05:19 | the edges, and then make
multiple copies all the way up.
| | 05:22 | From here, we have to build the
stair itself and clone those as well.
| | 05:27 | Beveling, edge weights, the clone tools,
all of these very easy-to-use tools to
| | 05:33 | create pretty much
anything you want within modo.
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|
|
4. Using Other Modeling MethodsCreating with Radial Sweep| 00:00 | You've seen how we can create a
complex object like a banister using bevels
| | 00:05 | and simple objects from discs and cylinders.
| | 00:07 | But sometimes there's other ways
to create models much like that.
| | 00:11 | If we jump over to the Duplicate tab,
you'll see that there is a number of clone tools.
| | 00:15 | We had already used the simple Clone
to create multiple banister models,
| | 00:19 | but what about some of these others, like
Bridge and Patch Curves and Curve Extrude?
| | 00:24 | Well, we'll get to all of those
different Duplicate tools, but the first one I
| | 00:28 | want to talk about is Radial Sweep.
| | 00:30 | Now you'll see that these are ghosted down,
| | 00:31 | and the reason they are is because we don't
have any geometry for these tools to work on.
| | 00:35 | So I'm going to jump back to the Basic tab.
| | 00:38 | And over here in the simple models,
if you click and hold on the Pen tool,
| | 00:42 | you'll find the Curve tool.
| | 00:45 | By default, you're going to
see the Pen tool like this.
| | 00:48 | When you see those little dark corners,
that means there's other tools within
| | 00:52 | that one tool button.
| | 00:53 | So click and hold and
select the Curve tool. Okay.
| | 00:56 | Ctrl+Space will get us to our front view.
| | 01:02 | And what we're going to do is create
a cross section, and we're going to use
| | 01:07 | Radial Sweep to create the rest of the model.
| | 01:10 | So all we're going to do with this Curve
tool is build a simple little curve, and
| | 01:16 | I'm just clicking here,
and the curve is following me.
| | 01:20 | And of course the more points you add,
the more detail you're going to have.
| | 01:23 | We're going to keep this relatively simple.
| | 01:27 | What you will find often is that some
of your areas will probably a little bit
| | 01:32 | larger than you want them
to be, and that's okay;
| | 01:35 | you can always go back and redo it.
| | 01:38 | This is a great technique for
creating bottles, and cans, baseball bats,
| | 01:44 | anything like that.
| | 01:45 | You can create some really interesting shapes.
| | 01:49 | This is a great way to also create
models to populate a shelf in a kitchen that
| | 01:55 | you're building, or a bookshelf. All right!
| | 01:58 | So come all the way up to the top,
and then we're going to come back to
| | 02:01 | the center like this.
| | 02:03 | And once we have that, you can tweak
some of the others just by clicking
| | 02:06 | and dragging on them.
| | 02:07 | So we're going to turn off the Curve
tool, and we'll jump back to the Duplicate
| | 02:13 | tab, and then we're
going to choose Radial Sweep.
| | 02:17 | And this generator is set to a Count
of 24, which is fine for our purposes.
| | 02:22 | It's going to start with an Angle of
0 degrees, end at 360, meaning it's going
| | 02:26 | to revolve one time.
| | 02:29 | So with that, we can just click right on
that center axis and it revolves around.
| | 02:34 | Now because I clicked from the front view,
it revolved around the Z. We actually
| | 02:38 | want it on the Y. Now, what happens is
you get this nice shape revolving around.
| | 02:44 | I'll hold Ctrl+Space and
jump to a perspective view.
| | 02:48 | And sometimes what happens is that the
model inverts the polygons when you do this.
| | 02:54 | And that's not really a problem;
| | 02:55 | we can flip those around very easily.
| | 02:57 | But also look at some of the others.
| | 02:58 | You'll see Cap Start and
Cap the End so it closes it.
| | 03:01 | We can also just choose Invert,
and that fixes that flipped polygon.
| | 03:07 | Remember, polygons are
one-sided. So they were facing inward;
| | 03:10 | we needed them to face outward.
| | 03:12 | So with that, we'll turn off the Radial Sweep,
| | 03:15 | and you can see very easily then we
have this nice banister we can work with.
| | 03:20 | And very similar to cloning like
we did with our other banister pole,
| | 03:25 | we can choose Clone, click to activate,
put a number of clones in, and drag
| | 03:34 | this out and start making more of these.
| | 03:37 | So you can create columns for porches,
| | 03:40 | you can create big balusters,
| | 03:42 | all kinds of things just
using this simple technique.
| | 03:45 | And of course, because of modo's
subdivisions, you can go into these, choose an
| | 03:51 | edge, double-click it like
we've done throughout the course,
| | 03:55 | you can choose the Scale tool for instance,
press the R key, and you can scale that up.
| | 04:00 | You can select an edge in here and
perhaps remove it by pressing the Backspace
| | 04:05 | key on your keyboard.
| | 04:07 | Hit the Tab key to turn on subdivisions.
Select another edge--any one you want--
| | 04:13 | and let's go with one down here.
| | 04:18 | Press the B key for bevel, and you
can bevel and start to tighten that out,
| | 04:24 | making things very, very flexible to
create any kind of model that you want,
| | 04:28 | and make it very unique as well.
| | 04:31 | So using the Curve tool with the Radial
Sweep command, you can create banisters,
| | 04:36 | baseball bats, great-looking poles,
all kinds of things, to build more complex
| | 04:41 | objects right in modo.
| | Collapse this transcript |
| Working with text| 00:01 | In all the years that I've been using
modo, a lot of people that I've worked with
| | 00:04 | never think of it as something you can
create 3D text with, but you can. And if
| | 00:09 | you look up in the Basic tab, there is a
Text button. And when you click that, it
| | 00:14 | allows you to create 3D text in modo.
| | 00:17 | So what we're going to do, I'm going
to show you a little bit of a pitfall
| | 00:20 | in creating 3D text.
| | 00:21 | And this is any program, but a
lot of people kind of have hit this
| | 00:23 | roadblock when they are working, and I'm going
to show you how to fix what I'm talking about.
| | 00:27 | I am going to type in 3D, and we're
going to use more of a scripty font, like
| | 00:30 | Times New Roman. And when you click
this button, any of the fonts on your
| | 00:34 | system will appear.
| | 00:35 | So I'm just choosing very simple, Times Roman.
| | 00:39 | You can change the Size, and when you
click right in the interface after you've
| | 00:43 | laid down that text, you'll
see it right in your interface.
| | 00:46 | And let me just rotate around here.
And I'm in a wireframe view, so I'm going to
| | 00:53 | change to Advanced OpenGL.
| | 00:55 | And on a side note, if you do not see
Advanced OpenGL, if that is ghosted,
| | 01:00 | it's only because your video card
might be a little bit older and modo can't
| | 01:03 | work with that. And if that's the case,
you just choose Shaded Texture; it's
| | 01:07 | very, very similar.
| | 01:09 | So with some of these tools, the
Location of the text will be Bottom, Middle,
| | 01:15 | Top, and so on, and what that means is the
orientation, like here the top is the top zero axis.
| | 01:22 | We're going to do Bottom,
more standard, Left Justified.
| | 01:25 | If you went Right, it would be
opposite of that zero axis. And Split by
| | 01:30 | Line, Word, or Character, this is really important.
| | 01:33 | If you're building more of a string of
text and you want to edit it or work with
| | 01:37 | it, you have to determine
when you build this text,
| | 01:40 | do I want to be able work with it
entirely as one line of text, or work with the
| | 01:44 | individual words, or work
with the individual characters?
| | 01:47 | So in this case I'm going to work with the
individual characters, and I'll show you why.
| | 01:52 | The axis is down to Z. You can see the
Z axis back there. And Flip, which we
| | 01:57 | don't need to do--the polygons actually
look like they are doing okay. And with
| | 02:00 | that, I will click on the Text tool to
turn that off, and we have our 3D text.
| | 02:03 | Now the reason I chose this to be
built with the Character preference is that
| | 02:09 | when I go to Polygon mode, I'm be
able to select right on that one polygon.
| | 02:13 | If I had chosen Word or Line, what
would happen is when I click and select, it
| | 02:18 | would select both of these, and I
wouldn't be able to edit them individually.
| | 02:22 | And the reason I want it as a character
is that I can select that D, press the W
| | 02:26 | key for my Move tool,
| | 02:28 | grab the red handle for the X
axis, and just move that over.
| | 02:31 | When you're doing 3D text, really pay
attention to the kerning, the space in between
| | 02:36 | all of these letters.
| | 02:37 | For instance, an A and an N will have a very
big space in between them, as well this 3.
| | 02:43 | And the reason is, computers--
| | 02:45 | whether it's 3D or whether it's a
Word program--have a bounding box.
| | 02:50 | The computer sees just an invisible
box around each of these letters, and as
| | 02:54 | such, it just puts them together.
| | 02:56 | So an A, of course, tilts in, and an N
tilts in the other way, or V, and that's
| | 03:01 | why you often see that large
space in between those letters.
| | 03:04 | Spend a little bit of time and make
that look nice. So I'll move that in.
| | 03:10 | The next thing with these is when we
want to extrude them and bevel them, and
| | 03:16 | this is why I chose this font.
| | 03:18 | So what we're going to do is we're
going to select these two flat letters. Then
| | 03:23 | we're going to go to our Duplicate tools,
and what we can do is extrude them, and
| | 03:31 | then we'll click to activate the tool.
| | 03:32 | So Shift+X is our Extrude. And then
we'll grab the blue handle, and we'll
| | 03:38 | just pull these out.
| | 03:39 | And then I'll hit spacebar to turn off
Extrude and then click a blank area to deselect.
| | 03:45 | So now you have 3D text
front and back. So far so good.
| | 03:50 | Well, part of doing 3D Text is also
creating a really nice bevel, because, well,
| | 03:56 | it is not 1985 anymore, and our
computers can go a little bit further then
| | 04:00 | doing just blocky text.
| | 04:02 | So what I want to do is select
just the face of these objects.
| | 04:06 | Hit the B key for bevel--it's up here
in the Basic tab. And I'm going to click
| | 04:10 | to activate my tool and very carefully,
I'm going to pull these out, and then I'm
| | 04:15 | going to inset them.
| | 04:17 | Now I can leave it like that, but I
want to show you a little bit of a problem
| | 04:21 | that can happen on thin fonts like this.
| | 04:23 | I'm going to move my mouse over this
bottom corner here and press the G key to
| | 04:29 | center my mouse and then zoom
in using the wheel on my mouse.
| | 04:34 | And if I drag my mouse to the
left or right, watch what happens.
| | 04:39 | They start acting a little odd.
| | 04:41 | Let's say I want a nice big bevel.
| | 04:44 | Well, that's what happens.
| | 04:47 | The size of the bevel looks
good, but now I've got an issue.
| | 04:50 | So I'm going to hit spacebar to turn off
the bevel, click to deselect, and when I
| | 04:54 | pull out, it's kind of messy.
| | 04:58 | All right, and the reason is is that tight
little space, that bevel, crossed over itself.
| | 05:06 | It just turned it inside out.
| | 05:08 | So I'm going to show you how to fix that.
| | 05:09 | Let's jump to wireframe mode, hold the
Alt key, and then I'm going to go to
| | 05:17 | Vertices mode, and I'm going to
select these two points here.
| | 05:21 | And then I'll go down to the Vertex tab
and hit Join. And I can choose Average,
| | 05:27 | which means it's going to join
them on an average space in between.
| | 05:31 | If I don't select Average, it will join
to the last selected. And it says, two
| | 05:37 | points, "2 vertices joined."
| | 05:39 | And then we'll come down to the other
side, and we'll just work our way up. And
| | 05:45 | also you're seeing all that extra
geometry, because when I extruded, I had
| | 05:49 | some sides selected.
| | 05:52 | You don't need to put all those sides on.
| | 05:55 | So we'll select these two points, hit
Join, click OK. And some of these here
| | 06:02 | that have crossed over,
| | 06:04 | select those, press your W for
Transform, and just move them down.
| | 06:08 | I'll do one more here. And then we will
zoom out, and let's see if we got them all.
| | 06:16 | Now I didn't do the 3 yet,
but let's jump back to OpenGL.
| | 06:20 | And that looks like there is some right
here, so put your mouse down towards the
| | 06:23 | bottom, press the G key, zoom in,
and then let's jump to a wireframe, so we can
| | 06:29 | see what's happening.
| | 06:31 | And it looks like we've got a
little bit of a crossover right here,
| | 06:35 | so we'll select these
points and let's move them over.
| | 06:41 | And I'm going to just turn on the
Advanced OpenGL. And you can see that's
| | 06:46 | exactly what's happening with these.
| | 06:50 | And right inside there, it looks like
there is a little bit of an extra polygon.
| | 06:55 | So we'll go to Polygon mode, select this
one and hit the Backspace key to remove,
| | 07:02 | and it suddenly fills up that hole.
| | 07:04 | This last hole right here, if you look,
it's not that it's flipped, because
| | 07:08 | there is not a polygon on the inside.
| | 07:09 | So all we need to do is back to Vertices,
I am selecting these three points, and
| | 07:19 | then pressing the P key to make a polygon,
| | 07:22 | and we filled that hole. And now our
object is not flipped inside out.
| | 07:29 | So, that's all it is. It's not a lot of work to
create 3D text and it's not a lot of work to fix
| | 07:33 | them either, but one thing you're
going to see is that this odd kind of
| | 07:37 | smoothing going on.
| | 07:38 | The reason you see that is
because the object is too smooth.
| | 07:42 | Now we haven't talk much about
smoothing yet, and we'll do that when we get to
| | 07:45 | our Shader Tree. But on a simple level,
if I select the base material and I go
| | 07:51 | down to Smoothing and I bring that back
down, you'll see the object fix itself.
| | 07:58 | And what's happening is, you need the sides to be
smooth, but the front is not. It should be flat.
| | 08:04 | So the computer is doing its best
job to actually smooth that out. And in
| | 08:08 | a sense it's actually folding it,
and it doesn't want to fold it,
| | 08:11 | so it's giving you those odd creases.
| | 08:14 | So it's something to really be careful with.
| | 08:16 | But now we have a very nice-looking
3D text with a very nice bevel.
| | 08:21 | And then of course, we can surface that,
render it out, and fly your camera up
| | 08:25 | through it, and do some really
great-looking animations right in modo.
| | 08:30 | So 3D text in modo works just as well as
creating any other kind of object in modo;
| | 08:35 | you just have to watch out for a few
of the pitfalls when you're working
| | 08:38 | with designer fonts.
| | Collapse this transcript |
| Understanding replicators| 00:01 | In modo, the Clone tools are actually
some of the most powerful tools that you
| | 00:04 | have, but there is even something a
little bit cooler that I think you'll like.
| | 00:08 | Let me show you about replicators.
| | 00:10 | In the Duplicate tab you are going to
see all the Clone tools that we have,
| | 00:14 | but there is one that's not in there that
actually is done with the Items tab. So let's do this.
| | 00:20 | Let's go back to the Basic tab.
| | 00:21 | I'm going to hold the Shift key and
then click on the flat plane object, and
| | 00:25 | then I'll press the A key to fit.
| | 00:28 | And then I'm going to the press the D
key. And what that's going to do is do a
| | 00:33 | subdivision-surface-subdivide,
and I'm going to do this about four times.
| | 00:38 | And then I'm going to press the T key,
and that is going to be my Element Move,
| | 00:43 | tool and what that's going to allow me
to do is just click and drag and pull
| | 00:47 | some of these around.
| | 00:49 | What we're doing is making like a flat
little landscape that we're going to turn in-
| | 00:52 | it to kind of a bumpy landscape instead.
| | 00:55 | And the reason I hit the D key a few
times to subdivide this is so that we have
| | 00:59 | a nice mesh to work with.
| | 01:00 | If it were just a simple polygon
with a few points, it wouldn't be quite
| | 01:04 | enough for what we need.
| | 01:06 | You can also hold the right mouse
button and create a range of influence.
| | 01:10 | And you can see that down here for the
Falloff, for the transform tool. And then
| | 01:16 | we can just pull this around a bit.
| | 01:17 | Then of course when you hit the Tab
key, you get a very smooth surface.
| | 01:24 | So again, using the subdivisions, using
the sub-Ds, we create a nice bumpy surface.
| | 01:30 | Okay, so, very simple.
| | 01:33 | We'll turn off the Transform tool.
| | 01:35 | Next thing I'm going to do is go to
Layout tab and from our Mesh tab, we're
| | 01:40 | going to click and jump to Organic. And in
there you'll find Plants and Trees and Rocks.
| | 01:45 | We're going to choose Plants,
and I'm going to choose the Clovers.
| | 01:49 | So let's double-click that, what you'll
see is that the Clovers are now added to
| | 01:54 | our Item list, and then we have our flat plane.
| | 01:57 | This blank mesh right here
that was there by default,
| | 02:00 | we're going to right-click on that and
choose Delete. And for the flat plane,
| | 02:04 | we're going to click and just call this
Ground. And then over here in the Layout
| | 02:10 | view, I'm going to press the
A key to fit it on the view.
| | 02:13 | So this is what we have, a nice little
landscape we made, and we've got those plants.
| | 02:18 | Now I like them because they look
like little trees and things, and they are
| | 02:20 | going to work fine for this, but you
can experiment with some of the other
| | 02:23 | bushes and leaves and trees, and even
this little dandelion is kind of neat too.
| | 02:27 | So what can we do with this?
| | 02:28 | Well, rather than manually going in
and duplicating this bush item and then
| | 02:33 | placing it, we can let modo do the work for us.
| | 02:36 | From the Add Item dropdown in the Items tab,
go down to Duplication and choose Replicator.
| | 02:44 | Now with this replicator you have to
look down in the Properties, and you're
| | 02:47 | going to see a number of different tools.
| | 02:49 | The first thing you want to do--let's
close the Transform by clicking on it--for
| | 02:53 | Instancing, the prototype and Point Source,
| | 02:56 | well, the Point Source of
course is the ground that we created.
| | 03:00 | The prototype is our clover. And what
happens is modo takes the point data
| | 03:07 | from that ground, all the information
of all those polygons, and then assigns
| | 03:12 | those clovers to them.
| | 03:14 | Now, it looks a little messy, so what
I'm going to do is go over to the Render
| | 03:17 | tab, and I'm going to zoom in my
camera over here and then click and hold on
| | 03:24 | the Move tool and move my view.
| | 03:26 | And this is what you get, all of
those little clovers placed on that ground
| | 03:31 | perfectly based on its shape.
| | 03:33 | And you can zoom in a little bit here
and see how those all line up perfectly.
| | 03:39 | That would have taken hours to do manually.
| | 03:40 | Well, that's great,
but it looks a little too nice.
| | 03:44 | Let's randomize them a bit, and we can
do that very easily with all of our tools.
| | 03:49 | At first level, you can
just change the overall scale.
| | 03:53 | Now one thing I've not talked about yet
is the Gang Select, or the Group Select,
| | 03:57 | and that's these little buttons right here.
| | 03:59 | If you hold your mouse over, you can
see that you can choose Independent, Copy,
| | 04:03 | Relative, and Proportional.
| | 04:04 | Well, what does that mean?
| | 04:05 | Well, let's say I want to scale these evenly.
| | 04:08 | Well, if I just click and drag on one
of them, well, it only scales the X. So
| | 04:14 | Command+Z or Ctrl+Z to undo.
| | 04:16 | Click once on this gang select,
and then when I click and drag it drags all of
| | 04:20 | them together as a unit, which is great.
| | 04:24 | If you click again--let's say you made
a variation and the X is wider than the
| | 04:29 | Z, and the Y is taller or shorter--
| | 04:32 | you can click twice for the independent,
or relative, and then it will scale
| | 04:38 | those different proportions equally as well.
| | 04:40 | So that's a great way to work, rather
than manually punching everything in.
| | 04:44 | So we're going to close the Transform.
| | 04:46 | I think our size is okay on these,
but I want to randomize them.
| | 04:50 | So down here under Variation, you can
see all of the Random Twist and Random
| | 04:54 | Offset, so we'll close Instancing,
and let's just play with the Random Scale.
| | 04:58 | So we're going to take the Y,
and we're going to randomize it about 40%, and
| | 05:02 | let's play with the Twist. And you can
actually see them all twisting in there.
| | 05:08 | And then we can play also with the Z scale.
| | 05:10 | I mostly like the Y scale, just so
there is a little height difference, and we
| | 05:15 | can turn that off as well.
Turn off Uniform Scale and that will help.
| | 05:19 | And that way we have a much more random
look to these, and they don't look like
| | 05:23 | they're all just placed and cloned together.
| | 05:25 | One last thing you can do with this
variation is close that and go to Instancing,
| | 05:29 | and Source mode is set to Align to Surface.
| | 05:32 | You can also choose Use Polygons, and it
will align these to each one of those polygons.
| | 05:38 | And if you remember correctly--
let's just jump back to our Items tab.
| | 05:42 | I'll turn off Clovers for a minutes,
and if you look at just the ground,
| | 05:49 | these are the polygons.
| | 05:50 | We can hit that D key a few
times to create multiple polygons.
| | 05:53 | Well, by choosing my Source mode as
Polygons, it's putting a clover in each
| | 05:58 | one of these polygons.
| | 06:00 | So if I only had four or five polygons,
I only have four or five clones.
| | 06:05 | So, something to keep in mind.
| | 06:06 | I'll put the replicators back on
and then put the Clover back on.
| | 06:10 | The Source mode can also be set to
Point Data. And similar to the polygons, it
| | 06:16 | will actually place these on each of
the points. But overall, I think I like how
| | 06:20 | it looks Aligning to the Surface itself.
| | 06:23 | So using replicators, you can create
all kinds of interesting designs and
| | 06:28 | shapes, and in this case we just simply
used some of the presets to create this
| | 06:33 | nice field of clovers.
| | 06:36 | And these are objects that are
already surfaced that come with modo.
| | 06:39 | So I want you to think a little bit
further beyond doing this. Think about doing
| | 06:43 | pipes and boxes and balls and all
kinds of things that you can create unique
| | 06:48 | items and scenes for.
| | 06:49 | You can also do things very similar to
motion graphics, to create elements behind
| | 06:54 | a logo, things like that.
| | 06:56 | Lastly, if you come in and you don't
want this ground, you can just turn that off.
| | 07:01 | You don't actually need that to be on.
| | 07:03 | That just helped generate where these go.
| | 07:06 | Then you can save this and use this as
a group and build more of these, and you
| | 07:10 | can clone this whole group
and then build an entire forest.
| | 07:14 | So it's really very powerful.
| | 07:15 | This is just the tip of the
iceberg with replicators in modo.
| | 07:18 | So experiment with these and
see what you can come up with.
| | Collapse this transcript |
| Instancing objects| 00:01 | Every once in a while
when you're building models
| | 00:02 | you're going to need a part of that
model all over, such as a screw or a bolt.
| | 00:07 | And it doesn't make sense to keep
modeling that same object or making multiple
| | 00:11 | copies of that object, and that's where
modo comes in handy, using instancing.
| | 00:15 | So what I'm going to do here is model a
bolt, and I'll show you how we can make
| | 00:18 | multiple copies with instances.
| | 00:20 | I'm going to start with the Cylinder
tool and normally, we would just draw this
| | 00:24 | out like this, but we're going to do two things.
| | 00:26 | I want this perfectly even, so I'm
going to click once to activate the
| | 00:30 | tool and I'm also going to choose the number of
sides, and in this case we want six for a bolt.
| | 00:37 | I'll hit the Tab key to get out of
those selections. Then I'm going to click
| | 00:42 | again, not on the tool, but right near
it, and then I'm going to hold the Ctrl
| | 00:45 | key, and I'm going to drag out.
| | 00:47 | And that creates a nice flat, six-sided disc.
| | 00:52 | You can also, by the same token, do
three if you wanted a triangle, or eight, or
| | 00:57 | anything else you'd like.
| | 00:59 | So keep that in mind when you need a shape
like this, rather than trying to edit it.
| | 01:03 | And while I have this tool still active,
I will just extend it up like this.
| | 01:09 | I don't need any segments,
and that looks pretty good.
| | 01:13 | We'll just click the tool to turn
it off. And this is not as much about
| | 01:16 | modeling as is it about instancing,
but I'm going to show you just how we can
| | 01:19 | very easily create this bolt.
| | 01:21 | So in Polygon mode, I'm going to select the
bottom polygon and press of the B key for bevel,
| | 01:27 | click to activate the tool and we're
going to grab the red handle, the Inset.
| | 01:31 | I'll zoom in so you can see it.
| | 01:34 | Shift+Click to activate the bevel
again, and we're going to pull that down.
| | 01:39 | Spacebar to turn off the tool,
and click in a blank area to deselect.
| | 01:44 | Alt or Option key to rotate around,
and we'll do the same at the top.
| | 01:48 | So select it, Shift+A to fit it to view,
| | 01:51 | press the B key for bevel, click to
activate, and we'll come in about that far
| | 01:57 | with the red handle.
| | 01:58 | Shift+Click to activate another bevel.
| | 02:00 | We will pull that down.
| | 02:03 | Shift+Click, we will pull that in,
Shift+Click to activate the bevel again,
| | 02:08 | and we'll pull that up.
| | 02:09 | Very simple. Click the bevel tool to turn it
off, and then click a blank area to deselect.
| | 02:14 | And that's fine, but let's go just a
little bit further, because we can.
| | 02:18 | In Edge mode, I want to select the entire
set of edges throughout this whole thing.
| | 02:23 | Well, you would think using the right
mouse would be good to lasso-select.
| | 02:27 | The only problem with that is
because we're in an OpenGL shaded mode,
| | 02:31 | graphic library, that is,
| | 02:34 | it doesn't get the back side.
| | 02:35 | It only selects what we see.
| | 02:36 | There are two ways around that.
| | 02:38 | If you have a middle mouse button and
if you have a wheel on your mouse that
| | 02:42 | often is a button as well, you can
hold that button down and that will select
| | 02:49 | all the way through.
| | 02:52 | Okay, so the middle mouse button,
usually the wheel on your mouse, just so you
| | 02:55 | can just scroll in and out, also
works as a button natively in modo.
| | 02:59 | But if you don't have that, just jump
to a wireframe mode and then use your right
| | 03:04 | mouse button, and then you can
jump back to shaded. Easy enough.
| | 03:12 | Then press the B key again for bevel.
Click and drag just a little bit.
| | 03:16 | And you don't want it totally square,
but let's put a Round Level of just maybe 2 on there.
| | 03:22 | Now we'll make it nice and tight, just kind
of like that, about nine millimeters on mine.
| | 03:27 | Click Bevel turn it off and
click a blank area to deselect.
| | 03:30 | And I'm going to press F8 on my
keyboard, and that is a preview window, and we
| | 03:34 | can just see what a render would look like.
| | 03:38 | So by beveling those edges, we
just get just a nice little trim.
| | 03:41 | Just give it a little bit more realism.
| | 03:43 | Now for the fun part. We're going to get
into instancing, and what an instance is,
| | 03:48 | it's a copy of the object,
but it's referencing the original.
| | 03:52 | So in this case, we'll name this Nut,
and I'm going to save it into our exercise
| | 03:59 | files. And you're welcome to load this up. Nut.
| | 04:06 | Okay, so you can load this up
and follow right from this point.
| | 04:10 | We want to create an instance, and the
easiest way to do that is jump to Item
| | 04:13 | mode and then press Shift+D. And what
you'll see in the Items tab here is a pink
| | 04:19 | icon, rather than a blue,
and you'll see it's italicized.
| | 04:22 | That means there is an instance
created, and what does that mean?
| | 04:26 | Well, I can't really see it, but if I
press the W for my transform, you can see
| | 04:32 | that it made a perfect copy
right on top of the other one.
| | 04:34 | Now if you'd gone to Polygon mode--and
this is why it's important to be aware of
| | 04:39 | which mode you're in, whether it's a
component mode or the Item mode--and I hit
| | 04:43 | Shift+D, what happens is
I get Subdivide Polygons.
| | 04:46 | That's not what we want.
| | 04:47 | So you need to make sure you're in Item
mode and then Shift+D, and you make an
| | 04:51 | instance, and then you can
move it around however you want.
| | 04:57 | So now, these instances, they have
this kind of purple, pink look to them.
| | 05:01 | And what does that mean?
| | 05:02 | That means if I choose to edit this model in
any way, it will happen to these other ones.
| | 05:08 | So let's press the O command, and my
Inactive Meshes are set to Wireframe.
| | 05:13 | Let's change those to Same as
Active Item, and that will make my
| | 05:16 | instances visible in OpenGL.
| | 05:18 | You can still see the purple outline though.
| | 05:21 | Anytime we want to make a change, we'll
come down to the original blue mesh, that
| | 05:25 | blue icon, and now I can go back to
Polygon mode and do whatever I want.
| | 05:29 | Let's say I wanted a little more bevel on here.
| | 05:33 | So select this top polygon, press the B
key, and now whatever I do on this model
| | 05:39 | happens on the others.
| | 05:41 | So Shift+Click to create more of a bevel,
and you can see that I'm doing it to all of them.
| | 05:46 | If I want to bevel these edges, I can
double-click, press the B key for
| | 05:51 | bevel, and I'll bevel those out.
| | 05:54 | Maybe your client comes and says, "Oh, this
particular nut has a longer stem on the bottom."
| | 06:00 | So I'll select the bottom polygon,
Shift+Up Arrow to expand my selection. And if
| | 06:05 | you go too far, like I just did, Shift+
Down Arrow brings your selection back.
| | 06:10 | And then you can hit
transform and move this down.
| | 06:14 | That's what's great about using instances.
| | 06:16 | The other advantage is that they
render much faster, because they are copies;
| | 06:19 | they are virtual copies.
| | 06:21 | And if you think in a larger scale
where you've got an entire machine you've
| | 06:25 | made with all these bolts, or you've
got a field of plants or trees, all of
| | 06:30 | those can be instances.
| | 06:31 | And it's a really great way to work and
save some time with memory constraints.
| | 06:37 | When you look at these instances, you
can also come down and change Converted to
| | 06:41 | a Mesh if you want one of those just
modified in a certain way, that you don't
| | 06:45 | want it to follow the original object.
| | 06:48 | So using instances is a great way to
create multiple objects without making a
| | 06:52 | lot of geometry, and it also gives you
the flexibility of making changes to that
| | 06:57 | model across all objects.
| | Collapse this transcript |
| Working with Curve Clone| 00:01 | Some of my favorite tools
in modo are the Clone tools.
| | 00:03 | We used the Extrude Curve in the
Extending polygons video, but there is lot more
| | 00:09 | in the Duplicate tab that we can work with.
| | 00:11 | So when we select that tab, you'll see
that a lot of these tools are ghosted out,
| | 00:15 | and what we need to do is create some geometry.
| | 00:17 | So first, I am going over to the Layout
tab and then from the Animals category in
| | 00:22 | our Meshes tab, I am going to double-
click, and let's open up the little chicken,
| | 00:27 | the cartoon chicken.
I'll press the A key to fit it into view.
| | 00:30 | And this chicken is little crazy, so we
need to create a fence to keep him contained,
| | 00:34 | and the way we are going to do that is
jump to a new blank Mesh layer, and we
| | 00:39 | will press Ctrl+Space at the same time
to get to our front view, and from the
| | 00:45 | Model tab, we will go to the Basic
tab, select the box, and let's build a
| | 00:54 | little piece of fence.
| | 00:55 | Now we don't have to build the entire
fence, just one piece of it, and then
| | 00:58 | Ctrl+Space to get back to Perspective
view. And let's grab that little blue plus
| | 01:04 | in the middle, just to pull it out, and then
you can grab the blue handle to move it in front.
| | 01:09 | And then if you'd like, go to Edge
mode and you can double-click some of the
| | 01:13 | edges to select them, Shift+A to fit to
view, and just double-click all the edges
| | 01:20 | and rotate in a little
bit with your wheel mouse.
| | 01:23 | Press the B key for Bevel, and let's
just bevel out these edges a little bit.
| | 01:28 | Why not make it nice?
| | 01:29 | Now we'll turn off the
edges by clicking in a blank area.
| | 01:32 | So now we've got a nice piece
of fence that we can work with.
| | 01:34 | I am going to press Ctrl+Space
again and jump to a top view.
| | 01:38 | You can also find the top view by clicking
here in the very top left of your viewport.
| | 01:42 | I am going to go to Duplicate,
and then I am going to choose Curve Clone.
| | 01:46 | Now we've used the regular Clone,
and we've used the Curve Extrude, so the Curve
| | 01:50 | Clone, what that allows us to do is
literally just create a path for our object.
| | 01:58 | And when you do this, you need to make
sure that your points are pretty even;
| | 02:03 | otherwise it's going to be harder to line up
these objects, depending on what you are doing.
| | 02:07 | So notice I've got two points here,
two points here, two points here, and then
| | 02:12 | one on the back and one on the front.
| | 02:13 | Well, how do you close this?
| | 02:15 | Well, if you look at the Tool Properties
for the Curve Clone--I'll just pull those up--
| | 02:19 | you can say Closed from the Curve
Path tab, and that closes out that curve.
| | 02:25 | Then we can go into each one of these
points and move them around. But notice
| | 02:29 | that there is an original
model sitting right there.
| | 02:32 | Well, under Clone Effector, you can hit
Replace Source, and that puts that right
| | 02:37 | in position as we need.
| | 02:38 | From here, I can just simply move this
curve around until all of my handles are
| | 02:43 | lined up the way I want.
| | 02:45 | You might think to put Automatic on,
but often I find that those overlap, and
| | 02:50 | it's not quite as accurate as you want.
| | 02:52 | If you do, you can just move these
around and see if they line up for you, but
| | 02:57 | sometimes I find that working
manually works little bit better.
| | 03:00 | Now what I just did there, I was still
in Add mode, and because I clicked Away,
| | 03:05 | I'm actually adding points. And I don't
want to do that, so I am going to Undo a
| | 03:09 | couple of times and make sure my
mode is set at Edit, and that way I can't
| | 03:13 | accidentally create more points for my curve.
| | 03:16 | And then just come in and
start moving these around.
| | 03:18 | If I need to add another point, I can.
And we will just close this up. And here I
| | 03:25 | will add another point right here, like
this, and I will take this one and pull
| | 03:30 | this out, and we will create a very nice
little chicken coop for our crazy chicken.
| | 03:35 | Let me just tighten that up like that.
| | 03:39 | We will come back down and turn off
the Curve Clone, Ctrl+Space back to
| | 03:46 | Perspective, and notice that our model
is a little bit high, and that's okay.
| | 03:50 | We can then just choose the Transform
tool by pressing W. We will move that down
| | 03:56 | and move it back, and now we have a
contained chicken, a la the curve clone.
| | 04:02 | So a simple use for it, but a much
larger use that you could do with this is
| | 04:07 | building, let's say, road lamps across the road.
| | 04:10 | You've got a very nice road that
curves and turns. Well, how would you put
| | 04:13 | streetlamps all the way around?
| | 04:15 | Build one and use the Curve Clone.
| | 04:17 | You could do other things, such
as ropes and pipes and all kinds of
| | 04:21 | industrial-looking items.
| | 04:22 | It's a great way to align objects
simply, without actually trying to manually
| | 04:28 | place them, which often is very
difficult and time consuming.
| | 04:31 | So the Curve Clone tool, just one
of many clones that you can find in
| | 04:35 | the Duplicate tab.
| | Collapse this transcript |
| Working with Curve Extrude| 00:01 | In the Extending polygons video in
Chapter 2, we used Curve Extrude briefly to
| | 00:06 | create a nice hose,
but there's a lot more this tool can do.
| | 00:10 | In the Duplicate tab, you'll see
Curve Extrude. And we've taken a flat disc
| | 00:14 | and we extruded it just to make a nice hose,
but it goes little bit deeper than that.
| | 00:18 | So what I am going to do is, from the
Basic tab, create just a nice little
| | 00:23 | flat plane like this. That's all.
| | 00:26 | Just very simply a flat box.
Just select the Box tool and draw it out. In the
| | 00:30 | Duplicate tab, we are going to select
Curve Extrude. And like we've done with our
| | 00:35 | extending polygons, you can very
simply click and drag this out,
| | 00:39 | but there is a little bit more. So I am
going to Undo this with Command+Z or Ctrl+Z,
| | 00:43 | and I am going to close up the Path
Generator and all these others. And at the
| | 00:48 | very bottom under Profiles, there's all
these presets, and what these can do is
| | 00:54 | help you create something like a nice
molding if you are building an interior.
| | 00:58 | So I'll just select any one of them
like that, and then we will click right on
| | 01:02 | the model to start our curve-extrude.
| | 01:04 | We can come back here to our Path Generator
and make sure this polygon is selected.
| | 01:11 | And with that profile selected,
what you end up with is a nice shaped
| | 01:17 | curve, just like that.
| | 01:22 | And then of course just like the others,
when you have this path, you can change
| | 01:26 | it and shape it as needed.
| | 01:28 | Now this doesn't have to
be a molding for a home.
| | 01:31 | This is very easily could
be a rollercoaster track.
| | 01:36 | This could be a slide in the backyard.
And all we are doing is taking this
| | 01:40 | initial shape with a profile and
then clicking the Curve Extrude tool. And
| | 01:45 | just like our other Extrude tools,
you can very easily move these points
| | 01:49 | around and change that shape.
| | 01:52 | When you turn off the Curve Extrude
and you hit the Tab key, of course the
| | 01:57 | subdivisions smoothed that out.
| | 02:00 | Now we a little pinch right there which
would be very easily going and press the T
| | 02:04 | key for Element Move and just
move that about and reshape that.
| | 02:11 | But the Curve Extrude is a very powerful
tool for creating all kinds we need shapes.
| | 02:16 | When you employ the profiles that come
with modo that are installed when you
| | 02:20 | install the program, you can then
extend that Curve Extrude that much further.
| | Collapse this transcript |
| Modeling with Array| 00:01 | You've seen how all the Clone tools
work in the Duplicate tab, but there are
| | 00:04 | some other tools in here that can
actually be really helpful when it comes to
| | 00:07 | actually modeling larger sets of
objects--and those are the Array tools.
| | 00:11 | So what I am going to do is go to the Basic tab,
| | 00:13 | I am going to select the Sphere tool,
and before I add the Sphere, I am going to
| | 00:19 | just bring the Sides down to about 12
and the Segments to about 6. And I will hit
| | 00:23 | Return, and holding the Ctrl key,
I will click and drag in the viewport.
| | 00:28 | The reason I brought those sides down is
that we are going to replicate this with
| | 00:30 | the Array tool and we don't want it to be
too dense; otherwise it's actually going
| | 00:34 | to really slow us down.
| | 00:37 | So we've got this sphere.
What we can do with it?
| | 00:39 | Well, one thing I am going to do, just to
make this a little more attractive, is I
| | 00:42 | am going to change the OpenGL view to a
reflection. And this reflection shading in
| | 00:49 | here is not a surface property;
| | 00:51 | it's really just a viewport style
similar to just going to Wireframe or Solid.
| | 00:55 | It's just a way we are looking at our scene.
| | 00:58 | But I like Reflection because it looks
a little more attractive when you are
| | 01:01 | doing large-scale objects.
| | 01:03 | But this is really intended
for smoothing out your surfaces.
| | 01:07 | So if I press the T key for Element
Move and I move some part of this around,
| | 01:12 | the reflection shading will actually
give me a good idea if I have any little
| | 01:15 | dents or imperfections in my surface
that I might not normally see with OpenGL.
| | 01:21 | But it's also just a great way to work
if you are not even working about doing
| | 01:25 | something more complex.
| | 01:26 | It's just a nice viewport.
| | 01:28 | So with that said, let's get to the
Duplicate tab. And what I would first want to
| | 01:31 | do, we are going to create a pseudo-DNA.
| | 01:34 | Now this is not going to be
super accurate, but it will give you a look of DNA.
| | 01:37 | And we are going to do it with, first,
the Array tool. And you will also notice
| | 01:42 | when I move my mouse over, if you
hold the Alt key, you'll get an instance
| | 01:45 | array, and we talked about instances and how
they are actual copies of your original model.
| | 01:50 | For right now we will stick simple and
just click Array, and the Array Generator
| | 01:55 | comes up down at the bottom. And when I
click in the viewport, just like all my
| | 01:58 | other tools, it becomes active.
| | 02:01 | This Array allows me to just
multiply this object in any axis I want.
| | 02:07 | So it's a terrific way to make a
stake of railroad cars or a set of books or
| | 02:12 | anything else you can think of.
| | 02:13 | But it's also highly interactive, so I
can very easily come in here and grab
| | 02:16 | these handles and push and pull and shape these.
| | 02:20 | But at the same time, I can scale
them down here in the Property panels.
| | 02:25 | I can select Jitter to just kind of
mess them a little bit so they are not all so
| | 02:30 | perfect. And if you look down here at
the very bottom, you can also look at some
| | 02:34 | Profile Attributes and Snapping.
| | 02:36 | Now we're not doing any of
that for a particular project now.
| | 02:40 | So that's how the Array tool works.
| | 02:42 | So let's go ahead and build something with it.
| | 02:44 | So I am going to Command+Z to undo a
few times, and that will be Ctrl+Z on the
| | 02:49 | PC, and we will click again to activate.
And this time I don't want too many wide balls;
| | 02:55 | I actually want them to go straight up,
so I am going to come up like this, and we
| | 02:59 | will move our view so you
can see what's happened.
| | 03:01 | I don't even think we need 8, maybe
more like 6, and then we are going to play
| | 03:04 | with the Jitter. And we will just kind
of shake these up a bit on each axis, and
| | 03:10 | that's really all we need for this.
| | 03:11 | This will be one of our strands of DNA,
and it's okay if they blend together.
| | 03:14 | That's not really too important.
| | 03:16 | We can play with the Y a
little bit. And just like that, we get a
| | 03:19 | nice randomization.
| | 03:21 | Spacebar turns off that tool, and if
you want, you can go to the Polygon mode,
| | 03:26 | double-click on any one of these,
| | 03:27 | press your W key to get your
Transform tool, and then you can move and
| | 03:32 | shape these as needed. So that's one set.
| | 03:35 | Now we want to create another one,
| | 03:36 | so I am going to take this ball down at
the bottom, select the A key to fit them
| | 03:41 | to view, and we are going to array that again.
| | 03:44 | So we will select Array. We'll click to activate.
| | 03:48 | We will move this up. And what I am
going to do with these is create more of the
| | 03:52 | base around the bottom of this DNA.
So we are going to add some balls this way,
| | 03:57 | maybe a few this way, and a couple this
way, and again we will just use Jitter
| | 04:03 | and just really kind of shake these up
a bit so they don't look so perfect, and
| | 04:08 | then we will take a look at it from all the
views, just to see how it's coming along,
| | 04:11 | which is fine. But I want to make
sure I am able to select all of these,
| | 04:14 | so I am going to press the spacebar and
I am going to hold the Shift key, and I
| | 04:19 | am just going to then right-mouse
around the ones I want. And remember how
| | 04:25 | when you are in a shaded mode, you are
only going to be able to lasso-select
| | 04:29 | what's in front of you; what's behind will
not be selected unless you are in a wireframe.
| | 04:33 | That's okay. All you can do
is press the right bracket key.
| | 04:36 | That's two over from the P on my
keyboard, and everything connected to my
| | 04:40 | selection will also be added to my
selection. And then I can press my W to get my
| | 04:46 | Transform tool, grab the little dot
here to control two axes, and I can just
| | 04:50 | move this over. And it looks like
there is a few on the inside that I didn't
| | 04:53 | catch, and that's okay.
| | 04:54 | But we are just creating a base here
for these, and then we'll click the blank
| | 04:59 | area to deselect. And I will Shift+
Double-click each one of these that I can
| | 05:03 | still see and W to select Transform,
and we will move those down as well.
| | 05:08 | We can even push them out on
the side. Actually, let's do that.
| | 05:13 | So the Array tool allows us to create
quite a few more organic shapes and not
| | 05:19 | having to do the whole thing manually.
And once I have this whole set done, I
| | 05:23 | can select a few more like this.
And then I am going to go to Edit > Copy. Then
| | 05:30 | I will press W for Transform, and we
are going to move these over to the other
| | 05:33 | side, and then Edit and Paste.
| | 05:38 | And you can also do Ctrl+V and Ctrl+C, just
like you would in a Word program. And
| | 05:44 | with these, I am actually going to
press the Y key to select Rotate, and we are
| | 05:48 | just going to rotate these just to keep
them a little bit more random. And then
| | 05:52 | I will double-click this one, press
W again for Move, and move that over.
| | 05:57 | So you can see that a lot of the tools
we're actually using are very repetitive:
| | 06:01 | our Transform, our Select, our Deselect.
| | 06:05 | Lastly, what I am going to do is
right-mouse around these bottoms once like this,
| | 06:10 | then press the right bracket key, two
over from the P, to select all of those
| | 06:14 | connected, Shift+V is our Mirror tool,
right from the Duplicate tab, and I am
| | 06:20 | going to click and drag to the right
and that will duplicate those, but we want
| | 06:24 | them to be on the Y axis so they flip
up, and we will turn off the Mirror tool
| | 06:28 | and then click a blank area to deselect.
| | 06:30 | So there we've got like this little
single piece of DNA we can use. And if you
| | 06:36 | feel it this one might be floating too
much, you can tighten that up just by
| | 06:39 | selecting it and moving it in.
| | 06:40 | I am going to save this, and we are
going to put it right in our exercise files.
| | 06:44 | So if you need this, you are welcome to
use it, and we will put this as singledna.
| | 06:49 | The next Array tool, once we've
built this, is the Radial Array.
| | 06:55 | I want to click this, again, the
Generator comes up at the bottom, and what we
| | 06:57 | are going to do is hold the Alt key and
we are going to click and rotate around.
| | 07:00 | And then I am just going to
click right in the interface.
| | 07:04 | You might have to wait a second
depending on the strength of your system.
| | 07:07 | You can see how there was a little bit
of a delay, and that is also why I created
| | 07:10 | these spheres with less resolution.
| | 07:13 | So I want these to be down that Z
axis, so that default generator is fine.
| | 07:17 | I am going to rotate around so you can
see what's going on here. And what I am
| | 07:22 | going to do is this Offset, I am
going to manually just drag it out.
| | 07:25 | Now, how do I know what size I need?
Well, that goes back down here. In the very
| | 07:29 | bottom right it says 1 meter, and what that
means is every square in here is 1 meter.
| | 07:34 | These larger squares you see in my grid,
in my interface, those are 10 meters then.
| | 07:39 | So why don't I just put in 10
meters in and press Return?
| | 07:42 | Meters are my default, and so now you
can start seeing what we are doing.
| | 07:47 | So let's put this to 100 meters.
| | 07:49 | We'll really stretch that out. And then
when I hold the Alt or the Option key and I
| | 07:54 | rotate around, now you can see that we
have this radial array going 10 meters
| | 08:02 | into my scene. And how is it rotating?
| | 08:04 | Well, the Start angle was 0, the End
angle was 360 degrees, and there are 24 of
| | 08:10 | them replicated over that.
| | 08:12 | And if you look at these without the
reflection, as far as OpenGL shading, you can
| | 08:16 | probably get a little bit better look.
And you very easily can start creating
| | 08:20 | some random unique shapes from one
simple ball, all with the Array tool.
| | 08:25 | Certainly you can go and surface these
and put color image maps on them and give
| | 08:29 | them any kind of look you want.
| | 08:30 | But it's really pretty easy to start
working with these tools, just using them
| | 08:34 | one at a time, and they all start with
very primitive objects, and you can take it
| | 08:39 | to that next level, creating
some really interesting objects.
| | 08:42 | So try out the Array tool to create
medical objects, unique organic objects, or
| | 08:47 | even just mechanical objects as needed.
| | Collapse this transcript |
| Understanding Mesh Paint| 00:01 | A good part of knowing how to create
something in modo is also knowing some of
| | 00:04 | the tools available to you. And when we
are talking about the Duplicate tools,
| | 00:09 | there is another tool that I
really like called Mesh Paint.
| | 00:11 | So let me show you how that works, just
on a simple object level, and then we
| | 00:15 | will go into something
little more useful with it.
| | 00:17 | So from the Basic tab, I am going to
hold the Shift key and add a flat plane
| | 00:21 | like this, and then I am going to press the D
key just a couple of times to subdivide that.
| | 00:25 | I will press the T key for Element Move,
and we will just shift this up in just a
| | 00:30 | little bit of various ways, and I will use
my right mouse to create a little range
| | 00:34 | of influence with this, and then we
can just pull this down. And then I will
| | 00:39 | press the spacebar to turn that off and
when I hit the Tab key, I just get nice
| | 00:42 | little space there that we can work with.
| | 00:44 | In the blank mesh layer in my
Items list, I am going to then just add
| | 00:49 | something like a little doughnut. And
then we will press the R key for Scale,
| | 00:54 | and we will scale it down.
| | 00:57 | So one layer we've got a torus,
and the other layer we've got a flat plane.
| | 01:00 | What can we do with this?
| | 01:01 | Well, selecting the flat plane layer and
then going to the Duplicate tab, we can
| | 01:06 | use Mesh Paint. And Mesh, as you know,
is our object right here, so we are
| | 01:11 | painting with objects.
| | 01:13 | Using my right mouse to create a
range of influence, I can click on here and
| | 01:20 | start painting my mesh. And first I
need to tell the system what source is my
| | 01:26 | clone. What is my painting brush going to be?
| | 01:29 | Well, it's going to be a specific
mesh, and that mesh will be the torus.
| | 01:34 | That's from right here.
| | 01:36 | Then I want the Size to be Adaptive
and Random, and what that means is it's
| | 01:41 | going to adapt to the size of the plane
but randomize the shape just a little bit.
| | 01:47 | And we can do the same with the Rotation.
| | 01:49 | From there, the Paint Mode,
we've got Slide, Stroke, and Drop.
| | 01:53 | So if we choose Strokes and we
start going like this, you can see these
| | 01:58 | little dots pop up, and when I let go,
I have got all these little doughnuts
| | 02:02 | that are painted on there.
But look at the Size. It's 100%.
| | 02:07 | If I click on here, I can change them,
or very simply come back to Uniform and
| | 02:14 | try it again. And now I've got little
doughnuts all over this landscape. And the
| | 02:21 | reason I had shaped the landscape was
so that they actually fall with that.
| | 02:26 | They are not just dumping them down.
| | 02:27 | They are actually following
the contours of that shape.
| | 02:30 | You can simply then, of course, rotate them.
| | 02:32 | You will see them all shaped a little
differently. And we still have it set to
| | 02:41 | Surface Align, but with the Rotation, you
can see how they are all just rotate in there.
| | 02:46 | So imagine this on a further level
where you take rocks on a beach, or you take
| | 02:51 | little bushes across a landscape,
things like that. So let's do this.
| | 02:55 | Now that you've seen how this works, I am going to
Close All and then from the Layout tab, I
| | 03:01 | am going to select all the way down and
we are going to go to Organic, and then
| | 03:06 | we will select Trees, and I am
going to add the Tree No Leaves, just by
| | 03:12 | double-clicking, and then press the A
key to fit it to View. And then we will go
| | 03:16 | to the Leaves folder, and we will
just pick any one of these leaves.
| | 03:20 | I will pick the Aspen 01.
| | 03:22 | So we've got two meshes, the Aspen
leaf--and I am just actually going to call
| | 03:25 | this leaf, just so you know--
and of course this is the tree.
| | 03:29 | I am just renaming these mesh layers.
| | 03:31 | We will go to the Model tab, and one
thing that's important to know is that this
| | 03:36 | system here has 8 gigs of RAM.
| | 03:38 | When you start doing certain functions,
such as mesh painting like this on a
| | 03:41 | really large object with a lot of
polygons, your system may start to bog down a
| | 03:45 | little bit, so just be patient with it.
| | 03:47 | I am going to take a look at this in a
Reflection mode, so it makes it a little
| | 03:52 | bit brighter to see.
| | 03:53 | I've got my Tree layer selected, my
Leaf is the background layer, and we're
| | 03:56 | going to do that same thing I just showed you.
| | 03:58 | We are going to come down and
select Mesh Paint from the Duplicate tab.
| | 04:02 | We are going to use Strokes. Uniform is fine.
| | 04:06 | I will keep the Rotation I had set for the
torus, and the specific mesh will be our leaf.
| | 04:14 | The right mouse button sets the size of
that brush, and when I start clicking, you
| | 04:19 | can actually see the little dots appear.
| | 04:23 | Those are where the leaves are going
to appear and when I let go with the
| | 04:25 | mouse, there is the leaves on my
trees, with nice little rotations.
| | 04:29 | But they don't look like leaves;
| | 04:30 | they actually look like little flat polygons--
and I will show you why in just a minute.
| | 04:33 | So what's nice about this is that you
can really come in here and put some
| | 04:37 | sparse leaves on just to renew them.
| | 04:39 | If I ever going to do a tree full of
leaves, we would do this with a full model
| | 04:45 | that is already in my
Library and then just modify them.
| | 04:48 | I don't think I would probably
attempt to try and paint a full set of leaves
| | 04:51 | across this whole tree, because some
of these branches are pretty thin.
| | 04:56 | Very easy to paint those on and then
when I press F8, I get my Preview Render.
| | 05:02 | And let me come up here so you can
see these. And so there is the leaves on
| | 05:07 | there, and they are set to Flat
Polygons, but you can see that they are
| | 05:11 | aligning quite nicely.
| | 05:13 | Now if you jump to the Shader tree,
which we are going to talk about in an
| | 05:16 | upcoming chapter, we can actually make
that leaf texture--which is right here--
| | 05:23 | we can make the white area disappear.
| | 05:26 | So we are going to pull this scene up again.
| | 05:27 | I am going to save this, and we will
put this right in our exercise files.
| | 05:33 | This will be in Chapter 04. And this will
be leaves, and we'll call that up again,
| | 05:40 | and I'll show you how to texture this
when we get to our surfacing chapter next.
| | 05:45 | So the Mesh Paint is a great way to
create more unique models by taking one mesh
| | 05:50 | and using it literally as a paintbrush
and painting with that on top of another.
| | Collapse this transcript |
|
|
5. Creating SurfacesIntroducing the Shader Tree| 00:00 | Throughout this essential training,
you've seen how we've created different models,
| | 00:03 | we've replicated them, and we've
duplicated them, and we've created instances.
| | 00:07 | But one thing that's important when
you're doing 3D is, of course, the surfacing,
| | 00:11 | and in modo that's all done in the Shader Tree.
| | 00:14 | So over here on the right side of your
interface--and we're using the modo 501
| | 00:18 | Default Layout which you can
find from the Layouts tab up top--
| | 00:22 | you're going to find the Shader Tree
tab and four items in there, by default.
| | 00:26 | We've nothing loaded in our interface.
We have no objects or anything,
| | 00:29 | so basic default view.
| | 00:32 | You have a Render, an Environment,
Directional Light, and Camera.
| | 00:36 | Now what's going to happen mostly is
you're going to work in the Render.
| | 00:40 | So let's open that up by clicking the
triangle, and within there, you're going to
| | 00:43 | have four default items:
| | 00:44 | a Base Material, a Base Shader, a
File Color Output, and then Alpha Output.
| | 00:49 | Now what does that mean?
| | 00:51 | Well, in the Shader Tree, everything works
all the way up to the render. So let's do this.
| | 00:57 | We're going to go to the Layout tab,
and let's go up to Jewelry, and then let's
| | 01:04 | load up this bracelet,
just by double-clicking it.
| | 01:06 | I'll press the A key to fit it to view,
and when I do that, you're actually going
| | 01:11 | to see some additional
items added to the Shader Tree.
| | 01:14 | Well, these are materials
that were saved with this model. And what does that mean?
| | 01:19 | Well, our base material that was there
by default is no longer needed because
| | 01:23 | the item that we loaded has its own
material, and when I select that, I can
| | 01:28 | see all of the properties beneath it.
| | 01:30 | So here's the color for that material.
| | 01:33 | I can click and drag
and change the color of that.
| | 01:35 | Here is the Specular, or the shine,
how shiny that object is, the roughness.
| | 01:40 | Think of that as a gloss.
| | 01:43 | So let's say you had more of a metal bracelet.
| | 01:45 | You'd have a higher roughness with a
little bit lower specular. Or if you have
| | 01:51 | maybe glass, you have a higher
specular with a lower roughness.
| | 01:55 | You're getting a little bit tighter hotspot.
| | 01:57 | And that's isotropic features for metals.
| | 02:00 | You can have different reflection
amounts, things like that, and you can see
| | 02:03 | that's nice and reflective.
| | 02:05 | The way you're seeing this in the
interface is because of the Advanced OpenGL.
| | 02:09 | If you have just a simple Shaded on,
you're not going to see those reflections,
| | 02:13 | something to keep in mind.
| | 02:15 | You have different reflection types.
| | 02:17 | You can blur the reflections, and then
when you click this little button down
| | 02:21 | here, you can also change the Bump,
Displacement, and Smoothing, which we're
| | 02:25 | going to talk about shortly.
| | 02:27 | But this material then feeds up into
the shader, and when I select that, I have
| | 02:32 | the controls for the shader.
| | 02:34 | And what does the shader do?
| | 02:35 | Well, the shader is what controls things
like the illumination, and how much it's
| | 02:41 | going to take from indirect light, how
much indirect illumination for saturation,
| | 02:47 | and certain things like that.
| | 02:49 | You can turn on shadows and receive shadows.
| | 02:52 | You can even have things
visible to camera or not.
| | 02:54 | But why would you do that?
| | 02:55 | Well, let's say, you come over to the
Render tab and you open up the left side
| | 03:01 | here, and you come up to
Environments, and you open up Studio, and you
| | 03:08 | double-click one of these.
That adds an environment to your scene.
| | 03:12 | In the Camera view here, I'll press
the A key to bring that to view, and let's
| | 03:16 | say you really like how that affects your model.
| | 03:18 | It's reflecting in there and it's got
some nice highlights, but you don't want
| | 03:22 | the blue as the background.
| | 03:23 | Well, in the Shader Tree, if you
select the Environment and you open that up
| | 03:29 | and go to Environment, you could say,
Visible to Camera, no, and you uncheck it.
| | 03:33 | So now that environment is affecting
the surface, but it's not visible, because
| | 03:38 | we've turned it off for the shader.
| | 03:40 | Well, all of the things that are
visual, in terms of shading and lighting, are
| | 03:44 | going to be handled in the Shader Tree,
and we're going to work through this in
| | 03:47 | the next chapter, and we're going
to work all the way up to the render.
| | 03:50 | And when you select that, here's your
final output, the length of your animation
| | 03:54 | if you're doing one,
| | 03:56 | DPI if you're doing for prints,
different settings for your cameras and your
| | 04:00 | filtering for cleaning up the edges, and so on.
| | 04:03 | So just keep that in mind, that the
Shader Tree, while it looks kind of messy, is
| | 04:06 | actually pretty easy to navigate.
| | 04:08 | We're going to also add in different
layers of computer-generated textures.
| | 04:14 | Those are very nice and easy to use.
| | 04:16 | And then we're going to change the
effect of those as we add them in.
| | 04:19 | So the Shader Tree, right here on the
left and the right side, a combination of
| | 04:23 | both the environment and different
levels, all the way up to the render, can
| | 04:27 | create any kind of surface you want
very easily and directly with modo 501.
| | Collapse this transcript |
| Exploring layer-based shading| 00:00 | When we talk about surfacing in 3D,
often people say node-based shading, and
| | 00:05 | modo's Shader is a layer-based shader.
| | 00:07 | It's not node based.
Node-based is more of a network.
| | 00:10 | The layer-based is more similar to
something you might find in Photoshop where you work
| | 00:14 | with different layers.
| | 00:15 | So to explain that, let me load up a
model. And from the File menu, I'm going to
| | 00:18 | say Open and then in Chapter 05
folder, we're going to load the Apple.
| | 00:23 | Now if you don't have these exercise
files--I'll press the A key to fit--
| | 00:27 | you can jump to the Layout tab and
in the meshes that came with modo,
| | 00:31 | you can find a similar Apple.
| | 00:33 | I'm going to open up the Render, and then
you'll see the Apple surface right there.
| | 00:39 | So what does this all mean? Well, when you see
the little green with the red dot, that is the surface group,
| | 00:44 | and when you open that up, you'll
find three surface groups inside it.
| | 00:47 | You don't need groups inside Groups,
but in this case, we have multiple surfaces,
| | 00:52 | or layers, that we're going to
stack up to make the final surface.
| | 00:55 | I'm going to jump to Items, and I'm
going to make sure that my Apple layer is
| | 00:59 | selected, so we can see it in
OpenGL, and then back to the Shader Tree.
| | 01:02 | So what's happening here is that we
have our base material for the Apple, for
| | 01:06 | the Leaf, and for the Stem, and as
we've created projects, such as our fire
| | 01:11 | extinguisher, we also built those
materials. And we're going to load those shortly,
| | 01:15 | and I'll show you how to put
different surfaces on them.
| | 01:18 | But the layer-based shading works
from the bottom up. So you can see the
| | 01:22 | visibility icons here on the left.
| | 01:24 | Let's close out to stem and the leaf,
and I'm just going to turn those off for
| | 01:27 | the time being and work just with our apple.
| | 01:29 | And what's happening here is that we
have a very simple green surface on the
| | 01:35 | material. And you just
want to think in these terms.
| | 01:38 | You're going to say okay, well, I need
a base color, and then from there, we're
| | 01:41 | going to add a little texture and from
there, we might add a little bump, and we
| | 01:44 | might add a little noise.
| | 01:45 | And you work your way up, and then
modo looks at that and feeds it up to the
| | 01:49 | Shader, which generates full shading,
and feeds it to the Render engine, and when
| | 01:53 | we press F9, we will get a render.
| | 01:56 | Now our camera is are not set up, so
our apple is very tiny in the scene.
| | 02:00 | So if we jump to a Camera view right
here from Perspective and then press the
| | 02:06 | A key, we can fit that to view. And this
is what our camera will see when we render.
| | 02:10 | So if we press F9 again,
you'll see the camera draw this out.
| | 02:14 | But we've turned out those other
surface layers, so we don't see them rendered.
| | 02:19 | So once the material is set--and
you can see material right here on the
| | 02:22 | right-hand side, the Material
Reference that's the tab we're working with.
| | 02:26 | We have Specular Amount, Specular
Color, and this is the highlights.
| | 02:30 | This is the gloss, the roughness.
| | 02:32 | We have just a very simple green and
from there, we're layering up some noise.
| | 02:37 | And how is that noise generated?
| | 02:39 | Well, that's done here when we add a
layer, and we're going to do that shortly on
| | 02:43 | our own fire extinguisher. And then
we're going to add an image map and this
| | 02:48 | mage map is a picture of
all this red noise on here.
| | 02:53 | So we've get noise that messes
up the green a little bit.
| | 02:55 | It gives a little bit of distress.
And then we've got a picture of this redness.
| | 02:59 | And then we're adding a little bit more
noise on top, which in turn gives us this
| | 03:03 | nice little shaded apple that doesn't
look so plain and so computer generated as
| | 03:08 | just the base green would, because
we've layered up those textures.
| | 03:12 | That then is its own material group.
| | 03:14 | We can close that out.
| | 03:15 | When we talk about the Leaf,
we're doing the exact same thing.
| | 03:18 | We're taking a base material,
| | 03:20 | we're adding some specular color, so
it's not so white, a little off white,
| | 03:24 | adding a little noise, but we're
setting the effect of this noise to a bump
| | 03:28 | map, and we're going to talk about bump maps and
how effective they are for fine details shortly.
| | 03:33 | From there, we're adding an image,
and you can see that it's an image right there.
| | 03:36 | There is little ghosted label right next
to it says Image, or it says Material.
| | 03:41 | You can see right there.
| | 03:42 | That then feeds up into this
material group, and that's our leaf.
| | 03:46 | I will just rotate around, so you can see it.
| | 03:48 | Zoom in a little bit. Press F9 so you can see.
| | 03:51 | Okay, so we have a very nice leaf
texture on there. And that's how the layers
| | 03:56 | work, and of course, the
same works with the stem.
| | 03:59 | A little bit of texture, a little
bit of color, and it's that simple;
| | 04:03 | we're just layering everything up.
| | 04:05 | The surfacing can get much more
complex, because you can blend between them.
| | 04:09 | You can create the different layer masks
so that you can place a label on top of
| | 04:13 | a bottle, for instance, or on top of a fire
extinguisher, or on top of an apple if you'd like.
| | 04:18 | So the surfaces are wide ranging, going
from the very simple material all the way
| | 04:22 | up to very complex shading mixed with
image maps. So when it comes to the Shader
| | 04:26 | Tree in modo, the sky is your limit.
| | Collapse this transcript |
| Creating surfaces for polygons| 00:00 | A lot of times when you're creating
models in modo you are not actually
| | 00:03 | thinking about the surfaces as you
create; you should, because if you have
| | 00:07 | more complex objects, it's a lot
easier to build those materials into your
| | 00:11 | models as you are going.
| | 00:13 | But it's also very easy to select and add
them later, which is what we are going to do now.
| | 00:16 | So from the Chapter 5 exercise files, I
have this blankapple.lxo file loaded up,
| | 00:22 | and you can see in the Shader Tree
that this has no surfaces applied.
| | 00:26 | It's your basic default material Base
Shader, Final Output, and Alpha Output.
| | 00:31 | So how can we create some surfaces for this?
| | 00:33 | Well, it's pretty easy.
| | 00:35 | We want to select the polygons
that we want to create a surface for.
| | 00:40 | So in this case, I'm in Polygon, and I am
going to double-click the apple. And when
| | 00:44 | I do that, the apple become
selected, as well as the stem.
| | 00:47 | Well, I want the stem to have its own material.
| | 00:51 | So if I created a material right now
for these selected polygons, it would also
| | 00:55 | create for the stem.
| | 00:56 | It would be the same material.
| | 00:58 | So we don't want that. So instead, what
we are going to do is rotate around and
| | 01:03 | hold the Alt or the Option key.
| | 01:04 | We are going to just select the bottom
and use the Shift+Up Arrow to select just
| | 01:10 | the apple. And then you hold the Alt
key and Click+Drag to rotate around.
| | 01:15 | Shift+Up Arrow and go right into the
center. You can even zoom in if you need to see it.
| | 01:20 | And just before it goes up into the
stem--and if you go too far, hit your
| | 01:24 | Shift+Down Arrow--and now just
the apple itself is selected.
| | 01:30 | And what I am going to do now is
press the M key on my keyboard.
| | 01:33 | This creates the material group that I
need in the Shader Tree to put all my
| | 01:37 | materials on, so we will call this Apple.
| | 01:39 | And you don't need to set a color here,
but I often do, just to get myself a clue
| | 01:44 | that I've created a material and kind
of help the flow of the model itself.
| | 01:49 | Once that's done, Diffuse is 80%.
| | 01:51 | Diffuse tells the surface how much
light to take from scene. The light diffuses
| | 01:56 | into that surface, so 80%
is about standard for Moto,
| | 01:59 | Specular, how shiny it is,
and is it going to be smoothing?
| | 02:02 | And you can also say this is my default,
| | 02:04 | so any new geometry I create
will be created with this material.
| | 02:08 | We are not going to turn that one on.
| | 02:09 | So now in the Shader Tree, I've got a
Material group. That's that little green
| | 02:13 | with a red dot, and you can see
it says Material right next to it.
| | 02:17 | Open that up, and there is material that I
just created for the Apple. Easy enough.
| | 02:23 | For the leaf I can just double-
click on that. Again, press the M key.
| | 02:27 | This is leaf. And that will give this
its own unique little surface, and we will
| | 02:32 | click OK and then click a blank area
deselect, and in the Shader Tree you should
| | 02:37 | see we have a leaf with a
material. And lastly is our stem.
| | 02:41 | Now even though the Apple has its own
surface, I still can't double-click on the
| | 02:44 | stem to select it, and the reason is
when I double-click on an object, if that
| | 02:49 | object is connected to other polygons,
such as the stem--how its just built
| | 02:53 | right into the apple--
| | 02:54 | it selects everything connected to it.
| | 02:57 | So we are going to select it
the same way we did with the apple.
| | 02:59 | Go to the end here, and we can just
Shift key with the up arrow key all the way
| | 03:05 | down, and that selects just so what we
need. And then press the M key again, and
| | 03:10 | this is stem, easy enough.
| | 03:12 | So you can see how important it is
to actually create these as you're
| | 03:17 | building your model.
| | 03:18 | It's a lot more work coming down later and
selecting every one of these polygons and
| | 03:22 | trying to remember where they
connected and where they didn't.
| | 03:25 | So now that I have this set,
we should often save this.
| | 03:28 | So we are going to save this as
basicapple in chapter 5, and you are welcome to
| | 03:35 | load this and work from here.
| | 03:36 | I am not going to worry about the stem
or the leaf at this point. And then often
| | 03:41 | what happens is people get confused
by this other material that's in here.
| | 03:45 | Well, think about this. We had a
default material that was included with our
| | 03:50 | Shader Tree when we started up.
| | 03:51 | I have now selected polygons and created a
material for the apple, the leaf, and the stem.
| | 03:56 | That means this base material is not being
used, and it's not affecting anything either.
| | 04:01 | So, it keep things neat and organized.
| | 04:02 | I would like to right-
click on this and delete it.
| | 04:05 | Then we'll open up the apple, hit
Material, and what can we do from here?
| | 04:09 | Well, if we have an image of
apple, we can wrap it around.
| | 04:13 | If we have any kind of organic
textures we want to put, we could do that. But
| | 04:17 | let's keep things simple right now
and simply work through our properties.
| | 04:21 | So the red, let's give this a little
better color. And I am going to make
| | 04:25 | this just kind of like this greenish
color, I think, instead of a red apple, a
| | 04:30 | little more organic, like that.
| | 04:34 | Then Specular amount, how shiny it is.
| | 04:37 | Well, you know these days there's a lot
of computer animation around, so a little
| | 04:42 | more work for you make it
look not so computer generated.
| | 04:45 | Now we don't want it super shiny,
because that wouldn't be too realistic, so I am
| | 04:48 | just going to keep it about 30%.
| | 04:49 | The Fresnel effect,
| | 04:51 | now you don't often need the Fresnel
effect, but the way to explain this is,
| | 04:55 | think if you are standing outside and
you are looking straight on at a car.
| | 04:59 | You're looking right in that window.
| | 05:00 | You can see through it.
| | 05:01 | But as you walk to the side, that window
picks up reflections, making it harder to
| | 05:06 | see through. That's the Fresnel effect.
| | 05:08 | Same thing like with water on a pond or lake.
| | 05:10 | If you are standing on the edge and
you're looking across that water, it's
| | 05:13 | hard to see into it.
| | 05:15 | If you walk up and look directly
down, you can see right through it.
| | 05:18 | Well, in this case, the Specular, that
means it will be little more shiny based on
| | 05:22 | our glancing angle then it would on
the sides where we are not seeing it--not
| | 05:25 | really necessary for the apple.
| | 05:27 | The Specular amount,
we don't want it white.
| | 05:29 | It should be a tint of the color of the
surface. And a good example of this would
| | 05:34 | be a plastic ball. If you have got a
big red plastic ball and you have a really
| | 05:38 | bright white hot spot, it wouldn't be so realistic.
| | 05:40 | That plastic would actually be a shade
lighter when it came to the Specular, or
| | 05:45 | the highlight, color, and that's what that does.
| | 05:48 | The Roughness is the gloss. For the Apple, we
are actually going to increase the gloss a bit.
| | 05:53 | The Anisotropic feature,
| | 05:55 | that's going to be a little bit more
metal, and what that is, when you have a
| | 06:00 | round hot spot like this, if you looked
at a metal hub cap it would have more
| | 06:03 | of a streaked hotspot.
| | 06:06 | That's what that feature will
do right there. For Reflection,
| | 06:09 | well, an apple is really not reflective,
but sometimes it's fun to put those on.
| | 06:13 | Perhaps you are making a golden apple
for your teacher, and you want to make
| | 06:16 | more of an illustration.
| | 06:17 | You could do that. And if you have that
on, you could put Reflection color on.
| | 06:21 | Lastly, down at the bottom--
let's close up the Shader--
| | 06:24 | you have the Bump Amplitude, the
Displacement Distance, and Smoothing.
| | 06:28 | We have not applied any bump maps yet
or displacement maps, so we don't need
| | 06:32 | those. But the Smoothing, if I turn
this off, not a whole lot happens, and let's
| | 06:37 | open up F8, which is our Preview render.
| | 06:40 | You seen that the smoothing is still pretty
good on this apple, so we don't need much.
| | 06:46 | But every once in a while you'll see
the facets of the polygons on a model and
| | 06:50 | that's where the Smoothing comes
in, more of a Phong shading, more of a
| | 06:54 | mathematical shading,
rather than a geometry shading.
| | 06:57 | So we will just leave that at its default
and very simply, you've created a material.
| | 07:02 | You can then right-click on this and
copy it, and if you wanted, go to the leaf,
| | 07:08 | right-click, and paste it down.
| | 07:10 | I do that often when I have very
similar surfaces, and then all I have to do
| | 07:15 | is go in and change a color, and all the other
properties are then applied--save some time.
| | 07:22 | So creating materials is really very
easy. A lot of times people get overwhelmed
| | 07:26 | with all the buttons and layers,
and they're opening and closing, and they are
| | 07:29 | getting a little turned off by how
confusing it can be, but if you just work with
| | 07:33 | each polygon group, each surface group,
and each material one step at a time, it's
| | 07:37 | very easy to build materials in modo.
| | Collapse this transcript |
| Editing surfaces| 00:00 | Editing surfaces in modo is really easy
to do when it comes to the Shader Tree.
| | 00:04 | This layer-based system really can help
you work through all different surfaces.
| | 00:09 | So, early in the course, we built this
fire extinguisher, and this is in Chapter
| | 00:13 | 05. I have loaded it up.
| | 00:14 | It's called the FireExtinguisher.
And what I am going to do is jump to the
| | 00:17 | Render tab, and the reason I am going
to do that is this gives me a nice clear
| | 00:21 | view of what my final render will be in
this Preview window. And it's rendering
| | 00:26 | from the Camera view,
| | 00:27 | so whatever this camera view sees
is what this final render will be.
| | 00:31 | This will give me a really clear
indication of any of the file surfaces.
| | 00:35 | As this was built, we had created the
material groups. So in the Shader Tree,
| | 00:40 | when we open that up, here are the
material groups that we're building along
| | 00:43 | with the model itself.
| | 00:45 | So now I don't have to go back, like I
did with the apple in the previous video,
| | 00:49 | and create all of these surfaces.
| | 00:50 | I was building them with the model as I went.
| | 00:53 | So, that being said, what I am
going to do is just move this around here so
| | 00:57 | you can see the top of it.
| | 00:59 | I am going to keep an eye on this view
here, and what we want to do is actually
| | 01:02 | edit some of these surfaces.
| | 01:03 | For the fire extinguisher itself, we
just put red on, clearly, and we just put
| | 01:08 | simple gray on the other aspects,
just so we can see if there's a change.
| | 01:12 | So now we need to put some materials on.
| | 01:14 | So let's go to the HoseClamp, since
it's right at the top, and that is that
| | 01:19 | little area right there.
| | 01:20 | I am going to select the Material,
and then go to the Material Reference tab.
| | 01:24 | That's this one right here.
| | 01:25 | And what we want to do with this
is just select a very simple gray.
| | 01:29 | So all I do is click on the Color
palette. The panel pops up, and when I move my
| | 01:33 | mouse, it goes away.
| | 01:34 | So we have a very simple gray, and what I
am going to do is just come in and just
| | 01:39 | zoom right into that, so you can see it.
| | 01:42 | So here is the model we created, the Hose.
And if you remember, we had taken just
| | 01:46 | those polygons from that hose and
extruded and beveled them, so that's actually
| | 01:50 | not a separate piece;
| | 01:52 | it's just part of the
hose with a separate surface.
| | 01:55 | Then we want the Specular Amount to be
a little bit shinier on this, but I also
| | 01:59 | want this to be a little bit glossier
too. And then, as we work our way down, we
| | 02:06 | can put some reflection on it.
| | 02:08 | And as soon as you do that, you start
to see this metal look that we're after.
| | 02:12 | And with modo, you don't have to
worry about turning on reflections;
| | 02:15 | they are just automatically there.
| | 02:17 | But what is it reflecting?
| | 02:18 | A reflection is always about the
environment and the surroundings.
| | 02:21 | Well, in this case we actually
have some other geometry there, and our
| | 02:25 | environment at this point, well, we
haven't done anything with it, so it's just
| | 02:28 | kind of reflecting nothing really.
| | 02:30 | But it works pretty well right here, and it
depends on how shiny you want to make this thing.
| | 02:34 | If I crank this all the way up,
obviously it can get very shiny;
| | 02:38 | I can also hit Blurry Reflections,
and give that just a little softer look.
| | 02:42 | But there is a button here called
Match Specular, and what that does is it
| | 02:46 | matches the reflection with the Specular Amount.
| | 02:50 | What does that mean?
| | 02:51 | Well, in years past, people would put
a Specular Amount on and the surface
| | 02:54 | itself is diffused, meaning the
light has 80% value towards that surface.
| | 03:00 | That surface is taking in most of the
light in the scene. But then when you add
| | 03:04 | in some reflections, you'd
get this overly bright surface.
| | 03:08 | I would imagine if you did a search
on YouTube for "Gold Chalice 3d," you'd
| | 03:13 | probably find a lot of really glowing
gold chalices, because people would put
| | 03:17 | reflections on and not consider
the other aspects of the surface, like
| | 03:21 | Specular and Diffuse.
| | 03:23 | So what Match Specular does is it
balances the amount of reflection with the
| | 03:27 | amount of secularity in the scene,
helping that surface become balanced with the
| | 03:32 | other surfaces, and not making it too bright.
| | 03:35 | Having said that, this particular
surface doesn't really need that, but that's
| | 03:39 | what that button does.
| | 03:41 | As we work our way down, we don't have any
bump or displacement, so we're okay there.
| | 03:46 | And what I might do, now that we've
added a little bit of reflection, is open up
| | 03:49 | this Diffuse Shader again, and just
darken this a bit, give that a little more
| | 03:54 | contrast, and then we've
got a very nice metal surface.
| | 03:57 | Since I like all of that, I am going to
right-click on this material and copy it,
| | 04:02 | and then I am going to come down to the Clamp.
| | 04:05 | That's this part right here in the center.
Open that up and for that Material, I
| | 04:11 | am going to right-click and paste,
and all of those surface properties are now
| | 04:14 | copied. But I do know that that should be black,
| | 04:17 | so I can just click on this
and bring that color down.
| | 04:20 | So it's a lot easier just to copy
everything and make one small edit.
| | 04:24 | And for the Reflection, we'll just
make that more about 10%. Easy enough.
| | 04:29 | And since we have copied that clamp, we
can go into the Handle and right-click
| | 04:34 | and paste it down there.
| | 04:35 | So now our handle has that same material.
| | 04:39 | But I do know that our
handle should have two surfaces.
| | 04:42 | We have the bottom surface and
the top, but we never set that.
| | 04:46 | So in order to edit that,
we just go to Polygon mode.
| | 04:49 | You could do it right down here in
Perspective, and just make sure that's
| | 04:52 | selected in the Items List.
| | 04:53 | So we're going to go to the Handle,
and that tells modo this is what we want to
| | 04:56 | work with, and now you could
see I can very easily select.
| | 05:00 | I will double-click.
| | 05:01 | I will press M to create a
material, and we'll call this TopHandle.
| | 05:05 | Now we have a separate material
group just for that TopHandle.
| | 05:08 | I am still going to paste down that
metal surface I just created. Then all I
| | 05:14 | want to do is change the color of it.
For that, we're going to choose just a
| | 05:18 | nice deep red, and here's
one right here we can use too.
| | 05:22 | Now, the reflection looks a little
bit too much. The whole surface looks a
| | 05:28 | little too bright to me.
| | 05:29 | So I want this to be a little bit duller,
so we're going to bring the Specular
| | 05:32 | down to about 10. And the way I am going
to go through these now is with the Tab key,
| | 05:36 | the Roughness about 10 and the
Reflection about 10, and that way we get a little
| | 05:40 | bit flatter surface.
| | 05:42 | We can also hit Conserve Energy, which
is going to help some of that brightness,
| | 05:46 | so it's just not so glowing, in a way.
| | 05:48 | And since I like how that looks, I am
going to right-click and copy this and
| | 05:52 | then back down to the base handle,
right-click, and paste that, and then we will
| | 05:57 | just change that color just
back to a simple gray metallic.
| | 06:03 | Lastly, I am going to go to the hose.
And to create the hose material, we're
| | 06:07 | going to make this just a
very simple rubber hose.
| | 06:11 | So I am going to take a dark gray,
almost black. I rarely ever use solid black,
| | 06:16 | because it just kind of gets lost in the scene.
| | 06:18 | And for the Specular Amount, it looks okay;
| | 06:21 | it might be a little too clean and shiny.
| | 06:23 | I am going to bring that down a
little bit. And the Roughness, we're going to
| | 06:25 | increase that so it's not quite as shiny.
| | 06:29 | And for the Specular Color, the white is okay,
but I am just going to go down to the gray,
| | 06:34 | so it makes a nice hotspot, but not
quite as bright. And so, quite easily,
| | 06:39 | we've taken the surfaces that we had
created earlier and edited them into
| | 06:44 | something recognizable.
| | 06:45 | There's a lot more we can do with this when
we get into the procedural textures section.
| | 06:50 | Surfacing in modo is relatively easy,
especially when it comes to just base
| | 06:53 | materials and colors like this.
| | 06:55 | Editing them is quite easy.
| | 06:56 | You can always redo a color, reset
some polygons like we did with the top
| | 07:00 | handle here, and assign a new color to it.
| | Collapse this transcript |
| Applying procedural textures| 00:00 | Here we have the FireExtinguisherBasic
file, and this is a edited version of our
| | 00:05 | original fire extinguisher,
where we've put just some metal on,
| | 00:09 | we've adjusted the specularity on
the clamps, put a little dark rubber on
| | 00:12 | the hose, and so on.
| | 00:13 | But we didn't really do anything with
the actual base of the fire extinguisher,
| | 00:17 | and what can we do with that?
| | 00:18 | Well, let's jump over to the Shader
Tree and take a look at our materials.
| | 00:22 | We have our TopHandle, our HoseClamp
our CenterHose, our bottom Handle. And part
| | 00:28 | of editing surfaces also
means keeping organized.
| | 00:30 | So we had added the Top Handle.
| | 00:32 | I am going to rename this BottomHandle--
| | 00:35 | often a really good idea to just
organize like this and keep these names
| | 00:40 | together. And that way, when you're
surfacing these models and looking for all
| | 00:45 | these different materials, it's a lot
easier to find. And while I mention that,
| | 00:49 | there's a neat little trick.
| | 00:51 | Now, not so hard in this model,
but let's say you have a more complex scene, like
| | 00:55 | a jungle you've created or an automobile
with a ton of parts, and you need to fix
| | 01:00 | one of the surfaces.
| | 01:01 | If you come up to the Items tab,
and then you click and hold, there's a Material
| | 01:05 | setting. And what that will do is when
you click on that, when you mouse over in
| | 01:10 | any of the views--and let's jump into the
model view so you can see this--it will
| | 01:14 | actually highlight some of
the models in the Materials.
| | 01:19 | Now we have only the handle selected,
so I am going to hold the Shift key and
| | 01:23 | select all of them. And now when I
mouse over, see that outline? That is
| | 01:28 | representing the different materials.
| | 01:31 | So let's say I want to know what these
little rivets are in here that I never
| | 01:35 | really applied a surface to.
| | 01:36 | As soon as I mouse over in Material mode, I
do that and I jump to the Shader Tree,
| | 01:42 | those don't actually have a
surface. The Base Material came up.
| | 01:45 | That's why I couldn't put a surface on there;
| | 01:47 | I never actually assigned one.
| | 01:48 | But what about this metal? That's the
HoseClamp. Or this one? That's the TopHandle.
| | 01:54 | So this material group selection up
here makes it really easy to determine what
| | 01:59 | materials are which.
| | 02:00 | It works really well if you get a
model from somebody else, if you buy or
| | 02:04 | download a model from somewhere, or even
if you're working with a client in a big
| | 02:08 | office and somebody else
is giving you the model.
| | 02:11 | It's a great way to
determine where those surfaces are.
| | 02:13 | So back at this, let's get to the
actual base of the fire extinguisher. And
| | 02:20 | jumping down to the Material, okay, it's red.
| | 02:23 | That's not too bad.
| | 02:25 | But what can we do to
really give this some life?
| | 02:28 | Well, that is where the procedural
textures come into play, and a procedural
| | 02:31 | texture is a computer-generated texture.
| | 02:34 | So from the Add Layer dropdown up here,
I am going to click and drop down to
| | 02:38 | Enhance modo Textures.
| | 02:40 | Enhance is the brand name for these
modo textures, and you can see there's a
| | 02:43 | number of different categories.
| | 02:45 | You can have a display, different geometrics.
| | 02:48 | You can have a noise filter.
| | 02:49 | You can have different organic filters.
| | 02:51 | You can have different panels and so on,
skins for frog, wood, and leather. Some
| | 02:57 | are really great, some are just okay,
but they all work well, especially when
| | 03:00 | blended with other things.
| | 03:02 | So what I am going to do in here is just
create some noise. So we're going to go
| | 03:06 | up to Organic, and we're going to come
down to Crackle, and what Crackle does is
| | 03:09 | puts this crazy surface on here.
And you think yeah, Dan, that's okay, but not
| | 03:13 | quite the fire extinguisher I wanted.
| | 03:15 | What we have to determine, number one,
the size of this texture, and number two,
| | 03:20 | how it's going to be blended, and that's
what this Effect column is in the Shader Tree.
| | 03:24 | When you add a procedural texture
you're going to get this little ball that
| | 03:27 | represents a checkerboard.
| | 03:28 | So all of these icon means something.
A green dot with a red dot means that's a
| | 03:32 | Material group; a small green dot
means that's just a material; and this black
| | 03:36 | and white one means that
it's a procedural texture.
| | 03:39 | And so when you select that, and you
look down here under Texture layers, you can
| | 03:43 | see the properties for that.
| | 03:45 | So, very easily, I can come in and
change the Opacity of it and just drag that
| | 03:49 | down and just blend it in like that.
| | 03:51 | I can change the Blending mode,
and those of you familiar with Photoshop might
| | 03:55 | be familiar with these, which is using the
Multiply or using Overlay, things like that.
| | 04:01 | Some will work better than others.
| | 04:03 | You can use Subtract, and that just
dirties it up, which I like a lot.
| | 04:07 | But we're going to keep it Normal,
just so you can see what we're doing.
| | 04:09 | You can change the Seed amount.
You can change the Octaves.
| | 04:12 | These are all just different
values of this generated texture.
| | 04:15 | Each one of these go very differently
depending on which texture you call up.
| | 04:20 | You can change the Clipping Value,
meaning the contrast of it. You can also
| | 04:24 | change the color of it, so I can make a
green if I wanted, and the white can be
| | 04:30 | more of red, something like that.
Or you can just bring the Alpha value down
| | 04:35 | and just fade out one of those colors
altogether. So, very, very flexible for a
| | 04:40 | lot of these materials. All right!
| | 04:42 | So with that being said, we're going
to go back to black and white, and I am
| | 04:45 | going to show you what
we're going to do with this.
| | 04:46 | We are going to come up here and
just make that more white again.
| | 04:49 | Black and white in 3D has a lot of functions.
| | 04:52 | It can be used for transparencies, it
can be used for displacing maps, and it can
| | 04:56 | be used for bump maps.
| | 04:58 | So what we're going to do, just quickly,
we're going to talk about bump
| | 05:02 | maps a little bit further in another
video, but for right now I am going to
| | 05:05 | change Diffuse Color to a Bump Map.
And I am going to right-click on this
| | 05:09 | Diffuse Color listing, go to Surface
Shading, and change it to Bump, and when I
| | 05:14 | come in here and go a little bit
closer, you'll see that we've got just
| | 05:19 | imperfections in the surface.
| | 05:21 | Very, very subtle, but it gives that
little canister a little bit more realism,
| | 05:26 | without being too
distressed and too odd looking.
| | 05:29 | If I had changed this perhaps to a
displacement map, that's physically going to dent it up.
| | 05:34 | The bump map is more of a fake,
and we don't want it that strong,
| | 05:38 | so we're just going to change it to the bump.
| | 05:40 | Now bump maps can go much, much
further than this, and modo 501 actually has
| | 05:44 | some additional features that will allow you
to really create some interesting surfaces.
| | 05:49 | I am going to add one more to this.
| | 05:51 | So what I am going to do to give this just a
little bit more life is use one of the presets.
| | 05:56 | So what we're going to do is open up
our left-hand side here, and I am going
| | 06:00 | to click and go up to Materials. And when you
installed modo, all of these presets came with.
| | 06:07 | Now, all of these you can create
yourself, so we just created a very simple one
| | 06:11 | with a material and a crackle.
| | 06:13 | You can very easily add some
additional enhanced textures, but there are some
| | 06:16 | in here already put together for you, such as
Occlusion, and that's this folder right here.
| | 06:20 | I am going to open this up, and I am
going to take this Worn Edges and I am going
| | 06:24 | to drag and drop it onto our canister.
And this is not only a great way to create
| | 06:29 | surfaces, but a great way to study surfaces.
| | 06:31 | So take a look at this.
| | 06:32 | When we move in close, you can see that
we've got this very old kind of dented
| | 06:37 | surface that we like, something
a little more realistic and organic.
| | 06:42 | Now, we certainly don't want it yellow,
but as this redraws, you can see that
| | 06:46 | those edges are nicely worn.
| | 06:48 | That's what the Occlusion shader
will do, and that's this one right here.
| | 06:53 | We very easily could have added it
from the Processing tab right here,
| | 06:56 | Occlusion, but instead, we used the preset,
and then we can simply just modify it.
| | 07:02 | So the way I am going to modify it is
take this base paint and just bring it
| | 07:06 | down to the red. And in fact, that's
very much what our original surface looked
| | 07:11 | like in our photograph; it
has those nice worn edges.
| | 07:14 | So you can imagine if you're doing
tanks in a warehouse, scuba tanks, any kind
| | 07:18 | of machinery that has a great look
like that and just creates that kind of
| | 07:23 | natural organic look.
| | 07:25 | Procedural textures in modo are very powerful
and you can create a lot of unique surfaces.
| | 07:29 | On a simple level you can create just
some organic noise; on a more complex
| | 07:33 | level you can create torn edges and
transparencies and rough surfaces.
| | Collapse this transcript |
| Applying image-mapped textures| 00:00 | Using procedural textures is just one
way to create materials on your models.
| | 00:04 | I have got the FireExtinguisherSurfaced
model loaded up, and if we jump over to
| | 00:09 | the Render tab, you're going to see
that we've got our surfaces that we've
| | 00:12 | created in the last two
videos, a nice rubber hose,
| | 00:15 | we've got some metal, and we've got our
occlusion shader on the material surface
| | 00:20 | itself, just to create a
little organic look to it.
| | 00:23 | But what if you want to put a label on there?
| | 00:25 | Well, there are two ways to do that,
and we're going to do it with a solid image
| | 00:29 | map, and then we're going to do it with
a transparent image map. And I am going
| | 00:32 | to show you both of those.
| | 00:33 | So first of all, what we're going to
do is come over to the Shader Tree.
| | 00:36 | I am going to open this up, I am going
to open up the render, and I am going to
| | 00:40 | open up the Base Material group.
| | 00:43 | I am going to delete the base material
here and then the Fire Extinguisher Base,
| | 00:47 | I am going to open that
up, and here you can see we have our Worn
| | 00:50 | Edges preset that we had loaded.
| | 00:52 | We could turn that off, and the reason I
am going to turn that off is it's a lot
| | 00:56 | to calculate for the computer.
| | 00:57 | So we're just going to save a little
bit memory and a little bit of redrawing
| | 01:00 | time by turning that off.
| | 01:01 | I am going to rotate around, and I
am going to take a look closely.
| | 01:05 | This is my Z axis back here.
| | 01:07 | I am looking down on the Z. I can
also use my work plane icon reference
| | 01:10 | right here as well.
| | 01:11 | So that's the area we want to map.
| | 01:14 | We want to map down the Z. So how do we do that?
| | 01:17 | How do we put an image mp?
| | 01:18 | Select the base material for this
object and from the Add layer, click
| | 01:22 | and choose Image Map.
| | 01:23 | Then we're going to choose Load Image
and then from your exercise files, Chapter
| | 01:28 | 05, there's an images folder.
| | 01:31 | Let's choose the firelabel. Click Open
and right away you can see it just kind
| | 01:35 | of plops it right on there, and it puts
it above the worn edges and everything
| | 01:39 | else, because again, modo's Shader Tree works up.
| | 01:42 | Everything you do kind of
feeds up into the render.
| | 01:45 | We can certainly move it around if
we need, but the layer importance does
| | 01:49 | play role in your model.
| | 01:50 | When we come to the Items List, unless
you're doing any kind of parenting or
| | 01:54 | grouping, this organization
here doesn't quite matter.
| | 01:58 | In the Shader Tree, it's very important what
layer is which, especially inside a material group.
| | 02:03 | So I am going to go to the Texture
Locator tab with that label selected, and
| | 02:08 | again, remember that when you select
something up here, the properties for it
| | 02:11 | appear below, so we'll select the
Fire label and then the Texture Locator.
| | 02:15 | What does that mean?
| | 02:16 | Well, that is where the text is located
on the model. And to make things easier
| | 02:19 | to see, we're going to jump
over to the model tab itself.
| | 02:22 | You can definitely do shading in this view.
| | 02:24 | That makes it really easy to get a good
feel for where everything is placed, but
| | 02:28 | you'll notice that it's just kind of
wrapping it all around the top there.
| | 02:31 | Well, not quite what we want.
| | 02:33 | So we're going to come down and we're
going to close the Transform and look
| | 02:36 | just at projection.
| | 02:38 | Projection means how the image is
projected or thrown or put onto a surface.
| | 02:43 | Projection Type is not UV;
| | 02:46 | it's just going to be Planar, just
flat. And it's down the Z just like we
| | 02:50 | wanted, just like that.
| | 02:51 | But there are a lot of them.
| | 02:53 | It's repeating, and I am going to press
F8 on my keyboard to open up the Preview
| | 02:58 | window. And you can see that okay, well,
pretty much what we see here is what we
| | 03:02 | see in our Viewport.
| | 03:03 | And don't often judge--
| | 03:05 | this is really important--
what you see in this OpenGL view.
| | 03:08 | A lot of times that's not going to be
the true representation of your final
| | 03:12 | model. Sometimes it is, but it's the
final render in this Preview window that is
| | 03:16 | really what's most important.
| | 03:18 | So how can we fix this projection?
| | 03:20 | Well, if you look down in the
Project tab, you can see Horizontal Repeat
| | 03:24 | and Vertical Repeat.
| | 03:25 | Well, I am just going to set each of
those to Reset. And now our model has
| | 03:29 | the texture all the way at the bottom,
but it's not repeating anymore, and that's good.
| | 03:34 | So all I need to do now is move it up.
| | 03:36 | Well, that would be a Transform, so I'll
open up the Transform category and for Position,
| | 03:41 | I can just click and drag on the Y
axis. And in real time I can just see that
| | 03:45 | label come straight up on the model, and it's
that simple to place an image map on a surface.
| | 03:51 | If I come to the Preview
window here, I can rotate around.
| | 03:54 | So a lot of people think that you
need to cylindrically map this, or you
| | 03:58 | might need to do a spherical or do a
UV Map, which we haven't talked about
| | 04:02 | yet, but you don't.
| | 04:04 | You have some flexibility with the planar map.
| | 04:06 | Planar of course is flat, but as long
as this doesn't have to wrap too far around
| | 04:10 | the side, you can very easily get
away with doing a Planar Image Map.
| | 04:14 | This is a very high-resolution map as
well, so if I zoom in, you can see that
| | 04:19 | it still stays drawn pretty well, and that's
something that's really important to understand.
| | 04:23 | What you put into your system, you
also have to consider the output.
| | 04:26 | So we're rendering this in HD, in high
definition, 1920x1080 perhaps, and your
| | 04:33 | Image Map is only maybe 200 pixels
in size, and you're suddenly filling the
| | 04:37 | screen, well, you're going
to get a very blurry image.
| | 04:40 | So, keep that in mind.
| | 04:42 | At the same time, if you're going to
render maybe a whole slew of these,
| | 04:45 | maybe you're creating an array of fire
extinguishers, or this is just hanging on a wall,
| | 04:49 | you can get away with a 200-pixel
image, because it's not going to render
| | 04:52 | any bigger than that.
| | 04:53 | So, just something to keep in mind
when you're working with image maps.
| | 04:57 | The other thing you can do with the
image maps, aside from using the Projection
| | 05:01 | Type, is working in layers. And when you
come here, you can actually change the
| | 05:06 | Blending mode, just like you
would in Photoshop. You can add it.
| | 05:10 | You can subtract it, and Difference, and so on.
| | 05:13 | A lot of times people want to do an
Overlay or a Soft Light, but depending on
| | 05:17 | your surface and the image,
it's not going to help too much.
| | 05:20 | Most of the time I like a normal,
and I would just play with the Opacity if I
| | 05:25 | want it just to be kind of faded.
| | 05:27 | However, there are other things you
can do, and that's using layer masks.
| | 05:31 | We're going to talk
about that in the next video.
| | 05:33 | But using image maps are great for putting
labels on. You can put textures on grounds.
| | 05:37 | You can put bark on trees.
| | 05:39 | You can even take a picture of a
whiteboard and build that whiteboard as a
| | 05:43 | simple beveled box and then take that
scribble that somebody possible wrote on
| | 05:47 | a whiteboard, take a photograph of it,
trim it in Photoshop so it's very clean
| | 05:50 | on the edges, and literally just map it
right on there and give your 3D object
| | 05:54 | more a sense of realism.
| | 05:56 | Creating image maps are a great way
to add realism and strength to your
| | 06:00 | images in modo.
| | Collapse this transcript |
| Working with transparent images| 00:00 | In the previous video I showed you
how loading up a image map can be placed
| | 00:04 | right on your model for a label.
| | 00:06 | And that's terrific, but a lot of
times, what if you don't have a label?
| | 00:09 | What if you have just text that you want to
look like they're painted on, or just stenciled on?
| | 00:13 | How would you do that?
| | 00:14 | Well, the whole trick to doing
something like that is using an image that has a
| | 00:18 | 32-bit channel, has an alpha channel.
| | 00:20 | So I created an image in
Photoshop over a transparent background.
| | 00:24 | Let me show you how to do that.
| | 00:26 | I'm going to come in here to my Shader
Tree, open up the Render, and we're going
| | 00:30 | to go back down to the Fire Extinguisher Base.
| | 00:33 | I also have the
FireExtinguisherNeedsLabel object loaded, which essentially
| | 00:38 | is our fire extinguisher without any labels
on it that we'd surfaced in our previous video.
| | 00:44 | And what I'm going to do then is select
the base material for that fire extinguisher.
| | 00:48 | Now this base material that was created
initially when we started our project
| | 00:53 | we don't need, because now we
have materials everywhere else.
| | 00:55 | So I'm just going to press
Delete, just to stay organized.
| | 00:58 | Then we're going to select the bottom
base material for the fire extinguisher,
| | 01:02 | and I'm going to say Add
Layer > Image Map > load image.
| | 01:06 | And from the images folder, within the
CH05, exercise files, I'm going to load
| | 01:10 | FireLabelTrans--Trans being transparent--
and you'll see that drops it right on top.
| | 01:16 | But to see what this image really is,
I'm going to click the Images tab. And
| | 01:20 | what you can do in this Images tab is
actually load a number of different clips,
| | 01:24 | or sequences, like a movie file if you
want, and actually put it on your surface.
| | 01:28 | But the Format, if you look, RGBA 32,
| | 01:31 | so that's an RGB color image with an alpha
channel. The A is for Alpha, and it's a 32-bit.
| | 01:37 | A normal color image would be 24.
| | 01:39 | But when it's a 32-bit file and I have
it built over a transparent background in
| | 01:43 | Photoshop, that transparency drops out in modo.
| | 01:47 | So when we come back to the Shader Tree,
this label is set to a Diffuse Color.
| | 01:51 | And if we take a look here, you
can see it's just the white label.
| | 01:54 | I don't have any background. And what
happens is that you see the surface behind it.
| | 01:59 | So let's just apply it so
that it's lining upright.
| | 02:02 | So with that label selected, we're
going to go to Texture Locator. And the
| | 02:06 | Projection Type will be Planar,
and then the Horizontal and Vertical Repeat,
| | 02:11 | we just want Reset.
| | 02:12 | And you're probably thinking, why the repeats?
| | 02:14 | Well, let's say you're doing something
like rocks or ground or grass and you
| | 02:18 | have a tiny little texture.
| | 02:19 | That is something you'd place on
an image, and then you'd have that
| | 02:22 | repeating across a surface.
| | 02:25 | When it's a label like this,
we don't need it repeating.
| | 02:27 | And then we can come up to Transform,
and Position, we can move it up on the Y axis.
| | 02:32 | So I'm just clicking and dragging.
| | 02:34 | But I want to show you something.
I'm going to go up a little bit higher.
| | 02:37 | Do you see that box right there?
| | 02:39 | That's the Texture Locator.
| | 02:40 | A lot of times people don't like
working with these numeric values.
| | 02:44 | So if you come to the Items tab,
there is a Texture Group, and you might not
| | 02:48 | remember creating this, but you did
when you added that image texture.
| | 02:52 | modo already created this for you.
| | 02:54 | And with this little icon right here--
you see it's like a little Mona Lisa--that
| | 02:58 | has a Texture Locator.
| | 02:59 | If you press the O key with your mouse
in the layout and go to Visibility, you
| | 03:04 | can turn on Locators and Texture Locators.
| | 03:07 | And what that means is every texture
will have its own locator, and with that
| | 03:12 | you can press the Y command as a
Transform tool and grab the handles and
| | 03:17 | physically move this on the model.
| | 03:19 | So instead of working with the
properties and all the numerics here, you can
| | 03:23 | just visually just come in
and just move this around.
| | 03:26 | So again, you just have to select the
actual texture locator in the Items tab,
| | 03:30 | and you'll be able to move this
texture on your Shader Tree all around.
| | 03:34 | Really nice way to work.
| | 03:35 | You can play with the Stretch command--
either way, on the X or Z, depending on
| | 03:40 | how you're mapping it.
| | 03:41 | You can even rotate it.
| | 03:43 | And what's neat about doing this is
that a lot of times you want to just put
| | 03:46 | like a stamp on something,
| | 03:48 | and that's often hard to do.
| | 03:49 | But when you have an image that has a
transparent background, you can very
| | 03:54 | easily just put it on there, grab a
texture locator, and then you're set.
| | 03:59 | And what's nice about doing this, again,
modo is about an efficient, smooth workflow.
| | 04:03 | So why wouldn't you be able to go in and
just grab that texture and move it, and
| | 04:06 | that's the way it's set up.
| | 04:07 | So, a pretty nice way to work.
| | 04:09 | Let's press F8 to open the preview,
and then let's arrange our camera so we can
| | 04:13 | see the bottom and then zoom in a
little bit so we can catch our label.
| | 04:17 | Now this is rendering much slower
because we've added these procedural textures,
| | 04:21 | we've added this image map, we've
added color, and all of that needs to
| | 04:25 | calculate in the render engine.
| | 04:26 | But one thing that modo 501 does, if
you move your mouse over an area like
| | 04:30 | this, that will start rendering a
little bit sooner than everything else.
| | 04:35 | So as I'm moving my mouse, I'm
telling this preview, redraw here first.
| | 04:39 | And what's very nice about it is
that texture is now blended with those
| | 04:42 | surfaces that we've created.
| | 04:44 | If you want to see it without that,
just click the visibility, and you'll see
| | 04:48 | that that's how that is placed on there.
| | 04:50 | And like before, we can select this
label itself, go to the texture layer, and
| | 04:55 | in the Blend mode, you can choose Add,
or Subtract, or Difference, Multiply,
| | 05:01 | Screen, and so on, just to see
how that blending can be applied.
| | 05:05 | One more thing you can do is change
this by right-clicking, going to Surface
| | 05:09 | Shading, and click Bump.
| | 05:11 | And now I've actually
placed that image as a bump map.
| | 05:13 | And this is one of the reasons using an
image with an alpha channel is so important.
| | 05:18 | You can create a very nice stenciled look.
| | 05:20 | So think about taking this one
step further on a glass bottle.
| | 05:23 | Let's say you're making a Coca-Cola
bottle for a client, or a Pepsi bottle if
| | 05:26 | you like that instead.
| | 05:28 | And you take that high-res logo and
it's transparent in the background,
| | 05:32 | you can place it right on there
and create this embossed look.
| | 05:35 | So image maps, while they're simple for
very good labels, they also can be much
| | 05:40 | more advanced for things like bump maps.
| | 05:42 | And then speaking of bump maps, in the
next video, we're going to take those to
| | 05:45 | a next level and create a really cool landscape.
| | Collapse this transcript |
| Adding bump maps for realism| 00:00 | In a couple of the previous videos I
talked about bump maps briefly, and I'd like
| | 00:03 | to get a little bit more into that.
| | 00:05 | So what I'm going to do is create
something that I think is really terrific for
| | 00:08 | bump maps, and that's a landscape.
| | 00:10 | So what we're going to do is, in the Basic
tab, select the Box tool, or the Cube tool.
| | 00:15 | And we're going to rotate our view
around holding the Alt key and just zoom out
| | 00:19 | just a little bit, and make sure we're
on the Y axis, so you can see that from
| | 00:23 | your workplane icon down
here on the bottom left.
| | 00:26 | And we're just going to
draw out a nice big flat box.
| | 00:30 | But before I turn off the Box tool,
I want to create some segments on the X and
| | 00:34 | on the Z, about 9 or 10 each--
keep it nice and even.
| | 00:38 | Click the Box tool, turn it off,
and then I'm going to hit the Tab key to turn
| | 00:41 | it into a subdivision surface.
| | 00:43 | Then using T, which is my Element Move in
Polygon mode, I can then move some of these around.
| | 00:50 | So what we're going to do is just click
on some of these points and just shape
| | 00:54 | this landscape a little bit.
| | 00:56 | And all we want to do here is
get like our basic mold going.
| | 00:59 | Just think of it that way;
| | 01:00 | we're just going to do just some of the basics.
| | 01:03 | Most of the landscape texture
is going to come from bump maps.
| | 01:08 | And all we're doing is just kind of
getting a--just a general shape in here.
| | 01:12 | And we'll probably put some of
these back ones up a little bit higher.
| | 01:15 | If you want a little bit larger
spread, use your right mouse button to
| | 01:19 | increase that range, and that will
pull a little bit more of those polygons.
| | 01:24 | Something like that.
| | 01:25 | Okay, so then turn off the Transform
and let's jump to the Item mode, and so far
| | 01:32 | that's looking pretty good. So let's get to our
Render tab, and we're going to set up our camera, which looks
| | 01:37 | pretty good just on its default.
| | 01:40 | So we've got just a simple landscape right here.
| | 01:42 | Now we've not talked too much about
environments yet, but what I want to do is
| | 01:46 | just create that environment.
| | 01:47 | It helps get into the feel
of what we're going to do.
| | 01:50 | Open up that environment from the Shader
Tree, and for the Environment Material,
| | 01:54 | we have a 4 Color Gradient.
| | 01:56 | You can also talk about Overcast Skies,
Physically-based daylight, things like
| | 01:59 | that that will just put a generic look in there.
| | 02:02 | Or very simply, you can change the color.
| | 02:04 | So let's go to a 2 Color Gradient,
and we're going to do a little bit more of a
| | 02:09 | blue sky, of course something traditional.
| | 02:12 | And then the Nadir, the very bottom
color, we'll create a little bit more of an
| | 02:16 | orange, and just create this
nice little cast in the sky.
| | 02:20 | So we've not created a surface for this yet.
| | 02:23 | So what I want to do is make
sure that that polygon is selected.
| | 02:26 | So here it says Mesh.
| | 02:27 | I'm going to click on it
and call this Landscape.
| | 02:30 | And I'm going to press M on the
keyboard, so the selected item will have a
| | 02:34 | polygon material called Landscape,
or whatever else you want to call it.
| | 02:38 | And then just click Return.
| | 02:40 | And so now, back in the Shader tree, I
have all these properties to work with.
| | 02:44 | So initially, let's set a base color for this.
| | 02:47 | And certainly we don't want a red;
| | 02:48 | we want a little bit more of a brown,
so I'm just going to bring that down.
| | 02:52 | That works well, and move your
mouse and that panel will go away.
| | 02:55 | And we don't really need it shiny or
anything else, so I'm just going to ignore
| | 02:58 | those for right now.
| | 02:59 | And what we're going to be concerned
with is this Bump Amplitude down here.
| | 03:04 | So let's open up the Render and make
sure that this material we just created is
| | 03:08 | the one we're going to work with.
And that's what's showing up here.
| | 03:11 | Now remember that the Base material
there by default is no longer needed.
| | 03:15 | You can leave it and use it for
something else, but just to keep organized,
| | 03:18 | we're going to delete it,
just so you're not confused.
| | 03:21 | And with that material, now we
want to add some sort of bump.
| | 03:24 | So we're going to say Add layer.
| | 03:26 | We're going to go to the Enhance:modo Textures.
| | 03:29 | I'm going to come down to Organic,
and I'm going to first choose Crackle, and it
| | 03:34 | puts that kind of surface on it.
| | 03:35 | And this is great for
deserts and things like that.
| | 03:38 | But if I go to the Texture Locator, I
can click the gang-select one time, then
| | 03:42 | click and hold on these arrows and drag.
| | 03:45 | And equally, that image will scale
them, and that looks pretty good.
| | 03:49 | Then instead of Diffuse Color as the
effect of this, I'm going to right-click on
| | 03:52 | it, go to Surface Shading, and choose Bump.
| | 03:55 | Now it doesn't look like much happened,
and that is because we need to change
| | 03:59 | the base of the material for the bump.
| | 04:01 | Earlier, I had mentioned that that's really
important from this Surface Normal section.
| | 04:05 | What's happening here is that the Bump
Amplitude, the amount of the bump, is only
| | 04:09 | set to five millimeters by default.
| | 04:12 | If you take a look at your overall
scene, look down in the right corner,
| | 04:16 | you've got 200 millimeters as our Grid Size.
| | 04:19 | And the grid are those
little tiny squares in there.
| | 04:21 | So imagine if one little square right
there is just 200 millimeters, and this is
| | 04:26 | only set to 5 millimeters,
clearly that's not enough.
| | 04:30 | So we're going to change this to 400
millimeters, and look what happens to our landscape.
| | 04:36 | All of that crackle surface is
now pushing that geometry, okay.
| | 04:39 | But we're going to keep that a lot less.
| | 04:41 | We're going to add these as layers.
| | 04:43 | So we'll just go 100 millimeters, just so
we have sort of a little base roughness.
| | 04:48 | From here, we're going to add
another Enhance:modo Texture.
| | 04:52 | Now before I go much further on this, you can
download demographic data from the Internet.
| | 04:56 | And there's a lot of places where that's
public domain. Some of it's free, and it's
| | 05:00 | satellite black-and-white imagery
because it's the black-and-white data in this
| | 05:04 | texture, or in the image maps,
that allow the bump map to work;
| | 05:08 | where it's white, it'll push out,
and where it's black, it won't.
| | 05:10 | And a gray area will of
course fade in between those.
| | 05:13 | So you can download demographic
regions to create really nice shapes
| | 05:17 | and interesting looks.
| | 05:18 | And then we'll come to Noise.
| | 05:20 | And for the Noise, you
can pick any one of these.
| | 05:22 | But essentially, we want something
that's just has a lot of noise to it, like our
| | 05:26 | crackle did, but a little bit softer.
| | 05:28 | And for that, we can choose Dented.
| | 05:30 | And the Dented is very similar,
but notice that the edges are much softer.
| | 05:34 | And then with Dented, I also can make
that a bump map from the Surface Shading
| | 05:39 | area just like that.
| | 05:40 | Now the only problem with doing this is
that our base material for the bump map
| | 05:44 | was set for the first bump.
| | 05:47 | We need this Dented to be more bumped.
| | 05:49 | Well, how can we do that?
| | 05:50 | Well, you can create another
material within here and you can nest these
| | 05:53 | material groups together.
| | 05:55 | But before we get too complex like that,
let me just show you what will happen
| | 05:57 | if we made a larger bump map.
| | 05:59 | And I'll make this about 500 millimeters.
| | 06:02 | So now you're getting a blending of
this Crackle, which is the smaller bumps,
| | 06:07 | and the Dented, which is a larger bump.
| | 06:09 | But what if we blend it with a
displacement map? And here's why.
| | 06:13 | When we have tiny little bumps, they
work very well for this area right here.
| | 06:18 | But what about up here? Look at the back.
| | 06:20 | That's very, very smooth.
| | 06:22 | See, a bump map is actually fake.
| | 06:24 | It's just a visual fool;
| | 06:27 | it's not really bumping the surface.
| | 06:29 | It's just giving you a fake look.
| | 06:31 | And let me put this on
something like this Gooch surface.
| | 06:36 | Notice that the object is still smooth.
| | 06:39 | But if I change this Dented, if I right-
click on it, go to Surface Shading, and
| | 06:43 | change it to Displacement, it
physically changes the object.
| | 06:47 | And I'll come back to Advanced OpenGL,
and then let's come back down to our material.
| | 06:53 | And now the Displacement
Distance also has to be increased.
| | 06:55 | So we'll go to 500
millimeters, and now look what happens.
| | 07:00 | That material back there is
physically moving that surface.
| | 07:04 | If we put RayGL On, you
can also see it down in here.
| | 07:08 | The RayGL, which I don't use often,
is a viewport preview of your texture.
| | 07:15 | Oftentimes. depending on how complex your
scene is, it takes a little bit effort to redraw.
| | 07:19 | But it's very similar to this preview
window, but it's done in your OpenGL view.
| | 07:24 | So a combination of bump maps and displacement
maps can really help create a unique surface.
| | 07:29 | Then add to that a nice texture, lighting,
and you can create quite a look for your scene.
| | 07:34 | I'm going to go back to the bump map,
and we're going to bring this back down
| | 07:37 | to 100 millimeters.
| | 07:39 | And now we've got this nice crazy landscape.
And of course we can do a lot more to it,
| | 07:44 | but a combination of bump map for tiny
bumps and displacement maps for physical
| | 07:49 | bumps really helps create the surface.
| | 07:51 | We'll jump back to material,
just because this is bothering me.
| | 07:55 | We don't want it shiny, so we'll
change that Specular to 0, and that takes
| | 07:58 | away all that shine.
| | 08:00 | But if you want a little bit in there of just
some kind of depth, change it to just like 1%.
| | 08:06 | And when that's on, you can
then change the Roughness.
| | 08:08 | See what it does?
| | 08:10 | It almost gives it like a clay
look without being too shiny.
| | 08:13 | And then the Specular Amount, which we've
talked about in our basic video, we can
| | 08:16 | actually change that just to something
like red or blue or something a little more
| | 08:21 | organic, so that the
highlights aren't quite as shiny.
| | 08:23 | Later, we can save this and use
it for lighting and more texture.
| | 08:30 | But bump maps and
displacement maps go hand in hand.
| | 08:32 | Just remember that bump maps can add
that fine detail that you can't often get
| | 08:36 | from just the model itself.
| | 08:38 | Displacement maps will
physically bump and displace the object.
| | 08:42 | They will add more geometry to your
scene when it comes down for rendering, but
| | 08:45 | often it can really help with
certain landscapes like this.
| | Collapse this transcript |
| Enhancing surfaces with specularity and glossiness maps| 00:00 | In the last few videos, we've worked
with image maps and transparency maps so
| | 00:04 | that we can create images on our models.
| | 00:06 | In this case, we have the
FireExtinguisherEmbossed file loaded from the exercise
| | 00:11 | files. And the way this works is that
a black-and-white image is used with a
| | 00:17 | transparent background.
| | 00:18 | That transparent background drops out,
allowing us to create different types of surfaces.
| | 00:24 | If I open up the Render in the Shader
Tree and then I come down to the
| | 00:28 | Fire_Ex_Base, our Fire label with the transparent
| | 00:32 | background is set to Bump Map.
| | 00:34 | Originally, we had just put it on as a
Diffuse Amount like this, so it's just
| | 00:37 | a simply label. But set to a Bump Map,
that Black and White value makes it
| | 00:43 | appear like it's embossed.
| | 00:45 | I am going to turn off the Worn Edges, so
everything draws a little bit faster for us.
| | 00:50 | But what if I want to go a
little bit further with this?
| | 00:52 | Well, that's where Specularity
and Glossiness maps come into play.
| | 00:56 | The overall surface for this model
has a Specular Amount of about 20%.
| | 01:00 | I want to increase it, as well as
the Roughness, which is like the gloss,
| | 01:06 | it applies to the whole model here.
And I am going to turn off the Crackle Bump
| | 01:10 | too, so you can see that.
| | 01:11 | That's okay, but what if we want the
Emboss to look a little bit differently?
| | 01:15 | How would we do that? Well, I am going to
select that Transparent label,
| | 01:18 | I am going to right-click on it,
and instead of just duplicating it, I am going
| | 01:22 | to create an instance.
| | 01:23 | We had created instances
earlier for actual models.
| | 01:26 | You can also create an instance for an
image. And what that means is, remember,
| | 01:30 | this is a virtual copy, so that if we
make a change to the original that created
| | 01:34 | the instance, it will also change
that copy; it will change that instance.
| | 01:37 | So I am going to create an
instance for the Transparent label.
| | 01:41 | You know it's an instance because it's
italicized. And then the bump map, I am
| | 01:44 | going to right-click on it, and then
I'm going to change the Basic Channel of
| | 01:48 | this to Specular Amount. And what that
means is the white value of the image
| | 01:54 | will actually determine the Specular
value for that area, and what you end up
| | 01:59 | with is this very nice different surface.
| | 02:01 | It gives it even more realism.
| | 02:03 | I can then create another instance of
this and change that effect from the Basic
| | 02:09 | Channels to Gloss, or in this case
Roughness, which determines the gloss.
| | 02:13 | So now this value in here is based on this
black-and-white image, and if I rotate my
| | 02:18 | Camera view around a little bit,
you can see how it affects it.
| | 02:21 | I will just hold the Option and
Command key on the keyboard on a Mac;
| | 02:27 | you can try Ctrl and Alt on the PC.
| | 02:30 | You can see how that specularity of
that base material now affects that.
| | 02:35 | If I come back to that Base Material,
and I play with this Roughness, and I
| | 02:39 | bring it all the way down, look what happens.
| | 02:41 | Even though the entire unit
itself now has much less roughness and
| | 02:46 | specularity, I'm catching a lot more of it where
that logo is applied, because of these two maps.
| | 02:52 | So think of this on another level, if
you're doing a landscape, you're doing an
| | 02:56 | ocean. You can create different levels
of Specular and Bump all based on these
| | 03:00 | black and white images.
| | 03:01 | So where that light is hitting, I am
getting a lot more gloss and a lot more
| | 03:04 | specularity, a lot more shine than
I am in the areas where it's not.
| | 03:08 | But it's differentiating itself from
the base material which has less, all
| | 03:13 | because of that black and white image.
| | 03:15 | So on your next project, try putting
in some black-and-white images, whether
| | 03:18 | it's a logo or a landscape, and create a
little bit more enhancement with Specular
| | 03:23 | and Glossiness maps.
| | Collapse this transcript |
| Creating a reflective surface| 00:00 | We've embossed this logo on the
side of the fire extinguisher.
| | 00:03 | We've created a Specular map, and used a
Roughness map, also a Glossiness map if
| | 00:08 | you will, and it's looking okay,
but what if we want to go a little bit further
| | 00:11 | and really make this thing shiny?
| | 00:13 | Well, that might be done with some
reflections, and reflections are pretty easy to do.
| | 00:17 | But you have to understand that reflections are
all about the environment and what's around.
| | 00:22 | So what I am going to do is
jump over to the Model tab.
| | 00:25 | I am going to hold the Shift key and
add a flat plane, and that adds a new
| | 00:29 | plane, which we'll just name Ground, to the scene.
| | 00:32 | I am going to press the R key for Scale,
and I'm going to scale this up like that.
| | 00:37 | Then I'll press the W key, and I am just
going to make sure that that is right at
| | 00:43 | the base of that model, which it is
And then I will press M and call this
| | 00:47 | Ground, and that way we gave it a
material that we can then assign a surface to
| | 00:53 | in the Surface Editor.
| | 00:54 | Then we're going to rotate around
in the Camera view just like this.
| | 01:01 | We've not talked about the camera yet,
but simply all we're doing is just moving
| | 01:05 | this camera right here.
| | 01:08 | Then I am going to come back to the
Items, and let's choose that Ground, and I
| | 01:11 | am just going to move it, just so
it fills up the scene a little bit.
| | 01:15 | So we don't see any kind of fall off.
| | 01:17 | I am not moving it on the Y, just on the
X and Z. And we might need to hit the R
| | 01:22 | key for Rotate and then click in that
center and just scale it up so that it
| | 01:26 | fills the whole scene.
| | 01:28 | Spacebar turns off that tool, and then we
can just rotate and move it down like this.
| | 01:33 | All right! So we haven't done anything with our
lighting yet, but let's talk about reflections.
| | 01:39 | On a very simple level, I can take
the Ground material that I just created
| | 01:42 | for this flat plane,
| | 01:44 | select the Material, and Add Reflection.
| | 01:47 | Just like that, you have
reflections, that easy.
| | 01:50 | But you can do a little bit more
and you can put blurry reflections on.
| | 01:54 | Now, that's going to tax your renderer a
little bit, but if you take a look down
| | 01:57 | here, it just looks so much
nicer. It's really great.
| | 02:01 | It gives it a lot more realism too.
| | 02:02 | You can then do the same for the
Fire_Ex_Base where we've been working.
| | 02:07 | So I'll select the base material and
let's put a little reflection on there,
| | 02:11 | and what you are going to see is that now
this reflection is picking up this white floor.
| | 02:17 | And if I put Blurry Reflections on, it
looks a little softer, but it doesn't
| | 02:20 | quite have the right look for us, does it?
| | 02:22 | Well, let's go back to the floor
then and then make that darker.
| | 02:27 | I am going to make it more of a gray like
this, and actually just give it kind of a tint.
| | 02:34 | So that looks pretty good.
| | 02:36 | It took away some of that bright white in there.
| | 02:38 | But again, part of reflection is all
about the environment, and the environment
| | 02:42 | here has a ground and a basic sky.
And so that sky, if you come down to the
| | 02:48 | Environment area within your Shader
Tree, is just this default color gradient.
| | 02:53 | Well, what if I turn that off,
and I go Constant, and I make this black?
| | 02:58 | Now, I get reflections, but I've got all the
redness and the contrast back in my model.
| | 03:03 | So creating reflections is really very easy.
| | 03:06 | You just have to be aware that it's
more than just turning on Reflection;
| | 03:09 | it also has to do with the surroundings.
| | 03:11 | In our next project, we're going to
build some glass, and that's really where the
| | 03:15 | reflections will come into play.
| | 03:16 | But try these out. Try making some reflections.
| | 03:18 | A reflective ground often adds a lot
of realism to your scene, but a slight
| | 03:23 | reflection in your surface too
can just take it to that next level.
| | Collapse this transcript |
| Working in glass| 00:00 | One of my favorite things to do in modo is
create glass, simply because it's so easy.
| | 00:05 | So what I've done is I've loaded up the male
figure that comes with modo when you install.
| | 00:09 | If you hit the Layout, you can actually
see from the Meshes tab the human, and I
| | 00:13 | have the Man Body 01.
| | 00:15 | Jump into the Render.
| | 00:17 | I've got the camera set up just
so it's kind of right on his face.
| | 00:20 | What we're going to do is just create
a glass surface, and I'll show you this
| | 00:22 | little recipe that I have that
I've used and how we can tweak that.
| | 00:26 | I've used glass to sell a lot of
medical animations, because you don't have to
| | 00:30 | worry about gender as much and race as
much when you're creating models like
| | 00:35 | this in glass. And you can see right
inside to the teeth, or the organs, or the
| | 00:39 | parts that you need to animate.
| | 00:41 | So it has a dual purpose, and it looks cool.
| | 00:44 | So in the Shader Tree, we're going to
open up the Render, and for the Man Body
| | 00:47 | material--we're going to just actually
delete the base material--open up the Man
| | 00:53 | Body material and you're going to
see a base material and a default.
| | 00:56 | This is the surface we want right here.
| | 00:58 | There's an additional base material, so
we're just going to delete that as well.
| | 01:02 | So, there's bottom material right here,
| | 01:04 | we're going to go to the
Material Reference category.
| | 01:06 | Believe it or not, you're going to
tell this surface to be 0 Diffuse.
| | 01:10 | Do not take any light from the scene.
| | 01:12 | This is all about reflections.
| | 01:14 | So we're going to the Specularity and
we're going to bring that down to about 5%, and
| | 01:18 | believe it or not, the Roughness also about 5%.
| | 01:21 | Then you get that tight hot spot, which is
going to give it a little bit more gloss.
| | 01:25 | Then the Reflections,
I'm going to say about 35%.
| | 01:28 | But we might want to match that Specular later.
| | 01:31 | In the Transmissive categories where
it says Trans, this is where we can make
| | 01:35 | an object transparent.
| | 01:36 | It's going to be 100% transparent.
| | 01:39 | I've done glass for a lot of years in
a lot of different programs and they
| | 01:42 | typically don't look much better than this.
| | 01:44 | But the difference will be
when you set some refraction.
| | 01:47 | You can look up a table of refraction
on the Internet, but glass is about 1.44.
| | 01:52 | What that means is the light is
actually bending through the surface.
| | 01:56 | So hold up a magnifying glass.
That thick glass like that,
| | 01:59 | that's that distortion you get.
| | 02:00 | That is refraction.
| | 02:01 | Now, the Absorption Distance,
| | 02:03 | that is the thickness of the transparency.
And glass often has like a little tint to it.
| | 02:08 | So I'm just going to open up the color wheel
here and put a little green tint like that.
| | 02:13 | I am going to move my mouse off to close that.
| | 02:15 | Once we start dragging the Absorption
Distance, it suddenly gets really strong
| | 02:19 | green, and that's okay;
just keep dragging.
| | 02:22 | Click and drag this Distance value up,
and what you'll end up doing is changing
| | 02:27 | the thickness of that transparency.
| | 02:29 | So in the thicker areas, it's going to
pick up that transparent color more than
| | 02:33 | in the thinner areas.
| | 02:34 | Let's zoom out a little bit, so
we can see what we're doing here.
| | 02:37 | So now we've got this nice man made of glass.
| | 02:41 | But the problem is all this
white area. What is that?
| | 02:43 | Well, in a previous video, I talked
about how reflections are important and how
| | 02:49 | the environment plays a key role.
| | 02:51 | The same goes for glass.
| | 02:53 | So let's jump down to the
environment. Open up the Material.
| | 02:56 | All this color here, that's
what you're seeing all in here.
| | 02:59 | It's reflecting that environment.
| | 03:01 | You can go back to the Man Body and
maybe turn off that Reflection, but then the
| | 03:05 | glass doesn't quite work the same way.
| | 03:07 | Even if you turn on Match Specular,
it's not quite enough because we don't have
| | 03:11 | a lot of specular value set.
| | 03:13 | So I'll bring that back to about 35%.
| | 03:16 | Then for the Environment material,
let's just turn that off for a minute to
| | 03:19 | constant. And then holding the Shift key,
I'm going to click and drag right on there.
| | 03:24 | Well, now there's nothing for it to reflect.
| | 03:26 | So we know white is too much
and we know black is not enough.
| | 03:29 | So let's just go back to a
four-color gradient and set some colors.
| | 03:33 | I'm going to make the top
just kind of a grayish blue.
| | 03:37 | I'm going to make the sky color just
sort of this darker color like this.
| | 03:43 | What I'm going to do is save this just
by dragging this into the bottom; just
| | 03:47 | click that thumbnail and drag it down.
| | 03:49 | Then for the ground color, we're
going to select that. And by doing that, we
| | 03:53 | eliminate that horizon line.
| | 03:57 | Then for the Nadir color, I'm
going to make that all-the-way blue.
| | 03:59 | Okay, so that helps a little bit,
and we have a little bit more to do here.
| | 04:03 | So all I need to do then
is bring my Opacity down.
| | 04:06 | When we rotate to the side, you can see that
that glass now is not looking quite as hot.
| | 04:13 | But the next phase of this
would have to be lighting.
| | 04:18 | So all of these elements come
together hand in hand: the refraction, the
| | 04:22 | lighting, the reflections.
| | 04:24 | We've not talked about lighting just yet,
but quickly, you can go to the Items
| | 04:28 | tab, take that Directional Light,
and you can see that right here in the scene,
| | 04:33 | and that's there by default.
| | 04:35 | Then we can take that light and increase
the Radiance of it, and we can rotate it
| | 04:42 | a little bit and tilt it down.
| | 04:45 | But it doesn't seem like it's doing much, right?
| | 04:47 | Well, in the Shader Tree for that
material, don't forget that we told the
| | 04:51 | surface, do not accept any light from the scene.
| | 04:54 | So we're just going to bring that up
just a little bit, and that will help
| | 04:57 | brighten up that surface.
| | 04:59 | That way, we get a little
bit of a highlight in there.
| | 05:04 | So, very simply, we can create a glass
man that is reflecting the environment,
| | 05:09 | that has refraction on, and that is
responding to lights in the scene.
| | 05:12 | Using glass of course is great for
glass objects, bottles, but it's also great
| | 05:17 | for unique objects like this, like
putting a human together, or doing some kind
| | 05:21 | of generic objects, such as a watch,
or even a glass building like an Apple
| | 05:26 | Store in New York City.
| | Collapse this transcript |
|
|
6. LightingBuilding 3D scenes| 00:00 | Building models in modo is one aspect;
creating interesting surfaces in the
| | 00:04 | Shader Tree is another aspect;
| | 00:06 | but you often have to just create an
entire 3D scene for all of it to come together.
| | 00:11 | So in this video, I just want to show
you what a 3D scene is comprised of.
| | 00:14 | Let's just load up a simple object here,
like a nice little man, and this little
| | 00:20 | guy, his name is Tom,
and Tom is there in his green suit.
| | 00:24 | Well, in order to create a 3D
scene, we need more than just an object.
| | 00:28 | You also need a camera and you need some lights.
| | 00:31 | Well, the camera is there by
default, and one light is there by default.
| | 00:34 | You'll always find these in the Items tab.
| | 00:36 | But you can't often see them here.
| | 00:39 | So in order to, press the O key on your
keyboard. And for Item Visibility, you can
| | 00:43 | click Show Lights and Show Cameras.
And then in the scene, you'll see that we've
| | 00:48 | got a light, a camera, and essentially an actor.
| | 00:52 | These are the elements that make up a scene.
| | 00:55 | The environment in this
scene is just this default gray.
| | 00:58 | So if we get to our Render tab and
in our Camera view, you can see that
| | 01:04 | there's nothing behind him. And if
we press F9 to render a single frame,
| | 01:08 | that's pretty much what we get.
| | 01:10 | The default outputs that are in the
Shader Tree are the Final Color Output
| | 01:14 | and the Alpha Output.
| | 01:16 | If I select the Alpha Output, that's
what I get, and the reason I get that is
| | 01:20 | because that background doesn't
render, as far as geometry is concerned,
| | 01:25 | meaning, it can't cast a shadow on it.
| | 01:27 | You can't light it.
| | 01:28 | It's just 3D space.
| | 01:30 | If I want a shadow, I need some geometry.
| | 01:33 | So I'm going to open up the Model tab,
just like that, a little trick, hold the
| | 01:37 | Shift key, and add a flat plane.
| | 01:39 | And suddenly, when I put that geometry
underneath our actor Tom, we can press
| | 01:43 | the R key, and we can expand that,
and suddenly he's casting a shadow.
| | 01:49 | When I press F9 again, well, now we get a
nice shadow from that light onto a surface.
| | 01:55 | If we look at the Final Color Output
and the Alpha Output, now because there's
| | 01:59 | geometry, that bottom portion is blocked.
| | 02:02 | In this render frame that pops up,
you can often go back and look at the
| | 02:06 | previous render, too.
| | 02:07 | modo saves that in a buffer.
| | 02:09 | So without geometry underneath him,
it's just him by himself, and this is
| | 02:13 | fine if you're compositing this in Photoshop
or After Effects or Motion or in other program.
| | 02:19 | If, however, you're just doing a full
render and you want that shadow rendered,
| | 02:21 | make sure you have some geometry there.
| | 02:23 | If you have geometry, you can cast
shadows and you can receive shadows.
| | 02:27 | If there is no geometry there and
it's just this blank space, you can't.
| | 02:31 | So a 3D scene is comprised of these elements:
| | 02:35 | objects, cameras, and lights. And that's it.
| | 02:39 | You can do a lot more with it of course.
| | 02:41 | So in this chapter, we're going to
talk all about the different types of
| | 02:44 | lighting, and what you can do with them,
and how effective they can be to create
| | 02:48 | a more dynamic scene.
| | Collapse this transcript |
| Working with different light types| 00:00 | Working with lights in modo is pretty easy.
| | 00:03 | A lot of people get overwhelmed by
them, but I'm going to run through each
| | 00:05 | one of them for you.
| | 00:07 | This is a scene that's been created for you.
| | 00:09 | It's on the exercise files, in the
CH06 folder, and it's just a car from the
| | 00:13 | assets that come with Luxology's modo.
| | 00:16 | So you can load this up if you
don't have the exercise files.
| | 00:19 | What I've done here is I've placed pretty
much every light type we can into the scene.
| | 00:23 | What I'm going to do is run through
each one of them and show you how it
| | 00:26 | looks and how they work.
| | 00:27 | The first thing I want to do in the Items
tab is take a look at our arrangement here.
| | 00:32 | With this car, we have a lot of
texture locators, and those are the locator
| | 00:37 | references for the images
that are applied to this car.
| | 00:40 | Well, in order to keep organized, let's
go ahead and move the camera up to the top.
| | 00:45 | Then I'm going to select the top
texture, hold the Shift key, and then select
| | 00:49 | the bottom texture and then press Ctrl+G,
and that drops those all into a nice little group.
| | 00:55 | You can see a little folder icon.
| | 00:57 | Then I'm going to click on
this and just call it Textures.
| | 01:00 | It doesn't change the
effect of it. It just organizes.
| | 01:03 | This way we can see all of our lights.
| | 01:06 | By default, you have a directional
light that comes with your scene. And what
| | 01:11 | I'm going to do is press F8 on the
keyboard, and this opens up a Preview window.
| | 01:16 | So here you can see we've got a flat
plane as a ground to cast the shadow, and
| | 01:21 | we've got this little--I
think it's an Alfa Romeo.
| | 01:23 | You can find this car in the
Layout tab under the Meshes folder.
| | 01:27 | So this Directional Light, when we
select that in the Items Tab, the properties
| | 01:32 | for that light appear in the bottom.
| | 01:34 | You can play with the
Transform, the Rotation, the Scale.
| | 01:37 | One of the things you're going to
need mostly is the Directional Light
| | 01:41 | Properties, such as the Radiance--and this is
how bright, how much light comes out of that.
| | 01:46 | So let's just click and drag that down.
| | 01:48 | You can see that light just almost turns
off and then of course we can turn it up.
| | 01:53 | The Shadow Type is Ray Traced.
| | 01:54 | You can do a Deep Shadow Map which is
sometimes better, depending on what you're
| | 01:58 | doing, but for the most
part I like to use Ray Trace.
| | 02:01 | It's more accurate.
| | 02:03 | One thing that's nice about the
Directional Lights is you can have a Spread Angle.
| | 02:07 | So if I change this to say 30 degrees, what happens
is that we get a nice soft edge to the shadow.
| | 02:13 | Just so you know, this is not a final render;
| | 02:15 | this is just a preview render, so it's
progressively always updating for us.
| | 02:19 | So if we kind of just move a little bit,
you'll see it get pixelated, and then it redraws.
| | 02:24 | So it's just a quick preview.
It's not a final render.
| | 02:27 | You can increase the samples of the
light, and one way to do this is to take
| | 02:31 | your mouse, put it at the end of this--
and you can do this for any other values
| | 02:34 | in modo--and on your keyboard, the
asterisk symbol above your 8 key represents
| | 02:40 | the multiplication. And I can say *4,
and now that's got a higher sample, so it
| | 02:46 | makes a higher-quality light,
and of course better shadows.
| | 02:50 | Of course, it will take a
little bit more time to render.
| | 02:53 | Simple Shading helps speed up the
render, but at the same time it might add a
| | 02:58 | little bit of poor quality to the image,
so you might want to turn that off if
| | 03:01 | you have really fine render that you need.
| | 03:04 | Physical Sun works really well on
these distant lights, or these directional
| | 03:08 | lights, because it will
represent a time of day and a location.
| | 03:13 | So in this case, the Location is the
Luxology Headquarters, but let's say you
| | 03:16 | went to New York and it's wintertime and
maybe, more, it's end of the day, and you
| | 03:22 | suddenly get this very nice physical sun look.
| | 03:25 | It's a great way to create just
an atmosphere without much effort.
| | 03:30 | The Directional Light, one more thing.
| | 03:33 | Its position in the scene does not
matter. And you can see over here, if I take
| | 03:37 | a look, I'll press the Y command,
| | 03:40 | here is the Position for it. And if I
press F8 again to open up--and I'll move this over--
| | 03:45 | when I move this light, notice that it
doesn't change on the model. But watch
| | 03:50 | what happens when I rotate it.
| | 03:53 | So only its rotation matters.
| | 03:55 | It's almost like a sun. It's just a direction.
| | 03:57 | That's the only thing that's important.
| | 03:59 | So just kind of keep that in
mind when you're setting those.
| | 04:02 | Now that I've said that, even when I'm
using directional lights, I still put
| | 04:05 | them in place for where I want them.
| | 04:06 | Even though that doesn't matter--only the
rotation does--it just helps me keep organized.
| | 04:10 | The next light type is a Cylinder
Light, and that's this one right here.
| | 04:15 | What a Cylinder Light does, it kind of works
very much like a fluorescent light bulb.
| | 04:19 | I'm going to press Shift+A on
the keyboard to bring that to view.
| | 04:24 | You can press the Y command, and you can
actually stretch this out if you want.
| | 04:28 | Let me move it down to the car,
so you can see what it's doing.
| | 04:31 | I've used these for some animations
I've done for United Airlines where
| | 04:34 | the lights underneath the trim
around the windows need to look like
| | 04:39 | fluorescent lights.
| | 04:40 | I've used them for cabinet lighting
underneath the kitchen counter, things like that.
| | 04:45 | A Spot Light.
| | 04:47 | Shift+A to bring the Spot Light to view,
once we select it. The Spot Light is
| | 04:52 | probably one of the most popular
lights because its rotation and the
| | 04:56 | position all matter.
| | 04:59 | Then you can also have a Soft Edge Angle.
| | 05:01 | So let's take a look at the properties
for the Spot Light, and then I'll press
| | 05:05 | the F8 key to call up our preview.
| | 05:07 | When you look at the Spot Light
preferences, you can see that you also have the
| | 05:12 | Radiance that you can change and
brighten up that spot light like that.
| | 05:17 | You can play with the Cone Angle,
and that is--you can see that right there in the
| | 05:21 | interface how wide that is. And you
really want to play with the Soft Edge.
| | 05:27 | If you bring the Soft Edge to 0, you
get this kind of flashlight type of look
| | 05:32 | with that hard edge.
| | 05:34 | Well, if you're using these more for
architecture or something more creative,
| | 05:39 | you're going to increase that Soft Edge,
and that means that that falloff of
| | 05:42 | the light will blend.
| | 05:44 | This is something I've said a few
times through the course: don't always judge
| | 05:47 | everything by what you see in the
interface; make sure you see more of the
| | 05:50 | render because that's going to be your final.
| | 05:52 | But you get that nice soft falloff with
the spot light. And its rotation and its
| | 05:57 | position all are important, not just
the rotation like the Directional Light.
| | 06:02 | Then you have a Point Light, and the
Point Light, very much like a light bulb.
| | 06:06 | I'll press the Y command to select that and
then Shift+A to fit, and let me bring this up.
| | 06:14 | Now the Point Light is great for
light bulbs, or even like little candles,
| | 06:20 | things like that. And it's just this
omnidirectional light, and wherever you
| | 06:24 | move it, you're can just see that
light falloff which is really nice.
| | 06:28 | You can rotate it all you want.
| | 06:29 | It's not going to make much difference,
because the light is emitting from all sides.
| | 06:33 | Of course you have the Radiant
Intensity for it, you have the Shadow Types,
| | 06:38 | you can increase the Radius of it,
and of course increase the Samples just like
| | 06:41 | the other light that you saw
with the Directional Light.
| | 06:45 | We can put on Volumetrics, and what
Volumetrics will do is create more of a haze.
| | 06:49 | Now you're not going to necessarily do
this with a Point Light; you're going to
| | 06:53 | do it more maybe with a Spot
Light, to create more of an atmosphere.
| | 07:00 | Let's open up our Items List here.
| | 07:02 | You have a Photometric Light.
| | 07:03 | When I select this, when I add this
light, it's going to look for an IES file.
| | 07:09 | Now, this is a file that
you can get off the Internet.
| | 07:12 | Often, light providers will give you
this file, and it's a predetermined light.
| | 07:17 | It's also something you
can use more in architecture.
| | 07:20 | So I would suggest do a search online
for "IES lights" or "Photometric Lights,"
| | 07:24 | and you'll find those files that come in and
actually predetermine all the light settings.
| | 07:29 | Lastly, we have a Dome Light.
| | 07:32 | What the Dome Light does, which is
actually pretty neat, it simulates more of a
| | 07:37 | atmosphere for the scene.
| | 07:40 | Let's turn that on. And you can see
that it just encompasses the whole scene.
| | 07:46 | If I press F8 with a preview, it has
this very nice soft, almost like a product-
| | 07:52 | shot type of look, a really nice
atmosphere to it. And the light comes from all
| | 07:56 | over, rather than one direction.
| | 07:58 | When we talk about light, you really
want to take into consideration all aspects
| | 08:02 | of it, and especially the shadows.
| | 08:04 | Too often in computer animation people
over-light and they don't consider the
| | 08:08 | shadows, and the shadows are really
what's going to create a lot of depth and
| | 08:11 | contrast in your image,
helping give that 3D effect.
| | 08:15 | So just keep that in mind, not to over-light.
| | 08:18 | In our next videos, we're going to
actually set up a full lighting scene, and you
| | 08:21 | can see how easy it is in modo to
create a really great realistic product shot.
| | Collapse this transcript |
| Lighting a 3D scene| 00:00 | Setting up lights in modo is
not as complex as you might think.
| | 00:03 | A lot of times people
don't even set up any lights;
| | 00:06 | they just leave that one default
directional light on and just call it a day.
| | 00:11 | But what I want to show you in this
video is how easy it is to set up a lighting
| | 00:14 | scene for any kind of product
shot that you might be doing.
| | 00:17 | So the way I'm going to do this is use
one of the assets on Luxology's site.
| | 00:21 | So if you go online and go to
luxology.com/asset, you can log in with your
| | 00:28 | account, and you'll find all of these
tremendous assets that you can use.
| | 00:32 | You can also create your own and
upload and share with other users.
| | 00:36 | From the Meshes, I've actually gone
in and just taken a look at a few of
| | 00:40 | these, and some of the models I like,
if we go to Most Downloaded, are these
| | 00:44 | books from Brent Chamberlain.
| | 00:45 | He does some amazing stuff.
| | 00:47 | So you can go up and get that
yourself and try it out, or any of these other
| | 00:50 | great models that are up
there for you to try out.
| | 00:53 | Once downloaded, you install it into
your Library/Content, and then Assets, and
| | 00:59 | what you'll find when you go to your
Layout tab is that wherever you put it,
| | 01:03 | you'll find that little icon right there,
because the .LXL file holds this data.
| | 01:09 | So here is how we're going to use this.
| | 01:11 | First, from the exercise files, I'm
going to select Open and choose the Sweep
| | 01:16 | scene. And what this is is just a flat
plane that has been shifted out with the
| | 01:21 | edges and brought up, and this will be
our backdrop for our scene, just to cast
| | 01:26 | some shadows and create an environment.
| | 01:28 | From there, I'm going to
take the books and drop them in.
| | 01:31 | You can use anything you want;
| | 01:32 | you can use some of these existing
bottles that come with modo, whatever you like.
| | 01:35 | When you look up here into the Items
list, those books actually went into the
| | 01:40 | Sweep, and when this happens,
that means they're grouped together.
| | 01:43 | It doesn't really matter for this;
| | 01:45 | I can still move them around.
| | 01:47 | But if that happens, you can
just click and drag that out.
| | 01:50 | If you group them together,
they will move together as group--
| | 01:53 | parent-child relationship.
| | 01:56 | Now, I want to set up my camera.
| | 01:57 | One of the most important things when
setting up any kind of scene is making
| | 02:00 | sure your camera has a good view of it.
| | 02:02 | Now, typically what I find people do is
they zoom all the way in and they go
| | 02:07 | like this and leave it like that, or they
have an angle, and that's fine in most cases.
| | 02:12 | But let's take a look at this from a
Perspective view. And let's press O on our
| | 02:16 | keyboard, and hit Show Cameras and
Show Lights so we could see those.
| | 02:21 | Look how close the camera is to the scene.
| | 02:24 | If you were really shooting this, you
really wouldn't be that close with the camera.
| | 02:28 | It tends to give it a fake look.
| | 02:31 | So here is what I like to do.
| | 02:32 | I like to make sure the camera is
selected, and I want to make sure that if that
| | 02:37 | item is selected like that,
| | 02:38 | I press the Y command and I'm going to
just move that out like this, way out here.
| | 02:42 | You might want to
customize this look a little bit.
| | 02:46 | Let's jump to the Model tab, and again
we'll press O and turn the cameras on.
| | 02:52 | The reason I do it twice is because
this is a different layout than the Layout
| | 02:57 | tab was; it's a different setup.
| | 02:58 | So I need to tell modo that this has
different properties, such as turning the camera on.
| | 03:04 | So there's my camera looking at the scene.
| | 03:06 | When I press the Y command, I get this
little plus right here. That is our focus.
| | 03:11 | You can do an auto-focus with the camera.
| | 03:14 | So as long as the camera is selected in
the Items list here, and then you scroll
| | 03:18 | down to the Properties--
| | 03:19 | we'll close up the Transform--and then
if you go down to Camera Effects, you can
| | 03:25 | put on Depth of Field.
| | 03:26 | That's really important because you need
that focus in order for this to work properly.
| | 03:32 | So from the Camera view, you can
do a number of different things:
| | 03:35 | your Target Distance, your Focal
Length, Angle of View, and so on.
| | 03:40 | I'm going to make sure that this is all
the way here and that way our focus is set.
| | 03:45 | What we're also going to do is come
back up to this top-left corner here, and
| | 03:50 | I'm going to hold the Ctrl key and swipe down,
and what that's going to do is duplicate my view.
| | 03:56 | In this way, I can make this Top view
a Camera view, and so now I see exactly
| | 04:01 | what my camera sees.
| | 04:03 | In the bottom, I can
actually control it like, this.
| | 04:06 | And don't forget that if I grab the
Zoom up here, I'm actually going to be
| | 04:09 | changing my view right here like that.
| | 04:12 | It's not really what I want to do.
| | 04:13 | What I want to do is actually move the camera
up, and then I want to zoom it in some more.
| | 04:21 | So from the Camera Properties,
the Focal Length is set to 50 mm.
| | 04:24 | I'm going to zoom that in like this.
| | 04:28 | This icon up here will actually move my
camera in, like I'm walking in with it;
| | 04:33 | instead, I want to actually push
the button on the Camera and zoom in.
| | 04:37 | What happens if you look down here in
the Perspective view is you get this very
| | 04:40 | long type of lens, almost like a zoom lens.
| | 04:43 | So we're like at a 200-mm lens.
| | 04:46 | What that's going to do is two things:
| | 04:47 | It's going to give us some nice Depth
of Field in the back and help blur the
| | 04:50 | back and although there is not much back
there, it will still help create some depth.
| | 04:54 | It will also flatten out this object.
| | 04:58 | I'm going to actually move this over,
and then I'm just going to rotate it a
| | 05:00 | bit, and we'll just rotate it down.
| | 05:04 | Then I'll hit the
spacebar to come out of that tool.
| | 05:07 | So there is our setup of our books.
| | 05:09 | Now we need to light it.
| | 05:11 | Typically, in most studios, you're
going to do more of a side lighting;
| | 05:16 | you could do a three-point lighting setup.
| | 05:18 | All you want to do is work with one
light at a time, and in this case, I'm going
| | 05:21 | to take our default Directional Light
which is right here, and we're going to
| | 05:26 | make sure that this is set the way we want.
| | 05:28 | We're going to use this light in our scene.
| | 05:29 | So I'm going to press the Y
command, and I'm going to move it down.
| | 05:32 | And don't forget that the position
doesn't matter on this, but I still like to
| | 05:38 | move it, because if I choose to change
that light later on, to something like an
| | 05:42 | area light or a spot light, it
will be in the position I need.
| | 05:44 | So it's kind of important.
| | 05:46 | I can't see the shadows, and to me,
shadows are really important,
| | 05:49 | so I'm going to turn on the RayGL up in
the Camera view, and that gives me kind
| | 05:54 | of a quick render view so I can
see what my shadows look like.
| | 05:58 | The other thing I want to do is talk
about the ambient light in the scene.
| | 06:01 | So let's jump over to the Shader Tree,
click Render, and then we'll go down to
| | 06:05 | Settings, and then Global Illumination.
| | 06:08 | Here is the Ambient Intensity.
| | 06:09 | Normally, this is set to 0.05.
| | 06:12 | Make this 0, and then we're going to
put on Indirect Illumination, and what
| | 06:17 | that's going to do is use the
environment as a fill light rather than just
| | 06:21 | this Ambient Intensity.
| | 06:22 | What that means is if I turn off
Directional Light, this product is now being
| | 06:26 | lit from the environment.
| | 06:28 | What does the environment look like?
| | 06:30 | Well, let's select that, also in the
Shader Tree. Open up the Material.
| | 06:34 | The Environment has a default of this
light-gray-to-dark-gray background.
| | 06:39 | It might be a little too bright.
| | 06:40 | We want to control this a little bit better.
| | 06:43 | So I'm going to turn it to Constant.
| | 06:45 | If I hold the Shift key and I bring
this down, you can see how that changes.
| | 06:50 | So now the environment
really isn't doing anything.
| | 06:53 | If I turn off the Directional Light,
there is no light hitting the objects at all.
| | 06:58 | So that's good.
| | 06:59 | Now we have complete control over the scene.
| | 07:02 | One thing I can do with this
lighting is add a gradient.
| | 07:05 | So if we go down to
Processing, I can choose Gradient.
| | 07:10 | What I can do is edit this
gradient and change the color parameters.
| | 07:16 | This will then add this
material to my environment.
| | 07:20 | So I press the A key to fit all of
these keys in view, and what this will do is
| | 07:24 | add this gradient to the
actual environment of my scene.
| | 07:28 | What that's doing then is helping put
this ambient light in, just like that.
| | 07:35 | See this color? That's coming
from that gradient that we just set.
| | 07:39 | If I select this--and I'm going to go to blue--
| | 07:41 | you can see it adds a little blue to
the scene, or a little green, and so on.
| | 07:46 | It's just a way to add color in the
environment a little bit differently than
| | 07:51 | simply adding color to the actual backdrop.
| | 07:55 | Just a little trick you can use.
| | 07:57 | In this case, we'll go back the
environment, and I'm just going to make it very
| | 08:01 | soft blue, kind of like this. And the
last thing is we'll take this Directional
| | 08:07 | Light and we're going to change
the Spread Angle to about 20 degrees.
| | 08:11 | That helps soften that shadow.
| | 08:13 | The other thing that's
important with lights is the color.
| | 08:17 | Now, often when I'm photographing, I'll
shoot as a white balance with a Kelvin
| | 08:21 | temperature, and you can set
that right here if you like.
| | 08:23 | 5,200 is usually pretty good, something
like that, and that warms it up a bit.
| | 08:30 | So if you're familiar with video
and photography, use those principles;
| | 08:34 | if not, just set a color.
| | 08:35 | Remember, this is a visual element, so
you can just do something that looks good.
| | 08:40 | Don't worry about the numbers so much.
| | 08:42 | Press F9 real quick and do a
render and see how this looks.
| | 08:47 | So it starts to look a little bit
more realistic, because we've got a very
| | 08:50 | nice backdrop that's evenly lit, we
have the environment lighting, the
| | 08:54 | Global Illumination, and we've got the nice
soft shadow coming from the Directional Light.
| | 08:58 | Let's add a little more light to
separate this from the background.
| | 09:03 | I'm going to come up to the Items tab,
I'm going to select Add Item, and I'm
| | 09:07 | going to choose an Area Light.
And this Area Light really can add a nice
| | 09:12 | effect in the back there.
| | 09:14 | Let's take a close look at what this looks like.
| | 09:16 | As I move this around and hold the
Alt and the Option key, you can see that
| | 09:21 | little orange arrow coming out.
| | 09:22 | That's which way the light is facing.
| | 09:24 | We're going to rotate this around
and we're going to rotate it down, and
| | 09:28 | this in many sense, will be more of a hair
light that's going to hit the back of these.
| | 09:34 | The reason I like the Area Light is just
that it's very soft, and you can see how
| | 09:38 | it highlights the tops of these books.
| | 09:40 | It's kind of hitting the
ground a little bit too much,
| | 09:43 | so I can do two things.
| | 09:44 | If I bring the Radiance down for
this light, that brings the intensity of
| | 09:48 | it down, and that could work because I
still get enough light on the top of the book.
| | 09:52 | I might want to work with this Falloff a
little bit, and we can also dissolve it
| | 09:57 | a little bit too--just so that we have
enough light across the top, and it's not
| | 10:01 | lighting the ground too much.
| | 10:03 | The other option is to go to the Shader Tree,
and we never set a material for the ground.
| | 10:09 | If you open up the Render, notice there
is no material for the Ground surface.
| | 10:12 | So I'm going to go to Polygons, we're
going to select the Sweep, double-click
| | 10:19 | it, and we'll press M and call this Sweep.
| | 10:23 | In the Shader Tree--let's just click
to deselect here--open up the Sweep
| | 10:28 | Material > Material Reference,
and then I'm going to click on the color, and
| | 10:32 | we're going to make this more of a
soft gray, and just tint it a little bit,
| | 10:37 | just so it's little warmer.
| | 10:39 | Then I'll press F9 again,
and we'll take a look at the scene.
| | 10:43 | So now we don't have
quite the bright white ground;
| | 10:46 | we have just sort of a warm gray.
| | 10:48 | We've got the Area Light in the back
warming up the top of the books, and we've
| | 10:52 | got our main key light over here.
| | 10:54 | The last thing we can do is put a fill light in.
| | 10:56 | So we have a back light, a key light,
and now we're going to add a fill light.
| | 11:02 | So we'll go down to Lights and we can
add another Area Light, and you can try
| | 11:07 | different types of lights.
| | 11:08 | It could be a Point Light or a Spot; it doesn't
always matter so much with the product shots.
| | 11:12 | It's often about getting the right
look and getting the right shadows.
| | 11:16 | I'm just going to move this off to the side.
| | 11:19 | If you can't see a light sometimes,
turn off the other lights, and that way you
| | 11:23 | will be able to see exactly what's going on.
| | 11:24 | Now, this light I want to put way
back here, just so it hits the side of
| | 11:31 | the books like this.
| | 11:33 | The biggest thing with this light
is that we change the color of it.
| | 11:36 | So I'm going to roll down here to this area
light, and we're going to name this also Fill.
| | 11:44 | The top area light that we created,
that is the backlight. And sometimes it's a
| | 11:49 | little bit harder to rename these, so
just right-click on it, and then for the
| | 11:54 | Fill Light color, we just want
to create a sense of environment.
| | 11:58 | And even though we're going to use
Global Illumination, I'm just going to tint
| | 12:00 | this to just kind of a
pale blue just a little bit.
| | 12:04 | The reason I do that is because it just gives
more of a sense of something else out there.
| | 12:09 | It's not just a one spot light or one
directional light hitting your surface.
| | 12:13 | But it's not real strong, like a white light
that's very noticeable.
| | 12:17 | So put the Directional on, put the
Back light on, and then I'll press F9 to
| | 12:21 | render the frame, and now we've got a
very clean even set that's evenly lit and
| | 12:27 | looks like a very nice product shot.
| | 12:29 | This is really very basic.
| | 12:31 | You can get extremely creative
with all the lighting in modo.
| | 12:35 | I suggest you try this out.
| | 12:36 | Work with one light at a time, pay
close attention to the shadows, and build up
| | 12:40 | from there; just the way you build up
in the Shader Tree, build your lighting.
| | 12:43 | Do one light, set it to how you like,
add another light in, add the Global
| | 12:47 | Illumination in for Fill, and you'll
have a very nice scene to work with.
| | Collapse this transcript |
| Reflecting light| 00:00 | In this previous scene, we set up
a three-point lighting set up with
| | 00:03 | a directional light,
| | 00:05 | an area light for a little bit of a
backlight, and then another area light for a
| | 00:08 | little bit of fill;
| | 00:09 | but there is something you can do in
modo using Global Illumination which I
| | 00:12 | really like, and that's
setting up reflective light.
| | 00:15 | So what I'm going to do is delete
this Fill light altogether; just
| | 00:19 | right-click on it hit Delete.
| | 00:22 | Let's turn off--this is Directional Light;
| | 00:26 | we won't actually remove it just yet.
And that's where we're left with,
| | 00:29 | just that one backlight.
| | 00:30 | Well, what we can do is create a flat
plane and reflect that into the object.
| | 00:35 | I'll hold the Shift key, and I'll click
the Plane icon--adds a flat plane to the
| | 00:41 | item list--and we'll click on
that and name this Lightbox.
| | 00:44 | And now I'm going to press the Y key
for my Transform tool, I'm going to move it
| | 00:50 | up, and I'm going to rotate it down.
| | 00:52 | Remember, polygons are one-sided, so
you have only seen the back side. That's
| | 00:56 | why you're scene through it.
| | 00:57 | I am going to put it off to the side here,
| | 00:59 | just out of camera range, and I'll work
it around so you can see what this is.
| | 01:03 | It's just a white panel. That's all it is.
| | 01:05 | So if you've ever worked in a
studio, you get a big soft box--
| | 01:08 | that's what we're creating.
| | 01:10 | Why would we do that instead of an area light?
| | 01:13 | On the books it doesn't necessarily
matter, but let's say we have something
| | 01:18 | like a bottle. And I'm just going to
click this plastic bottle to add it to the
| | 01:23 | scene, and then we'll go back to
Model. And notice that that purple now is
| | 01:28 | actually affecting the
scene too from the bottle itself.
| | 01:32 | Turn off the books for a moment,
and then let's take this bottle--
| | 01:36 | I'll press the Y command--and I'm going
to move this over. And I'm going to press
| | 01:40 | the R key for scale and make this a
little bit bigger, just so we don't have to
| | 01:45 | worry about moving it around
too much out of our light source.
| | 01:49 | Now we can still put our books in and
use them if we want. So I'll click the
| | 01:54 | eyeball to turn those back on and
with a book selected, I'm going to press Y
| | 01:59 | again, and we're just going to move those back,
and let's give them a little bit of an angle.
| | 02:03 | We'll just kind of set up a little
scene here, just move these objects.
| | 02:06 | And notice I'm not moving anything on the Y axis
because I want these to all sit on the ground.
| | 02:10 | The last thing is I'll take the camera
and Shift+A to fit it to view, and with
| | 02:16 | the Y command selected, I'll
just click and rotate it up a bit.
| | 02:20 | What I'm doing now is setting
up this lightbox to reflect.
| | 02:25 | So not only will it act as a light
source; it will act as a reflection source--
| | 02:30 | because normally a light doesn't
actually show up on the object.
| | 02:33 | You might get a hotspot from the light
source, but you cannot reflect the light
| | 02:37 | itself, and that's what this
lightbox will allow us to do.
| | 02:40 | So first let's set a material for it by
pressing M, making sure that the Lightbox is
| | 02:45 | selected in the Items list, call this
Lightbox. And notice as soon as I do that,
| | 02:51 | the scene changes a little bit.
| | 02:53 | We'll hit the Shader tree, open up the
Lightbox Material > Material Reference,
| | 02:59 | and I'm going to make this just a nice
bright white, but then I want it to be
| | 03:03 | luminous, meaning it's self-bright.
And the way I'm going to do that is with the
| | 03:09 | Transmissive category, so you go to
Material Trans--and we'll close up these
| | 03:14 | panels so you can see everything--and
down at the bottom is Luminosity. And I'm
| | 03:18 | just going to click this up just a little bit,
so we can get a very bright white surface.
| | 03:23 | I don't even need that much. And look
what happens. See how white it becomes?
| | 03:28 | But look what happens in your scene.
| | 03:30 | Not only does it act as a light source;
it creates a beautiful reflection in that
| | 03:34 | bottle. Let's bring up the Intensity a
little bit more, probably to about 2 or so.
| | 03:41 | And why does it work this way?
| | 03:43 | Well, don't forget, if you go to Render
and you go to Global Illumination, that
| | 03:48 | the Indirect Illumination is turned on.
| | 03:51 | If that's not turned on, you will
still get your reflection, but that light
| | 03:54 | itself, the Lightbox, is not actually
lighting the scene. And because it's self-
| | 03:59 | bright, it's actually casting a light
into the scene. So let's press F9, do a
| | 04:04 | Frame Render, and you'll see
how this reflective light looks.
| | 04:08 | I've seen people light entire scenes this way.
| | 04:11 | Typically I don't really like to use
Indirect Illumination as an entire light
| | 04:15 | source, because in the real
world it doesn't work like that.
| | 04:18 | Generally, you have some sort of light,
whether it's a desk lamp, a computer
| | 04:21 | screen, sunlight coming through a window,
and then that light bounces around.
| | 04:26 | That bouncing light is
your indirect illumination.
| | 04:29 | So just kind of keep that
in mind; use it as a fill.
| | 04:31 | Now this render will take a lot
longer, as you can see, simply because it's
| | 04:37 | calculating all this new data. At the
same time, it just creates such a pretty
| | 04:41 | render you kind of have to go with it.
| | 04:43 | And if you're not animating the scene
and you're doing just a high-res still
| | 04:46 | that you're going to put in an ad, or
you're going to put it in Photoshop, or
| | 04:49 | something like that, it's not a big
deal to take time and let it render.
| | 04:53 | You can see how just putting this
lightbox into the scene not only adds
| | 04:57 | light, but it also creates a beautiful
reflection, and it's a really terrific way to work.
| | 05:02 | The indirect illumination is what
really creates all of this for us, but we
| | 05:06 | still have our area light mixed in
with it, which is creating this nice soft
| | 05:09 | highlight on the top, a little bit of a
shadow back here, a little bit of brightness
| | 05:13 | back here to help pull
the object off the backdrop.
| | 05:15 | So consider using lightboxes and
indirect illumination, as well as traditional
| | 05:20 | lights, to create any kind of scene you want.
| | Collapse this transcript |
| Lighting environments for realism| 00:00 | Adding realism to your scenes in
modo is really pretty easy to do.
| | 00:04 | You've seen how we can put in some
very nice light types with reflective
| | 00:08 | light, area lights, and key lights,
but what if you want to give more of a
| | 00:11 | daylight look to your scene?
| | 00:13 | I've loaded up the AutoSet from the
Chapter 6 folder, and this is an Alfa Romeo
| | 00:17 | from the Luxology assets,
and just a simple flat plane.
| | 00:21 | Let's press the O key on a computer
and go to Inactive Meshes and change this
| | 00:26 | from Wireframe to Same as Active Mesh.
That way everything is in full OpenGL.
| | 00:31 | Well, in this scene we've got our default
lights that we put in from the beginning.
| | 00:36 | Let's take those out altogether,
except for the Directional Light.
| | 00:40 | So select them all.
We'll right-click and delete.
| | 00:46 | That leaves us with one directional light.
| | 00:48 | We'll jump over to the Render and here
you see that default directional light.
| | 00:53 | Well, this thing kind of looks like
daylight, but computer technology has
| | 00:57 | advanced quite a bit in the last ten years,
| | 00:59 | so you don't have to do things like
this. And what's great about modo is that a
| | 01:02 | lot of these presets are here for you.
| | 01:04 | So I'm going to expands this view,
and I'm going to click and hold on this list
| | 01:09 | and go to Environments. And here
you'll see Indoor, Outdoor, and Studio.
| | 01:13 | There are number different studio
environments that we can put in, but in this
| | 01:18 | case we are going to go to Outdoor.
| | 01:20 | What these are high dynamic
range images, or probe images.
| | 01:25 | You can see that they're panoramic in a way.
| | 01:26 | They're stretched-out images that have
been created to create this environment
| | 01:31 | for your scene, and when you double-click
to add one, it'll wrap itself invisibly
| | 01:35 | around the scene, and you can use
that to cast light. Let's do that.
| | 01:39 | I'm going to double-click this
desert right here, and that adds that
| | 01:42 | environment to the scene; you'll see update.
| | 01:45 | But it doesn't look like much is happening.
| | 01:47 | The reason is we have to go to the
Render and then under Global Illumination,
| | 01:52 | turn on Indirect Illumination, and suddenly
we have this look like where we are outside.
| | 01:59 | The ground of course is pretty basic.
| | 02:01 | Let's change that, and the way we're
going to do that--let's make sure this one
| | 02:05 | has a material right here.
| | 02:07 | Here's the ground material.
| | 02:10 | We're going to come back to our
Material presets and go, down all the way, and
| | 02:16 | take a look at Stone, and there
is Architectural, Brick, Paving.
| | 02:24 | And we can just choose
Asphalt and drag it right on.
| | 02:29 | That way we get rid of that plain
white backdrop that was there originally.
| | 02:34 | What happened when we
added that environment is this.
| | 02:37 | We'll come up to the
environment in the Shader tree.
| | 02:41 | We're going to open that up, and what
it did was add this desert image as
| | 02:45 | an environment color.
| | 02:46 | Let me show you what that image looks like.
| | 02:48 | I'll go to the Images tab, and we'll
scroll down, and I'll double-click, and
| | 02:54 | you'll see this open.
| | 02:55 | That image is now wrapped around my scene.
| | 02:59 | This image is also a probe image, a
high dynamic range, and what that means is
| | 03:03 | it has more data in it than your
normal eye can see, and because of that, it's
| | 03:08 | strong enough to actually light the scene.
| | 03:10 | It's still little hot here,
| | 03:12 | so I need to remember that in the Items
list I could turn off this Directional Light.
| | 03:17 | Now we get that desert-sunset kind of
look like we're hidden behind a mountain.
| | 03:22 | Let me call up another one, just
to see you what it looks like.
| | 03:25 | You'll go back up to Environments >
Outdoor, and let's choose a brighter one, like
| | 03:30 | Daylight. And the only thing lighting the
scene is that environment. And just that
| | 03:36 | simply, you can very easily put
together a very complex-looking scene without
| | 03:40 | worrying about a lot of
lights and lot of balancing.
| | 03:42 | You got more city shots down here you
can play with, and you can also buy a lot
| | 03:47 | of these images from Luxology,
and there is other third-party people that sell
| | 03:50 | probe images as well that you can put in.
| | 03:53 | What's also great about this is that you have
the reflections which help add to the realism.
| | 03:57 | It's very subtle, but it fools your
brain, that you're looking at something
| | 04:01 | that's outside, because you
pick up on those reflections.
| | 04:05 | Try this out. Load some of the
assets from the Layout tab in the Meshes
| | 04:09 | categories, some of the presets, put
some of those textures on the ground, use
| | 04:13 | some of the presets for the outdoor
probes, and see what you can come up with.
| | Collapse this transcript |
| Blending light sources| 00:00 | You have seen how putting in a probe
image can really help create some nice
| | 00:03 | daylight using global illumination
and applying that indirect illumination.
| | 00:08 | You have also seen how putting three
set lights in classic three-point lighting
| | 00:11 | can help you put together a nice
product shot, and you have seen how light
| | 00:16 | boards can be created with flat polygons
to create reflective light. But what if
| | 00:19 | you want to mix a lot of these
together? How would you do it?
| | 00:22 | Here we have got our BlendedLight scene
from the exercise files, and this is just
| | 00:27 | the Alfa Romeo on a textured ground.
| | 00:29 | I am going to zoom out just a little
bit, and I am going to rotate the camera
| | 00:33 | down just a little bit, just like that.
| | 00:35 | We have got this
environment that's lighting the scene.
| | 00:37 | It looks okay, but I want it
to be a little bit brighter.
| | 00:40 | So the first thing I am going to do
is, in the Shader Tree, select the actual
| | 00:43 | Environment group. And then the Intensity
for that environment I am going to bump
| | 00:48 | up to 2, and now we have got a
little bit better daylight scene.
| | 00:51 | We can also even just change it
if we want and see how these look.
| | 00:55 | Perhaps I want to go with
the darker Outdoor Probe.
| | 00:58 | So now it's late evening.
The lights need to be on, on the car.
| | 01:02 | So how do we do that?
| | 01:03 | Well, a lot of people want to just
glow those textures right there, but
| | 01:06 | there's a better way.
| | 01:08 | We have the Directional Light.
We are not going to use that.
| | 01:10 | We are going to keep that turned off.
| | 01:12 | I am going to add another light,
and we are going to add a Spot Light.
| | 01:16 | And with that Spot Light created, I am
going to make sure that it is placed right
| | 01:20 | where our headlight is.
| | 01:21 | So I will press the Y command, and we
are going to move this over--and I am just
| | 01:25 | doing this in the Perspective view
down here. And if it's easier, go Ctrl+Space
| | 01:31 | and choose the Front view, and it makes it a
little bit easier to align these up sometimes.
| | 01:35 | I am seeing kind of a little bit of a
stall, and we have got a lot of detail
| | 01:40 | in here in this model.
| | 01:41 | So what you can do up here is you can
come in and click on the options and turn
| | 01:47 | off some of the values,
| | 01:49 | so it renders a little bit faster.
| | 01:51 | You can turn off Shadows, Reflections,
Refractions, and depending on your scene,
| | 01:55 | you might want to do that.
| | 01:56 | You can click on the Render and just
select Hold as well, so it will stop
| | 02:00 | rendering, giving us a chance to work a
little bit more freely and accurately.
| | 02:04 | And then we can turn that back on.
| | 02:06 | So it's lined up here,
Ctrl+Spacebar, come to the Top view.
| | 02:11 | I am going to rotate our light
around, then I am going to move it in.
| | 02:14 | Now one thing that's important to
understand is that if you move it in too far,
| | 02:18 | the light will actually shut off.
| | 02:19 | We'll jump to Perspective view, and now
let's turn our render back on, and you
| | 02:25 | will see it right in there.
| | 02:26 | I can see a little bit of a light.
I can see it hitting here.
| | 02:29 | Well, let's go over here to the Items list
and make sure the Spot Light is selected.
| | 02:33 | Close up the Spot Light
and turn on Volumetrics.
| | 02:37 | That's nice, but a little too much.
| | 02:40 | Open up the Spot Light again, take this
Radiance down 0.5, and now you've created
| | 02:46 | this nice beam of a headlight.
| | 02:48 | In fact, you can even go lower,
like 0.2, a little more subtle.
| | 02:52 | Then you can place it a little bit
better, but again, be careful. If you move it
| | 02:55 | in too far, here is what will happen.
| | 02:57 | It just kind of shuts off, and it
will start casting a shadow from the car
| | 03:01 | itself, from the headlight itself.
| | 03:02 | So don't go in too far.
| | 03:05 | And then you can rotate that view around,
just to make sure the placement is good.
| | 03:08 | Create a second one, Shift+V for Mirror,
and we can mirror that over on the Y axis.
| | 03:18 | And if you want to get the controls,
open up the Model tab and choose Y, and you
| | 03:22 | will see that extra one.
And then we will close that out.
| | 03:30 | Now we have two of them, and then you
can very easily just tweak that second
| | 03:34 | one into place. And that way you have
created headlights on the car--overly
| | 03:41 | bright of course. But what I would
probably do is create an instance for this,
| | 03:45 | and I will show you why.
| | 03:46 | Let's delete this second light.
| | 03:48 | I am going to select this light, the
Spot Light, right-click, and Instance.
| | 03:57 | And what that means is when I have the
second light, whatever I do to the first
| | 04:00 | light will happen to the
second, and it just saves me time.
| | 04:03 | I don't have to go in and make changes to both.
| | 04:05 | So I come to the Shader Tree, select
the main Spot Light. And the color is not
| | 04:11 | going to really be white; it's going to be a little
warmer. And notice that it happens to both lights
| | 04:15 | now, which is very nice.
| | 04:17 | But what you're doing here is you are
actually mixing the artificial light with
| | 04:21 | the environment light.
| | 04:23 | You can come back to the Items tab
and if you want, right-click on the Spot
| | 04:28 | Light, Change Type to a Point
Light, and it will change both of those,
| | 04:34 | because it's an Instance.
| | 04:35 | Perhaps you don't want the old-school beam.
| | 04:38 | You want more just of the glow.
| | 04:40 | The Point Light with Volumetrics
applied will give you that look. And your
| | 04:43 | placement and intensity might
need to change just a little bit.
| | 04:47 | So we will come back down to Point
Light and Radiant Intensity is 0.2--
| | 04:51 | let's make it 0.1 perhaps, something like that.
| | 04:55 | And that might give a little bit more
realism than actually shooting out beams of light.
| | 04:59 | The only problem with the Point Light is
that they do kind of spread everywhere,
| | 05:04 | so your placement has to be pretty
exact, but it certainly gives you a foggy
| | 05:08 | look in this nice environment.
| | 05:10 | So mixing lights in modo is really
pretty easy, just the combination of
| | 05:14 | Volumetrics with Point Lights or
Directional Lights or Spot Lights as well as
| | 05:18 | using the Probe Image and Global Illumination.
| | Collapse this transcript |
|
|
7. Working with 3D CamerasUnderstanding the modo 501 camera| 00:00 | As you are building scenes in modo, there
are three components you need to think of:
| | 00:04 | the objects which are like your actors;
the lights of course, which light up the
| | 00:07 | scene; and then the camera--and that's
what this video is going to talk about.
| | 00:11 | The camera in modo can be very
powerful, but it's often very simple to use.
| | 00:16 | You don't need to put a lot of thought into it
| | 00:18 | sometimes, even though you can animate
it and you can create depth of field and
| | 00:22 | you can do all these great things.
Sometimes you just want to learn to place
| | 00:25 | it, and that's what we are going to do here.
| | 00:27 | The camera is in your scene by default
and when you select it in the Items tab, you
| | 00:30 | can see all the properties for it.
| | 00:32 | First of course is the
Transform, so its Position.
| | 00:35 | Now I can't see it in my layout here and
to do that, I will press the O key on my
| | 00:39 | keyboard and make sure
Show Cameras is turned on.
| | 00:42 | Move the mouse and that panel will go away.
| | 00:44 | So there is my camera.
| | 00:45 | That's just a representational icon.
| | 00:47 | It's not really useful in any way.
| | 00:49 | It doesn't show up in reflections. It's just an
icon that represents what that camera is.
| | 00:54 | Then when you go to the Position,
obviously you can manually come in here like
| | 00:59 | this, but I really don't do that too often.
| | 01:02 | I press the Y command, and I just
move it and I rotate it as I need.
| | 01:06 | A lot of people will just use Move,
which is fine, which is just. Then they will
| | 01:11 | go to Rotate and that's fine too.
| | 01:13 | And the Scale isn't really going to change much.
| | 01:15 | That's not going to do a lot for you.
| | 01:17 | But what might happen is if you load an
object--and then I will press the A key
| | 01:21 | here, Shift+Click to add an object--
| | 01:24 | if you add an object, sometimes that
camera just is a little too big for the
| | 01:28 | scene, especially when getting in close.
Or by the same token, if you've got a really
| | 01:33 | large object, your camera is
almost invisible; it's too tiny.
| | 01:36 | So under the Display, with that
camera selected, there is the Size.
| | 01:41 | This is the view size;
| | 01:43 | it's not the actual size of
your renderer or anything else--
| | 01:46 | it's the size of the camera icon.
| | 01:48 | So you can change that depending on
your scene, and what I've often told people
| | 01:52 | is just set it to 0 and it
stays relative to your zoom.
| | 01:55 | So notice the camera pretty much stays
the same size, whether you zoom in or
| | 01:59 | out, and that's really kind of nice.
| | 02:01 | So I always know where it is.
| | 02:02 | If I zoom out really far, my object are
hard to see, but because I have this size
| | 02:07 | Set to 0, I can always find my camera.
| | 02:10 | So, something to think about when
you are building larger scenes.
| | 02:12 | Channels for the Camera, obviously we
have a Position, Rotation, and Scale, like you
| | 02:16 | would with most objects, but then you
also have whether it's visible if it's
| | 02:21 | going to render, and so on.
| | 02:23 | These are the things you
should not often going to get into.
| | 02:25 | It's more of the properties, in a way,
that you are going to set in another panel,
| | 02:29 | and that panel for those is in the Shader tree.
| | 02:32 | So we will go here to Properties,
go to Render, and here is your Camera
| | 02:37 | Properties that you want
to set up when you render.
| | 02:39 | Later in a video we are going to
talk all about Render, but you have to
| | 02:43 | understand that a combination of the
Camera properties itself, from Target Distance, to the Focal
| | 02:48 | Length, to the Angle of View are mixed
with the actual Render Camera, the Frame
| | 02:54 | Range, and so on, as well as the
Resolution. And the reason I am showing
| | 02:57 | you this now is because when you're
setting up a scene you want to kind of get
| | 03:01 | that Frame Rate set first.
| | 03:03 | So for instance if your client says "I
need a high definition," you want 1920x 1080.
| | 03:09 | Now the dpi, that doesn't necessarily
matter if you are rendering out in animation.
| | 03:13 | This has been in there since the
beginning, and often you could render out a
| | 03:16 | 4,000-pixel image, but if it doesn't show 300
dpi, your client might say it's the wrong size.
| | 03:22 | We will talk about that
when we get to rendering.
| | 03:25 | So all we want to do in here for right
now is set our Resolution, and the reason
| | 03:29 | is when we look through our Camera--and
the way we do that is up here in the top
| | 03:32 | left, click and go to Camera--
| | 03:35 | now we get the proper aspect ratio.
| | 03:37 | I always tell people to do this.
Even though it's in the Render tab,
| | 03:40 | go set up your frame first.
| | 03:42 | How can you set up your Camera if you
don't have the right size and aspect ratio?
| | 03:47 | Now we can set up the Render just the
way we need, because everything renders
| | 03:51 | from the Camera view. And with
that said, I can add another camera.
| | 03:56 | You can come here to the Item
list, choose Add Item, and Camera.
| | 04:00 | And why would you add two cameras?
| | 04:02 | Well, one might your Render Camera;
one might be your Setup Camera.
| | 04:05 | So you can rename this SetupCam.
| | 04:08 | This one could be your RenderCam.
| | 04:12 | And as you are working, you can come
back here to the Render and in this Render
| | 04:16 | Camera, you can tell modo which
camera you want to work with.
| | 04:20 | In the top left, I can hold the Ctrl
and swipe down to duplicate my view.
| | 04:25 | Just click on that little dot
right there and then change SetupCam.
| | 04:31 | So now we have got two cameras we're working with.
| | 04:33 | So maybe you've got just a shot right
here that you want to see your whole
| | 04:37 | scene, and then you can tell the render
which one you actually want to render.
| | 04:42 | So the SetupCam is actually, if we press
F8, maybe something we are working with
| | 04:47 | that we want to see our entire view, or
we want to see close up, even though we
| | 04:51 | want to render, when it's
final, from the RenderCam.
| | 04:54 | Just another way to work.
| | 04:55 | I don't often set up multiple cameras,
but you can if you are doing architecture
| | 04:59 | or you are doing product shots.
| | 05:00 | It's very easy just to set those up,
and for your client especially, click the
| | 05:04 | different settings, change
the render camera, and render.
| | 05:07 | You don't have to move the camera around
while the client is there. Nice way to work.
| | 05:12 | Lastly, the Camera Effects. Depth of
Field, Motion Blur, and Stereoscopic
| | 05:17 | Rendering are all available.
| | 05:18 | So we are going to set those up in
this chapter as well, really creating some
| | 05:22 | nice realism for the scene.
| | 05:24 | So the camera in modo, very easy to
set up and very easy to use, but the big
| | 05:28 | thing you need to remember is that
the camera is what renders your scene.
| | 05:32 | Even though you might be viewing from
a Perspective view or Top view, it's the
| | 05:36 | camera that you need to
set up in order to render.
| | Collapse this transcript |
| Setting up a camera| 00:00 | Setting up cameras in
modo is relatively easy to do.
| | 00:03 | There's a few little caveats
that we're going to go over,
| | 00:05 | but you have to understand that
everything you render, when you have that final
| | 00:09 | output, it has to come from a camera.
| | 00:12 | It can't be a render of the Perspective view.
| | 00:13 | But what I have here is the Render tab
open, and I've set this up so that my
| | 00:19 | camera is at the very bottom, so we can see it.
| | 00:22 | You can also see that it's
changeable to a Perspective view
| | 00:25 | if you like, which is more of the default.
| | 00:28 | But I'm setting it to the Camera
view because this is what renders.
| | 00:31 | Over here I have an overall
Perspective view, which typically is the Camera
| | 00:35 | view in most cases.
| | 00:37 | But we're going to reverse these today.
| | 00:39 | What I also have opened is the ShootMe
scene from the exercise files, and this
| | 00:43 | is just a sweep with some simple
lights that we had made in a previous video.
| | 00:48 | And I'll press the O key to make sure
that my lights are visible, so we can
| | 00:51 | see them right there.
| | 00:52 | Now, it's just that nice area light
lighting up the back of this object, as well
| | 00:56 | as a flat board bouncing some light.
| | 01:00 | If we jump to the Shader tree and
click on Render and go to Properties,
| | 01:03 | under Global Illumination, you'll see
that the Indirect Illumination is turned on.
| | 01:07 | And for Environment, I'm going to open
that up and take the Environment Color
| | 01:11 | from this kind of pale bluish to maybe
something a little bit warmer, like that.
| | 01:16 | So when setting up cameras, there's
a couple of things you need to do.
| | 01:19 | The first thing I always need to do is
find out from my client what resolution I want to render in.
| | 01:23 | Because if I go and take the time to
actually set up this camera down here and
| | 01:27 | suddenly that resolution changes, well,
that might change the overall look.
| | 01:31 | For instance, I've got this
4:3 ratio going now; 720x486.
| | 01:36 | If I'm maybe towards the edge of my
shot like this and I go widescreen, I'll
| | 01:40 | suddenly render off the side of
this set, and I don't want to see that.
| | 01:44 | So I need to make sure that, from the
Shader tree, with the Render selected, in
| | 01:49 | the Frame tab, I can set my Resolution.
| | 01:52 | So 1920x1080 for HD.
| | 01:55 | And then I'm going to just kind
of start getting this in place.
| | 01:58 | This way I've got my proper Pixel
Aspect and my Frame Width and Height.
| | 02:02 | The Pixel Aspect doesn't need
to change too often anymore.
| | 02:05 | Years ago when we used to always put
everything television, 720x486, this Pixel
| | 02:10 | Aspect was set to 0.9--more rectangular pixels.
| | 02:13 | When your animation stays in the
computer, those pixels are square. 1.0.
| | 02:18 | But sometimes you might render at
1.2 and you get more of a letter box.
| | 02:23 | Depending on who you're working for or
what kind of project you're doing, this
| | 02:26 | will be specified for you.
| | 02:28 | So it's something to be aware of.
| | 02:30 | So for us right now, we're just going to
do a Pixel Aspect of 1.0--square pixels.
| | 02:34 | Back in the Items tab, we can select the
Camera, and we can start up here at the top.
| | 02:38 | So for the Transform, we can
manually drag these and move them around,
| | 02:42 | but to be honest, I really like just
to grab the camera and move it myself.
| | 02:46 | So make sure Items is selected;
| | 02:48 | it won't work in Polygon mode too well.
| | 02:50 | We'll press the Y key to get our Transform tool.
| | 02:53 | And then I can click and
drag and move this around.
| | 02:56 | Now, this camera was set up from a
previous render, and it's got a very long lens.
| | 03:01 | So to change that, that's the Focal
Length, and I want to set this to maybe more
| | 03:06 | of 105 millimeters, something like that.
| | 03:08 | Then I want to actually push the camera in,
| | 03:11 | so I'm just grabbing that blue handle,
which is the Z axis, kind of watching
| | 03:15 | over here and here, and then I can actually
rotate it, or move it, just to get it in place.
| | 03:21 | You're going to find that this is a little
awkward to work with, so here's a little trick.
| | 03:25 | Hold your Command+Alt or Option key
on the Mac, or you can hold the Ctrl+Alt
| | 03:31 | key on the PC, and what you'll
get is, like, a handle, so to speak.
| | 03:34 | And you can click and drag in
the Camera view to rotate around.
| | 03:38 | Just a nice way to work and
a little more interactive.
| | 03:42 | You can also just rotate here
as well and move up and so on.
| | 03:46 | So again, just a little bit awkward to
work with, but it's not too hard when you
| | 03:50 | move the tools here and then
you use the big handles here.
| | 03:53 | So I'm just going to push this in,
and we are going to render this out, just
| | 03:57 | kind of off to the side, just create
kind of a neat little angle for this,
| | 04:02 | making sure that that backdrop
doesn't get into our shot at all.
| | 04:05 | We don't want to see off the edge of the set.
| | 04:07 | And if we did, all we would have to
do is select the actual set to sweep
| | 04:10 | and then move it over.
| | 04:12 | So our camera shot is good. I like that.
| | 04:14 | But notice this line coming all
the way out. That's our focus.
| | 04:18 | So I can grab that and pull.
| | 04:19 | Now, you're not going to see it
when the camera is not selected.
| | 04:22 | When the camera is selected, you make
sure that the Y, or even the W or E command
| | 04:27 | is on, which is the Move or Rotate.
| | 04:31 | But again, I like to use the Y command,
because it gives me all of those in one tool.
| | 04:34 | And that's our focus for the
camera, so make sure that's set.
| | 04:38 | And where is it focusing?
| | 04:39 | Well, we want to focus it
directly on our objects itself.
| | 04:42 | And when you look at some of the
tools here, there's a number of
| | 04:45 | different settings.
| | 04:47 | There's Resolution.
| | 04:48 | There is our Pixels that we set.
| | 04:49 | There's Motion Blur and Depth of Field,
and then there's the camera for the
| | 04:52 | Focal Length, Lens Distortion, and so on.
| | 04:55 | So for the focus, it's just easy to
move in here, grab that little handle, and
| | 05:00 | pull it right there, and not
worry about a lot of the numerics.
| | 05:03 | We're not really needing to worry
about focus too much on this unless we're
| | 05:07 | turning on Depth of Field,
and we're going to set that up shortly.
| | 05:10 | But it's a good idea to get in the
habit of always keeping that Focal Length
| | 05:13 | there, because if you want to turn on
Depth of Field, that will really help;
| | 05:17 | you won't have to go back later and do it.
| | 05:19 | There's a chance you might want to
come down close and render out the phone
| | 05:22 | handle or maybe one of the buttons and
you want to really create a good bit of
| | 05:26 | realism; that Depth of Field
will really help that shot.
| | 05:29 | So setting up the camera is a matter of
setting the resolution, the size of the
| | 05:33 | image, pushing it in so that we have the
proper frame, setting the right height,
| | 05:37 | rotating, and then setting the focus.
| | 05:39 | That's all there is to it.
| | Collapse this transcript |
| Placing multiple cameras | 00:00 | When you're setting up cameras in modo,
you don't have to work with just one camera;
| | 00:03 | you can very easily set up
as many cameras as you want.
| | 00:07 | Why would you do that?
| | 00:08 | Well, let's say you have got this
beauty shot right here. Perfect for
| | 00:11 | the client's product;
| | 00:12 | that's what you want to do.
| | 00:13 | But he also might want a shot of the
handle, or a shot of one of the buttons, and
| | 00:18 | instead of going and messing up this
camera which took a while to set up and
| | 00:22 | it's perfect and they've approved it, well,
it's better to actually put a second camera in.
| | 00:26 | So let's do that.
| | 00:27 | I have got the 1camera file
loaded from the exercise files.
| | 00:31 | You can load that up or
use any product of your own.
| | 00:33 | I am going to the Add Item list from the
Items tab, and I am going to add a camera.
| | 00:38 | It's a good idea to name these cameras,
so I am going to right-click on it,
| | 00:42 | choose Rename from the top of the list, and
we'll call this close up, CloseUpCam.
| | 00:48 | And then this one, we will right-click
on it, and we'll call this BeautyCam,
| | 00:52 | something like that.
| | 00:53 | Now, we'll take the CloseUp camera and
let's take a look down here in our large
| | 00:58 | viewport. The BeautyCam is still selected.
| | 01:00 | Let's change our view to see what the
CloseUpCam looks like. And of course it's
| | 01:04 | just sitting right in the middle of the set.
| | 01:06 | This is where these handles can come
into play and I can move those around, or I
| | 01:10 | can press the Y command and
just manually move it around.
| | 01:14 | I want this to be nice and close and
while it might be a little bit of
| | 01:17 | trouble to move it here, let's go to
the Display tab and bring the Size down.
| | 01:22 | For the other one, we set it to 0
so it stays relative to our scene.
| | 01:26 | But this one, we're actually going to
shrink it down so it makes it a lot
| | 01:28 | easier to move around.
| | 01:29 | Remember, the Size is literally just a
display; it has nothing to do with the render.
| | 01:35 | Okay, so back to the Y command.
| | 01:38 | Now I can zoom in here a little bit
and just rotate this around. And now we can do
| | 01:45 | a nice close-up of these buttons, perhaps
seeing the client logo or something like that.
| | 01:52 | But let's get even closer, and the way
I am going to do that is with the zoom.
| | 01:56 | So go back to Properties and the Focal
Length is at 50 mm, so let's just zoom in
| | 02:01 | like this, move it down just a little
bit--just keeping the client logo in.
| | 02:07 | So now we've got that CloseUp camera,
but for this camera, maybe we want to put
| | 02:11 | a little depth of field on
to really help that realism.
| | 02:14 | Well, two things have to
happen to do the depth of field.
| | 02:16 | I am going to press the Y key, and
you'll see that with this Transform
| | 02:20 | command on, I get my focus. It's right there.
| | 02:23 | It's that little blue dot.
| | 02:25 | So let's move that dot so that
it's hitting the buttons right there.
| | 02:28 | We want that focus to be right there.
| | 02:31 | You can see if I pull it
through, it becomes kind of faded.
| | 02:34 | When it comes out, it
gets stronger in brightness.
| | 02:37 | That way, I know exactly
where it is. It's right there.
| | 02:40 | You can even see it here too.
| | 02:41 | So with this CloseUp camera,
how do you do depth of field?
| | 02:44 | Well, if you go down to Camera Effects,
Depth of Field is right there. Just turn it on.
| | 02:48 | But I can't see it yet, I am still
rendering from the beauty camera.
| | 02:52 | How do I change that?
| | 02:53 | Well, let's jump to the Shader Tree, select
Render. And the Render Camera is set to BeautyCam.
| | 02:58 | Let's change that to CloseUpCam, and
now you can see this is rendering out, and
| | 03:03 | you can see depth of field.
| | 03:04 | I have to tell you I never did depth
of field much before, because it was
| | 03:07 | honestly a little bit of a trouble to set up.
| | 03:10 | It didn't quite always work the way I wanted.
| | 03:12 | In modo 501 they've really improved it
and simply by turning it on and not doing
| | 03:16 | anything else, we're all ready getting
the look that we want. Very easy to do!
| | 03:21 | You can enhance this still, by coming
to Close Up > Camera Effects and play with
| | 03:26 | the F-Stop, the Iris
Blades, and the Edge Weighting.
| | 03:29 | So I am going to bump this up to F-8,
which means I will get a little bit
| | 03:33 | sharper image throughout,
not quite as much depth.
| | 03:37 | If I widen this F stop, meaning,
I make it smaller, like F-2,
| | 03:41 | I have a much greater depth of field.
And you can see it's just focusing right
| | 03:45 | here and instantly falling off.
| | 03:46 | Now remember, this blue
dot is our focus point, okay?
| | 03:49 | So it might be a little too much for
this, so F-8 is where I want this to be.
| | 03:53 | You'll also see Autofocus, and you can hit that,
depending on where you want that focus to be.
| | 03:57 | I think we set it pretty close manually
but hit Autofocus, a lot of times modo
| | 04:01 | will do a good job of
just lining that up for you.
| | 04:04 | So I'm back to F-8. The Iris Blades,
not going to help much in this one, but
| | 04:08 | let's say you have a larger scene,
maybe a street scene, and you've got lights
| | 04:13 | in the background, and you've got
bright colors on one side and dark colors on the
| | 04:17 | other; those Iris Blades are going to help
blend all of that together, as well as the rotation.
| | 04:22 | The Edge Weighting, if I turn that off,
you can see here that it actually just
| | 04:26 | helps blend that in a little bit better.
| | 04:28 | If I bring it on to maybe 100%, we
get a little bit more blur in the edges
| | 04:34 | there. And let's press F9,
see what our render looks like.
| | 04:38 | Now, this might take a little bit
longer to render, simply because we're doing
| | 04:42 | high definition at 1920x1080.
| | 04:45 | We also have Global Illumination on.
| | 04:47 | We have that Lightboard Balancing,
and we have Depth of Field on.
| | 04:50 | Now, the render quality can certainly
be increased with a number of different
| | 04:54 | settings in the Render panel.
| | 04:56 | We've not set any of those yet, and the
reason you would would be anti-aliasing
| | 05:00 | for smoother edges, and as
well as the blur up here.
| | 05:03 | See how that's just kind of not blurring
enough? It looks like it's just separated.
| | 05:08 | Those are different things we can
set when we do higher quality renders.
| | 05:11 | But for right now this depth of field
is actually looking pretty good, and you
| | 05:14 | can see that it's a little more realistic.
| | 05:16 | Typically, when you have effects like
volumetrics and depth of field and 3D,
| | 05:20 | they kind of get overdone, as do
lens flares and things like that.
| | 05:24 | And in the real world, those things
aren't quite as strong as you might think.
| | 05:29 | And it's just subtle, just a little
bit of depth of field, and it just helps
| | 05:33 | create that realism that
we're after. All right!
| | 05:35 | So here is pretty much the final render.
It took about three minutes to do, and you
| | 05:40 | can see that the depth of
field is working really well.
| | 05:42 | All we need to do is just up the quality,
so that all of this blurs even better.
| | 05:47 | Right now, it's just separating. But just
as a default, it still looks really good.
| | 05:51 | Easy to do: close-up camera, hit the
Autofocus or move it manually, turn on
| | 05:56 | Depth of Field, set the F-Stop, and
you're good to go. Let's close that.
| | 05:59 | Now, if I take the Iris Blades and I
add eight of them, and then I play with the
| | 06:04 | Rotation about maybe thirty degrees, what
that's going to do is actually blend these
| | 06:09 | a little bit better.
| | 06:10 | That's one aspect of helping a cleaner render.
| | 06:14 | The final would actually be more in the
render settings, and we're going to do
| | 06:17 | that when we get to rendering.
| | 06:18 | So we're going to save
this scene as Depth of Field.
| | 06:22 | We'll load that up later, and you can
actually take a look at it from the
| | 06:24 | exercise files, and I will show
you how to make a cleaner render.
| | 06:27 | Finally, when we go to Shader Tree, and
then we can come up to the Render, and
| | 06:32 | then choose BeautyCam, we can choose
which camera we want to work with, whether
| | 06:37 | it's the BeautyCam or the CloseUpCam.
And it's a very, very nice way to work.
| | 06:41 | You can set up multiple cameras.
| | 06:42 | You don't have to do just one or two;
| | 06:44 | you can do as many as you want.
| | 06:46 | So I've used these for forensics.
| | 06:48 | I've used them for accident recreation.
| | 06:50 | There's a camera that's
locked to a car driving on a road.
| | 06:53 | There's a camera that is focusing on
one perpetrator, one is focusing on one
| | 06:58 | police officer, and you can simply
render out each one of those and switch
| | 07:02 | between them in an edit.
| | 07:04 | It's a great way to work, setting up
multiple cameras, and it makes it more
| | 07:07 | flexible in the backend when
you're doing your final renders.
| | Collapse this transcript |
| Animating cameras| 00:00 | A lot of the renders you see from modo
are often just product shots, just still
| | 00:03 | images, and that's terrific.
| | 00:05 | But you do have the flexibility
of actually animating your camera.
| | 00:09 | So I am going to show you how to do that.
| | 00:10 | We've not talked about animation too
much just yet, so before we get too
| | 00:14 | involved in it, I am going
to show simply how it works.
| | 00:17 | Then in the next chapter we will go
through setting up animations from the start.
| | 00:21 | So to animate a camera--let's
first make sure we can see our cameras--
| | 00:24 | I am going to press O on the keyboard and
hit Show Cameras under the Visibility tab.
| | 00:29 | Then we'll move our mouse, and that will go away.
| | 00:31 | Let's select the Camera, and this is the
animateme scene from the exercise files.
| | 00:36 | You don't even need a scene
loaded to animate a camera;
| | 00:39 | you can just load one up and just take
a look and move it around if you like.
| | 00:42 | But it's really pretty simple.
| | 00:44 | What we are going to do is
animate the zoom for the camera.
| | 00:48 | We are not going to worry about moving
it, or anything else; we just going to
| | 00:50 | animate an element of the camera. And to
do that, I am going to come to the Render tab,
| | 00:53 | just so we can see what's happening here.
| | 00:56 | All we want to do is just
zoom in on this over time.
| | 00:58 | So our camera is here in this beauty
shot that we have set up earlier, and the
| | 01:03 | Focal Length is set at 105 millimeters.
| | 01:06 | Well, you see these little dots right here?
| | 01:08 | Anytime you see those, that means
I can actually animate that value.
| | 01:11 | Our timeframe is at 0,
| | 01:13 | so I am going to click and make it red.
| | 01:15 | Just click one time.
| | 01:16 | That's going to turn on the
animation for that camera.
| | 01:19 | Make sure you're in Items, and
make sure the camera is selected.
| | 01:23 | Then what we can do is actually move
down to maybe about ninety frames, three seconds,
| | 01:30 | at thirty frames per second.
| | 01:32 | This Focal Length turns green, meaning
that there is an animation value there,
| | 01:36 | and all we are going to do is just zoom in.
| | 01:39 | And now it turns red.
| | 01:41 | If you drag your timeline, you have
now animated that camera from 0 to 90.
| | 01:47 | When you go to the Render tab, you can
set up these frames from 1 to 90 or 1 to
| | 01:53 | 100, give it a little back end, and a
Frame Step of 1, which will render every
| | 01:57 | frame, and now that camera, when you
render out your animation, will be animated.
| | 02:02 | Just moving it like that.
| | 02:04 | So the camera doesn't have to move to animate;
| | 02:05 | you can animate all those values:
| | 02:07 | you can animate the depth of field,
and you can animate the F-Stop.
| | 02:10 | In this case, we animated the zoom.
And it's just a terrific look for your animations.
| | 02:14 | A lot of people don't do it.
| | 02:15 | They actually just move the camera,
but I really like animating the zoom in
| | 02:19 | combination with moving it.
| | 02:20 | I think it gives that a really
unique look, as well as realistic look.
| | 02:24 | So try that out and see what you can
come up with when you animate your camera.
| | Collapse this transcript |
|
|
8. Building an AnimationUnderstanding the timeline| 00:00 | modo is known for a great modeling
program, but over the years they have
| | 00:04 | added in animation.
| | 00:05 | A lot of people I know
don't actually animate in modo.
| | 00:09 | They just render out stills.
| | 00:10 | But you can animate, and I
am going to show you how.
| | 00:12 | I've clicked over to the Animate tab,
which is a preset in the 501 default layout,
| | 00:17 | and at the bottom you can
see a very nice timeline.
| | 00:19 | You will see some play buttons, and
you will see some keyframe buttons.
| | 00:23 | Let me show you what all these mean.
| | 00:24 | We're going to work simply just with
this camera. So I am going to move mouse
| | 00:27 | over, making sure I am in the Items tab
here, and we're going to click on this
| | 00:32 | to activate the camera, and
we're going to animate this.
| | 00:34 | We're just going to move it around
in our scene, just so you could see
| | 00:36 | how keyframing is done.
| | 00:38 | It's a little trickier in modo than it
is in most programs, but it can still
| | 00:42 | work very well for you.
| | 00:43 | One thing that's nice is that anywhere
you see these little dots, that means
| | 00:48 | that value can be animated.
| | 00:50 | So we can animate the Scale, the
Rotation, the Position--anything we want.
| | 00:54 | You will even see in the Shader Tree,
when you go to any type of material, that
| | 00:59 | these values can be animated as well,
the Color, the Specular, the amount of
| | 01:03 | diffuse for a surface, and so on.
| | 01:05 | All of those values can be
animated, so kind of keep that in mind.
| | 01:08 | To set up animation, it works like this.
| | 01:11 | For the Camera, we're going to be doing motion,
| | 01:13 | so I am going to press the Y command,
which is my big Transform tool right there,
| | 01:18 | and you'll see that we've got this
timeline I can click and drag through.
| | 01:23 | Down here at the bottom
you've got two sets of numbers.
| | 01:27 | At the end, you've got another two
sets of numbers. And notice that this 120
| | 01:30 | frames matches this 120.
| | 01:33 | We're working in 30 frames a second,
so we're set through 4 seconds at 120.
| | 01:38 | If I change this to 300, what
happens is that I still see 120, but my
| | 01:43 | preview now is shorter.
| | 01:45 | What this means is our preview
frames and our full animation frames.
| | 01:49 | Why is it like that?
| | 01:51 | Well, let's say you have a really long
animation that's perhaps even 3 minutes long.
| | 01:56 | Well, that's quite a few keyframes;
in fact, 1 minute is 1,800 frames.
| | 02:01 | That would be a really long timeline,
like this, and it's kind of hard to
| | 02:05 | actually work through all
those equally and visually.
| | 02:09 | So what you can do is set a smaller
number for the preview, because you're going
| | 02:14 | to only work on one section at a time,
and then I can drag this Preview bar at
| | 02:19 | the bottom and just work on that section.
| | 02:21 | If I want to see my whole timeline again,
I can just double-click on this and it
| | 02:25 | will expand all the way out.
| | 02:27 | So that's what these numbers are:
| | 02:28 | your preview and your final frames.
| | 02:32 | You can also set a pre-roll, and what
a pre-roll is good for is if you have
| | 02:36 | something that's already in motion
when your animation starts. So you can
| | 02:39 | actually have a negative
number, like -30 perhaps.
| | 02:43 | Your scene would start 30 frames, or 1
second, before the actual render at frame 0.
| | 02:49 | So let's say a character is running.
| | 02:51 | Well, you wouldn't just want to start at
frame 0 and all of a sudden he starts running.
| | 02:55 | When that frame comes in to render,
you want him already in full motion.
| | 02:58 | So you'd have a pre-roll; he would just
start before that. And we can just zero this out.
| | 03:04 | Let's talk about how to create
keyframes and what a keyframe is.
| | 03:07 | All a keyframe is is telling the
timeline for that particular item, and in this
| | 03:12 | case our camera, you are here locked in
at this time. And we're going to set a
| | 03:18 | Key for it, and you just click the
button, and when you do, you'll see that
| | 03:22 | little dot right there.
| | 03:23 | That means you've created a keyframe.
| | 03:25 | What did I create a keyframe for?
| | 03:27 | Well, come up here to the Camera
Properties, and notice that the Position and
| | 03:30 | Rotation now have red dots on them.
| | 03:33 | If I move my mouse over these, you can
actually see the Channel State, and red
| | 03:38 | means a key at the current
timeframe. Green means it's animated.
| | 03:43 | If it's just blank, there's
no channel animated at all.
| | 03:45 | You can have mixed, and you can have
driven channels as well from other items.
| | 03:49 | But for the most part you're
going to work with on and off.
| | 03:52 | You're going to see red,
green, and just nothing.
| | 03:55 | So we have a keyframe set right here,
and we have a red dot signifying that
| | 03:59 | there is a keyframe for Position and Rotation.
| | 04:01 | Now, I don't want 1,800 frames, so
we're going to come back to 120.
| | 04:05 | That's all we need for this animation.
| | 04:08 | Let's say that at frame 30, just 1 second,
| | 04:10 | we want the camera to be over here, so I am
just going to move it. And look what happened.
| | 04:16 | We get a green line and another keyframe
automatically, and because we only move
| | 04:21 | the Position, new keyframes are
made, but the Rotation stays green.
| | 04:25 | That means that Channel is animated, but
there's only keyframes at Position, and
| | 04:29 | why did that happen?
| | 04:30 | That's because of Auto Key,
down here at the very bottom.
| | 04:33 | Auto Key says Animated, and what that
means is once I set a keyframe, everything
| | 04:38 | else will start
automatically creating keyframes for me.
| | 04:41 | You can turn this off, or you can create
it for every single thing in the scene.
| | 04:45 | In this case, Animated works the best.
| | 04:48 | So how did this apply here?
| | 04:50 | If it were set to All, when I had
moved this camera at frame 30, I would have
| | 04:55 | seen keyframes for my
Rotation as well as Position.
| | 04:58 | But since it was set just to Animated,
and the only thing I animated was the
| | 05:02 | position of the camera,
| | 05:04 | that is what got keyframes.
| | 05:05 | So most of the time you don't even have
to adjust this; just leave that by itself.
| | 05:09 | You will also see down here a few
more buttons, and these are key position
| | 05:13 | channels on selected items, key
rotation channels, and scale channels, and then
| | 05:18 | you have a drop keyframe
if you want to remove on.
| | 05:20 | But I have to tell you, I rarely use those.
| | 05:22 | I manually do it right here.
| | 05:24 | I just kind of open this up like this,
| | 05:27 | you just click and drag that up, and
you'll get a Channel bar here. And what I
| | 05:31 | can do with this is click right on
these channels and adjust them. Or I can
| | 05:35 | right-click on it, cut it, copy it, move it,
and so on, and this works the same on PC or Mac.
| | 05:41 | Let's jump up to frame 60, and what
I am going to do then is rotate the
| | 05:45 | camera, and since I only rotated it
on the Y axis, look what happens: just
| | 05:49 | the Y is keyframed.
| | 05:51 | Now, if I go to 90, I'll move this over.
| | 05:54 | So all I am doing is moving my
timeline and telling my item, you're here at
| | 05:58 | this particular time.
| | 06:00 | Down here, we've got the Rewind button, so
I can click that back to the first frame.
| | 06:04 | Here's a play button, play forward,
camera turns and goes that way.
| | 06:09 | Isn't that fantastic?
| | 06:11 | What a fantastic motion.
| | 06:13 | It's not really fantastic
motion, but it does the job.
| | 06:16 | And that's how easy it is to keyframe in modo.
| | 06:18 | There is a lot more you can do when
it comes to keyframing, in terms of
| | 06:23 | keyframing your color, keyframing
your reflections, keyframing scale, zoom,
| | 06:28 | depth of field, as well as adjusting
those keyframes in the graph editor, and
| | 06:33 | we're going to cover that in this
chapter in some upcoming videos.
| | 06:36 | But just to start simply, rather than
setting up a whole scene and objects and
| | 06:40 | animating the camera through, get a feel
for animating just by moving the camera
| | 06:44 | around, perhaps moving the light around,
and see how that feels to you, adjust
| | 06:48 | those keyframes by clicking on them
and sliding, and remember, we've got this
| | 06:52 | extra timeline bar here just by
clicking and dragging up. That's all I have to
| | 06:56 | do just to adjust these. Try this out.
| | 06:58 | Keyframing is a very easy way
to put motion into your scene.
| | 07:02 | It does not have to be large motions.
| | 07:04 | It could be very simple, smooth
camera moves, just to demonstrate a product
| | 07:09 | shot, perhaps to look at an animated
logo. Anything you can think of can be
| | 07:13 | animated inside modo.
| | Collapse this transcript |
| Adding and controlling keyframes| 00:00 | Once you set up an animation and it's saved
with your scene, you might need to go in
| | 00:04 | and tweak some of it, or add some
keyframes to an existing motion.
| | 00:07 | So I've loaded up the camerazoom file
from the Chapter 8 folder, and what this
| | 00:12 | is is a camera that has an animated
zoom. You can see over here that the
| | 00:17 | focal length has keyframes, because
it's dot is red. Hold the legend there, and you
| | 00:21 | can see that this is animated key at
the current time, and you can see down
| | 00:25 | here in the timeline that the
animation goes from 0 to 90 frames, meaning it's
| | 00:30 | three seconds long.
| | 00:32 | And all that's happening is that
the camera is zooming over time.
| | 00:35 | Let's hold the Ctrl key and move our
mouse up to this tiny little dot in the top-
| | 00:41 | left corner, hold the Ctrl, and click and
swipe down, and you can pull that panel
| | 00:45 | right off, just have another view.
| | 00:48 | At the same time, if you just kind of
swipe to the right, it'll actually be in the
| | 00:53 | viewport itself. And what I can do is
change this to a camera view. So here our
| | 00:57 | camera is fixed, but it's zooming in.
| | 01:01 | Well, that's looks good, but maybe at
frame 90, or even at frame 120, I want
| | 01:07 | camera to be off to the side a little bit.
| | 01:09 | Well, how would I edit these
keys to do that? The zoom is fine.
| | 01:13 | We don't want to adjust that;
we just want to move the camera.
| | 01:16 | So let's take a look back at zero, what the
keyframe is for the camera that position.
| | 01:22 | And the way I'm going to do this,
open up the transform category here, and
| | 01:25 | notice that the position rotation
for the camera at frame 0 are all empty.
| | 01:30 | There is no keyframe there.
| | 01:31 | Well, the easiest way to do this is
press Shift+Y. It's a quick shortcut on the
| | 01:37 | keyboard to create keyframes for the
whole set. That means now I have a position
| | 01:42 | keyframe for the camera. I can press the
Y command on my keyboard and simply go
| | 01:47 | up to frame 120, and I'm just going to
move that camera off to the side, and then
| | 01:53 | I'm going to rotate it. That's it.
| | 01:56 | So what happened now, if you look,
keyframes at frame 120 are now added for just
| | 02:02 | the channels I moved. And those are
mixed now with the zoom factor, so when I
| | 02:08 | play this animation, it's zooming in and the
camera is just slowly moving around to the left.
| | 02:16 | But what is nice about this is that the
zoom stops before the camera stops moving.
| | 02:22 | You don't often want your camera, or
any other object, to just start and stop.
| | 02:28 | We don't want the zoom to start and stop at
90 and the move just stop and start at 90;
| | 02:33 | we want to give it a little bit more
life and little bit more realism. And that's
| | 02:37 | the way to do it. Just go beyond that
one, so we have an extra second of motion
| | 02:42 | after the zoom catches in.
| | 02:45 | You'll also notice that the camera slows
down very nicely, and this is something
| | 02:49 | that I think was really great
that the modo developers put in.
| | 02:52 | Most animation systems in most 3D
program are very linear, and by default these
| | 02:59 | motions are actually very smooth.
| | 03:02 | So in an upcoming video, I'm going to
actually show you how these work in the
| | 03:05 | Graph Editor, and how
you can adjust them on your own.
| | 03:08 | So by adding a little bit more motion
into your scene, between a zoom factor
| | 03:13 | animated and a slight
left and right motion on the x axis,
| | 03:16 | you can create a very
nice-looking, quality animation.
| | Collapse this transcript |
| Fine-tuning keyframes in the Graph Editor| 00:00 | Sometimes just manually placing
keyframes in the scene doesn't often quite give
| | 00:04 | you the look you want.
| | 00:05 | In our previous exercise, we animated the
camera's zoom, as well as its motion, and
| | 00:10 | it looked just great.
| | 00:12 | But here on a simple move like
this--and I'm going to rewind here--
| | 00:15 | you're going to see that this camera
moves up, turns, and just kind of floats
| | 00:20 | there in the middle.
| | 00:21 | It's not quite what we want.
| | 00:24 | Well, how do you fix something like that?
| | 00:27 | Well, that is all done in the Graph Editor.
| | 00:29 | So let's get in there and fix that.
| | 00:31 | To get to the Graph Editor, you can
click this little envelope right down here,
| | 00:34 | and it says Graph Editor.
| | 00:35 | And you get this nice panel that might look
overwhelming at first, but it's really not.
| | 00:40 | And what happens in here is
specific control over every motion channel.
| | 00:45 | If you take a look at the camera, we've
got the position, the rotation, and the
| | 00:49 | scale all keyframed.
| | 00:50 | Now, scale doesn't really need to be
keyframed, but we just generally keyframe
| | 00:54 | the whole thing and it's just added into it.
| | 00:56 | You'll also notice that if we have
keyframes for any of the other values, the
| | 01:01 | F-Stop, the Depth of Field, the
Target, the Focal Length, and so on, they
| | 01:04 | will be in here as well.
| | 01:05 | For right now, we just want to be
concerned with the rotation and position.
| | 01:08 | When you select any of these channels,
you see them up here in the Graph Editor.
| | 01:13 | Sometimes they're not so visible.
| | 01:15 | And just like you would in the layout, you
press the A key to fit everything to view.
| | 01:20 | So I'm going to select the first channel,
hold my Shift key, and add some to the
| | 01:24 | selection, just selecting all of my
position channels. And I'll press the A key
| | 01:27 | to fit, and that will
bring all of those to view.
| | 01:30 | So here you can see, if we take a
look at just the X, look what happens;
| | 01:33 | it kind of extends out and then down.
| | 01:36 | Well, what's the X motion?
| | 01:38 | Well, if you take a look at your camera,
and I press the Y command, the X is
| | 01:43 | this left and right;
| | 01:44 | it's that red keyframe channel.
| | 01:46 | And if I drag through the Timeline in
here, you can see that right at that X, it
| | 01:50 | kind of extends out a little bit.
| | 01:51 | Let's take a look at that again.
| | 01:53 | See, it goes up and down.
| | 01:55 | But take a look at this. See
these little handles right here?
| | 01:58 | I can actually grab those, almost like
Bezier handles, and adjust that motion.
| | 02:03 | And this way that X channel now stays straight;
| | 02:06 | it doesn't actually swing out around
and do a trucker's turn, if you will.
| | 02:11 | The next thing, I want the rotation to
happen as we're coming into the curve,
| | 02:16 | rather than at that curve and turn.
| | 02:19 | How would I do that?
| | 02:21 | Well, the rotation is on this channel;
| | 02:23 | that's the Y. The green is my Y channel.
| | 02:26 | So let's take Rotation Y and look what happens.
| | 02:30 | It's the same thing. Okay.
| | 02:32 | First, we're going to fix that so it stays
level and it doesn't swing out. That's number one.
| | 02:39 | Then we get a much sharper curve right there.
| | 02:42 | But we want it to happen sooner.
| | 02:45 | So all I need to do is adjust this
keyframe. And let me see if I can move this
| | 02:49 | so you can see both here.
| | 02:50 | I'm just going to click on the very
bottom corner of this Graph Editor.
| | 02:54 | We'll size that up.
| | 02:56 | I can take this keyframe right here and I
can actually shift it. So look at the turn.
| | 03:01 | So now the camera is actually
turning a little before it gets in there.
| | 03:10 | And now it doesn't look
quite like it's drifting;
| | 03:13 | it turns and then goes.
| | 03:15 | If you'd like to adjust it some
more, bring it back some more.
| | 03:23 | And by the same token, you can actually
take this last keyframe and pull that back.
| | 03:28 | And again, we're only adjusting
the rotation for the Y channel.
| | 03:36 | And that way when the camera
turns around to the right side, it's
| | 03:38 | completely straight.
| | 03:40 | So it's really pretty
easy to adjust these motions.
| | 03:45 | But you'll also notice it's
kind of sliding a little bit.
| | 03:47 | Let's take a look at the other channels.
| | 03:50 | So here's the Rotation Z.
| | 03:51 | I'll press the A key to fit.
Not much happening there.
| | 03:54 | Rotation X, it's also not much happening.
| | 03:57 | The only rotation we did was on the Y.
So we're pretty much done with the Y channel.
| | 04:01 | Position Z starts out smooth and ends okay.
| | 04:05 | But look at after that keyframe; it goes way down.
| | 04:08 | That could be an issue.
| | 04:10 | And then if you look at the
Position Y, well, that's up and down;
| | 04:14 | we're really not adjusting that keyframe.
| | 04:16 | We didn't move the camera up and down.
| | 04:17 | So the Position Z is what we want to edit.
| | 04:19 | And all I'm going to do is
simply go to this keyframe at 31.
| | 04:24 | And again, you can grab these
handles and adjust the motion of this key.
| | 04:29 | So for instance, I can
actually stretch this out.
| | 04:32 | And what this will make it do, the
motion will ease out of that first frame,
| | 04:36 | come down, and then ease
into this one and keep going.
| | 04:39 | The only problem with doing that is that
it might slow it down a little too much.
| | 04:43 | Let's take a look.
| | 04:48 | So, not quite the motion we wanted.
| | 04:50 | It slows it down too much right there.
| | 04:52 | But it can give you a good
idea of how these keyframes work.
| | 04:55 | So I'm going to shorten this back up
and make it really short and then just try
| | 04:59 | and turn it around like that,
| | 05:02 | and then we are going to adjust this
keyframe up like that, so it ends a
| | 05:08 | little bit smoother.
| | 05:14 | So what's happening here is you'll
see a very sharp turn, rather than the
| | 05:17 | original frame, which just had it kind
of drifting through there, and then it
| | 05:21 | comes and slows down.
| | 05:24 | And that's all through the Graph Editor.
| | 05:26 | There's a lot more you can
do with the channels in here.
| | 05:28 | If I select all of these motions--just
click the first one, hold the Shift key,
| | 05:32 | and select the last--I can take all of
these and change it from a curved motion
| | 05:38 | to a linear motion, and
suddenly everything is straight.
| | 05:41 | Now, you really wouldn't want to do
this on something like a camera that
| | 05:44 | we've just animated.
| | 05:45 | You would do this more
on a mechanical animation.
| | 05:47 | It has to be very linear. More like a
piston or some kind of machinery that's
| | 05:52 | moving A to B and doesn't
have any smooth stop-and-go.
| | 05:55 | But in this case we do want it to be a curve.
| | 05:58 | And over here you can change the Slope from
Auto to Flat and it will flatten out those.
| | 06:03 | You can change it to Auto Flat, which often
fixes a lot of the things we just did manually.
| | 06:09 | So as we build more animations, we'll
actually use these keys and control them
| | 06:14 | right inside the Graph Editor.
| | Collapse this transcript |
| Animating nontraditional elements| 00:00 | One of the things I've been doing in 3D
for many, many years is animating things
| | 00:04 | that normally you wouldn't think to
animate, and in this case, I'm going to
| | 00:08 | animate a texture in modo.
| | 00:09 | Obviously, we can animate cameras, and we
can animate motions. I've showed you
| | 00:13 | earlier how we can animate the camera
zoom alone just to create a little bit
| | 00:17 | more interest. But there is a lot of
time you might not think about actually
| | 00:21 | animating the texture.
| | 00:22 | Why would you do that?
| | 00:24 | Well, I've done it for
animated cells as a background image.
| | 00:27 | You can do it as an element that
you're going to drop back in over a video edit
| | 00:32 | and you're going to put graphics on
top of it just for design elements--all
| | 00:36 | kinds of things like that.
| | 00:37 | So what I have set up here, very
simply, is a flat board and on that board is
| | 00:42 | a base color, which doesn't really matter,
because we're overriding it with a Marble Noise.
| | 00:47 | This is added as a Enhance modo Texture
from the Noise category. And what we're
| | 00:52 | going to do with this is simply just
animate this value. And how do you do that?
| | 00:56 | Well, again, anytime you see these little dots
that means one of those values can be animated.
| | 01:02 | So I'm going to pull all this
up so you can see everything.
| | 01:04 | What we have here is just this base
color of brown and the top color as beige.
| | 01:10 | Now if you just simply click on some
of these and drag, you can actually see
| | 01:14 | that preview render start to change.
And I'm going to put the Ray GL, might be
| | 01:17 | able to see it a little better in here.
What's happening is that I'm actually
| | 01:22 | just animating this value.
| | 01:23 | Here I'm just of course clipping it away.
| | 01:26 | So that's kind of a neat thing.
| | 01:27 | I've used this. I had a project for
The American Dental Association a number of
| | 01:32 | years ago, and we had to
animate plaque building on.
| | 01:36 | So in combination with some other
techniques, just adding on this value looked
| | 01:42 | like the plaque was appearing on the
teeth, so kind of keep that in mind--and you
| | 01:46 | would just set a keyframe for that.
| | 01:47 | But in this case what I want to do is
play with some of the frequency, and what
| | 01:51 | I'm going to do is just bring this
Frequency down to about 1. And we're going to
| | 01:55 | be at frame 0 like this, and we're going
to hit the little button right here and
| | 02:00 | that's creates a keyframe for this
value, sets it to 1 at frame 0. And then at
| | 02:06 | frame 120, we're just going to drag our
Timeline over to 120, and then we're going
| | 02:11 | to drag the Frequency up, and then
over time that value is now animated.
| | 02:17 | Now you can do all kinds of things with this.
| | 02:20 | You can change the Noise Seed if you want.
| | 02:23 | And what the Noise Seed will do, it will
just push that around, just move it all
| | 02:27 | around, almost like it's swimming.
| | 02:29 | Now you take that to the next level by
taking the camera, and let's open this up.
| | 02:35 | Let's take the camera itself right here,
and that's at frame 0, and we're going to
| | 02:44 | press the Y command for the camera.
| | 02:46 | Notice when I do that that the
timelines blanks out, because that's suddenly
| | 02:50 | activated the Position and Rotation
channels. And then if I'll hit Shift+Y, I
| | 02:54 | incidentally create a keyframe for all of that.
| | 02:57 | Then I'm just going to push the
camera in just a little bit up here in the
| | 03:01 | Perspective view, okay, and that's
going to adjust those keyframes. And then at
| | 03:05 | 120 I want this to actually just kind
of come out a little bit, and we're just
| | 03:09 | going to rotate it on the
bank, just a little bit.
| | 03:13 | So my final animation will actually
see these textures just kind of swimming
| | 03:18 | around, and then the camera's pulling out as
you see that, almost very scientific like.
| | 03:24 | So we'll come back and we'll render
this out, so you can actually see, #1, how to
| | 03:29 | set up a render, but #2,
how that final render looks.
| | 03:32 | So this scene is called non-traditional,
and you can call that up and take a look
| | 03:37 | and adjust it yourself.
| | 03:38 | One last thing I'm going to do for this
Marble Noise is adjust the Noise Seed.
| | 03:44 | I'm going to animate that as well.
| | 03:45 | So again at 0, the Noise Seed I'm
going to set to 250, like this, and I'm also
| | 03:51 | going to adjust my Frequency to about 3,
just like that, just so it's not so
| | 03:57 | streaky. And then we're going to go
back to 120, and I'm going to adjust the
| | 04:01 | Frequency back to 6, and the Noise,
we're going to double to 500.
| | 04:06 | And that way it still looks the same
at our first frame and our last frame.
| | 04:10 | We don't want to adjust it so much
that the texture actually looks different;
| | 04:13 | we just want to move it around--and that's all
we did by changing the Noise and the Frequency.
| | 04:18 | So when it comes to animating in modo,
don't just think of actual motions; think
| | 04:22 | of values, think of lights, think of
textures, think of colors that you can
| | 04:27 | keyframe every one of those and
make a much more dynamic animation.
| | Collapse this transcript |
| Animating colors| 00:00 | There are times when we have
certain objects that you want the color to
| | 00:03 | change over the time.
| | 00:05 | This could be an aging apple.
| | 00:06 | It could be an environment like a sunset.
| | 00:09 | So what I want to do is show you how to
animate those colors right here in modo.
| | 00:13 | What I have here is a very simple scene.
| | 00:15 | This is called animatecolors. And it's
nothing more than a flat polygon with
| | 00:20 | the default directional light hitting
it and the default camera focused right
| | 00:25 | at it. Simple enough.
| | 00:27 | In the Shader Tree, we have a
material set up for the Color panel. And what
| | 00:30 | we're going to do is select that, and
then we're going to come over here--and
| | 00:33 | what you're seeing here is
actually keyframes from the camera.
| | 00:37 | So what we want to do is make sure that
camera is not selected in the Items tab.
| | 00:40 | We're going to select the plane itself,
and in fact you can even just click off
| | 00:45 | of it, and that will help
clear up all of these tabs.
| | 00:47 | You see, when you're in modo, you can
click the camera, and then you can also
| | 00:51 | click and turn on a material and
you'll get all these extra tabs down here.
| | 00:56 | Sometimes they get in the way, so if
that's the case, just click the Scene
| | 01:00 | button up here, then go back to the
Shader Tree, and you'll have just the
| | 01:03 | Material categories you need.
| | 01:05 | Originally, if you remember, we had
the Camera Reference and the Camera
| | 01:08 | Settings, because the camera was selected in
addition to the material. So, just to keep organized.
| | 01:14 | Now with the Material selected, we have
our base color of white, but notice that
| | 01:18 | this Diffuse Color also has a keyframe
button, so we can now easily change its
| | 01:23 | keyframe over the time.
| | 01:24 | So I'm going to click on that. And we are
at frame 0, meaning it's white at frame
| | 01:27 | 0. And then let's go to frame 12, and
we'll click and drag right on here to change
| | 01:33 | the color to kind of a cyan, to a teal.
| | 01:36 | But notice that because I already
have a keyframe and my Auto Key is set to
| | 01:40 | Animated, when I went to frame 12,
another keyframe was created and we have an
| | 01:44 | animated timeline in between.
| | 01:46 | I'll come to 24, change it to blue,
go to 36, and we'll bring this back up,
| | 01:55 | maybe to white, go to 48, click on
the color, change it to red, and so on.
| | 02:02 | You get the idea, that all we're doing is
just changing this color over the time.
| | 02:07 | When I play this back, you get the
cycling colors. And right now the RayGL is
| | 02:15 | on in this view; we can turn that
off, don't necessary need that.
| | 02:20 | So from the front, it's white, to teal,
to blue, fading in between all these
| | 02:25 | different colors. So, a very nice easy
way to create an effect that you can put
| | 02:29 | on the material for a light source.
| | 02:32 | So you can copy this material by
right-clicking on it, choosing Copy, and then
| | 02:36 | you can go to something like the Light Source.
| | 02:38 | You can place that down for the
material for the light, and let's say you're
| | 02:42 | animating a nightclub or some kind of disco.
| | 02:45 | You would have an animated light cycling colors.
| | 02:48 | You're doing a stage play.
| | 02:49 | You would have those animated lights.
| | 02:50 | You can put them on other objects as well.
| | 02:53 | So animating colors, animating the
shadow, all of these values that have
| | 02:57 | the little thumb marks are easily
animated just by clicking on it, creating
| | 03:00 | keyframes like I've shown you,
moving to a different point in time, and
| | 03:03 | changing that value.
| | 03:05 | Lastly, when we come back up to the
Material, if we come down and select the
| | 03:09 | little envelope and open the Graph
Editor, you can actually see what we did
| | 03:12 | here. And if feel like tweaking any of
these, you can very easily just select
| | 03:16 | the color to Diffuse RGB is what we animated.
| | 03:19 | You can select the individual channel,
or of course select all of them, and then
| | 03:24 | you can change how those channels
interact by grabbing the handles and adjusting
| | 03:28 | each one of those motions.
| | 03:30 | You can mouse over, with the left mouse
button, all of these, change it to Linear
| | 03:36 | and then when you come back and play this,
you are going to get a sharper change
| | 03:42 | in between each of them.
| | 03:45 | If you come back like this and change
this to Stepped, now it's going to be a
| | 03:50 | lot rougher in between each of them.
| | 03:52 | And it's just the different way modo
handles each one of these motions.
| | 03:57 | So now it just kind of cycles through
each one of those, and it doesn't blend.
| | 04:03 | It just jumps in between each.
| | 04:08 | Perhaps you want to animate a
computer screen with a flashing monitor.
| | 04:11 | That's a good way to do it.
| | 04:13 | And then of course, you can come back
and change its Slope to Auto Flat and
| | 04:16 | change this back to Curve, and it
now evens these out very nicely.
| | 04:23 | So using the Graph Editor, adjusting
keyframes, setting that Diffuse Color to
| | 04:27 | Animate, you can also add some unique
differences to any of the elements in your
| | 04:32 | scene. Animating colors, animating
lights, and even animating textures on your
| | 04:37 | objects is all easy to do.
| | Collapse this transcript |
| Animating displacement maps| 00:00 | In this chapter, we've talked about animation.
| | 00:03 | We've animated the camera.
| | 00:05 | We've animated colors.
| | 00:06 | We've animated textures.
| | 00:08 | We've put the camera in motion
itself, and animated the depth of field.
| | 00:12 | But sometimes you want to
animate a displacement map.
| | 00:14 | So I've loaded up the landscape.
| | 00:16 | This is from Chapter 8, and here we've
got just a simple rough landscape.
| | 00:20 | You can animate that displacement map
on there to create those moving bumps.
| | 00:25 | You can do something like this for an ocean.
| | 00:27 | You can do it for medical textures
and all kinds of things like that.
| | 00:31 | So the way this is going to work,
| | 00:32 | we're going to jump to the
Render tab. Landscape.lxo is opened.
| | 00:36 | From the Shader Tree, we're going
to open the render, and there's our
| | 00:40 | displacement map applied earlier.
| | 00:41 | What we're going to do is
go to the Texture Locator.
| | 00:45 | What's interesting about animating a
displacement map is that we don't really
| | 00:48 | want to move the position too much left
and right because, well, yeah, it would just
| | 00:53 | move it over, and you can do that if you want.
| | 00:55 | That's fine. Nothing wrong with that.
| | 00:57 | But if you play with the size on the Y
axis, you get this really cool kind of
| | 01:02 | bubbling type of look. And the reason
I'd like to do this is that I've actually
| | 01:06 | had projects where we needed to
create lava, bubbling water in a pot.
| | 01:11 | And you can do that just by animating
this Y value on the displacement map.
| | 01:16 | Now when you do this, it's going to
pull the texture a little bit, so you can
| | 01:18 | see here that my camera needs to be
zoomed in just slightly so that it
| | 01:21 | doesn't show underneath.
| | 01:24 | So here's how we're going to do it.
| | 01:25 | We're going to select the Size right
here, we're going to have keyframe down
| | 01:28 | to zero, and then we're going to click
on the red button right there, and that
| | 01:33 | says create a keyframe for that
displacement. We have Dented Displacement
| | 01:38 | selected, so it's one meter.
| | 01:40 | That's its position right now, at zero.
| | 01:42 | Well, how much do we want to
animate it? How does that work?
| | 01:45 | Well, again, look at the grid
down here, 500 millimeters.
| | 01:50 | That means two grids is 1 meter.
| | 01:52 | So if I move this 1 meter to 2, keep an
eye on the Camera view up here and see
| | 01:58 | what that render looks like.
| | 01:59 | When I hit Return, you can see how
it doesn't actually jump too much.
| | 02:03 | So that's good, so let's keep that at 1.
| | 02:06 | Let's go to frame 60, bring it to 2,
and then at 120, let's bring it to -1.
| | 02:13 | And then if you open the Graph
Editor down here at the bottom, you can see
| | 02:16 | from the Displacement Dented texture, we'll
select the Scale, the red channel, and here it is.
| | 02:23 | This is the motion we just created.
| | 02:25 | At frame 0, it's 100%. We come up
at frame 60 to 200%, which equals to 2
| | 02:30 | meters, and then we come
down to -100%, equal to -1 meter.
| | 02:36 | So what does the final look
like for something like that?
| | 02:38 | Hit the Rewind button, go to first
frame, hit the Play button, and you'll see
| | 02:43 | in the Preview window.
| | 02:45 | Now because it's a displacement map, it
doesn't quite play back in real time, so I'm
| | 02:49 | just going to slightly go through here.
| | 02:51 | And what you're going to see is that
displacement is just kind of bubbling all
| | 02:55 | over the place. And I'm doing it a little
bit exaggerated for this animation, but
| | 03:01 | think of it on a simple scale for an ocean.
| | 03:04 | We can do really nice little waves
with something like this, animating
| | 03:07 | the displacement map.
| | 03:08 | Okay, so at the same time, you
can also animate the bump map.
| | 03:12 | If you play with the size on the Y
axis, because there really isn't a Y axis
| | 03:17 | for this bump, it will suddenly move
that bump map around. It would give
| | 03:22 | it a really neat look.
| | 03:23 | We can certainly just move it by
changing the position and animating that. You
| | 03:28 | create the keyframe there at frame 0,
move it to another frame, create a
| | 03:31 | different value, and so on.
| | 03:33 | So keyframing in modo is really pretty
easy. Remember that any of these dots
| | 03:37 | that you see on any of the values,
even world transform, world coordinates,
| | 03:41 | projection type, and so on,
every one of those can be animated.
| | 03:45 | It's up to you to test it out and try
it and see what kind of effects you
| | 03:48 | can come up with, and set up
cool animations directly in modo.
| | Collapse this transcript |
|
|
9. Creating HairWorking with Hair Guides| 00:00 | modo creates amazing-looking surfaces,
from glass, to smooth textures, to bump maps
| | 00:05 | and displacement maps, but you
can also put hair on an object.
| | 00:08 | So what I am going to do in this
video is show you how that hair works.
| | 00:12 | I am going to hold the Shift key, and we
are going to click on the sphere, just
| | 00:16 | so we have some geometry to work with.
| | 00:18 | I just press the A key to fit that to
view, and then we are going to jump over
| | 00:21 | to Paint tab. And in the Paint tab you
are going to see the Sculpt tool, the
| | 00:25 | Paint tools, and then the Hair tools.
| | 00:27 | And of course when you have geometry, you
will see all of the tools available to you here.
| | 00:31 | I'm going to go ahead and zoom out just a
little bit, so you can see this.
| | 00:34 | Down at the bottom, there's actually
a number of presets for sculpting, so we are
| | 00:38 | not going to use those right now.
| | 00:39 | There are also presets for painting
and some brushes that we can use later.
| | 00:44 | But for the Hair tools, all we really
want to do is turn on the Hair guides.
| | 00:48 | When that's on, just like any tool in modo,
click and drag and you'll activate the tool.
| | 00:52 | You can set the number of segments
right here, so we have seven segments, but
| | 00:57 | what does that mean?
| | 00:58 | That means every strand actually is
made up of seven different segments.
| | 01:02 | You might not need that much.
| | 01:04 | If you are going to curl them, you
might, but in most cases you can keep this
| | 01:07 | about four, and the more you put on,
the more memory it's going to take.
| | 01:11 | You can play with other tools in
here--and I am going to open some, so you
| | 01:14 | can see it--the Max Number of Hair
Guides, the length of each guide, the
| | 01:19 | Blending mode, we want Gravity on or
the View Directions so it's actually
| | 01:23 | sticking straight out.
| | 01:24 | You can change the Bend Amount and have it
detect collisions, so, really easy to set that up.
| | 01:30 | As I move down here, you can set the
Guide Color > Tip Edit Mode, but really what
| | 01:34 | you want to do with these is just kind
of comb it and push it around, and it's
| | 01:38 | fun to do that with some of these tools.
| | 01:40 | So let's call up here Push, and this
works like a brush. And if you use your right
| | 01:44 | mouse button, you can set the range of
that brush, the size of it, and literally
| | 01:48 | come in here and start painting, or
brushing your hair. A very nice way to work.
| | 01:54 | You can smooth out some of the hair
like this, just so maybe it's flat on
| | 01:58 | the top of this head. You can comb it.
| | 02:03 | You know, we got to get rid
of that cowlick up there.
| | 02:05 | You can move it around just by
clicking and dragging on these, and if you
| | 02:09 | right-mouse to close this brush a
little bit, it won't have as much influence,
| | 02:13 | and as such you can be a little more
precise in pulling hairs; rather than
| | 02:17 | pulling the whole clump,
you are pulling just the one,
| | 02:20 | just so it looks more
random, which is really nice.
| | 02:23 | You can curl and again, works like a
brush, use the right-mouse button. And as
| | 02:27 | you paint and I am just kind of painting like
this, I am actually curling these hairs on here.
| | 02:33 | If you turn around, you can see that's
what we are doing to it. Separate a hair.
| | 02:38 | You can just maybe make a
part with this, like that.
| | 02:43 | You can stretch these, and then you can
puff them in the root, just so they have
| | 02:48 | a little more strength at the base.
| | 02:51 | You can use the other brushes from the
Paint tools, which work very similar. And
| | 02:56 | this one is more of a noise brush,
and if we have a deeper dense hair mesh that
| | 03:01 | we are working with, you can
scatter things a little bit better.
| | 03:04 | We don't have a lot of hair we are working
with here, so this soft tip works just fine.
| | 03:08 | And that's essentially how these work.
| | 03:10 | In an upcoming video, I am going to
show you how to put surfaces on and render
| | 03:13 | these out, but before we do that,
let's see how this would look if we put
| | 03:16 | hair on a human.
| | Collapse this transcript |
| Creating human hair| 00:00 | Creating hair in modo is very easy to do.
But putting it on a simple object like
| | 00:05 | a ball or something like that is okay,
but it works better if we can really see
| | 00:09 | it on something like a human head.
| | 00:10 | So let's jump over to the Layout tab,
and from the Meshes category, I am going to
| | 00:15 | select Human, and I am going to load the
Man Head 01, and then I'll press the A
| | 00:20 | key to fit it to view.
| | 00:22 | In order to put hair on something, if
we just turn it out right now, we would
| | 00:24 | cover the whole body, and we are not making a
Wolfman, so let's just give this guy a mohawk.
| | 00:29 | So I am going to rotate around, hold
the Alt key, and click and drag. And in
| | 00:33 | Polygon mode, let's just click
the area where we want the hair.
| | 00:37 | And we don't want these, so I am going
to hold Ctrl and deselect those and
| | 00:42 | hold the Shift key to add to my
selection, and we'll come down to about here, to
| | 00:46 | the back of his head.
| | 00:47 | In fact, we can come all
the way around. Why not?
| | 00:52 | Okay, so we give him a nice area
that we want to place the hair guides.
| | 00:55 | We'll jump to the Paint tab, Shift+A
to fit those polygons in view, go to the
| | 01:00 | Hair tools, and click Hair Guides, then
click and drag, and now you can create the
| | 01:05 | length of the hair that you need.
| | 01:06 | Now we are going to keep these about like that.
| | 01:08 | The Number of Segments is four, maximum
number is 100. Maybe let's just that to
| | 01:12 | 300, just in case we want some more.
| | 01:16 | And then let's play with some of the
tools. So let's choose Push and use the
| | 01:20 | right mouse, and then we can
actually push these around.
| | 01:24 | Let's open up our view here, just so we
can see everything. And then I am going
| | 01:30 | to press the spacebar quickly and
click a blank area to deselect and then put
| | 01:33 | Push on, just so we can
control these hairs better.
| | 01:37 | So we deselected those polygons.
| | 01:39 | All we needed the selected polygon
for was to just generate the hair.
| | 01:43 | And so now I can kind of stand these
up on the top of his head a little bit,
| | 01:47 | just like that, put the front ones
way up like this, and all I am doing is
| | 01:52 | just brushing these up.
| | 01:54 | And if you get one rogue one like this,
you can just right-click and make that
| | 01:58 | brush smaller, allowing you to grab
right on that one, and just push that up. And
| | 02:07 | you can also try Move, and then
you can just grab it with the mouse and
| | 02:11 | just move that one.
| | 02:12 | You can just make these kind of
unique and give them their own style so they
| | 02:16 | don't look so perfect.
| | 02:19 | Remember, these are just guides.
| | 02:21 | We are actually going to put a surface on
these to actually make them look more like hair.
| | 02:27 | The hair will generate around these.
And then for these bottom ones, let's see if
| | 02:31 | we can comb these down a bit, just like this.
| | 02:34 | All I am doing is
just brushing along that.
| | 02:37 | And I think I might stretch these a bit too.
| | 02:40 | Not too much. Don't want to give them
a Billy Ray Cyrus look, but I'll kind
| | 02:44 | of pull that up, just undo a little bit and
just like that. And then you can use Smooth.
| | 02:49 | You could smooth these out if you want.
| | 02:50 | So it's that easy to play around with
those and give them a unique look. Not
| | 02:56 | much work is needed to create the guides.
| | 02:59 | If you want to curl them, I am just
going to kind of simply click in here a
| | 03:04 | little bit. And to go opposite,
| | 03:07 | I am going to hold the Ctrl key and
just kind of go the other way and then
| | 03:13 | let go with the Ctrl key and you can
curl the one direction and Ctrl key,
| | 03:16 | curl the other direction.
| | 03:18 | So we've got a nice little
set of guides for his mohawk.
| | 03:21 | I am going to save this, and we are
going to put these in our exercise files,
| | 03:27 | chapter 09, and this is mo,
and we'll call it hairguides.
| | 03:35 | So using fur and hair is actually pretty
easy, and it starts often just with hair
| | 03:41 | guides on a simple set of polygons.
| | 03:43 | You can put this for beards on a person.
| | 03:45 | You can put it for mustaches,
eyebrows, anything like that.
| | 03:50 | It doesn't have to be human.
| | 03:51 | It can be something like a tennis ball.
| | 03:53 | It could be a rug, and it could be a
pillow on a couch. It could be draperies.
| | 03:57 | So just kind of keep those ideas in mind.
| | 04:00 | We are going to make long hair on
this character, but you can do very short
| | 04:03 | hair, more like fur, anytime you want.
| | Collapse this transcript |
| Creating the hair's surface| 00:00 | Creating guides for hair is pretty easy in modo.
| | 00:03 | Once we've selected our polygons and
assigned hair guides, we've combed them and
| | 00:07 | shaped them a little bit, making a
really nice look for this mohawk.
| | 00:11 | But if you turn on the Ray GL, which is
a nice viewport render, you can see that
| | 00:15 | only we have the hair guides.
| | 00:16 | We don't have any hair.
| | 00:17 | Well, the way to do that is to go to
Shader Tree and let's open up the Render
| | 00:21 | and get down to the Material for that hair,
which is right there for the Default Man Head.
| | 00:27 | Then from the Add Layer, we're going to go
down to Special and choose Fur Material.
| | 00:31 | And as soon as you do that,
hair is added to the head.
| | 00:34 | It works pretty well.
| | 00:35 | If you come to Fur Material itself, you
can see that we've got Render Density,
| | 00:40 | the Seed, and the Spacing.
| | 00:41 | Now the Spacing for this right now
is 41 millimeters between each strand.
| | 00:46 | Well, we can jump that down to about
10 millimeters, and you'll see that these
| | 00:50 | hairs get a lot tighter.
| | 00:52 | You can change the Width
and the Taper and the Offset.
| | 00:55 | In the Geometry & Shading, each hair
guide is actually a cylinder, so you can
| | 01:00 | change the Max Segments of those
cylinders, the Strip Rotation, and so on.
| | 01:05 | You can play with the shading of each of
these hairs, the Blending Angle and the
| | 01:08 | Blend Amount, as well as kinky hair, if
you've got more curl on everything else.
| | 01:14 | So try doing this. Put some hair guides
on, put the fur material on, and see what
| | 01:18 | you can come up with to
create some really cool hair.
| | 01:20 | Don't forget to actually change the Base
Material color to actually color the hair as well.
| | 01:25 | In the next video, I am going to
show you how we can use fur material
| | 01:28 | without the hair guides.
| | Collapse this transcript |
| Generating animal hair| 00:00 | When you are creating hair on a human
and you put guides on the human head,
| | 00:03 | it's easy to shape them and curl them
and kink them, but sometimes you don't
| | 00:07 | need to go that far.
| | 00:08 | Maybe you just want to put fur
on a rug, or perhaps on an animal.
| | 00:12 | So I am going to go to the Layout tab and
open up the Animals folder within the Meshes tab.
| | 00:17 | Now we are going to load the Dog 01.
Double-click to add him and then press the A key to fit.
| | 00:24 | From the Shader Tree, we are going to
open up the Render, open up the Dog, and
| | 00:28 | then you'll see the Dog Fur. Open that
up and in that Material group, select
| | 00:33 | Material, and then from the Add layer
dropdown, select Special, and Fur Material,
| | 00:38 | and you'll see that there
is fur added to the dog.
| | 00:41 | If we jump over to the Render tab--and
there you can see that there is fur on our dog.
| | 00:46 | We'll zoom in a little bit,
and just like that, we can add fur to him.
| | 00:51 | Now there is a lot of things you can
do, just like you saw in the previous
| | 00:54 | video for the head.
| | 00:55 | We can change some of the clumps,
the Clump Range, the strays of hair.
| | 01:00 | We can play with Fur Material from
the Space and Length, the Width and the
| | 01:04 | Taper, a little bit of Offset.
But essentially that Fur Material works the same
| | 01:08 | way, whether you have guides or not.
| | 01:09 | In this case the fur is actually
generating from the surface material.
| | 01:14 | So think of it in terms of something
larger, like a landscape, where you can have
| | 01:20 | a certain area of polygon set up for
rocks, and then you have a certain area of
| | 01:23 | polygons surfaced for grass.
| | 01:26 | You apply the Fur Material, change the
color, more greenish, brown, suddenly you
| | 01:31 | have grass all over that scene.
| | 01:33 | So give this a try. See what you can
do with the animals, see what you can do
| | 01:37 | with surface on a head--perhaps a mohawk--
or even go with something like a tennis
| | 01:42 | ball, or maybe a curtain, or even just a
simple doormat, and see what kind of look
| | 01:46 | you can come up with.
| | Collapse this transcript |
| Building enhanced hair textures| 00:00 | Setting up hair in modo can be done with hair
guides for something like a mohawk on a human.
| | 00:05 | You can put fur material on an animal
to create things like fur on a dog. But
| | 00:10 | what if you wanted a very specific area to
have fur and nothing else? How would do that?
| | 00:14 | Well, what I have loaded here is a
landscape from the Chapter 09 folder, and what
| | 00:18 | we are going to do is
paint a weight map on here.
| | 00:20 | Now earlier in the course you used an
Edge Weight on the Catmull-Clark, or the
| | 00:25 | Pixar, subdivisions to
change the slope of the curve.
| | 00:28 | In this case, we are actually
going to use the Weight tool.
| | 00:31 | So in order to set that up, what we are
going to do is come to the Lists for the
| | 00:35 | selected flat plane.
| | 00:36 | We are going to open up the Weight Map.
| | 00:38 | We are going to choose New Map,
and we can call this grassyarea.
| | 00:40 | It doesn't matter what it's called--
just something you're familiar with.
| | 00:45 | Then we are going to choose Airbrush
from the falloff, and then we are going to
| | 00:49 | choose, from the Vertex map, Weight tool.
And then for the Advanced OpenGL make
| | 00:55 | sure you're in Vertex Map view, so
you could see what you are doing.
| | 00:59 | This puts more of a neutral color on
here, so that you could see the red
| | 01:02 | highlights representing the weight.
| | 01:05 | Over here you can see the
Weight Map value set to 0%.
| | 01:10 | Let's put this to about 30%.
| | 01:12 | Right-mouse to create the size of the
airbrush, and we are just going to kind
| | 01:17 | click around like this.
| | 01:18 | And I'll increase the Intensity a bit
for a couple of different areas. And this
| | 01:26 | is where the fur will be,
these little spots. That's it;
| | 01:28 | that's all I have to do.
| | 01:30 | So I am going to save this now as landscapefur,
so you can have both. Load up the landscape.
| | 01:37 | It's that empty object,
and then here is the landscapefur.
| | 01:40 | Let's jump over to the Render tab,
and we'll zoom out just a little bit.
| | 01:43 | So we've got a blank landscape.
| | 01:44 | I will open up the Render, open up the
Landscape > Material group, and with that,
| | 01:49 | let's just give it, of course, just a
simple dark-greenish color, something like
| | 01:55 | that, kind of boring. Beautiful.
| | 01:58 | Then from the Add layer, let's go up
and add Special > Fur Material. It looks
| | 02:03 | great. It puts it all over.
| | 02:05 | But I don't really want that big grassy field.
| | 02:07 | Instead, we want it to be controlled by
those weights that we just painted.
| | 02:11 | So we are going to go to Add layer >
Processing > Weight Map Texture, and
| | 02:16 | you notice that its default is Diffuse Color.
And this is something to think of later on.
| | 02:22 | If you want to put some splotches onto
a surface, it's a good way to do it.
| | 02:27 | You can create that same kind of
Weight Map and set to Diffuse Color,
| | 02:31 | it will actually change how the
color is blended into that surface.
| | 02:36 | But in this case we are going to
right-click on this effect, go to Fur, and
| | 02:40 | change it to Fur Length, and just
like that, the fur is only applied where
| | 02:44 | that Weight Map is.
| | 02:46 | Where the Weight Map is less, there is
less fur; where there is more, there is
| | 02:50 | more fur, and it's that simple.
| | 02:52 | So give that a try.
| | 02:53 | Paint that on a human, paint it
on a mustache, perhaps on the dog.
| | 02:57 | At the same time, you can use this to remove hair.
| | 03:00 | So if you call up that dog that
has all that fur all over it, you can
| | 03:04 | actually pull some away from the
snout or around the eyes simply by adding
| | 03:08 | weight maps like this.
| | 03:09 | It's a pretty handy technique for a
lot of different things, especially fur
| | 03:13 | in modo.
| | Collapse this transcript |
|
|
10. Painting and SculptingWorking with the painting tools| 00:00 | Creating surfaces in modo is pretty easy
to do in the Shader Tree, but sometimes
| | 00:04 | you need a surface that is very
specific, such as painting a nice little
| | 00:08 | texture on the gums underneath
somebody's teeth. Or perhaps you need to paint
| | 00:13 | right on a model, just to
give it that unique look.
| | 00:15 | Well, that's very easy to do
with modo's painting tools.
| | 00:18 | So let me show you two ways to do this.
| | 00:20 | First thing I am going to do is very
simply just add a sphere here to the scene.
| | 00:24 | Hold the Shift key and click on 1.
| | 00:26 | Press the A key to fit.
| | 00:28 | And what we are going to do is jump over
to the Paint tab. And here, right in the
| | 00:31 | middle, you can see the Paint tools.
| | 00:33 | In order for painting to happen,
you need to have an image that is
| | 00:35 | wrapped around your model.
| | 00:37 | So I am going to open up the Render and
come down just to the Base Material, and
| | 00:42 | you'll see that, okay, we've
got our color wheel we can set.
| | 00:45 | But as soon as I select an airbrush,
the tip is automatically selected for me.
| | 00:50 | I can say I want my foreground color
just to be blue, let's say, and as soon as
| | 00:54 | I click on here, watch what
happens over in the Shader Tree.
| | 00:57 | An image is automatically created for me.
| | 01:00 | Now I can create a new image and
be very specific about it, but modo
| | 01:04 | automatically does it for me.
| | 01:06 | And then with the right mouse, I can
choose the size of my brush and then just
| | 01:10 | paint right on my model.
| | 01:12 | So I can set the base color, if I want,
for this, to be whatever color I need. And
| | 01:18 | of course the painted color
is whatever I choose right here.
| | 01:22 | So think in terms of those teeth that
I was talking about, where you've got a
| | 01:25 | base color of just a nice pinkish red,
and then you need sort of a highlight
| | 01:30 | color underneath the teeth.
| | 01:32 | You can work your way all the way around,
something that might be really hard to
| | 01:37 | do in Photoshopping and line up.
| | 01:39 | Now the painting can go
much, much further than this.
| | 01:42 | Let's take this brush right here. And if I
right-mouse again, we get this kind of noise brush.
| | 01:48 | I am going to press the D key, and that's
subdivides this model. I am going to
| | 01:52 | just paint with this brush.
| | 01:54 | Now you notice that we've
got that noise in there, right?
| | 01:58 | Well, if I change this value from
Diffuse Color, if I right-click on it, down
| | 02:03 | to Surface Shading, and I choose it to Bump,
now I am actually painting with bump maps.
| | 02:09 | So imagine putting lines and
wrinkles in somebody's face.
| | 02:12 | I can very easily just come over there and
just paint those bumps on, just like that.
| | 02:16 | It works very, very well.
| | 02:19 | But let's say you wanted
that along with the color.
| | 02:22 | That's where you need a new image map.
| | 02:25 | So in this case, we are just using a
default, but let's set up another model,
| | 02:30 | and then we will do this again, making
a little more sense. Let's close all.
| | 02:34 | We don't need to save this.
| | 02:35 | Let's jump over to the Layout tab,
go to Animals, and let's sort up the
| | 02:41 | Chameleon, then back to the Paint
tab, and I'll press the A key to fit in
| | 02:44 | the view, and zoom in.
| | 02:46 | And with this guy, when you go to the
render, you can see that he's got a number
| | 02:50 | of material groups already set up.
| | 02:52 | So let's just go right to the
body and select that material.
| | 02:55 | We can select the Airbrush, and you can
see here that I've got all of our tools.
| | 03:00 | Our Blending mode is set to Normal and
the Normal Projection, meaning that as
| | 03:05 | we look at this, the projected view, we
are able to just simply paint straight on it.
| | 03:09 | So that works fine.
| | 03:10 | The Opacity and Density of the brush is fine.
| | 03:13 | Attenuation is the falloff of the brush.
| | 03:16 | So the color of this, we are just going
to give him a simple kind of plain green
| | 03:21 | color, something kind of dull, like that.
| | 03:23 | Move our mouse off there. And then
the Background Color is black with 100%
| | 03:28 | Alpha, so that should work fine.
| | 03:30 | Down at the bottom, you've got Procedural Brush.
| | 03:33 | We have it set to Noise, Scale,
UV, Amplitude, and so on.
| | 03:37 | We actually want more of this Airbrush
instead of the Noise brush. And I am just
| | 03:41 | going to right mouse here, click once,
and that image is automatically added for
| | 03:45 | me. And we can just very simply
go ahead and paint our chameleon.
| | 03:49 | And because the material group is
set up, I don't have to worry about
| | 03:54 | painting over the stems or anything else,
because the polygons have already been identified.
| | 04:01 | So I am not actually
going to be painting on those.
| | 04:05 | Now think about in terms of using
bump maps for textures and detail.
| | 04:09 | You can really get quite
intense with some of these.
| | 04:13 | I've known people that really carve
their models using some of the painting
| | 04:17 | tools and sculpting tools.
| | 04:20 | What's neat about this is that you
can very easily make it look faded.
| | 04:23 | So let's say we are covering him
mostly with color, but now we can take our
| | 04:27 | brush and maybe make a
little bit lighter, like this.
| | 04:30 | Right-mouse to size the brush down,
and then we can paint along the spine,
| | 04:36 | just to give a kind of unique look,
just like that colors were, maybe in these
| | 04:40 | crevices like this.
| | 04:41 | I am sure some of you are much better
artists than me that can really go to town on this.
| | 04:47 | I am also using a simple
mouse, a simple computer mouse.
| | 04:50 | This is where a tablet would come in
real handy. And then let's make this kind of
| | 04:54 | red down here; give him an evil look.
| | 04:57 | If you don't like that, how could you do?
| | 04:59 | Come to the Eraser, and then we'll
just erase that away, because what you are
| | 05:03 | doing is you are actually painting on an image.
| | 05:06 | So this Diffuse Color is an image that's
wrapped around here. You can clone it.
| | 05:12 | You can put a line.
| | 05:13 | You can do a fill, just like
this. Fill that up. Smudge it.
| | 05:18 | You can blur it. So, really some of the
neat things with those painting tools.
| | 05:23 | You can then, of course, go down to the
eyes if you wanted and do the exact same thing.
| | 05:28 | Select that material, perhaps do an airbrush.
| | 05:32 | We can do like some pink
eyes in there. Click once.
| | 05:36 | That Diffusion Color is automatically
added for us, and then with the right
| | 05:39 | mouse, I can just change his size a
little bit and just kind of come in and
| | 05:43 | paint on that eye to put
a little color in there.
| | 05:45 | So it's very easy just to add polygon
materials, put different painting surfaces on.
| | 05:50 | Of course, this is just the tip of the iceberg.
| | 05:53 | You can very well paint on
bumps and be very specific,
| | 05:56 | and really take your time and put some
interesting nodules and skin and all these
| | 06:00 | kind of things on here and
really shape the color and tone.
| | 06:03 | So test out the painting.
| | 06:05 | In our next video, we are
actually going to put multiple layers on.
| | 06:09 | So I'll show you how we can put a
bump map and then how we can paint on top
| | 06:12 | of that.
| | Collapse this transcript |
| Painting on multiple layers| 00:00 | When you are painting a surface in
modo, often you might think to just put
| | 00:03 | one coat of paint on, but you can
layer up those coats and change their
| | 00:08 | effect in the Surface Editor. So let's do that.
| | 00:10 | We are going to go to the Layout tab,
and I'm going to go to the Animals.
| | 00:14 | I'm going to load up that chameleon
again, just a basic model here. And we'll
| | 00:18 | jump over to the Paint tab,
click the A key to fit.
| | 00:21 | And what we are going to do is just
simply work on his body a little bit.
| | 00:25 | Now I am not the most prolific painter,
but I am going to show you how to do it
| | 00:31 | so you can create something
that's really pretty amazing.
| | 00:33 | So we are going to open up the body for
the chameleon, and what we are going to
| | 00:37 | do is change this base color.
| | 00:38 | We are going to give him just a
dull, flat kind of greenish color.
| | 00:42 | He is a chameleon after all.
| | 00:44 | Now I want you to think back to some of
the other videos where you've actually
| | 00:47 | animated that color over time.
| | 00:48 | Well, he is a chameleon, so maybe
that's something you might want to do.
| | 00:51 | It would be kind of a neat
thing, just have it slowly turn.
| | 00:55 | For his eyes, we are just going to go and
make those just like deep-black-blue like that.
| | 00:59 | For the tongue, I am going to open that
up, and that's going to be sort of this
| | 01:03 | peachy color, but it's still kind of dark.
Maybe a little brighter than that.
| | 01:09 | And then for the inside of his
mouth, that can actually be some of this
| | 01:13 | green color just tinted.
| | 01:14 | So what I am going to do is, up to the
body, right-click on that, Copy, Inside
| | 01:20 | Mouth, right-click, and paste, and then
we can just hold the Shift key and then
| | 01:24 | just drag that down to
make it a little bit darker.
| | 01:27 | You can also tint it to the pink a
little bit too, kind of in between there
| | 01:31 | somewhere between the green and the pink.
| | 01:35 | Finally, for the Stick, obviously, that
should just be sort of brown log,
| | 01:40 | but you can do whatever you like.
| | 01:41 | Now we are not worrying about the
specularity and glossiness and all that right
| | 01:46 | now. This is just to give you an idea of what we can
do with some multiple layers of paint.
| | 01:50 | And this little guy's nails, hold
the Shift key and just drag these down.
| | 01:54 | So you get a black color. Command+S. I
am going to save this, and this is a good
| | 02:00 | idea, guys, when you're
working too, just save often.
| | 02:02 | We are going to call this Chamel1. All right!
| | 02:07 | So we've got him saved. In case we
crash or do anything else, we can come back
| | 02:12 | and paint right on where we left off.
| | 02:15 | Now we are going to use this
Multiresolution in a minute.
| | 02:17 | I am going to show you that, something
new for 501. But first, we are going to
| | 02:20 | go to the Paint tools.
I am going to choose Airbrush.
| | 02:23 | Now instead of just clicking and letting
the system add a material image for us,
| | 02:28 | we are going to do it ourselves,
so we have more specific control.
| | 02:31 | So with the body material selected, we
are going to choose Add layer, go to
| | 02:34 | Image Map, and say New Image. And then
we're going to save this image into our
| | 02:38 | exercise files > CH10, and this
will be--we can keep it as a Targa--
| | 02:43 | this will be bodypaint.
| | 02:47 | When you do that, you get a new still
image, and the Resolution can be set to
| | 02:51 | 1024, 2048, whatever you like.
| | 02:53 | It depends on how close you want to
render and how much detail you need.
| | 02:56 | So I'll set it to a 2K image.
| | 02:58 | Everything else can be left alone,
but you do want RGBA so that Alpha
| | 03:01 | Channel remains in there.
| | 03:03 | We'll click OK and in a second, you'll
see that now a new blank image is added
| | 03:09 | to the Material group.
| | 03:10 | Let's take a look over here, what these are.
| | 03:13 | Inside this little panel here, there's
a number of sculpting tools and if you
| | 03:17 | click here, you can see there's also a
number of different painting tools.
| | 03:20 | And these are brushes, basically,
like you would find in Photoshop.
| | 03:23 | In the Paint tab, you can scale that down.
| | 03:25 | You'll see right there. But there's also an
Images tab, and look at the images in here;
| | 03:30 | there's quite a few you can use.
| | 03:32 | We are going to come back to that in a
minute, but instead of Nature_Ink, you
| | 03:36 | can also see that there's wood,
and all these other ones available to you.
| | 03:41 | So it's pretty neat;
| | 03:42 | there's quite a few in there you can play with.
| | 03:45 | Coming to the Sculpt tab, we'll talk
about those, just the models you can
| | 03:49 | sculpt with. And then coming to these brushes,
just more some brushes you can work with.
| | 03:53 | So, pretty neat, but we are going to end
up in the Paint tab, just like this, and
| | 03:56 | you'll see if we move over here, just
like this, there's another Images tab, and
| | 04:01 | in here is the bodypaint.
| | 04:03 | That's the image we just created here.
| | 04:05 | I am going to take this and drop it on
the body of the character, and you'll see
| | 04:10 | that it drops it right there.
| | 04:11 | The reason it works that way is that
we created a layer from up here, but you
| | 04:16 | could also do it right from here.
| | 04:17 | You can say New Image.
| | 04:19 | So we are going to do that in a second.
| | 04:20 | We'll just undo that.
| | 04:22 | We are going to create a new one for our bump.
| | 04:23 | This one is a blank image and when you see
that checkerboard, that's what that means.
| | 04:27 | So what can we do with that?
| | 04:28 | Well, now that that image is applied,
we can come in, and I am just going to pick
| | 04:33 | a color here, something a little bit
lighter, and I am going to use this Noise
| | 04:37 | brush. And I don't want a super dense opacity.
| | 04:41 | I am going to bring this down to maybe
about 30%. And I'm just going to click
| | 04:45 | right on here like this and just kind
of give this guy just a little bit of
| | 04:50 | texture on there, just nothing too much.
| | 05:00 | You can brush it if you want, but remember,
it's kind of nice because it's a set material.
| | 05:05 | So it's not actually painting on anything else
than the body, which is all we want right now.
| | 05:11 | But this is painting in its own image.
| | 05:14 | So now if you want a layered image,
what you can do is say Add Clip > New
| | 05:19 | Image, and this one we will call
ChamelBump or 2, whichever you want.
| | 05:26 | It can also be a 2K image, just for a nice
resolution, and you'll see it right there.
| | 05:31 | It's not applied to the material yet,
| | 05:34 | so that's what we do when we drag and
drop, and you'll see jump right on top.
| | 05:38 | Now for this, instead of a Diffused
Color, we want the effect of this one to
| | 05:42 | actually be a bump map.
| | 05:44 | We could still use a Noise brush or
maybe we could choose one of these, like
| | 05:49 | this, or one of these.
| | 05:51 | I am going to right-mouse to create
the size of this brush, and I am going to
| | 05:55 | click on the Chameleon, and look what happens.
| | 05:58 | We are creating all these circles.
| | 05:59 | Now that's not something we want to do,
but the idea is that we can paint that
| | 06:04 | bump right on there based
on some of these brushes.
| | 06:06 | So find the right brush. I am
going to undo a couple of times.
| | 06:09 | Let's see what this one will do for us.
| | 06:11 | That might look kind of neat.
| | 06:12 | If I paint a really large one,
it's going to come out like that.
| | 06:16 | So we want to make this a little bit
smaller, and we can just paint that on
| | 06:21 | there, sort of this tire tread.
| | 06:22 | Now that's a bit much, right?
| | 06:23 | Well, that's okay, because we can come
down to the body material, and at the very
| | 06:27 | bottom, open this up, and the
Bump Amplitude is set to 5 mm.
| | 06:31 | Well, our grid size is only 10 mm.
| | 06:34 | That means those bumps
are showing up pretty heavy.
| | 06:36 | So we are going to go down to like half
a millimeter, so 0.5 mm, and hit Return.
| | 06:41 | Then come back up here, and now we can
just paint this texture on here quite
| | 06:47 | easily. And we are not sculpting;
| | 06:49 | we are just painting a bump map
right over that other texture;
| | 06:52 | we are just layering these up.
You don't have to do the whole body.
| | 06:55 | You can just do little bits of it,
whatever you like. But the idea here is
| | 06:59 | that you can literally just come in and go to
town and layer these up even in just one area.
| | 07:05 | Let's say his nose has to have a very specific
little tutorial bump in there. We could do that.
| | 07:11 | Increase the size of this a
bit and go down like that.
| | 07:18 | And again, I'm using a mouse.
| | 07:21 | Try using a Wacom tablet if you have one.
| | 07:24 | It might be a little bit more accurate.
But for this little tutorial, it's
| | 07:29 | working pretty well.
| | 07:31 | Okay, so we painted a bump map on there.
| | 07:33 | From here, we can actually just put
another image. And we'll go back to Images.
| | 07:37 | We'll add another clip, New Image,
and we'll call this just ChamelTone,
| | 07:43 | something like that, also make it a 2K
image. And then I am going to save this, this Chamel1,
| | 07:52 | so you can load this up and take a look, and I
am going to drag and drop this on to the body.
| | 07:56 | This will also be a
diffuse color. But don't forget,
| | 07:59 | you can try different things.
Look at some of the basic channels,
| | 08:01 | perhaps Specular, perhaps
Transparency for some of the thinner areas of his
| | 08:05 | skin, perhaps Luminous Amount, or Dissolve.
| | 08:10 | So for this, I am just going to create
just a much brighter area here like that,
| | 08:14 | still kind of greenish. And the Opacity,
| | 08:17 | I am going to do about 20%,
right-mouse. And I don't want that brush anymore;
| | 08:21 | I just want a simple airbrush.
| | 08:22 | I'll start painting and just
kind of just tint it right up here.
| | 08:31 | And then I can even come into the
texture layer itself and play with
| | 08:35 | the Blending modes.
| | 08:37 | I can add that in, subtract it, or play
with the difference, or just bring the
| | 08:41 | Opacity down altogether, and then even
paint again all right in here, just right
| | 08:49 | on the top. Maybe that's kind of worn.
| | 08:50 | So you can see that the
sky is the limit with this.
| | 08:53 | You really can go on and on and on,
and I am sure there are some skilled artists
| | 08:57 | out there who are really terrific with
sculpting and painting that can do this
| | 09:01 | chameleon a much better job than I can.
| | 09:03 | But the idea here is that you can take
layered images, body paint, the bump map,
| | 09:08 | different tones, and for each material
group, such as the body, the nails, the
| | 09:13 | little wood stick that he is on,
the mouth inside, and everything else,
| | 09:17 | you can just layer up and paint as
needed. Even little things like on his knees
| | 09:21 | where they are a little bit
worn around the bottom of tail,
| | 09:25 | you might have a bit darker color.
| | 09:26 | Things like that, they can
all be used with the paintbrush.
| | 09:30 | So try that out. Give yourself some time--
| | 09:32 | trial and error is the best thing with
these kinds of tools--and see what you
| | 09:35 | can come up with.
| | Collapse this transcript |
| Sculpting models| 00:00 | modo's hair, painting, and sculpting
tools really give you some flexibility to
| | 00:04 | create cool organic surfaces and materials.
| | 00:08 | But when it comes to sculpting, there
are just a few little things you need to
| | 00:11 | know in order to get these things to work.
| | 00:13 | So what I'm going to do is add a very
simple model, just to introduce this to you.
| | 00:18 | So I'll hold the Shift key and
add a Sphere. Easy enough.
| | 00:22 | I'm going to press the D key, and we're
going to zoom in. And in the Paint tab, you
| | 00:27 | can see Sculpt tools.
I'm going to select Carve.
| | 00:29 | When I do, I automatically get
a nice little brush right here.
| | 00:32 | I'm going to right-mouse just to
create the size of my brush, and then I'm
| | 00:36 | literally just going to click and push around.
| | 00:38 | I want you to think of this as virtual clay.
| | 00:41 | That's all there is. And we're
able just to push this around.
| | 00:44 | The key to this of course is making
sure that your Subdivision Surface is
| | 00:48 | on, which the Tab key.
| | 00:50 | But if you move the tools down, the
Tool Properties down a little bit, there is
| | 00:53 | a thing called Multiresolution.
| | 00:55 | This is new for 501 and if you click
on that, you're going to get a little
| | 00:58 | warning that says, "Multiresolution
works with Catmull-Clark subdivisions."
| | 01:01 | Now we talked about Catmull-Clark
subdivisions earlier when we did the hairdryer.
| | 01:06 | So we're just going to say Yes,
and what that's going to allow us to do is add
| | 01:10 | some really specific detail.
| | 01:12 | So while this model is good for
these bumps, what if we needed tiny
| | 01:15 | little carvings in here?
| | 01:17 | Well, that's something I might
do in the past with a bump map.
| | 01:20 | But what if I really
truly wanted them carved in?
| | 01:22 | How would I do that?
| | 01:24 | Well, I would need to really heavily
subdivide that one area in order for the
| | 01:28 | geometry to fall in and out of those grooves.
| | 01:31 | But now with the
Multiresolution, I don't have to.
| | 01:33 | So I'm going to up this to about 5,
and then I'm going to come back in here and
| | 01:39 | change my Brush Size pretty
small, and watch what happens.
| | 01:43 | As soon as I start painting in here,
I've got a very tiny, nice little carving
| | 01:49 | that normally I couldn't do.
But with the Multiresolution it's only
| | 01:52 | subdividing where I'm painting.
| | 01:55 | Notice that each one of these polygons
is still pretty large, but look at the
| | 01:58 | detail I'm able to get inside there.
| | 02:00 | And that's not a bump map;
| | 02:01 | it's actually carved in
there. It's true groove.
| | 02:05 | So the Multiresolution is exceedingly
powerful, allowing you to create intricate
| | 02:10 | grooves like this on objects.
| | 02:12 | Think about coins and people's faces
and even landscapes on larger scales.
| | 02:17 | Now, if you come down here to the
bottom and you open up this view, you'll see
| | 02:21 | that there is sculpting,
and these are models you can work with.
| | 02:26 | So let me just turn off this
sphere, go to a blank mesh, and let's
| | 02:30 | double-click this head.
| | 02:32 | Press the A key to fit.
And here is just a blank head
| | 02:35 | you can start working with to actually sculpt.
| | 02:37 | There is also another one here.
| | 02:39 | There's an alien, and there is quite a
few other things in here you can work with.
| | 02:42 | We can go to the Brushes, and you can pick these.
| | 02:46 | You can even go up to these
Sculpting tools and use those.
| | 02:49 | So quite a few things just to play
around with. But let's get back over here and
| | 02:53 | talk about some of these other tools.
| | 02:55 | I'm going to turn on the Sphere
again and turn off this head.
| | 03:00 | Press the A key to fit.
| | 03:01 | So, Multiresolution really
helps us create some nice geometry.
| | 03:05 | You can have the Max Level set to 5, but the
Current Level we can bring down a little bit.
| | 03:11 | What happens with that is that, okay,
well, we know that we're painting with
| | 03:15 | some more detail in there,
and something like this works really well.
| | 03:18 | It allows me to be a little more
flexible, as far as painting and working in
| | 03:22 | the OpenGL, because the computer is
not redrawing and regenerating those
| | 03:27 | polygons each time, but I do know that when I
render, I'll actually have that high-res geometry.
| | 03:32 | You can then go to Smudge, and of
course right-mouse to change the size of the
| | 03:35 | brush and kind of smudge
these around, pull that around.
| | 03:39 | You can go to Push,
and you can push the polygons.
| | 03:43 | As you do this, if you hold the Ctrl key,
you can go the other way and push those in.
| | 03:48 | Hold the Shift key and you can actually
smooth that out, in case you don't those.
| | 03:52 | It's almost like erase.
| | 03:54 | You can hit Flatten of course,
and just flatten an area out.
| | 03:58 | So, it's kind of neat.
| | 03:59 | You can put just really
interesting dents in something.
| | 04:02 | I've actually done car
accidents this way with Flatten.
| | 04:05 | I've done quite a few different things
with teeth using the sculpting tools.
| | 04:11 | I've actually even changed
furniture with some of these tools.
| | 04:16 | You would think, oh,
that's not something so organic.
| | 04:18 | But the idea is that it's often hard
to physically move polygons into a shape
| | 04:23 | you want. But if you have something
like Push you can very easily just push
| | 04:29 | these into the shape you need, and that
often works better than just trying to
| | 04:33 | push and pull polygons.
| | 04:35 | You can do Emboss like this.
| | 04:38 | You can also then go a step further
and put text in there and sculpt that in.
| | 04:44 | You can use different types of brushes,
create your own, right down here like this.
| | 04:47 | If we come down to the Emboss, there is
a Procedural Brush, the Size of it, the
| | 04:53 | Type of Procedure, like Cellular or
Dots, and sculpt that in like that.
| | 04:58 | We want to create just some nasty bumps
on something, perhaps somebody has some
| | 05:03 | kind of disease and you
want to put that in there.
| | 05:06 | I've used stuff like this
actually for carotid arteries.
| | 05:10 | Build a tube and just kind of sculpt
this in to give it a very organic look.
| | 05:14 | And this looks a lot better for
things like that. Before using procedurals,
| | 05:19 | this actually can be just even a little bit,
a little bit more intense, a little cooler.
| | 05:24 | Then of course, you put your surfaces
on there, and you can paint on it and
| | 05:27 | just really go to town.
| | 05:29 | So, just a quick overview
of how that sculpting works.
| | 05:33 | In the next video, we're actually going
to do a little bit more of a project, and
| | 05:36 | you can actually see these in action.
| | 05:38 | But load up just a simple object,
subdivide it once, and give these Sculpt tools
| | 05:42 | a go, and see how it works for you.
| | Collapse this transcript |
| Tweaking and finishing with the sculpting tools| 00:00 | Sculpting in modo is a great way to
create a cool organic object, but at the
| | 00:04 | same time, if we've got preset
options, kind of like this chameleon we've loaded
| | 00:07 | from the Asset Library,
| | 00:09 | you can very easily go in and use the
Sculpt tool to just give it just a little
| | 00:12 | bit more life, do something
little bit different with it.
| | 00:15 | So this is a chameleon that we've
painted in previous video in this chapter, and
| | 00:20 | we just gave it a little bit of
Bump Map and a little bit of color.
| | 00:23 | But what I want to do is give this some
more imperfections, and that we're going
| | 00:26 | to do with the sculpting tools.
| | 00:29 | So this is a Chamel2 object loaded
from Chapter 10, and with the Sculpt tools
| | 00:34 | tab selected within Paint tab, I'm going to
choose Carve and just choose a simple brush.
| | 00:40 | The Offset amount is set to 50%,
and it's Adaptive, meaning it's going to adapt
| | 00:45 | to this surface here that we want.
| | 00:47 | We're going to move this over and very
simply, I'm just going to carve right in here.
| | 00:52 | And you could see it's just kind of
pushing down a little bit. So that's okay.
| | 01:01 | We don't want to give this guy a
collapsed shoulder, so how can I make this a
| | 01:04 | little bit more interesting?
| | 01:06 | Well, that is with the Multiresolution.
| | 01:08 | So I'm going to move this Tool Property
down, go to Multiresolution, and it will
| | 01:12 | tell me, "Do you want Catmull-Clark subdivisions?"
| | 01:13 | I'll say Yes, and now you can see, very
simply, by doing that, the carving has a
| | 01:19 | much stronger impact.
| | 01:22 | So let me just kind of come back
here and undo a little bit, get that
| | 01:25 | carving out of there.
| | 01:27 | Put the Multiresolution back on.
And then let's come over here and choose a much
| | 01:31 | more interesting sculpting brush.
| | 01:33 | So there is sculpting tools right
here that I can choose, and a number of
| | 01:38 | different brushes that all install
with modo, such as this little net.
| | 01:44 | We can choose Carve and if I just
kind of click on here like this, this is
| | 01:50 | called Image Ink, and what Image Ink
does, it allows me to take this image and
| | 01:55 | actually use this as a paintbrush.
| | 01:57 | So by adjusting these handles, I'm actually
setting up how I want this brush to lay down.
| | 02:03 | And then when I click, it actually applies
it right to the surface. So, let's do that.
| | 02:08 | First, we're going to
increase our Multiresolution.
| | 02:10 | So I'm going to keep this
Multiresolution set to three, and now that I've got
| | 02:16 | the size of this image, I'm going to move it
over here, and I think let's try using Push.
| | 02:21 | And again, I'm just going to click
right on here and give this a second.
| | 02:25 | What you will see is we're able to
actually push the surface with this image.
| | 02:29 | Let's give it a second to redraw.
And if you want to, you can put that on both
| | 02:36 | sides, but basically what's happened there
as I've used an image, just to push out
| | 02:40 | a little bit right there you can see it.
| | 02:41 | You have to be patient with this
when you're using these, because the
| | 02:44 | Multiresolution really takes a lot of time.
| | 02:46 | It takes a lot of system resources.
But it's a great way to apply images to
| | 02:51 | things in a sculpted-type way.
| | 02:54 | In the past, we used to use these
images as bump maps or displacement maps.
| | 02:57 | But now I can actually just brush it on
with this Soft Edge brush and as you see
| | 03:02 | here, it just has a nice falloff to it.
| | 03:04 | And this physically displaces it.
| | 03:06 | It doesn't actually bump it. So you can
see here from the side, we've got these
| | 03:08 | nice kinds of scales going.
| | 03:10 | So that Image Ink actually works really well.
| | 03:13 | You can try some of the other brushes,
like little scratches, which is more just
| | 03:17 | a special nozzle like this,
and these are not very strong.
| | 03:21 | But we can just kind of put these on
here, and that's using just Carve, puts
| | 03:25 | little dents in there.
| | 03:26 | We'll give it a second to redraw.
| | 03:29 | We can also try some of the other ones up top.
| | 03:31 | So I would give these a try and
see what you can come up with.
| | 03:34 | Obviously, we don't want bricks on here.
| | 03:36 | I do like some of these stone ones,
because I think they are actually just, just
| | 03:39 | organic and natural and work really
well for something like a chameleon like
| | 03:45 | this. And we're just, kind of just
sculpting those in using the Push tool.
| | 03:48 | If you hold the Ctrl key, you can
actually get these to go in the opposite way.
| | 03:52 | And then don't forget
Smoothing; you can put that on,
| | 03:55 | and smooth those out, or very simply
hold the Shift key, and you'll be able to
| | 03:58 | smooth over those bumps of what you did.
| | 04:01 | Lastly, you can come into the head
over here and just add a little more
| | 04:05 | detail, by using a very simple Carve
or Flatten and just choosing a simple
| | 04:10 | brush and just coming in here and
just kind of flattening those out and
| | 04:15 | working with the head.
| | 04:17 | Of course, any combination of these
tools, whether it's the modeling tools, the
| | 04:21 | sculpting tools and the painting tools,
| | 04:23 | they are all there for you just
to create whatever you can imagine.
| | 04:27 | So hopefully this has been a
good introduction of these.
| | 04:29 | Go ahead and try some of the
sculpting tools that are included, try using the
| | 04:33 | Image Ink to actually sculpt in images,
and make those images black and white and
| | 04:37 | be able to see them right in there,
| | 04:39 | and then take your models to the
next level using sculpting and some
| | 04:42 | these organic commands.
| | Collapse this transcript |
|
|
11. Using Schematic ToolsWorking with the Schematic interface| 00:00 | Throughout this course we've taken
models, we've built them, we've moved them,
| | 00:04 | we've rotated them, we've used the
Transform tool, and that's great. But what if
| | 00:08 | you want go a little bit further and
have one object belong to another object,
| | 00:12 | and what if that parent object needs to
actually move and control something else?
| | 00:16 | How would you set something more
complex? What's the best way to do that?
| | 00:20 | Well, if you jump over here to the Setup
tab, you'll see the Schematic viewport.
| | 00:25 | Now a lot of people get kind of
intimated by this, and what I am going to show
| | 00:28 | you is how simple it is to
actually put something together.
| | 00:31 | Let's take a look at a file
I already built for you.
| | 00:34 | It's called CarRevolve, and this
is what we are going to set up.
| | 00:38 | This is the hybrid car that you can find
with the modo assets that are installed
| | 00:42 | when you install modo, so
you'll have this car to work with.
| | 00:47 | But what's kind of neat about this
setup is that if I select just the car body
| | 00:50 | and I press my Transform tool,
and then I go to the items tab,
| | 00:55 | when I press the W key for Transform
tool and I move, you'll see that the wheels
| | 01:00 | actually move with car. Something so
simple, but actually not quite intuitive
| | 01:05 | when you think about it.
| | 01:06 | You can't just tell a car suddenly, hey,
| | 01:08 | have the wheels and revolve them.
| | 01:10 | So what I am going to do in this
chapter is show you how to set up this car so
| | 01:13 | that these wheels can be properly placed,
so that they can rotate properly and
| | 01:17 | so you can set up this schematic yourself.
| | Collapse this transcript |
| Understanding channels| 00:00 | In order to set up an animation like
this, we need to take a few steps back and
| | 00:03 | understand what a channel is.
| | 00:05 | So I am just going to clear this out by
going to the File menu and saying Close
| | 00:09 | All, and I'll say Don't Save.
| | 00:12 | So what is a channel?
| | 00:13 | Well, every item that you
have in your scene has channels.
| | 00:16 | I am going to go to the Model tab right here
and hold the Shift key and select the torus.
| | 00:21 | Then we'll close this out, and then
we'll press the A key to fit this to view.
| | 00:25 | For most of the course, we've been
just looking at our items and we've been
| | 00:29 | looking at the Shader tree, but down
at the bottom where we've always worked
| | 00:32 | with Properties, right next to it is
the Channels tab. And if you take a look at
| | 00:37 | the torus, you open that up, you will
see that here is the mesh and the mesh has a
| | 00:41 | number of different channels associated with it.
| | 00:44 | Each of these channels we can
animate, and you have animated some of those
| | 00:48 | channels and probably didn't even know it.
| | 00:50 | When we had gone in and changed some
of the zoom factors for the camera,
| | 00:54 | that was actually one of its channels.
| | 00:56 | So that's all what a channel is.
| | 00:57 | It's just an element of that model or that item.
| | 01:00 | So a camera like this has its different
channels down here: its Render channel,
| | 01:05 | its Size channel, and so on.
| | 01:07 | So when it comes to an object, we can
look at the Center, the Shape, the Size.
| | 01:12 | All those different channels
can be animated in some way.
| | 01:15 | What we are going to do in this project
is work with the Rotation and Position.
| | 01:19 | So for instance, I am
going to open the Model tab,
| | 01:22 | I'm going to add a box, just
hold the Shift key and click on it.
| | 01:25 | I'll press W and I'll move this over.
| | 01:28 | Spacebar turns off that tool, and I'll
press the A key to fit. Zoom in a little bit.
| | 01:33 | So here we've got a box and a cube,
and very simply I am going to show you how
| | 01:38 | these channels work.
| | 01:39 | If I take the World Position channel
for the cube and I drag it in here, I
| | 01:45 | now have this item set up in order to create
more of an animation. What can I do with this?
| | 01:50 | Well, I am going to tell model
| | 01:52 | I want to work with the World
Position, and when this World Position does
| | 01:56 | something, such as move, we move the
position, I want it to affect this torus.
| | 02:01 | So let's take the Rotation on of those channels.
| | 02:05 | We'll roll back up.
| | 02:05 | We are going to add Rotation for the
torus, and let's just say we rotate on the X.
| | 02:12 | Now, I can't really just drop this together.
| | 02:14 | I can't put this together, because this
is a network, and what we are doing is we
| | 02:18 | are saying, when the World Position
changes, I wanted to affect the Rotation.
| | 02:23 | World Position of the Cube
affects the rotation of the torus.
| | 02:26 | So that's where a modifier comes in, and
I can click this and add something like
| | 02:31 | Revolve, Intersect, Dynamic Parent, and so on.
| | 02:35 | There are quite a few things in
here that can really get very deep.
| | 02:39 | But on a simple level, let's just
take this here and we what happens.
| | 02:43 | I get an error saying, not compatible.
| | 02:45 | Okay, so we'll add a modifier,
| | 02:48 | we'll come down to Other,
and we'll choose Revolve.
| | 02:52 | This is a math function that will allow
me to control one item to another. So I
| | 02:58 | am going to take the World Position
and now you see that this link is green,
| | 03:02 | meaning it can link right up;
| | 03:04 | it is compatible. And I am going to
take the Angle Output and put it to the
| | 03:08 | Rotation, and notice that
it automatically changes.
| | 03:12 | If I select the Cube, and then I press
W for Move, when I move the position,
| | 03:17 | that torus changes. It's that simple.
| | 03:20 | I've taken the World
Position channels for the Cube,
| | 03:24 | I've used a Revolve--which is just a
modifier, and these are part of the program--
| | 03:29 | and when we put that Modifier in, we
are telling the position to activate the
| | 03:32 | Revolve Math function and take the output
of that to drive the rotation of this torus.
| | 03:39 | So that's how we are going to
set up the car. Very simple.
| | 03:42 | In the next video, I am going to show
you some other principles that are very
| | 03:45 | important, so that the
object actually rotates properly.
| | 03:48 | There is a number of different
things you can do with pivots and centers.
| | 03:51 | We covered them a little earlier in
the course, but in the next project, we
| | 03:55 | are actually going to take these a little bit
further, so that your wheels rotate properly.
| | 03:59 | This process is going to work for
just about anything you set up, whether
| | 04:03 | it's architecture, simple animations
or something more complex, such as the
| | 04:07 | schematic.
| | Collapse this transcript |
| Building a channel-based animation| 00:00 | In order to build a channel-based
animation, we need something to work with.
| | 00:04 | So what I have done here is I have
loaded up the hybrid car that came with the
| | 00:07 | Luxology assets and created a scene.
And in this scene we have the HybridCarBody,
| | 00:14 | we have a RearPassengerTire, the
RearDriversTire, the FrontPassengerTire, and
| | 00:19 | the FrontDriversTire.
| | 00:20 | Now each of those are in their own layer.
| | 00:24 | So we have five meshes altogether.
| | 00:26 | The reason they are is because I want to
be able to rotate each one of these tires.
| | 00:30 | I will press Shift+A to bring that
into view, and with that FrontPassengerTire
| | 00:35 | selected, I am going to press the Y
command, and then I am going to rotate it,
| | 00:39 | and look what happens.
| | 00:40 | Not so good, is it?
| | 00:42 | Well, in order to set up a channel-
based animation, we have to make sure--and in
| | 00:46 | this case something that's going to be
revolving--that the wheel itself can pivot properly;
| | 00:52 | otherwise, they are going to
just fly all over the place.
| | 00:55 | So I am going to show you how to set that up.
| | 00:57 | The other thing we need to do is
parent these tires to the car. If I select
| | 01:02 | that car body and I press my W for my Transform
and I move, well, the wheels are not attached.
| | 01:09 | So I am going to press
the spacebar. Turn that off.
| | 01:11 | And to parent is very simple.
| | 01:13 | We are going to start that bottom tire,
hold the Shift key, and select the top tire,
| | 01:17 | so we have all four selected.
| | 01:19 | Then I will click and drag that group--
| | 01:21 | I am holding the mouse down--and just
drop right on top of the car body, and
| | 01:24 | you'll see it close right
up. I can drop the arrow down.
| | 01:28 | You'll see those are now
inside that car body group.
| | 01:32 | When I select the body, press W,
those wheels stay attached.
| | 01:36 | Now this parenting can be done
for anything you are working on modo.
| | 01:40 | Anytime you want something to be
parented you can do it, whether it's a logo job
| | 01:43 | or a lamp on a desk.
| | 01:45 | You can do it this way.
| | 01:47 | We've done this slightly by putting all
of our textures into a group earlier in
| | 01:51 | one of our videos, but this
parenting also can work for an object like this.
| | 01:56 | So, something to keep in mind.
| | 01:57 | It's also a good way to stay organized.
| | 02:00 | Now to set up these wheels, we
are going to go to the Setup tab.
| | 02:03 | We are not going to set
up the channels just yet;
| | 02:05 | we are just going to arrange this so
that we can animate these wheels properly.
| | 02:09 | I am going to expand the CarBody group,
and let's take a look at this first wheel here.
| | 02:13 | So we are going to be here in Items
tab and select that wheel right there.
| | 02:17 | Now this wheel has a center, and it's
right at (0, 0, 0) axis, the X, Y, Z axis.
| | 02:23 | If you can't see your centers, press O,
get your Visibility tab, and then you
| | 02:31 | can turn on your centers.
| | 02:32 | And if you go to your Drawing, you can
make sure that the inactive meshes are
| | 02:36 | the same as the active mesh.
| | 02:38 | So this is where all your visibility will be.
| | 02:39 | You can control your centers right here,
and that's why there's a nice big Center button.
| | 02:44 | But you might think to just grab that center,
press something like W, and move this over, right?
| | 02:49 | It might be hard to do in Perspective view,
so Ctrl+Space will get down to a right view.
| | 02:56 | Actually, let's just go to the left view.
And you might just kind of go like this.
| | 03:00 | And you think, great, I did it.
| | 03:02 | Well, what happens then if you go
back to Item and you rotate it, you
| | 03:05 | didn't really do it.
| | 03:06 | The car looks like something is wrong with it.
| | 03:09 | That tire is not quite
revolving around itself properly.
| | 03:13 | It's very hard with round items like
this to perfectly center the actual center.
| | 03:19 | So here is how we are going to do it.
| | 03:21 | Ctrl+Space back to Perspective view.
| | 03:22 | We are going to select that item,
and then we are going to go Polygon mode, and I
| | 03:28 | am just going to just double-click on the tire.
| | 03:29 | That's all I need, and that
selects all those polygons.
| | 03:32 | Up at the top right where it says Work
Planes, I am going to click on that and
| | 03:35 | say Align Work Plane to Selection.
And if you notice, the icon changed down here
| | 03:39 | in the bottom left of the view.
| | 03:41 | If I go to Centers and that center is now
selected, you could see that it's yellow.
| | 03:45 | Under the Setup tab over here on the
left, down at the bottom there is Set > To
| | 03:51 | Work Plane Position. And when I click
that, that center perfectly moves to that
| | 03:56 | selected work plane, and it's perfectly
centered inside the middle of the tire.
| | 04:00 | I will click to deselect it. Go to Items.
| | 04:03 | Now we can select the next tire.
Polygon mode, and we will just double-click,
| | 04:07 | Work Plane > Align Work Plane to
Selection. Then we will go to Centers, select
| | 04:13 | that center, and set Work Plane position.
| | 04:15 | Then we will do the others.
| | 04:18 | So a little tedious, but really not
very hard to do, and it's going to make your
| | 04:22 | tire rotation perfectly accurate.
| | 04:25 | Align to Work Plane Position,
select the center for that tire.
| | 04:30 | If you're wondering where the center
comes from, as soon as I select that item,
| | 04:33 | the center appears for it.
| | 04:35 | You are not going to see the
center of the other items at this point.
| | 04:38 | Now we will say align that to the work
plane position, and then we will select
| | 04:42 | this item, Polygons, we will double-
click, and then we are going to Align Work
| | 04:48 | Plane to Selection, Centers, select the
center, and set to Work Plane Position.
| | 04:56 | Then I am going to save
this as something different.
| | 04:59 | Now I have it set up as CarRevolve, already
done, but we will set this up as CarCentered.
| | 05:06 | So you are welcome to load that up and use
this one if you like, just to see how it works.
| | 05:11 | So now when I select one of these
wheels and I press the E key, now you can see
| | 05:16 | that that wheel is perfectly revolving.
| | 05:18 | I am just clicking and dragging on the
Rotation Channel, because now it has its
| | 05:22 | own center to revolve around.
| | 05:25 | At this point, this scene is
ready to go for channel animation.
| | 05:29 | We have now set it up properly.
| | 05:31 | We have the four tires parented to the
body and when we move the body, those
| | 05:36 | wheels stay with it. The wheels
themselves have their centers adjusted so that
| | 05:41 | when we rotate them, they rotate properly.
| | 05:43 | So now all we need to do is set up the
modifiers and animate the channels so
| | 05:48 | that when the car moves,
the wheels move with it.
| | Collapse this transcript |
| Creating a schematic network| 00:00 | Once you have your animation ready to
go, we have the tires parented to the
| | 00:05 | car body and each one of these tires
has their center properly aligned, we can
| | 00:11 | set up a schematic network, so that when
we move the car the tires move with it.
| | 00:16 | So initially, what we want to is we
want to set up the main body itself, the
| | 00:21 | thing that's going to be
moving and pulling those tires with.
| | 00:23 | So I am going to select the car itself.
And one thing you can do is just drag
| | 00:29 | this in here into that Schematic view.
| | 00:31 | That puts the car body in there, but we
want to be a little more specific like that.
| | 00:35 | So I am just going to hit the Delete
key on my keyword to get rid of it.
| | 00:38 | What I want to do is select the
CarBodyItem and then down under the
| | 00:43 | Channels tab, we are going to take the World
Position for the car and drag it into our view.
| | 00:47 | When I do that, you'll see that the
World Position channel is also associated
| | 00:52 | with the car, and we can
close that up if we need.
| | 00:55 | Next, I want to select each
channel that I want to rotate.
| | 00:59 | So what channel do I want this to rotate on?
| | 01:01 | Well, to test it, press the E key. And if
you look, well, we don't want the green
| | 01:07 | channel, the Y; we don't want the Z
channel, the blue; we want this one.
| | 01:12 | That's the X. So, easy enough.
| | 01:15 | So with that FrontDriversTire
selected, here is the X channel, drag that in.
| | 01:20 | You'll see it says FrontDriversTire.
| | 01:24 | Next, go to Items, click on the Item,
RearDriversTire Rotation X. Rotate around.
| | 01:33 | Next item, FrontPassengerTire, take
that rotation, drag it in. And lastly, the
| | 01:40 | RearPassengerTire, bring that rotation in.
| | 01:43 | You can zoom out the Schematic view just
so that you can see things a little bit
| | 01:46 | better, and here are our four tires.
| | 01:49 | So how do we revolve these?
| | 01:51 | Well, we are going to use a modifier,
and the modifier we are going to use is
| | 01:55 | down at the Other category, and choose
Revolve. And then I will zoom back in,
| | 01:59 | so you can see these.
| | 02:06 | So what we want to do is take the World
Position and link it do the position of the Revolve.
| | 02:13 | This Revolve function is just a math function
| | 02:16 | that's telling these channels what to do.
| | 02:19 | So when the car body moves,
activate the Revolve, and take that angle
| | 02:24 | output into the rotation.
| | 02:26 | Let me think, well, there's
only one output. That's okay.
| | 02:30 | You can click right on this and add more,
just like this. I am just clicking and
| | 02:33 | pulling this network.
| | 02:38 | Now we have the car body working with
a Revolve modifier, telling each one of
| | 02:43 | these tire rotations to rotate on the
X axis and guess what? You are done.
| | 02:50 | That's it! Press the W command,
and now the tires are rotating.
| | 02:54 | It's that simple to set up.
| | 02:56 | However, you might notice that the tires
seemed to be sliding a little bit. Why is that?
| | 03:03 | Well, the rotation is just a general rotation.
| | 03:07 | We haven't actually set up the size for this.
| | 03:10 | So here is what we are going to do.
| | 03:11 | We want to determine, we want to
tell the Revolve the actual radius and
| | 03:16 | length for this tire.
| | 03:18 | Right now, it's set to 1 meter.
| | 03:19 | Well, our tire is not 1 meter in size.
| | 03:22 | Well, how do we determine
what size it is? It's easy.
| | 03:25 | Go to the View tab and choose the Ruler tool.
| | 03:28 | This Ruler tool can be used for
architecture, logos, anything you want where you
| | 03:33 | have to be very precise on the measurement.
| | 03:35 | So we are going to take the Ruler tool
and we will click on Interface, and you
| | 03:39 | will see. It's a little hard to catch if you
have your object selected, but it's right there.
| | 03:44 | What you can do is grab each one of
these little handles, and I am just going to
| | 03:47 | put it on one side of tire, and I am
going to put it on the other side. And you
| | 03:51 | could see that we are about 700 millimeters.
| | 03:54 | That's our measurement for that tire.
| | 03:57 | So it's not quite a meter.
| | 03:58 | So the radius for the Revolve in
those channels is 700 millimeters.
| | 04:03 | Hit spacebar to turn off that tool,
click to deselect. And if you want to get
| | 04:09 | rid of the ruler, you can hit
View and click on that again.
| | 04:12 | While I mention this, there is a
Protractor tool that you can put in.
| | 04:16 | You can use this for all kinds of
measurements, and of course a Dimensions tool.
| | 04:21 | So something to keep in mind if you
need to be more precise, and again very,
| | 04:24 | very good for architecture.
| | 04:26 | So we have set up that front tire, the
back tire, and the other side as well,
| | 04:32 | but we've adjusted the
measurement for the Radius on the Revolve.
| | 04:35 | You don't have to adjust
it for the individual tires.
| | 04:38 | When I stuck the car body,
press the W, now look at that.
| | 04:43 | The wheels actually rotate
properly when that car moves.
| | 04:47 | So now all I have to do is animate this.
| | 04:50 | Now the work plane is
still set for one of our tires.
| | 04:53 | So let's go back to Work Plane and choose Reset.
| | 04:56 | We can go to the Animate tab, and I
am going to turn off my Locators.
| | 04:58 | I am going to press the O key, go to
Visibility, turn off Locators, and let's
| | 05:03 | turn off our lights and everything else.
| | 05:05 | So now let's just set up a
simple animation with this car.
| | 05:10 | We've got our HybridCarBody selected, Item mode.
| | 05:12 | We are at frame 0, and at frame 0 let's
just move it all off the screen here.
| | 05:18 | Shift+Y will create a keyframe, and then
let's go at frame 120, and we will move
| | 05:24 | that over here. But let's
make them stop halfway, about 50.
| | 05:31 | What I want to do is maybe back up a little bit.
| | 05:34 | So I have just created all
these keyframes, and that works well.
| | 05:37 | You can see that the car starts out,
| | 05:39 | it eases out because of that motion
path, and he stumbles a little in the
| | 05:42 | beginning, and then he stops,
and the wheel slows down perfectly.
| | 05:46 | But if he backs up, we can do that very
easily by just going up here to 65 and
| | 05:52 | maybe moving this back.
| | 05:55 | So this is what's great about using the
Schematic view and using some of those
| | 05:57 | modifiers is that the wheels, in this
case with the Revolve modifier, work
| | 06:03 | perfectly with the car.
| | 06:04 | All I have to do is worry
about animating the car;
| | 06:06 | we don't have to worry about those wheels now.
| | 06:08 | And if we turn those wheels, we will go with it,
| | 06:10 | which works really well.
| | 06:12 | So this is the way to set up a very simple
animation to do something that actually
| | 06:17 | is a little more complex, just by
using a modifier, changing the centers, and
| | 06:22 | parenting these tires to the
car, then animating the car.
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| Setting up inverse kinematics| 00:00 | Setting up rigs in modo, whether it's a
schematic or inverse kinematics, is not so
| | 00:05 | difficult to do once you understand the process.
| | 00:07 | In the previous video, I showed you
how important those centers were to
| | 00:11 | rotating the tires on a car.
| | 00:13 | Well, they're just as important if
you are going to set up an arm that
| | 00:16 | you wanted to animate.
| | 00:17 | Now I've got two of them set up here,
and I want to show you the difference.
| | 00:20 | First we have a nice little arm right
here, and I can go back to the Items. And
| | 00:24 | each one of these is a separate item,
separate mesh layer, and that's important
| | 00:29 | because I want to animate each one of
these. But notice that the root of it
| | 00:33 | is down at the 0 axis.
| | 00:35 | That center is at the 0. And very much
like the car wheel, we need that center to
| | 00:40 | be assigned to each one of these
appropriately so that it can bend.
| | 00:44 | And why do we want to do that?
| | 00:45 | Well, here is another variation of it.
| | 00:48 | On this one, if I take my Move, I can
actually grab the tip and I can move this
| | 00:52 | around, and I can just pick things up
using constraints, which is in the Modifiers
| | 00:58 | tab. And that allows us to actually
parent an unparent over time as we need.
| | 01:04 | But on a larger scale, this inverse
schematics setup is very easy to do, and you
| | 01:10 | can set it up for all kinds of things,
like desk lamps and arms for characters,
| | 01:14 | robots, things like that.
| | 01:15 | So let me show you how to set this
exact thing up with this set right here.
| | 01:20 | First, you need to make sure that the
parenting structure is just the way you need it,
| | 01:26 | meaning that the arm would be parented to the
elbow, just like it would be on your own arm.
| | 01:31 | Then the elbow has to be parented to the base.
| | 01:34 | So I am just dragging each one of these
in. So the arm is parented to the elbow,
| | 01:38 | which is parented to the base.
| | 01:41 | For the arm, we need to have that
pivot, or that center, down at the bottom.
| | 01:46 | So I am going to select the base,
and even though it looks like it, we are going to
| | 01:50 | make sure it's accurate. We are going to set
a few polygons here and then press the L key and then Work
| | 01:57 | Plane > Align Work Plane to Selection.
| | 01:59 | We will choose a center and then, just
like we did earlier, in the Setup tab, we
| | 02:04 | are going to set to Work Plan Position.
| | 02:07 | Next we will take the elbow, and we
can take the polygons right here in the
| | 02:12 | Center, press the L key for loop,
Align Work Plane Position to the Selection,
| | 02:18 | choose the center, which I know is way
back here, so we will zoom out, and then we
| | 02:22 | are going to set that to
the Work Plane Position.
| | 02:25 | It's important to set up
the polygons in the center.
| | 02:28 | If I chose just the end, it could work
okay, but we really want that centered,
| | 02:32 | and we want that Center item
centered. And then finally, the arm itself.
| | 02:38 | Now you would think that the arm would
pivot from here, but its not. The way the
| | 02:40 | inverse works is that we are
going to grab it from the tip up here.
| | 02:43 | So, back to polygon mode. We will select
a few polygons here, press the L key to
| | 02:47 | select a loop, then Align Work Plane to
Selection, select Centers, choose that
| | 02:54 | center, and then Set to Work Plane
Position. Then we will save of course.
| | 03:02 | Finally, all we have to do is apply
the inverse kinematics, and the way to do
| | 03:06 | that is to select the base, hold the
Shift key, select the arm, and we will see
| | 03:10 | that all three centers are now in place.
| | 03:12 | We are going to go to Modifiers and
hit Apply IK, inverse kinematics.
| | 03:17 | Now you are going to get a little warning here
| | 03:19 | that's saying that they are needing to be on
different axis and click OK, and it will be fine.
| | 03:25 | So just click OK when that comes up.
And what you will end up with is a Base
| | 03:30 | IK goal, and it puts a math
functions there, a dual joint plane IK,
| | 03:34 | automatically adding this.
| | 03:36 | You don't have to do
anything in the Schematic window.
| | 03:38 | And what's nice about is that we still
have our parenting structure set up, but
| | 03:42 | this is now assigned to those, and what
that means is if we press the Y command,
| | 03:46 | we can click and drag
this around, just like that.
| | 03:49 | Now I probably would go back and take
this polygon and attach it to the base
| | 03:53 | rather than to the elbow, because
that's rotating with it, and that's only
| | 03:56 | because I have placed it, that final polygon,
in the elbow. So, not a problem to change that.
| | 04:03 | But the idea here is that you can very
easily set up animations within inverse
| | 04:08 | kinematics. I think some people often
scared when they here that term, but
| | 04:11 | it's not that difficult.
| | 04:13 | modo's inverse kinematics work on three items,
| | 04:16 | so that's what we've done here. So you
have an arm, an elbow, and a base, and then
| | 04:21 | you can always just grab that and move
it around. Very easy to set up and very
| | 04:25 | easy to use when it comes
to more complex animations.
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| Adding the finishing touches on schematic rigs| 00:00 | Once you've set up a simple IK rig,
you can duplicate it and create something
| | 00:04 | more with it. So initially, in the
previous video, you saw how the arm was set up
| | 00:08 | just to be used for a
lamp, or something like that.
| | 00:11 | So if we go down to the locator here
and click on it and I press the W command,
| | 00:16 | you can see we were able to do this
like a robotic arm, like a lamp, or some kind
| | 00:21 | of mechanical thing. But what if
you were going to build these into a
| | 00:24 | character? How would it work?
| | 00:25 | Well, what I have done is I have
selected this entire group and duplicated it
| | 00:31 | so we have two of them, and that
was what we built in the previous video.
| | 00:35 | Well, what if I want to these to
work together? How would that be set up?
| | 00:38 | Well, up here in the Setup tab, in the
top left, you can select a locator.
| | 00:42 | When I click that, a
locator is added to the scene.
| | 00:45 | Now a locator is nothing
more than just a reference point.
| | 00:48 | It doesn't actually render.
| | 00:49 | It's just something we parent to
and we can use as a control item.
| | 00:53 | And with that locator selected, if you
hit the Display tab, you can actually add
| | 00:57 | Draw Options, such as make it a
wireframe or make it fill or give it a label.
| | 01:02 | You can call it locator if you want, and that
will show up right there in your viewport.
| | 01:07 | So it's just something to consider if
you'd like to actually go a little bit
| | 01:10 | further with these locators. And also,
press the O key and make sure Show Locators is on,
| | 01:16 | under Item Visibility.
| | 01:18 | So now that you have this locator, I
can actually just move it up, and we'll put
| | 01:22 | it right in the center.
| | 01:23 | Now I am going to take these IKGoals
and I am going to select both of them--
| | 01:27 | I am going to hold the Ctrl key and
select the second one--and when I move these
| | 01:31 | together, you can see that
we have both of them moving.
| | 01:34 | Well, that works great, but then I can
take those and parent them to this other
| | 01:39 | locator. And then with that locator, I
can now grab both of them, and at the same
| | 01:45 | time, I can press the E key
and I can actually rotate.
| | 01:49 | So now, if you had some kind of
character you wanted to build, you have an
| | 01:52 | entire rig for the very
bottom legs that you can work with.
| | 01:57 | You can press the Y key, which is
our killer Transform tool that uses
| | 02:02 | Rotation, everything else,
and Transform, and you can just simply just make
| | 02:08 | this guy walk around.
| | 02:09 | You can pick up the bottom leg and move
it, go back to the IKGoal here, and keep
| | 02:14 | building small, little rigs,
and attaching them together simply by doing the
| | 02:18 | parenting in the Item list.
| | 02:20 | So I would name this locator.
| | 02:22 | I'd probably click on it and say this
is the hip, and I'd move it up, and then I
| | 02:26 | can actually take this entire set
and press Ctrl+G, and you can call this LowerLegs.
| | 02:35 | So now you have an entire group to work with
that you can move around and keep organized.
| | 02:41 | We can select the hip,
| | 02:42 | we can move it, hit Rotate and now
we've got that simple rig set up.
| | 02:47 | So this is as basic as it gets when it
comes to inverse kinematics, and you can
| | 02:50 | see how this can get exceedingly
complex when you build much larger objects.
| | 02:55 | In your Layout tab, there actually is
some items in here you can work with,
| | 02:59 | such as this Space Arm.
| | 03:01 | There is actually much more complex arm in here.
| | 03:04 | If you go under, I believe it's under
Vehicles, and under Miscellaneous, there is
| | 03:09 | this big Mech Warrior. And you can
actually load that up, change those centers
| | 03:14 | like I showed you, put the IKGoals on,
just like I showed you, and make that thing
| | 03:19 | come to life. But instead of using a
locator for the hip, you can actually use
| | 03:24 | the real Hip object that is there, so
when the center of that Mech turns, those
| | 03:28 | legs turn, just like you
are looking at right here.
| | 03:32 | With these simple introductions of
inverse kinematics and the Schematic tools,
| | 03:37 | you really can build just about
anything you want right inside of modo.
| | Collapse this transcript |
|
|
12. Rendering AnimationsUnderstanding resolutions and rendering| 00:00 | After you've gone through all the
painstaking work of setting up a 3D model,
| | 00:04 | putting surfaces on, setting up lighting,
well, you need to do something with it
| | 00:08 | and that, of course, would be rendering.
| | 00:10 | I have the scene loaded from the
exercise files called RenderMe, which is
| | 00:14 | basically the car from the
Luxology assets, a flat plane with a nice
| | 00:19 | desert ground applied.
| | 00:20 | That desert ground is actually one of
the presets you can find in your Browser
| | 00:25 | toolbar here under Assets, and then go to
Materials and you will find that ground surface.
| | 00:30 | So what's happening here is that we
have some global illumination lighting
| | 00:33 | the sky and we also have a dome
light that is creating a nice cast soft
| | 00:39 | shadow on the ground.
| | 00:40 | It works pretty well, and you can load
that up and take a look at how that's built.
| | 00:44 | But once this is done, of course we
have our preview render right here, but you
| | 00:47 | might want to go to print.
| | 00:49 | You might want to go to
video. How would you do that?
| | 00:51 | Well, let's just talk about
resolutions and rendering real quick.
| | 00:54 | What I am going to do is go to the
Shader Tree and I am going to select the
| | 00:58 | Render at the top, and when you do that,
you'll see all the properties down here
| | 01:01 | that you can set up for rendering.
| | 01:03 | So let's move this up so we can see what's
happening, and we are going to work our way down.
| | 01:07 | You're going to see the Render
category, and what we are going to tell modo is
| | 01:10 | what camera we are using to render.
| | 01:12 | Early in the course, I showed you how you can
create two cameras and choose that to render.
| | 01:17 | In this case, we have just one camera.
| | 01:19 | So remember, anything you render out
will actually be from the Camera view,
| | 01:24 | what you choose here.
| | 01:26 | If we have an animation, you'd have
your first and last frames, and then you'd
| | 01:29 | have a frame step, meaning how
often that is going to render.
| | 01:32 | So is it going to render every frame,
every other frame, every third frame, and so on?
| | 01:37 | Here we are rendering each frame, one at a time.
| | 01:40 | If we set it to 3, we would have
every third frame render and so on.
| | 01:44 | You might think, well, why would you do that?
| | 01:45 | Well, let's say I've got a really big
animation and you want to create maybe a
| | 01:49 | visual storyboard for your client.
| | 01:50 | Render out every 15 frames or every
20 frames and use those stills as part
| | 01:56 | of your storyboard.
| | 01:57 | Things like that are pretty useful.
| | 01:59 | You can also do a negative frame step,
like -1, and you can render backwards.
| | 02:04 | A lot of times that works well if you
have an animation that rendered for six
| | 02:08 | hours and suddenly your machine crashed.
Or your software crashed and you want
| | 02:12 | to re-render those frames.
| | 02:13 | Well, render from the back end and catch up.
| | 02:16 | I've done that many times. Resolution,
| | 02:19 | we are going to render in
pixels, pretty much all the time.
| | 02:22 | However, you can do it in inches, if
you're rendering out for billboards and
| | 02:26 | posters. But for most part, I've always
had pretty good luck rendering in pixels,
| | 02:30 | and most of our stuff that we do at
our studio goes to video and pretty much
| | 02:35 | these days we are at
1920 x 1080. Almost everything is HD.
| | 02:39 | And that's something you're also going to
set up before you set up your animations.
| | 02:44 | You want to make sure that resolution is
there so your camera actually has the right frame.
| | 02:49 | The DPI settings,
| | 02:50 | now this is, I don't want to say
controversial, but I've had people in the past
| | 02:54 | take images and say that they're not 300dpi.
| | 02:56 | Dpi means dots per inch.
| | 02:59 | For print resolution, you do
want 240 or higher for print.
| | 03:04 | When you're rendering video, you
really don't need to worry about that.
| | 03:07 | You need to worry about the pixel size.
| | 03:09 | Even then, this is still here.
| | 03:12 | So what I recommend is just
leave this alone. Leave it at 300.
| | 03:14 | If you're rendering to video,
you're not going to need it.
| | 03:17 | If you're rendering to print, that will
then be embedded in your image and when
| | 03:20 | somebody loads that up in
Photoshop, checks the image size,
| | 03:23 | they will see that it's 300dpi.
But even then, you're still going to need the
| | 03:27 | right inch or pixel size.
| | 03:29 | So always check that with your client and
make sure that you have the right resolution.
| | 03:33 | The Aspect Ratio is the size of
the pixels, and in this case we have
| | 03:36 | square pixels at 1.0.
| | 03:37 | Every once in a while you might be
something like 1.2 for more of a letterbox
| | 03:42 | look, and that's going to change
the aspect ratio of those pixels.
| | 03:45 | For our render, we are going to go 1.0.
| | 03:48 | Now the Bucket Width and Height, you
can change this depending on the type of
| | 03:53 | render you're doing. But in all the
years I have used modo, these default
| | 03:56 | values work pretty well.
| | 03:58 | The Bucket, if I press F9, are these little
squares you see running all over the place.
| | 04:03 | Those are the buckets.
| | 04:04 | So you can change if those are larger
or smaller, and it might affect how your
| | 04:08 | render happens, meaning it might render a little
slower, might render a little faster, but in
| | 04:13 | this case, that doesn't actually need
to really change for us. And also to keep
| | 04:18 | things a little faster for our render, we
are going to come back down 720x480 DV
| | 04:24 | resolution, just because it
will render a little faster.
| | 04:27 | And you can write the buckets
to disk, which helps saves memory.
| | 04:30 | It caches them and then reuses
them, especially if you're doing more
| | 04:33 | repetitive renders.
| | 04:35 | The Reverse Order, you can put on there
as well. It will render opposite of the standard.
| | 04:40 | So let's click on that, and I'll
show you what that looks like.
| | 04:42 | And it just goes from the bottom up where
the render is reversed from our initial setup.
| | 04:46 | We don't need to finish this at this point.
| | 04:49 | Finally, you have a Render Region and
this is actually quite handy if you have a
| | 04:53 | really large scene, or maybe
your system is a little bit slower.
| | 04:57 | You can bring that in and if you look
over here, you can see it happening.
| | 05:00 | I am actually just rendering just a portion.
| | 05:03 | And I'll press F9, and so now
I am only rendering that region.
| | 05:08 | So it's good for two things.
| | 05:09 | Number one, just unique creative renders,
if you want a square render perhaps, or
| | 05:15 | if you need to render just a portion,
maybe you just want to update through
| | 05:18 | render with just a quick preview
of what that headlight would be.
| | 05:22 | You can do it with that Render Region.
| | 05:25 | Just remember to turn that
off when you're not using it.
| | 05:27 | When you come over to the Settings tab,
there are additional properties that are
| | 05:31 | extremely important to set up a render.
| | 05:33 | Antialiasing, a lot of times you will get renders
and you'll see kind of just some chunky
| | 05:39 | edges around each of your models.
| | 05:41 | That's the antialiasing. It defaults to 8.
| | 05:44 | I generally render somewhere around 64.
And when I press F9, you're going to see
| | 05:50 | it's going to slow down a little bit,
but what will happen is that these nice edges
| | 05:55 | in here will be much, much cleaner.
And on a simple level, antialiasing is like a
| | 06:00 | blurring of the pixels on the end.
| | 06:02 | It smoothes them out.
| | 06:04 | So that's something you're
always going to want to put on.
| | 06:06 | It's a matter of what kind of model you
have, what size your render is, to what
| | 06:11 | antialiasing value you're going to set.
| | 06:13 | Again, 32, 64 usually works
pretty well for most things.
| | 06:18 | Sometimes I have gone higher, depending on the
quality of my model. But it looks very clean,
| | 06:23 | so that shouldn't be a problem.
| | 06:25 | The Filter type > Gaussian,
| | 06:27 | well, if you're familiar with
Photoshop, Gaussian is a blurring.
| | 06:30 | Now you can try the Catmull or the
Mitchell versions and see if those render a
| | 06:34 | little bit differently.
| | 06:35 | And the difference is, rather than a
simple typical Gaussian, they are just
| | 06:40 | different equations, different
mathematical functions that change how that
| | 06:45 | antialiasing happens, how it's applied.
| | 06:47 | So test those out and see what works
better for you, but again, in most of my
| | 06:51 | situations, somewhere
around 64, I've gone to 128, generally works best.
| | 06:55 | I leave it at Gaussian.
| | 06:56 | The Refinement Shading Rate,
| | 06:59 | this is going to help you get a cleaner
render, especially when you have things
| | 07:02 | like this soft shadow down here.
| | 07:05 | If this were set up higher, to like 2
pixels--and we'll render this out--my render
| | 07:11 | will go a little faster, but I
am going to get this noise in here.
| | 07:14 | So if you see some noise in your
image, especially when you're using Global
| | 07:18 | Illumination and down under here--I
don't know how visible it might be on the
| | 07:23 | video, but you can actually see all the shading.
| | 07:26 | It's kind of noisy.
| | 07:27 | That's that shading rate.
| | 07:30 | Without getting into mathematical
explanations, I am just going to press .001, and
| | 07:35 | this brings us down to
the very bottom, which is .1.
| | 07:39 | When I press F9 again, you can see my
render is a little bit slower, but you'll
| | 07:44 | notice that a lot of that
noise now has been removed.
| | 07:46 | I don't often change that, but for most
final renders, we are bringing it down.
| | 07:53 | And then when you do, you can balance
that threshold to see what works best
| | 07:57 | between the right shading
rate and the right antialiasing.
| | 08:00 | So we will stop this.
| | 08:02 | If you're rendering depth of field,
you would click this on, any motion blur.
| | 08:07 | Remember, if you're doing depth of field,
you have to set up your camera properly.
| | 08:11 | In this case, we're going to come
in here, and we have to set the focus.
| | 08:16 | While you can click Autofocus, you
can very easily just press Y command and
| | 08:20 | you'll get a little focus knob right
there, and you can just drag it to the car.
| | 08:25 | Once that's set up, you need to go into
your Camera Settings and set the F stop
| | 08:28 | so that the background will blur and the
front will blur out of that focus area.
| | 08:34 | As a default, it usually does a
pretty good job just setting that focus and
| | 08:39 | rendering, but in these properties, in
these settings, you just want to make sure
| | 08:44 | that the Depth of Field is turned on.
| | 08:46 | You can globally turn on or off shadows
for your render, and you can increase the
| | 08:51 | depth for the reflection and
refraction so that the system calculates finer
| | 08:56 | details when it comes to those.
| | 08:58 | I've never had much trouble with any of
the reflection or refraction values, but
| | 09:03 | if you find some artifacting when
you're rendering, try upping those values.
| | 09:07 | Now Adaptive Subdivision, when we were
putting on the Multiresolution, we are
| | 09:11 | going to want to use some of
these Adaptive Subdivisions and the
| | 09:14 | micro-polygon displacement.
| | 09:16 | We didn't talk much about that, as it
is some of the more advanced tools, but
| | 09:20 | this is always on by default.
| | 09:22 | What that means is when you go ahead
and render something with a displacement
| | 09:25 | map, there's a lot of times you can
actually have finer displacement details
| | 09:29 | within that, and that is with
the micro-poly displacement.
| | 09:32 | Lastly, when we get to Global
Illumination, if we are rendering with Global
| | 09:36 | Illumination, we could turn that on.
| | 09:38 | Now in this case I have a dome light
simulating that global illumination.
| | 09:43 | If I didn't want that dome light, I
can make sure that in the Item list,
| | 09:48 | it's just turned off.
| | 09:49 | So now I'm using just my environment
which has a high dynamic range wrapped
| | 09:54 | around it as the indirect illumination.
And as such, we need to make sure that
| | 09:59 | our Shading Rate back in the Settings is
set down pretty low, because that gives
| | 10:04 | finer quality in between each of the pixels.
| | 10:07 | The Shading Rate is applied in much better
with that finer detail, rather than a higher value.
| | 10:13 | If you're doing subsurface scattering
to make light transmit through surfaces,
| | 10:17 | you can determine it here.
| | 10:19 | We had earlier put on volumetrics on one
of our cars to have the light streak out.
| | 10:24 | You can put volumetrics, how they affect
the indirect light, and you can increase
| | 10:29 | the number of bounces.
| | 10:30 | Now by default 1 works pretty well.
| | 10:33 | When you have indirect illumination,
what you're telling the system is, have
| | 10:37 | that light, have the indirect light--
| | 10:39 | in this case the environment--bounce off
of all the surfaces, and that's how you
| | 10:43 | get this nice environmental lighting that,
while our background has bluish image in it,
| | 10:48 | it's actually tinting the ground and the car.
| | 10:51 | The color of the ground is
popping up into the car, and so on.
| | 10:54 | All of that light is bouncing,
and in turn bouncing the colors around.
| | 10:58 | You can increase the amount of bounces,
but I'd be careful with that, because it
| | 11:02 | will slow down your render times.
| | 11:03 | Good trial and error there.
| | 11:05 | When you're doing Global
Illumination, you're going to want to play with
| | 11:07 | the Irradiance Cache.
| | 11:09 | This is directly related to Indirect
Illumination and the Global Illumination, so
| | 11:14 | you can change these values of how it's sampled.
| | 11:17 | So again, if I bring this down to
maybe one, that rate is actually going to
| | 11:22 | change a little bit and give
us a little better quality.
| | 11:25 | If you go to the Luxology site, they
have quite a good listing of very specific
| | 11:30 | ratios you can put in for different
types of rendering, whether you are rendering
| | 11:33 | for video or for print.
| | 11:36 | Lastly, the Walkthrough mode.
| | 11:38 | This is really good to put on,
especially if you're rendering for architecture.
| | 11:41 | Well, let's say we are
just moving our camera only.
| | 11:44 | What that means is, once this data
is calculated for the render, you put
| | 11:50 | Walkthrough mode on, the system knows
that. It's not going to be recalculating
| | 11:54 | and redrawing all this bounced rays of light.
| | 11:56 | It knows that okay, well,
we've rendered this once.
| | 11:59 | Nothing in the scene is moving like
the car, which would then need to be
| | 12:03 | recalculated to move those colors.
| | 12:05 | Instead, we are just flying the camera
through, or walking the camera through in
| | 12:09 | this Walkthrough mode.
| | 12:10 | So, that's something you'd definitely
want to turn on to save render time,
| | 12:13 | especially when it comes to architecture.
| | 12:15 | So, just a quick overview of some of
the settings you will need to go through
| | 12:19 | to set up a render.
| | 12:20 | Now I know we've got a little bit
long with some these values when we are
| | 12:22 | using Global Illumination, but just be
sure that in your settings you've got
| | 12:26 | your Antialiasing on,
| | 12:28 | you lower your Shading Rate so that you
get much finer detail in those shadows,
| | 12:33 | and then make sure your frame size is correct.
| | 12:35 | In the next video, I am going to show you
how to render out and then save, so that
| | 12:40 | you can apply it somewhere else.
| | Collapse this transcript |
| Setting up a render project| 00:00 | If you've ever done any research about
some of the render settings in modo, it
| | 00:04 | can get very confusing. And you, like me, might
want to say, just how can I make a better render?
| | 00:10 | Well, let's do that in this video.
| | 00:12 | Without getting into all the math
about pixel evaluation and contrast, let me
| | 00:16 | just show you how you can set things up.
| | 00:19 | So we have got a scene here called
RenderMe that you can load up from the
| | 00:22 | exercise files, and I've got the
Antialiasing set to 1. That is the base sample.
| | 00:28 | The Refinement Shading Rate is set to 2
pixels, and the Refinement Threshold is set to 80%.
| | 00:33 | These are not defaults.
It's actually set in such a way that we get a crummy
| | 00:37 | render. And even though the lighting
looks great, you can see here that all these
| | 00:41 | edges are very chunky.
| | 00:42 | I mean, it looks like it was grabbed off
a video screen or something. All right!
| | 00:46 | So that's a poor render.
| | 00:48 | Never deliver that to your client.
| | 00:49 | So I am going to close that.
| | 00:51 | Let's take the Antialiasing up to
128 and leave everything else alone.
| | 00:55 | What we are going to do is work our
way through to make cleaner renders.
| | 00:58 | Now when these pixels are being
generated, the system is actually calculating
| | 01:04 | the space in between each one of
them. And as such, it's cleaning them up,
| | 01:08 | smoothing them out, using
this Antialiasing filter.
| | 01:12 | The Shading Rate and then the
Refinement Threshold can be changed to make this
| | 01:16 | even cleaner, and this is what's
going to help create less noisy renders.
| | 01:19 | So for instance, we had this.
| | 01:21 | We can see the chunkiness here with
the Antialiasing set to 1. But then when
| | 01:25 | we set the Antialiasing up to 128,
you can see how much cleaner that is, and
| | 01:30 | even back here. And while it's not a
big deal sometimes on a still image, it's
| | 01:35 | huge deal when your animation is moving.
So something to keep in mind, because
| | 01:39 | that will all just flutter around back there,
and the same thing goes with the noise down here.
| | 01:45 | So what we can do then is take the
Refinement Shading Rate all the way down to
| | 01:50 | 0.1, and that's going to give us a much
cleaner render when it comes to these
| | 01:55 | areas indirect lit by the light, which
would be some of these shadows down here
| | 02:01 | under the tire, which we'll see in a
second, as well as some of the color in the
| | 02:05 | paint--you will see a much cleaner render.
| | 02:07 | And then lastly, the Refinement
Threshold, this is essentially the contrast of
| | 02:12 | these shading rates in between the
pixels, and not contrast in terms of darker or
| | 02:18 | lighter, as you would think, you
know a high-contrast image, but how it
| | 02:22 | calculates the shading in between
all the pixels that are evaluated.
| | 02:26 | So the default is 10%, and very much
like the Shading Rate, if you bring this
| | 02:30 | down, you will end up getting even
finer detail in your render. And you'll see,
| | 02:35 | of course, a little bit slower
render too, because it's calculating more.
| | 02:39 | There is no set recipe for setting up a render.
| | 02:42 | The biggest recipe you need, however, is
your resolution, decent antialiasing--
| | 02:47 | number one--and then maybe
bring your Shading Rate down.
| | 02:50 | Everything else can kind of fall into place.
| | 02:52 | You can change the quality of your
lights, depending on if it's an area light
| | 02:56 | perhaps, or the environmental lighting.
| | 02:58 | You can increase the bounces, so that it's
calculating more and creating a richer image.
| | 03:04 | But sometimes you have something very
simple and it actually doesn't need those
| | 03:09 | settings and take that extra time for rendering.
| | 03:12 | Now after 2 minutes and 46 seconds, which
might seem like a long time--it's really not--
| | 03:17 | we have global illumination. We have glass.
| | 03:19 | We have transparency, reflections, soft
shadows. All of this is rendering in a
| | 03:24 | matter of couple of minutes,
so it's really pretty amazing.
| | 03:27 | However, it did take significantly
longer once we set this Refinement Threshold
| | 03:31 | down as well as the Shading Rate down,
but the result is look how much cleaner
| | 03:36 | the paint is, look how much cleaner the
shadows are, and how much more accurate
| | 03:40 | all the lighting is.
| | 03:41 | That is because we set those values.
| | 03:44 | So when you're setting up a render and
when you're setting up the Antialiasing
| | 03:48 | there is a good balance between setting
up too much, which might be overkill and
| | 03:52 | take up too much time,
and of course not setting enough.
| | 03:55 | That's going to be a matter of trial and
error for you when you're setting up your renders.
| | 03:59 | So 8 right here on our little
Render window, this buffer, that's our
| | 04:04 | top-quality render.
| | 04:05 | It is more of a medium-quality render.
And take a look down here in the bumper.
| | 04:09 | See the difference with that Shading
Rate? So that's the Refinement Threshold
| | 04:13 | not brought down, and that's the
Refinement Threshold brought down to 1.0.
| | 04:17 | If we go back to 6, we have a change
of Shading Rate, and you can see all the
| | 04:22 | noise up here in the side of the paint,
And if we go down to five, well, that's
| | 04:26 | before we even set any antialiasing and
we get all this chunkiness. So we went
| | 04:30 | from this to this. I'll do it again. There
is 5, even the door, all the panels and
| | 04:35 | everything else, to that.
| | 04:38 | So something to keep in mind, and if you
do forget what all of these values mean,
| | 04:43 | just remember Antialiasing up and
all these other values down. That's it.
| | 04:46 | It's a really good way to remember
how to set up a nice clean render.
| | Collapse this transcript |
| Rendering to movie files vs. image sequences| 00:00 | Once you set up the resolution and
the antialiasing for your render and you've got
| | 00:03 | all the Shading Rates correct so that
everything looks clean, you're going to
| | 00:06 | want to render it out to something, whether it's
a still image or whether it's just an animation.
| | 00:11 | So in this case, if I press F9,
we get our nice render window.
| | 00:15 | When this happens, if I wanted to
save this out, I can very simply come up
| | 00:18 | here and hit Save Image, and I can save that
out as any type of still image file that I want:
| | 00:23 | 16-bit TIFF, Photoshop, JPEG, whatever I need.
| | 00:28 | I do this all the time when I want to give an
image to a client, I want to do a little preview;
| | 00:32 | even stuff for this course
has been rendered out this way.
| | 00:35 | So that's number one. And of course,
we can go back to any preview renders
| | 00:38 | because our buffer saves
them. We can save those.
| | 00:41 | This final color output that we are
saving that comes from the Render tab.
| | 00:46 | Let me close the window, and when I
click on Render and I open this up, that is
| | 00:50 | the final color output that has
been set up in the render by default.
| | 00:55 | You can add more of these by going to
Add Render. And when you come down into
| | 00:59 | all these different little properties in here,
you can set up a new output, and with that output,
| | 01:05 | you can put in anything you want.
| | 01:07 | So if you come down to Special, choose
Render Output, we can say, well, we've
| | 01:11 | already got a final color. Here's an alpha.
| | 01:13 | You can right-click on this, and these
are all the other different types of
| | 01:16 | renders you can take a look at.
| | 01:18 | So what if we wanted to look at the
Shadow Density or the Reflection or
| | 01:23 | perhaps Luminous Shading.
| | 01:25 | Now these may or may not
work, depending on your scene.
| | 01:28 | If I had rendered out the car
perhaps, maybe that will do it.
| | 01:31 | So you need to have these in place
though when you set up your render;
| | 01:35 | otherwise, that value is
not going to be calculated.
| | 01:38 | So let's go ahead and set one of these.
| | 01:40 | I am going to put in any
kind of transparent shading.
| | 01:44 | Now the thing is with this particular
setup here, we have just the texture, and it
| | 01:50 | probably won't show up much. But if you
take a look at the final color output,
| | 01:54 | the alpha won't show anything,
because we have one solid polygon. And the
| | 01:58 | Transparent Shading, well,
there really isn't any.
| | 02:01 | If we came back to these values,
you're not going to see those outputs.
| | 02:05 | That's because they were not
rendered with the scene, which is the point.
| | 02:08 | So make sure that if you want to set
something up, that you need your client
| | 02:12 | actually want you to send perhaps a
geometric normal, or an Indirect Illumination
| | 02:18 | pass, or perhaps a Luminous
Shading pass of your render,
| | 02:21 | make sure you put that input there.
| | 02:25 | Now with this one I've gone ahead and
rendered this out, and part of rendering,
| | 02:29 | not just saving an image, is also testing.
| | 02:32 | So in this case, here is this animated
motion, and it's just a little too much.
| | 02:37 | I mean it could be good, depending on
what you want it for, but let's change that
| | 02:42 | so it works a little bit differently.
| | 02:43 | We are going to open up, this is the
TextureRender file in the exercise files.
| | 02:49 | And I will select Marble Noise, and I'm
going to remove the Noise Seed animation
| | 02:53 | that was set up, I believe, in Chapter 8.
| | 02:55 | We are going to right-click on that
and say Remove Animation. Simple enough.
| | 02:59 | All we are animating now is the frequency.
| | 03:01 | What I can very simply do is just
come through, and you can see that that
| | 03:05 | frequency is just changing in
there, and it's still a little too much.
| | 03:09 | So how can we adjust that? It goes from
3 all the way up to 4--not very much.
| | 03:14 | So what I am going to do is I am
going to remove that Frequency animation
| | 03:17 | as well. And instead of animating these
noise values, let's animate the position value.
| | 03:22 | So I am going to go to the Size or
to the Position; either one will work.
| | 03:27 | I think I'll do position on the Z,
and the reason I will do that is because, if
| | 03:32 | you take a look at the animation and
take a look at the model in the scene, the
| | 03:37 | Z axis is back there.
| | 03:39 | I'm looking down the Z axis for this camera.
| | 03:42 | Well, the object is flat, which means
if I move this texture position, it will
| | 03:48 | move to left and right on the X;
| | 03:49 | it will move up and down on the
Y. What would happen on the Z?
| | 03:53 | The Z, it would actually just look
like it's just sort of rolling around,
| | 03:59 | because it really can't go anywhere.
| | 04:00 | There is no geometry for
it to actually move on to.
| | 04:03 | So it just changes position. So let's do this.
| | 04:08 | So frame at 0, create a keyframe,
and we will come up to 120. And I'm just going
| | 04:13 | to crank that like that,
and we just made the animation.
| | 04:17 | But how do you animate this out?
| | 04:19 | That's where we come up to the Render
up here and we say Render Animation.
| | 04:23 | When we click that, you have two choices:
| | 04:26 | Save As Image Sequence or As Movie.
| | 04:29 | You can save with layered Images if
you want, but in this case, we just want
| | 04:33 | movie or image sequence--
| | 04:35 | any type of animation.
| | 04:36 | There's some thought out there
about doing straight-to-movies or doing
| | 04:39 | straight-to-image sequences.
| | 04:41 | I am going to give you my theory on it.
| | 04:43 | I always render image
sequences unless it's just a preview.
| | 04:47 | The reason I render finals to image
sequences is that movie codecs, such as
| | 04:52 | QuickTime or AVIs, do tend to crash.
And let's say you're rendering out a
| | 04:56 | complex animation, or something with a
lot of shading rates and calculations like
| | 05:01 | our car. That one frame took about
three minutes, which wasn't too bad, but
| | 05:05 | let's say of an 1,800-frame
animation; you have a full minute.
| | 05:08 | That can be a lot of time.
| | 05:10 | So why waste 10 hours when a 12-hour
render suddenly crashes at the 11th hour?
| | 05:16 | What that means is your animation will not save.
| | 05:19 | If that render crash is saving to a movie
and that codec crashes, nothing is saved.
| | 05:23 | A QuickTime movie will not
save partially; it has to finish.
| | 05:28 | So for that reason, I render to
sequences, which means every frame that's
| | 05:32 | rendered gets saved in order. And it
will be whatever we name it, so we can
| | 05:36 | click OK, and we would save it as, not as a JPEG--
| | 05:40 | do not compress your file--
save it as a nice high-res TIFF.
| | 05:43 | That's the other reason I like saving sequences.
| | 05:47 | Number one, if my system crashes,
power goes out, or the QuickTime movie
| | 05:52 | crashes, I don't have to worry about
all that, because every frame is saved as
| | 05:56 | soon as it's rendered.
| | 05:57 | The other thing is, in your haste, you
might actually set the wrong codec and the
| | 06:01 | wrong resolution in your movie preferences.
| | 06:04 | So suddenly you've rendered out a movie
file--perhaps it did actually save--but
| | 06:08 | then you realized you put some really
cheesy lousy compressor on, and it's all
| | 06:13 | pixelated and chunky.
| | 06:15 | You've just wasted a lot of time rendering.
| | 06:17 | So by rendering out sequences, I know
that I'm getting a full high-res image as
| | 06:22 | a sequence and if my system stops,
I can just pick up where I left off.
| | 06:25 | The final advantage is that if your
client needs an image for a brochure from
| | 06:29 | the render, all you've got to
do is pull it from your sequence.
| | 06:32 | So, a nice way to work.
| | 06:34 | Now that I've said all that, I am
actually going to go ahead and render a movie,
| | 06:37 | because I do render movie
files just simply as a test.
| | 06:40 | So I am just going to render this.
| | 06:41 | We'll save it right on the Desktop,
and we will call this just TextureRender2. It's
| | 06:46 | saving it as a QuickTime
movie, and I'll hit Save.
| | 06:50 | And you will see it renders frame 1,
| | 06:51 | 2, it just automatically goes. And where
those frames are coming from are in the
| | 06:56 | actual Render Settings, which we
had set up in a previous video.
| | 07:00 | Frame 1 was our first, frame 120 was
our last, and we had a Frame Step of 1.
| | 07:04 | So we will let this finish
and then take a look at it.
| | 07:07 | So a little bit of time has past,
and now 120 frames have rendered.
| | 07:11 | So you can see it just says Complete: 100%.
| | 07:14 | We will close that window, and then I
will open up my QuickTime player and open
| | 07:19 | up that movie, Open File, and I
just put it right on the Desktop.
| | 07:22 | It's called TextureRender.
And let's take a look at it now.
| | 07:26 | Now it's looking more like we want it.
| | 07:27 | So rather than all that noise just
moving around, we actually just animated the
| | 07:33 | Z value of that texture, and it
creates a really cool look, very kind of
| | 07:36 | scientific, changing, and you can
just fade this in and let it render out.
| | 07:41 | So now that I know that this QuickTime movie,
| | 07:43 | this quick little preview, actually looks right,
| |
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