IntroductionWelcome| 00:03 | Hi, I am Dan Ablan, and this is
Luxology's modo 601 Product Shots.
| | 00:10 | In this course we are going to talk about
modeling and creating 3D product shot renders.
| | 00:15 | This can be used for concepts, for
visualization, and for real-world products.
| | 00:20 | You'll learn how to model, create fur, create
shading and surfacing, use real world-lighting,
| | 00:26 | and apply realistic cameras
to render out your final image.
| | 00:29 | You'll also learn how to render for print
using DPI settings and create custom review
| | 00:34 | maps so that your products are
mapped accurately and efficiently.
| | 00:37 | If you're ready, let's go ahead and get
started Creating Product Shots in modo 601.
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| What you need to know before taking this course| 00:00 | You're probably asking yourself what you need to
know in order to do this Product Shots course in modo.
| | 00:06 | You don't need to necessarily know a whole lot, but some
familiarity with the program is definitely helpful.
| | 00:11 | You can watch my modo 501 Essential Training here
on lynda.com to get up to speed in the software.
| | 00:16 | Even though this is 601, the 501
training applies just the same.
| | 00:20 | If you are relatively comfortable with the
program, just go ahead and dive in and follow along.
| | 00:24 | We are going to be talk about the interface
slightly, we are going to talk about the Render
| | 00:28 | panel, we are going to use the Item list when
we build objects, and we are going to definitely
| | 00:33 | user Shader tree to build surfaces.
| | 00:35 | We'll actually get into using some fur and
hair materials, and of course we are going
| | 00:39 | to definitely use the Camera
and set up lights in rendering.
| | 00:43 | So, if those are of interest to you, go ahead
and get started with modo 601 Product Shots.
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| Using the exercise files| 00:00 | If you're a lynda.com premium subscriber,
you'll have access to the exercise files.
| | 00:06 | When you get those, unzip them, put them
in a safe place, perhaps on your desktop,
| | 00:10 | and when you open them what
you'll see is four folders.
| | 00:13 | One will be images that we are going to use
in the course, one will be objects, things
| | 00:18 | we have created in the course, which also are
your scenes and then any presets we might have,
| | 00:25 | and of course any rendered images.
| | 00:28 | However, in this course we
are going to build as we go.
| | 00:30 | So, when we open up these object files, we
are actually going to build most of these
| | 00:34 | throughout the course, and
you'll how those are created.
| | 00:36 | So, let's go ahead and get
rolling with modo 601 Product Shots.
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1. modo 601 OverviewThe modo 601 interface| 00:01 | The modo 601 interface is really not
much different than the modo 501 interface.
| | 00:06 | If you have watched my modo 501 Essential Training
here on lynda.com, you can get a pretty good
| | 00:10 | overview of the whole
program from the ground up.
| | 00:14 | But let me in this video just take you through
few of the interface options that we're going
| | 00:18 | to be working with throughout this course.
| | 00:20 | What you are looking at here is the Model
tab, and this is where we're going to do
| | 00:24 | all of our basic modeling.
| | 00:25 | This is pretty much what your modo
interface should look like when you start up.
| | 00:30 | The next tab is the Model Quad view, and
basically it's our perspective view with a top view,
| | 00:35 | a front view, and a right view
of whatever our model might be.
| | 00:40 | So let's say we picked a cube right here,
we model this out, well, you can see there it
| | 00:45 | is in all four views. It's not four separate
windows, but it's four different views of
| | 00:50 | the same model, that's
something to keep in mind.
| | 00:54 | We have our Paint tab--which we'll get into
in this course--just to paint a little bit
| | 00:58 | of texture right onto our models.
| | 01:01 | The Topology tab, which is something we're
not going to cover in this course, but it
| | 01:05 | is a great new feature of modo 601 and
something we can explore in future videos.
| | 01:11 | The UV mapping tab, which we'll cover in
this course, will show us how we can map images,
| | 01:16 | and our painted textures
around any kind of model we want.
| | 01:21 | In the Layout portion, here in this tab what
we can do is go through some of the existing
| | 01:25 | meshes that come with modo when you have installed
the interface, different Environments or different
| | 01:30 | materials, and for more complex
things, Assemblies and Profiles.
| | 01:34 | When we jump over to the Setup tab, this is
were we get into some really advanced things
| | 01:39 | such as our Channels, our Channel Modifier,
Channel Links, things that we're not going
| | 01:44 | to do in this Product Shot course.
| | 01:46 | But new to 601 are Deformers, Inverse Kinematics
for Full Body IK, and lot of other really nice
| | 01:52 | advanced tools which we'll
get to in future courses.
| | 01:57 | We'll get to our Animate tab so we can
see some animated lights and cameras.
| | 02:01 | And lastly we'll jump into the Render tab
quite a bit, so we can actually see our surfaces
| | 02:06 | being applied in real time
right with preview render.
| | 02:10 | Each one of these interfaces really is not much
different than what you have worked with in modo 501.
| | 02:16 | However, each one of these tabs is
really just a collection of different presets.
| | 02:22 | So for instance if we come to the Model tab,
you can see that there is this little tick
| | 02:26 | mark up in the top corner, a
little thumb tack if you will.
| | 02:29 | If you hold the Ctrl key on your keyboard, and
you swipe down, you'll actually duplicate that tab.
| | 02:35 | If you hold your Ctrl key and swipe to
the right you'll duplicate it that way.
| | 02:40 | And what that means is you can then change this view
from let's say Perspective to perhaps a Camera view.
| | 02:47 | You can change from OpenGL
to perhaps a Wireframe view.
| | 02:51 | So its very flexible to move these panels
around as well, and you can click right in
| | 02:55 | the interface like that
and just slide these around.
| | 02:58 | And you could do the same with
the panels on the columns over here.
| | 03:01 | If you want to remove any of these panels,
just right-click back on that little thumb tack
| | 03:08 | and hit Delete, you can also see when you
right-click there are a number of other things
| | 03:12 | that you can Save the Viewport, you can Detach,
Copy, and so on, so let's go ahead and delete this one.
| | 03:18 | Across the top here we'll be working with
Vertices, Edges, Polygons, Materials, and Items.
| | 03:22 | It sounds like a lot of things
to remember, but it's really not.
| | 03:25 | And as we work through our course,
you'll see how easy these are to remember.
| | 03:29 | We'll talk about Action Centers as we model, which is how
we can control the action over mouse on our object.
| | 03:36 | We'll use Symmetry to mirror our actions
on different axes, and I'll show you how
| | 03:41 | the Falloff tool can be used to change a
shape of your model as you're building it.
| | 03:46 | Over here in the right column, you
can see that there is the Items tab.
| | 03:49 | This is sort of a home base if you will, kind of
a bin for all of the items that are in our scene.
| | 03:54 | A mesh is your object itself, and of course,
we have got a Camera and a Directional Light
| | 04:01 | which all build up into a scene that's why
you see that little clapboard right there.
| | 04:06 | We'll then jump into our Shader Tree where
we can get into our surface presets, and as
| | 04:11 | well as build our materials which I'll feed up
to the Render engine to make our final output.
| | 04:17 | And to begin modeling we're going to work over
here in the Model tab with all our basic permanence.
| | 04:23 | Now when we call these tabs across the top, I'm
also going to call these tabs down the side as well.
| | 04:29 | So we have got tabs within tabs.
| | 04:31 | So it can get a little confusing, but it
will work out pretty well once you follow along.
| | 04:36 | Lastly, just to navigate around the interface.
In the very top right of your interface you'll
| | 04:40 | see a little move, rotate, and zoom tool.
| | 04:44 | What you can do with these is a click and
hold your left mouse button and move around,
| | 04:50 | click and hold on the rotation
and click and hold on the zoom.
| | 04:53 | A lot of people just want to click on these
and then try and move in there view,
| | 04:56 | and it doesn't quite work that way.
| | 04:58 | Holding the Option key on a Mac or Alt on a
PC, you can click and drag and rotate your
| | 05:03 | views so we're going to be doing that
quite a bit just to move your view around.
| | 05:07 | If you have a wheel on your mouse, you can
use it to zoom in and out, and if you have
| | 05:11 | a right mouse button which I highly recommend
you can Lasso select your object or Polygons
| | 05:17 | or Edges or Vertices as needed.
| | 05:20 | So something else to consider if you're
working with a one-button mouse on a Mac,
| | 05:23 | go ahead and get a two-button mouse
it will help you quite a bit.
| | 05:26 | So a quick overview on the modo 601 interface.
It's not that difficult to navigate through
| | 05:31 | once you know the tools and know which
way you're going for each view models.
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| Exploring workflow settings for modeling products| 00:02 | The workflow settings for modeling products
which we're going to do in this course are
| | 00:05 | going to be pretty much the
default standards with modo 601.
| | 00:10 | We'll move some interfaces around as we need.
| | 00:12 | But what I want to show you is up here in
the Layout dropdown, there is a Layouts menu
| | 00:16 | that flies out, and you can see that there is a number
of different options you can choose for your interface.
| | 00:20 | There is 3D Sparse, 401, 501,
and 601 default layouts.
| | 00:25 | There is also the Animate layout.
Let's take a look at that.
| | 00:29 | You can see here with the Animate layout
it changes our full configuration, the tools
| | 00:33 | still work the same way, but the entire interface has
changed around just for a little bit better workflow.
| | 00:39 | And sometimes when you move these
interfaces around depending on the size of your screen
| | 00:43 | some of the buttons will become hidden, and
it's just a matter of moving these lines around
| | 00:49 | in between each one of the menus and
adjusting so that your full screen can show.
| | 00:54 | I have got a smaller workspace, so
not all my tools are going to show up.
| | 00:59 | When you have a full screen interface, such
as like 1920x1080, or my main monitor is 2560
| | 01:06 | resolution, you'll be able to get all of these
instantly and you won't have to move these menus around.
| | 01:11 | But let's take a look at some others.
Let's go here to the 3D Sparse, and you can see
| | 01:16 | this menu actually works really well, if
you're just in that grove of modeling objects,
| | 01:21 | and you really know your tools.
| | 01:22 | There's only a couple of tools once the
model is created that you will need to adjust it
| | 01:28 | and tweak it and pull it.
| | 01:30 | For instance I can press the B key for the
Bevel tool or the T key for my Element Move.
| | 01:35 | If I hold Ctrl+Space I get my pie menus, if I
hold Alt or Option+Space I can choose transform
| | 01:43 | menus and things like that.
| | 01:44 | So, all of these keyboard
shortcuts as needed will pull up.
| | 01:47 | But those are what you can get
comfortable with and then work in a view like this.
| | 01:52 | If you ever play around with that, you can
always go back here to Layout 601 Default Layout,
| | 01:56 | and that works just fine.
| | 01:59 | But this is for our primary workspace we
are going to use for our modeling products.
| | 02:04 | We are going to stick with
this Model tab right here.
| | 02:07 | We might go into the model Quad view but
in modo, I am going to show you that working
| | 02:12 | with the action center and the work plane
you won't necessarily need to go into this.
| | 02:17 | And also, what I would like to do is again
that Ctrl+Space gets to a pie menu, and I
| | 02:22 | can jump right to a front view or to a right side
or back to my Camera view or back to a Perspective view.
| | 02:29 | I often find myself working that way.
| | 02:32 | Now one think I want to point out is
this legend down here in the bottom corner.
| | 02:37 | What this is is our work plane. You can
see that it shows the X, Y, and Z axis.
| | 02:42 | Well, what does this relate to?
| | 02:44 | If we take a close look at the little gray
whitish box that is drawn between the X and
| | 02:50 | the Y axis, it represents this tall white grid
that you see right here on the main interface.
| | 02:56 | If I hold my Alt/Option key, and I click and drag in
the interface notice that, that box suddenly changes.
| | 03:04 | Well, that means that my work plane now is on
the Y axis because it's drawn between X and Z.
| | 03:12 | It sounds confusing, I know.
So let me show you what this means.
| | 03:14 | If I had to just choose a box right here,
and I want to draw this out, let's say I want
| | 03:19 | a flat box, well, I'll draw it out. Oh, well,
it looks like it's standing upright.
| | 03:25 | That is because my work plane is actually on
the Z axis. It's draw--my work plane is drawn
| | 03:29 | between the X and the Y, all
right, so we'll get rid of that.
| | 03:33 | So, if I rotate around until that work plane
now shows the Y axis standing up and the work
| | 03:39 | plane is between the X and the Z, and I
draw again, well, now it's flat the way I want.
| | 03:45 | I am drawing it flat on the Y axis, which is up and
down, and then of course I can tweak it from there.
| | 03:52 | So, as we build our product you're going to
see me move around and change this workspace
| | 03:56 | so that we can use it for each one of
the products specifically as we need.
| | 04:01 | But that's what that work plane
margin legend in the bottom corners.
| | 04:04 | So, if you ever need to know which way you're looking,
and you can't quite see the axis of the background.
| | 04:09 | For instance, right here you can see that
we have got Z right back there a positive Z,
| | 04:14 | and a negative Z is behind us, we can it right there.
| | 04:18 | Or we have got our X axis to the left and right.
You can always use this as a guideline.
| | 04:24 | So, it is just something to be aware of.
| | 04:26 | We are going to be work primarily in the Items
tab right here, and we'll work with the Properties
| | 04:31 | for each of those objects we create.
| | 04:33 | So, working in modo is relatively easy, especially
when we're starting our products from a basic primitive.
| | 04:40 | We're going to use this throughout the course
as we jump into rendering and animation later on.
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| Exploring workflow settings for surfacing products| 00:01 | The workflow for surfacing objects is not entirely
different from the workflow for modeling objects.
| | 00:06 | We are just going to
simply go to a different tab.
| | 00:09 | However, we might jump around to a few more
tabs, and there's a couple things we can do
| | 00:14 | to enhance our surfacing as we get
to that point. So, let's do this.
| | 00:17 | I am going to hold the Shift key, and I am
going to click on the ball Primitive in the
| | 00:21 | model tab, and I quickly add
these spheres to our interface.
| | 00:25 | Now this is our modeling tab, meaning we can
model, we can bevel, we can adjust this any way
| | 00:31 | we want, which we are going to do when we
get into actually building our products.
| | 00:35 | But if I wanted to create a surface on
here, there is two things I need to do.
| | 00:38 | Number 1 is to press the
M key, M as in material.
| | 00:42 | So, here is our Polygon Set Materials tab, and with
this we're going to give our polygon a surface name.
| | 00:50 | Now this is not actually putting all the
different materials on, it's just identifying
| | 00:54 | these polygons with a particular name.
So we'll call this Sphere, very original.
| | 01:00 | We can set a base color if we want. It's not a
big deal, we can always change this later,
| | 01:05 | and we'll click OK. You can see it instantly change.
| | 01:08 | But also notice that some properties appear,
and it says material reference.
| | 01:12 | Now, this is part of the workflow that you
kind of have to get to used to with modo.
| | 01:16 | We're in the Items tab, the actual item--the object
itself--is selected, but we are seeing Material properties.
| | 01:23 | Well, that's because we kind of jumped
ahead of ourselves by hitting the M and hitting
| | 01:28 | material without going to Shader Tree.
| | 01:30 | You don't need to go to the Shader Tree,
you can do it just like I did.
| | 01:34 | But just be aware that it will pop up down
here all these properties when you do so.
| | 01:40 | Now let's say I click the camera when I go
back to Sphere, and you are going to see that
| | 01:42 | it jumps back down to the Mesh tab.
| | 01:45 | But because the Material has already been
applied, that tab is now available as well.
| | 01:50 | So, you don't necessarily need to leave this
tab, this model tab when working, especially
| | 01:57 | if you want to put some materials on.
| | 01:58 | You can model, you can put some materials
on and work from there, but let's say--as we are
| | 02:03 | going to do--go much further with our
materials, that's where the Shader Tree comes in,
| | 02:07 | and that's the secondary tab right here.
| | 02:09 | Let me expand this a bit so you can see it,
there it is, Shader Tree, and in here you're
| | 02:14 | going to see all of the materials we're going
to work with, and once we open up this render,
| | 02:20 | and in here is the sphere
material that we just created.
| | 02:24 | This is a material group, and as we get into
surfacing, I'll explain this much further.
| | 02:28 | If you open this up and select the Material,
when I press the M key this is actually what
| | 02:34 | I created, this base material right here, and
this Material Reference tab is what was being
| | 02:40 | shown when I was in the Items tab.
| | 02:42 | A little odd I know at first, because some things
appear in tabs, some things appear in both tabs.
| | 02:49 | But as we start working through the
whole course, it'll make much more sense.
| | 02:54 | So this workflow for setting up our surfacing,
really just matter of creating the material,
| | 03:00 | our first step and then jumping into the Shader Tree
and opening up that material to add all of our materials.
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| Exploring workflow settings for rendering| 00:01 | Now the meat of this course will come when the
lighting and rendering happens a little bit later on.
| | 00:05 | You can learn quite a bit when we get to the
modeling and surfacing as well, but the rendering
| | 00:11 | and the lighting are really what is
going to make your product shot shine.
| | 00:14 | When we talk about workflow for rendering,
what we're talking about is how you can work
| | 00:20 | when setting up your surfaces and how
that workflow should be set up so that you can
| | 00:25 | maximize your time when applying
different surfaces and applying lighting.
| | 00:29 | Setups for rendering workflow don't
need to vary much from this Render tab.
| | 00:34 | However, you might want to see something
like this when you're working in another tab.
| | 00:39 | For instance, let's say we're back in our
Model tab, and we have created just a sphere again.
| | 00:44 | And you're putting on some basic materials
just to kind of see how things are going.
| | 00:47 | Maybe you are putting a set in, which we are
going to do a little bit later, you are going
| | 00:50 | to get some your initial lighting done,
and you want to see where this is going.
| | 00:54 | But you want to keep working in this view,
you don't really want to get to Render tab yet.
| | 00:58 | But what the Render tab does is it gives you
a Camera view--and this is what we're going
| | 01:02 | to talk about later when we get to our final
output--and it shows you a real-time render.
| | 01:07 | Well, there's a way you can get this real-
time render to pop up as you're modeling as well.
| | 01:12 | Just press F8 on your keyboard,
and you'll get a Preview window.
| | 01:15 | Now, you can dock this anywhere you want, but this is
showing you what your final camera settings will be.
| | 01:23 | If you hold the Shift key, you can add a flat
plane, and you could see it right there, and
| | 01:27 | if I press the W Command, I'll get my
Transform command, press R for Scale, and it can scale
| | 01:33 | that up, and in real time I'm seeing my
render right here in the Preview window.
| | 01:40 | So that's a really nice way to set up your
workflow, especially you have dual monitors,
| | 01:43 | you have a very large monitor, perhaps.
You can just put this off to the side.
| | 01:49 | Another thing you can do is also in the
top left corner just as your mouse moves over here,
| | 01:53 | you can see it highlight orange.
| | 01:55 | You can click and drag this, and you can just
drop it into anywhere you want on the interface,
| | 02:00 | close this one out.
| | 02:01 | Now you actually have a little preview
render up there that you can work with, and I can
| | 02:06 | move this down to just shape that.
| | 02:07 | I have a much smaller screen right now that
I'm working with, but a much larger screen
| | 02:11 | would allow you to fit all
of this sound quite well.
| | 02:13 | So that's something nice to work with.
| | 02:15 | If, however, your scene is getting a little more
complex, you can shut this off without removing it.
| | 02:19 | Right here at the very top where it says Render
Done, click on that, and it will say Render Hold.
| | 02:25 | So whatever I do in this scene, such as move
this out, let's go ahead and take our Transform
| | 02:31 | command, and we'll move the ground out of
the way, notice that this hasn't updated yet.
| | 02:36 | Click on it again, you'll see the ground
disappear because we moved it out of the shot.
| | 02:40 | So very easy to work with that little
preview render, but again that is the same window
| | 02:45 | that is already default in here.
| | 02:48 | The modo team has just gone ahead and placed
things in this Render view for proper setup.
| | 02:53 | One other thing you might want to
try is the Presets here on the left.
| | 02:57 | You can just simply drag and drop one of these,
right into the Render window, and you will
| | 03:00 | get an instant surface
applied to that selected material.
| | 03:04 | You don't have to keep that,
it's just a good way to start.
| | 03:08 | So here you can see, here's a green, high gloss.
Well, I like that, but maybe I wanted just
| | 03:12 | my own unique color or yellow or
orange or a little less reflection.
| | 03:17 | So I do that quite a bit in my daily workflow
is that I'll use some of the presets in here.
| | 03:22 | And if you double-click to go to the parent,
you'll see that there's quite a few in here,
| | 03:26 | High Gloss, Low Gloss.
| | 03:28 | Go up again, there are actually some of the
enhanced modo textures, such as Fabrics, things
| | 03:33 | like this, and I'll go through some of these
when we get into our shading and surfacing.
| | 03:38 | But the modo workflow for rendering really
is a matter of keeping this Preview window
| | 03:43 | here, keeping the Material set here at the
Presets, having a Perspective view down here
| | 03:49 | and perhaps a Camera view up here.
| | 03:51 | It's not set in stone. You
don't have to keep it like that.
| | 03:54 | You can always add any window you
want anywhere on your interface.
| | 03:59 | Let me just do that one more time, I'll go up
here to Layouts > Windows, and I'll hit New Window.
| | 04:05 | And with this New Window, we can set this to
whatever we want by clicking the right arrow.
| | 04:10 | And here you can see there's Toolbars,
Properties, Data Lists, any of the panels and windows
| | 04:16 | and menus throughout modo
will all access right here.
| | 04:20 | So let's just say you want
to add a new Shader Tree.
| | 04:23 | You don't want to have to click over to it.
| | 04:24 | We are making this window a Shader Tree,
then I can click and drag and drop it anywhere
| | 04:29 | I want, let's say right here.
| | 04:31 | So now, I have created my own unique
interface which has all of my modeling tools because
| | 04:37 | I am still in the Model tab, but now I have
my Shader Tree where I can go ahead and change
| | 04:42 | my materials, and I'm getting a
quick Preview Render right up here.
| | 04:45 | If I want to save that, I'll go to Layout >
Layouts, and you can see that if choose
| | 04:50 | one of these, it'll go back to my default.
| | 04:52 | So we want to hit Save As, and I'll just call
this RenderView, something like that and then
| | 05:00 | when I go to Layout > Layouts, you
can see there is my new RenderView.
| | 05:05 | So I can always go back to my Default 601
and then anytime I want, I can come back and
| | 05:10 | go to RenderView or 501 or 401 or try one
of these others or perhaps other types of
| | 05:15 | views I have made, maybe there's certain
situations where I'm doing architectural animation,
| | 05:20 | or I'm doing medical animation, and I have got a
series of panels I need accessed in a certain way.
| | 05:24 | That's just another way you can change
your workflow to make things more efficient.
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2. Modeling Products in modo 601Examining core concepts for modeling| 00:01 | As we begin our modeling section, I just
want to go over some core concepts for modeling,
| | 00:05 | just some simple workflow ideas and tips
and tricks that will help you along the way.
| | 00:12 | Now when we're working in modo, as I mentioned,
we're going to work in this full screen view,
| | 00:15 | we're going to see our work plane,
this tall white grid in the background.
| | 00:19 | Every once in a while we'll change our Action Center.
Let me talk about this real quick.
| | 00:23 | I'm going to hold the Shift key, and you'll
see that in our primitives we get a plus over
| | 00:27 | these primitive icons, when I click one of
them that primitive is added to our layout,
| | 00:33 | and you'll see here in the
Item list it says Toroid, or Torus.
| | 00:37 | And that is the object right there.
| | 00:39 | We'll press the A key to fit,
we are going to do that a lot.
| | 00:42 | I'll hold the Alt/Option Key to
click and rotate my view around.
| | 00:47 | And what I want to talk out about what the
Action Centers is basically the control
| | 00:51 | you can have over this model.
| | 00:53 | So in the Basic tab from this Modeling tab,
you'll see beneath these primitives are some tools.
| | 00:59 | If you'll hold your mouse over,
you'll see that there is variation to it.
| | 01:04 | So the R key is the Transform, the basic.
If you hold the Ctrl, you get a Uniform Scale.
| | 01:09 | Of you press Shift+R, you'll get a different
type of control altogether--let's move this
| | 01:14 | back over here. Alt will Taper and Shift will Flare,
so quite a bit of variation all within that tool.
| | 01:19 | What you can do, though, is when you see that
little tiny dark corner in each of these buttons,
| | 01:25 | and you'll see it up here under Items,
you'll see it down here under these tools,
| | 01:29 | you'll see it here under these primitives as well.
| | 01:31 | That means you can click and hold, and
you'll actually get these other tools.
| | 01:35 | But to the right are keyboard equivalents,
R for Scale, Shift+R for Uniform Scale,
| | 01:41 | so what does that mean?
| | 01:42 | Well, if I press the R Key, there is my
Scale tool, and what I can do with this is grab
| | 01:47 | the green, the Y handle, up and
down I can scale my object that way.
| | 01:51 | I can scale on the X with a red
or scale on the Z with the blue.
| | 01:55 | But if I click in the center, and you'll
see it highlight there just real quickly.
| | 01:59 | It's a teal color, and then it
highlights to yellow when I mouse over it.
| | 02:02 | If I click and hold in the
center, it will do Uniform Scale.
| | 02:06 | Sometimes, however, I want to scale just differently,
from a different location, I can hold the Shift key,
| | 02:12 | and that Uniform Scale
will happen from wherever I am.
| | 02:17 | So I'll undo a couple of times there.
You can click on the tool to turn it off.
| | 02:24 | But if you notice, if let's say I choose
my W, I'll press W on my keyboard and get my
| | 02:29 | Transform tool, I can do a Transform Move,
hold the Alt key, get a Soft Move, Shift key
| | 02:35 | will get a Soft Drag and so on.
| | 02:37 | Again, more variations of the tool, but
simply with just the Transform, same ideas apply,
| | 02:42 | I can click and drag on the green handle for
up and down, Z is the blue and the red is the X.
| | 02:49 | But what if I want to drag it from
over here or perhaps use my Rotate?
| | 02:54 | Well, notice that every time I turn on a
tool it kind of pops right in the center of the
| | 02:59 | object, that's fine, but because I did a Uniform
Scale, the object is centered right at my 0-0, X-Y-Z axis.
| | 03:07 | You can see that these dark crosshairs
all come to a point, that's my zero axis.
| | 03:13 | And by default, these objects have a center.
| | 03:16 | So let's turn off this tool real quick, and
if I click and hold down the Items dropdown,
| | 03:20 | you'll see that there is Pivot and Center.
| | 03:22 | I'll select Center, and you can see that
there's a little circle right there, a little dot.
| | 03:27 | That is the center for this object,
kind of its home base if you will.
| | 03:31 | So when I select the Move command or Rotate or
something else, it's going to happen from that point.
| | 03:36 | Now I can select this, again, going to Center,
selecting that, and then moving that over here
| | 03:42 | to the let's say the Edge.
| | 03:44 | Click just to deselect it, and let's
click and hold them go back to the Item, okay.
| | 03:49 | So this is an item, any object
you create is called and Item.
| | 03:52 | Now when I choose my Rotate Command, look where
that control handle is it's where that Center was.
| | 03:58 | If you want to see your Centers you can
press O on your keyboard, and there's a number of
| | 04:03 | different options in here, such as Weight Maps,
Overlay Drawing, things like that, Wireframe,
| | 04:08 | there's also Visibility tab here to the right, and
then there, just about in the Center, is Show Centers.
| | 04:14 | And I can say when it's
selected or All the time.
| | 04:17 | Move my mouse away, the panel goes away, and
now you can see the Center right in the object.
| | 04:22 | So, works quite well for
manipulating your object.
| | 04:26 | However, sometimes you might not want that,
you might want to keep the Center but just
| | 04:30 | Rotate from a different point.
| | 04:31 | So let's do that, we'll go to File > Reset, it's
kind of puts everything back to normal, don't Save.
| | 04:38 | And let's hold the Shift key, and
let's just say a Sphere real quick.
| | 04:43 | And now let's go into our Action
Centers and look at the list here.
| | 04:46 | Well, there's quite a bit to work with.
| | 04:49 | If I want to choose, let's say Rotate, I'll
press the E Command, of course, it's going
| | 04:52 | to rotate right from the center, which kind of
important for a sphere, but maybe you do not want that.
| | 04:57 | So Ctrl+Z or Command+Z to undo.
| | 05:00 | Let's say you want to rotate
right from the top of this.
| | 05:02 | I'm going to hold All option
key to rotate around a little bit.
| | 05:05 | I can change my Action Center to
let's say Element, and what's an Element?
| | 05:11 | An Element is Vertice, an Edge, or a Polygon.
I'll point over an Edge or a Polygon.
| | 05:17 | So I can very easily come in here and click
right on that edge and my control handle jumps,
| | 05:23 | and now I can rotate right from the point.
| | 05:25 | But I'm not changing the center of the object
so that later on if I turn that off by hitting
| | 05:31 | the Spacebar, click on Element to
uncheck that and hit my E Command to Rotate.
| | 05:37 | Notice now my Rotate is
still centered in the object.
| | 05:40 | So, when it comes to modeling, you're going
to model something, you are going to put it
| | 05:44 | in place, but it might still have its own
unique rotation, in this case a ball.
| | 05:49 | But notice the rotation is
oriented to the work plane back here.
| | 05:54 | See that? It's oriented left and right, up
and down, very even, but the ball is angled.
| | 06:00 | Well, that's very easy to change.
| | 06:02 | I could just change my Action Center to
Selection and notice that the rotation now orientates
| | 06:08 | itself to my selection, which in this case
is the ball, and that allows me then to rotate
| | 06:14 | the ball nice and evenly around
its own center, which I never moved.
| | 06:19 | So very easy to manipulate your objects
even when you're modeling, and again, this can
| | 06:25 | be great for animation as
well, as you can see here.
| | 06:29 | You can put a tire on car and position it,
and move it in to place, but keeping that
| | 06:34 | center in place and allows
it to rotate quite easily.
| | 06:39 | The other thing I want to point out is that the
Automatic Action Center isn't necessarily automatic.
| | 06:45 | So be careful with that, don't think it
going to automatically know which you want to do.
| | 06:48 | What the Automatic will allow you could do
is grab this little handle that it puts up,
| | 06:52 | and you can manually pull it around.
| | 06:55 | In fact, think of this Action Center as a manual
Action Center, where you can place it manually.
| | 07:01 | The other thing is Local.
And Local works very well too.
| | 07:06 | And very similar, in this case to selection,
the action orientates itself to that local axis.
| | 07:13 | So, it can't get very confusing. On a simple level,
we're going to keep these off for right now,
| | 07:18 | and just use the default.
| | 07:19 | We'll change it if we need, and I recommend
that should be your workflow as you are moving
| | 07:24 | along in modo in modeling.
| | 07:26 | Lastly, using the tools, it's a simple
process of selecting a tool--let's say a box--
| | 07:34 | click and drag to let's say draw out the box.
| | 07:36 | If you can click on the tool or you can press
the Q Command on your keyboard to Quit that tool.
| | 07:44 | Then you're going to select another tool, do
something with it, Q command turns off the tool.
| | 07:50 | More specifically, you can go to Polygon mode,
and let's a select few Polygons, this could
| | 07:58 | be Edges or Points as well.
| | 08:01 | Select a Command, use the Command, turn off
the Command and then click outside here
| | 08:07 | in the blank area to deselect.
| | 08:10 | That is the process of the workflow, you are
going to select, do something to it, and deselect.
| | 08:14 | And if you don't select anything, whatever
you do will affect everything in your view.
| | 08:20 | And in this case it's just the sphere layer.
| | 08:23 | If we have multiple layers, which we will
later on, you'll see that we can work on each one
| | 08:28 | of those layers and not affect
the other objects we have created.
| | 08:33 | So, simple workflow tips, just to help you along.
Once you get in the habit of using this process,
| | 08:38 | everything will flow smoothly.
| | Collapse this transcript |
| Using backdrop images for reference| 00:01 | When you're working in 3D, the number one
thing you need to have is reference.
| | 00:06 | You have to have something to work from, meaning as much as you
think you know what a television set might look like or a mug,
| | 00:15 | the best thing you do is actually have a
picture of that or the real object in front of you.
| | 00:20 | modo makes it pretty easy to model from
existing references, and in this case I have got a simple
| | 00:25 | bottle I'm going to show you and
how we can model from that image.
| | 00:29 | If you go to the Add Item dropdown in the
Items tab, click that, up at the top there's
| | 00:35 | something called Backdrop Item. If you
click that, you get this nice little gray box.
| | 00:41 | Now this doesn't render, this is different
than having an actual box that's actual geometry.
| | 00:46 | Notice in the Items list, it's a Backdrop
item, it's not a Mesh, it's not geometry.
| | 00:52 | With that Backdrop Item selected, the Properties
for it will come up, you can see that we have
| | 00:56 | the Transform Properties, Rotation, Scale
and Position, we can just click on that to
| | 01:01 | close it, but then the Backdrop
itself has its own menu.
| | 01:06 | And for the Image, we can hit the None button,
and you will see that we have got a little panel
| | 01:12 | here that pops up, and from this, we can
say Add Clip, we'll click on that and then in
| | 01:17 | there is Load Image, and when you load an
image--I have one in the assets file in the
| | 01:22 | images folder for this course, it's called
Bottle_Reference--and when I select that,
| | 01:28 | and it could be any image as well, it'll pull
that in and place that in the Backdrop Image.
| | 01:34 | I'll press the A command to Fit it to View,
and what we end up with is a Reference Image.
| | 01:41 | So how is this different than
loading a regular image onto a polygon?
| | 01:44 | Well, first thing first is
that it's not actual polygons.
| | 01:48 | For instance, if I jump over to Render tab,
and you can see that nothing renders, it's
| | 01:54 | not really part of my scene, it's a reference.
modo understands this is a Reference Image.
| | 02:00 | The other advantage is that this Backdrop
Item has some controls, allowing me to make
| | 02:06 | it easier to use and build over, and that
biggest thing for me is the Transparency,
| | 02:13 | so I can actually make this transparent, and that
way I can see through it, and the reason I am
| | 02:17 | doing that is because if I press
Ctrl+Space on my keyboard, I get my
| | 02:21 | Pie menu, and I can jump down to the
Front view, and then I can actually select
| | 02:25 | some tools and build over this.
| | 02:28 | So notice that it's just a
ghosted image now, just a reference file.
| | 02:32 | And the reason I had wanted to do that is
because, see these little contours in here,
| | 02:37 | all of those are pretty intricate, and as
much as you think you know what this soda
| | 02:42 | bottle might look like, without an actual
reference this area might be a little too
| | 02:47 | large when I build it, or I might have a
little too much of a straight line on the end here,
| | 02:52 | and the curve might not
be right, things like that.
| | 02:55 | All of it would be little details that
would make your model not quite look right.
| | 03:01 | For instance, it might come out okay,
people would see and say, oh, and that's the soda
| | 03:05 | bottle, okay, I get it, but it'll look a
little off, and with the power of modo's tools why
| | 03:11 | not go to the maximum realism and
get this as accurate as possible?
| | 03:16 | Let's jump back here to Backdrop Item again
and then click the Backdrop tab. Notice also
| | 03:21 | in these tools aside from Transparency, I
have Uniform Size, so I can actually scale it.
| | 03:30 | I also have a Brightness depending on
your image and it may be too bright or
| | 03:35 | too dark, and I can play with the contrast.
| | 03:37 | Now this is just a PNG image. You can
use a JPEG or TIFF or whatever you want.
| | 03:42 | Another way to do this--I'm going to just
clear all this out--is that if you have your
| | 03:47 | image from somewhere else and in this case
I have it on my Desktop, I'm literally just
| | 03:51 | going to drag and drop it in, and it kind of
saved me the whole trouble of going through
| | 03:56 | the loading and everything else.
| | 03:58 | But that's just an option for you, just another
way to do things, you can drag and drop that
| | 04:02 | right from another folder right into the screen.
| | 04:05 | I can actually add multiple images. So, there
I just dragged it in again, and now I have two,
| | 04:13 | but of course, it's
right on top of each other.
| | 04:16 | So, if you take a look underneath where it says
Image, there is a Projection Type, so let's do this.
| | 04:23 | This Backdrop Item, this first one here,
let's right-click on it and Rename it to Front,
| | 04:28 | and the second one, I'm going to right-click
and Rename and call it Side and for that Side
| | 04:36 | Backdrop Image, the Projection Type I'll change
to Right, one of the sides, and look what happens,
| | 04:43 | I'll hold the Alt/Option key to rotate around.
| | 04:46 | I actually have a side view of this, let's
say you are going to the next level, and you're
| | 04:50 | building an airplane or you're building a
car or building, having those orthogonal views,
| | 04:55 | the Front, the Top, the Side, all of those
will help you model more accurately, so I
| | 05:00 | can come down to my Front and start building
some shapes, then I can come to my Side, and
| | 05:05 | I can use that as a reference to see
how far I can draw something and so on.
| | 05:09 | And again, each one of these have their controls over
Transparency and Brightness and Size and everything else.
| | 05:15 | So, there are a number of websites out there
that have blueprints of cars, airplanes, ships,
| | 05:22 | things like that, things you would use
multiple backdrop images for, and modo allows you
| | 05:26 | to load multiple backdrop images,
| | 05:28 | either from the Add Item dropdown, like I showed you
earlier, or just dragging/dropping into your view.
| | 05:34 | Using Backdrop Images is an excellent way to
model your geometry accurately with detail,
| | 05:42 | allowing you to get the
right proportions and scale.
| | Collapse this transcript |
| Modeling a bottle with a curve| 00:01 | I want to show you how to model an object
with a backdrop image using just a curve.
| | 00:06 | So here I have a backdrop image loaded,
just this sample soda bottle, and it is
| | 00:13 | just the default settings for this.
| | 00:15 | So let's go ahead and select
that backdrop item in the Items tab.
| | 00:19 | And then in the Properties for it, you can
click the Backdrop tab, let's take the Transparency
| | 00:25 | probably to about 80% I would
say, so I can just punch in 80%.
| | 00:31 | It might be a little too much,
let's say 70% just enough to see it.
| | 00:36 | The reason I'm doing that is because when
we start building, it actually is hard to
| | 00:39 | see our geometry when it's 100% opaque.
For instance, if I press Ctrl+Space, come down
| | 00:47 | at my Front view, and we choose a curve so
that's over here in the Pen tool, so I am
| | 00:52 | going to click and hold on the Pen command
and then choose my curve, if I start building,
| | 00:58 | sure I can see this, but it's going to be
a little bit easier to manipulate this
| | 01:03 | with a little more transparency.
| | 01:04 | So even if we do it at 50%, it allows
us to see that curvature much better.
| | 01:10 | And let's go ahead and delete that.
| | 01:13 | Okay, so the way we are going to do this is we
have our Backdrop item, I have set Transparency
| | 01:18 | to about 50%--and again, you can vary this
depending on your monitor and your brightness,
| | 01:23 | doesn't have to be this, it makes
no difference for your model.
| | 01:26 | What I want to do to is create a new mesh.
So I am going to go to Add Item and choose Mesh.
| | 01:31 | Okay, that's a blank
container for geometry, for mesh.
| | 01:35 | Over here in the Basics tab, when you have this Pen
command, click and hold on it and choose the Curve tool.
| | 01:41 | You're also going to see here
in the Bezier and the Sketch.
| | 01:44 | Let me show you those real
quick, so let's choose Sketch.
| | 01:47 | With Sketch, you can actually just click and draw like
this, and it will draw just a nice curvature for you.
| | 01:54 | And with that, you could extrude along it, you
can create chords with it and things like that.
| | 01:59 | I am going to press Command+Z to undo
on my Mac, Ctrl+Z if you are on the PC.
| | 02:05 | You can use Bezier, and I know a lot of you
Photoshop and Illustrator people like Bezier.
| | 02:09 | Bezier allows you to click and then hold
the mouse, and you can control the handles.
| | 02:14 | Now, I don't really particularly like this in
3D, I feel it gives me a little less control.
| | 02:21 | So, I am just going to select that and press
the Delete key or my Backspace key, and now
| | 02:27 | I'm going to come back
again and choose my Curve tool.
| | 02:31 | So the reason I like the Curve tool is
because I can control the shape with points,
| | 02:36 | with vertices, I just feel that gives us a lot
more control over where we are going to put
| | 02:40 | some sharps areas and where
it's going to be more smooth.
| | 02:42 | So we can start at the top or bottom, I am
going to zoom in, and I am just clicking and
| | 02:47 | holding on these top right buttons here.
| | 02:50 | We have the Curve tool selected, and when I select
that tool, the properties for it show up beneath.
| | 02:56 | We are in the Add mode, but we also have Edit and
Delete if we need, and Close, Start, End and Make UVs.
| | 03:05 | So for right now, we are
going to leave all those blank.
| | 03:07 | We just want the Curve tool on.
| | 03:08 | We are going to start right in the middle,
and we are just going to click once to create
| | 03:11 | a point, and then we are
going to click right about here.
| | 03:15 | And as I click and hold my mouse,
I can drag that line around.
| | 03:19 | Now, when I start making this curve, if I go
too far, you can see that my curve swings out,
| | 03:25 | just the way it would if you're drawing in
Illustrator or Photoshop or another drawing type program.
| | 03:31 | But if I make these points
closer, I get a much sharper curve.
| | 03:35 | So it's a matter of balancing where these
points are without getting too many of them,
| | 03:43 | but getting just enough detail.
| | 03:46 | And you really only need to do this just a
couple of times, and you'll get the hang of it.
| | 03:50 | So I'm literally just placing points in order,
up along this curve just to get my detail.
| | 04:00 | If I want, I can zoom in, and the quality of
my image is important here because of course
| | 04:06 | if I zoom in too far, and I have a low-res
image, this is not the greatest resolution
| | 04:10 | image, but it will work for this.
| | 04:11 | A high-res image will actually have more detail.
So keep that in mind.
| | 04:15 | Then I am going to click right in here and
then make sure when you have little corners
| | 04:21 | like this, that's definitely a place
where you would want a control point.
| | 04:25 | Now if I go up too far, that's going to
curve a little bit, so we are going to keep this
| | 04:28 | one little bit tighter down here, and then we
can always click and drag right back on this point.
| | 04:34 | Now if you tend to do that, be careful that you
don't click from there, because look what happens.
| | 04:39 | You add a point right in the middle, so I
might want to come back in and undo that or
| | 04:46 | what I feel is safer is just rearrange these.
| | 04:49 | So we just make sure that you always have
that last point selected before you continue on.
| | 04:53 | So we will keep this one down about here.
And I will zoom out just a little bit now.
| | 05:02 | And this one doesn't need to be too close,
it could be right about here, and we will
| | 05:06 | click all the way up here.
| | 05:08 | Now if that curvature is not quite enough,
I could make another point, but I think I'll
| | 05:13 | do fine which is moving this one point up.
| | 05:16 | Okay, so unlike what you might think, it is
better to have less points. You want as little
| | 05:22 | point as possible, and we are
putting more in around these sharp corners.
| | 05:28 | Of course, they are not really that
sharp, but the tighter curves I should say.
| | 05:33 | And you can see right in here, this swoop
right in here, we are going to want to point
| | 05:36 | right about there, and then we are
going to want to point right about there.
| | 05:39 | So we have that nice
curve with just a few points.
| | 05:43 | So you could see why I like these Curve
command, these Curve tools better than a Bezier.
| | 05:48 | I just we have just basically more control.
| | 05:52 | Now here it's a little bit tight, so don't
get confused by that just simply make sure
| | 05:56 | you continue along, and if these start
getting a little tricky for you then move them back
| | 06:02 | down, and we will need
another control point there.
| | 06:04 | And I will put this one here, and then we can
come back up, and that straightens that out.
| | 06:11 | Now, the cap, how would we do that?
Well, you could build it separate.
| | 06:17 | But what I like to do is keep this part of the model.
It depends, though, if you are building something
| | 06:22 | for a client and the bottle has to have the cap
pop off, you will want two separate objects.
| | 06:27 | In this case, we are building one solid object.
| | 06:30 | So I am just going to come up very tightly,
right in here with a little point, another
| | 06:34 | point right here, another very tight
little point right here and just come up around.
| | 06:40 | It's very easy to make this cap look like
it doesn't match, like it doesn't fit just
| | 06:45 | by doing it separately and
having the proportions not right.
| | 06:49 | So, we always want to make sure that we do
the cap as well and keep that consistency.
| | 06:54 | All right, so we have this, and I just added
an extra point by accident, but that's okay.
| | 07:00 | So let's say I want to get rid of that point,
I am going to come here to delete, and I can
| | 07:04 | just click on the point and delete it.
| | 07:07 | And now I'm going to move this back out,
and we will take a look at what have here and
| | 07:11 | press the A key to fit.
| | 07:12 | I am going to turn of my Curve tool, and I'm going
to save this, and we can just save it as CurveSoda.
| | 07:24 | And I will save that in the Assets file.
| | 07:27 | The mesh itself, we can rename as curve if you want,
it's not necessary, but just to keep organized.
| | 07:35 | And then when I do that, I have made a change to
my scene so notice that there's an asterisk now.
| | 07:40 | So I will hit Command+S or Ctrl+S again to save.
| | 07:44 | So we have the curve,
what can you do with it now?
| | 07:46 | Well, I am going to turn off the Backdrop
item, I don't need that anymore, but now I
| | 07:51 | have got a really great
reference that has helped me shape this.
| | 07:55 | I want to use my Lathe command, my Revolve,
so Ctrl+Space to get to your Perspective view,
| | 08:01 | and you can see that I built this right along the
0 axis. I can see that 0 Y going straight through.
| | 08:08 | But I can probably tell you that the
0 is not 100% for these endpoints.
| | 08:15 | So what I'm doing is in Vertices
mode, select the two endpoints there.
| | 08:22 | Now when you select, if you click and let
go of the mouse, and you go to click again,
| | 08:27 | you will end up getting all of it or you
might deselect the other one by accident.
| | 08:33 | If you let go of the mouse, hold the
Shift key, and you can add to that selection.
| | 08:36 | If you accidentally select too many, hold the
Ctrl key and click back on that to deselect.
| | 08:42 | And if you are not sure how many you have
selected, always reference down here on the
| | 08:45 | bottom right corner, two vertices selected.
And I could see them top and bottom.
| | 08:51 | Now I will go to Vertex Map
and choose Set Value.
| | 08:55 | Okay, now what this allows me to
do is set a value for my selection.
| | 09:00 | Earlier I told you how if you select something, you
can choose a tool and then apply that to that selection.
| | 09:07 | If nothing is selected, whatever you
do applies to everything in your view.
| | 09:10 | Well, in this case, I have got just two points selected,
so I am setting a value for those two selected points.
| | 09:16 | And what's the value for these two points?
| | 09:17 | Well, I want to change their position on
the X, which is left and right, and I know that
| | 09:22 | because I can see my legend down here,
with my work plane, X is left and right.
| | 09:29 | And I want to set that value to 0.
Notice that it's at -2.
| | 09:32 | I just want it at 0, and I will click OK.
| | 09:36 | Now it doesn't look like much happened, but
now I know for a fact that those are specifically
| | 09:41 | right at the zero axis, and
I can save my scene again.
| | 09:45 | The last thing we need to do is come here
to Duplicate, and we are going to use Radial Sweep,
| | 09:50 | which is like a loft or a lathe
depending on which program you have used.
| | 09:56 | The Count is set at 24, we want it around
the Y axis which is up and down, we are going
| | 10:01 | to loft or lathe or Radial Sweep around that Y axis,
starting at 0 degrees, ending at 360 degrees, looks pretty good.
| | 10:12 | So we are just going to
click in the interface there.
| | 10:15 | And I want to keep an eye on these axis
controls just to make sure because it's very
| | 10:19 | easy to offset that and have a
little bit of a hole in your object.
| | 10:27 | So if I zoom in to the bottom, you can see that I
have got just a little bit of a hole right there.
| | 10:33 | And if I move these values here, you can see that
that hole changes where I am using my Radial Sweep.
| | 10:38 | Okay, so we are going to make sure that
that's zeroed out, and that's zeroed out,
| | 10:46 | and then we can pull back out and rotate around
and make sure that there's no overlapping, and
| | 10:53 | I will turn off Radial Sweep, press the A key,
and now we have got a very nice detailed bottle,
| | 11:01 | nice soda bottle built, very accurate in
terms of its curves, its cap, and everything else.
| | 11:07 | But we don't have a ton of geometry.
| | 11:10 | Let's quickly jump over to Render tab, press
the A key, and now you can see that that view
| | 11:16 | in the Render View shows a very nice,
very clean bottle that renders fast.
| | 11:21 | And we now we know it's very accurate as well
because we built it off the background image.
| | 11:28 | So I am going to save this now, something
different. I am going to go File > Save As,
| | 11:32 | and instead of CurveSoda, we will call it
SodaBottle_Blank, and the reason I am going
| | 11:39 | to say Blank is because it has no textures yet.
| | 11:42 | We are going to do that a
little bit later in the course.
| | 11:44 | I'll show you how to put some glass on here.
| | 11:47 | So building with a backdrop image gives you
specific control over your curves and your
| | 11:52 | proportions, allowing you to create
very clean but very usable 3D objects.
| | Collapse this transcript |
| Modeling a bottle with primitives| 00:00 | In the previous video I showed you how using
a curve and a Backdrop Item can be used
| | 00:05 | to build a very detailed object very simply.
| | 00:08 | But sometimes you might not want to go that
method, sometimes you might want to free form,
| | 00:12 | and for the product shot we are going to set up, we are
going to be some makeup and some simple props like that.
| | 00:19 | And very simply we can use our geometric
primitives up in the top left of the Basic tab.
| | 00:23 | So I am going to select the Disk tool and
hold the Alt/Option key to rotate around and
| | 00:28 | get my work plane on my Y axis.
| | 00:30 | Now I am going to click and drag, and you could
see that as I am doing this I can free form this.
| | 00:37 | And like most programs if you hold the Ctrl
key and do this you get a constrained object.
| | 00:41 | Well, I don't really want it to be all axes. I actually
want it to be flat, the constraint, how can I do that?
| | 00:48 | Well, there is a little trick, if you click,
let go over the mouse, then hold the Ctrl key
| | 00:56 | and click not on it but near it and drag,
you will actually constraint just to those
| | 01:01 | two axes off of the work plane.
Okay, so let me do that one more time.
| | 01:06 | Disk tool, click once, let go, don't drag, just
click and let go, then hold the Ctrl key and
| | 01:14 | then near it just click and drag,
and you will constrain to two axes.
| | 01:19 | So we are going to build like a little makeup
tube, and very simply this is more about edge
| | 01:23 | control and not so much of the shape.
| | 01:26 | We saw some edge control little bit with
the curve around the soda bottle, but this one
| | 01:30 | is going to be based on some basic primitives.
| | 01:33 | So with this tool on, we are just going
to take our green handle and drag that up.
| | 01:38 | And notice that I am
getting some segments in here.
| | 01:41 | Well, you have to decide if you're
modeling, do you really want that many segments?
| | 01:46 | This is the time to do it, how many sides,
how many segments, as you are building this
| | 01:50 | out, because once you turn off this tool,
sure you can go back and slice things up,
| | 01:53 | and you cannot turn the tool back on
and reedit those initial edges and points.
| | 01:59 | So this height is actually pretty good.
| | 02:01 | If you have specific references from a product,
you can measure it and just enter those in
| | 02:07 | those values right here.
| | 02:08 | We are working with System International,
which is basically a metric system, but you
| | 02:14 | can in Preferences change this
to feet and inches if you like.
| | 02:18 | So how many segments do I need on this?
| | 02:20 | Well, I need to create some
edges in the center here for a cap.
| | 02:23 | So, I'm just going to leave this at 1, and we
are going to manually place our edges another way.
| | 02:29 | If I wanted to add some, though, I can just
click on these arrows like this, or I can
| | 02:34 | click and hold on the arrow and
drag and very easily get those edges.
| | 02:38 | But that's it for now. We are
going to click that to turn it off.
| | 02:42 | Now in Polygon mode, I am going to select
just two polygons, because we are going to
| | 02:47 | use a tool called Loop Slice, and what Loop Slice
does, it slices a loop, meaning all the way around.
| | 02:54 | So we will go to Mesh Edit,
hit Loop Slice, and click.
| | 02:59 | Now the reason I selected two polygons in
order is because that told modo which way
| | 03:03 | to send that loop, which way to
send that slice, all the way around.
| | 03:07 | By default it counts at 1, 1 slice.
| | 03:10 | I can add 2 if I wanted, and this little handle
that comes up here, I can actually put these
| | 03:15 | in place where I need them.
| | 03:17 | So this is why I didn't add segments when I
built the initial model, because more specifically
| | 03:23 | now I can go in and place them where I need, and
this is where my cap is going to be just like that.
| | 03:29 | And then I could turn off the Loop Slice,
then click this blank area here to deselect.
| | 03:35 | So this is where it can be kind of fun in modo.
One of the things I found that's great
| | 03:38 | with modo is working with edges.
| | 03:40 | And this is the cap, this is the
base, but what's this guy here?
| | 03:43 | Well, this is actually where I want this
cap to intersect, so it looks like two pieces.
| | 03:48 | Now this might be a little too spaced out,
and if it is I can go to Edge mode, then just
| | 03:54 | double-click to select the edge I want, press my
Transform command, which is the W key, and slide that down.
| | 04:02 | In Polygon mode, I can select just two
polygons and press the L key, L for Loop, and that
| | 04:09 | will select the entire loop.
| | 04:11 | And then to fit that to view just to see it
all, I could press Shift+A on my keyboard.
| | 04:16 | And even my wheel mouse to zoom in specifically.
Now what I am going to do with this?
| | 04:21 | Well, I want to pull it in, so you would
think maybe go back to basic, choose your scale
| | 04:25 | command to pull it in, but what happens
is well, you get a nice shape like that,
| | 04:28 | and could be good for martini glasses,
or vases or things like that.
| | 04:32 | But I need to leave some geometry behind,
so this is where the Bevel command is going
| | 04:36 | to come in, and that's
right here, under the Basic tab.
| | 04:39 | So select Bevel, click to activate it, two
handles come up, one is Shift and the other one--
| | 04:47 | I will undo this--is Inset.
| | 04:50 | Okay, so Inset will push those down, see that?
It multiplies, it actually pushes that down.
| | 04:58 | And then Shift will pull them in.
| | 05:01 | So I very easily create a nice little
edge, but I am not going to do it that way.
| | 05:04 | All we want to do with these is shift them
in, I am just going to pull those in just
| | 05:08 | like that, about 20 mm or so.
| | 05:13 | Little bit of an edge and then also
as I did this my Group Polygons was on.
| | 05:20 | That's really important, because if that's
not you are going to get something like that,
| | 05:24 | kind of a Hershey bar effect, individual bevels,
we don't want that, so we want to make sure
| | 05:28 | Group Polygons is on in those
properties for the Bevel tool.
| | 05:32 | When I turn off the Bevel tool the properties go
away, then I'll click a little blank area to deselect.
| | 05:39 | Let's save this, since we are working, Ctrl+S
or Command+S, and we'll call this Lipstick.
| | 05:47 | Now, if I hit the Tab key look what happens,
the whole thing kind of turns into like a bullet.
| | 05:55 | Well, the Tab key gets us into subdivision
surfaces, so very much like the curve I used
| | 06:02 | where it was nice and smooth and I added
more points for more control, the tab key
| | 06:06 | changing us to subdivision surfaces is the same
kind of thing, but doing it on an entire 3D object.
| | 06:12 | So if I want more detail, I
actually need more geometry.
| | 06:17 | So what I need to do is go to Edge mode,
and I am going to do this all at once.
| | 06:21 | First I will do one simply just to show you,
and then I am going to do it all once just
| | 06:24 | to keep it moving smoothly.
| | 06:26 | I am going to select this top
edge just by double-clicking on it.
| | 06:30 | And again, the Bevel tool
which is just the B key.
| | 06:33 | So any mode you are in, Vertices, Edges,
Polygons, press the B key, you will get the Bevel.
| | 06:37 | I am going to click and drag, and
you notice that I'm beveling this edge.
| | 06:41 | But it's kind of flat, well,
there is a round level I can set.
| | 06:45 | And usually like two or three will work
pretty well, so I just click on the arrow a couple
| | 06:49 | of times, so you can see
my Round Level is set to 2.
| | 06:52 | And that's all I need to
do is just round that out.
| | 06:54 | You can make it very fat rounded
bevel or you can make it very sharp one.
| | 06:59 | So for this top, we are going to do this,
well, probably like that, about 80 mm,
| | 07:06 | Edge Bevel, click to deselect, and we hit the
Tab key, look what happens, it stays in place,
| | 07:14 | but smoothes out much cleaner.
But we have some issues down here.
| | 07:17 | Well, these we are going to do together,
because we don't need a 70 mm bevel, we need something
| | 07:23 | just smaller, so I am going to double-click,
hold the Shift key, double-click, and these
| | 07:29 | four edges, and this is the Alt/Option key to
rotate, then hold the Shift key and double-click
| | 07:35 | that inner edge, hold the
Shift key and double-click there.
| | 07:39 | So I have those four edges,
although they are round selected.
| | 07:43 | And I can bevel all of these by pressing the
B key and just click and drag a little bit,
| | 07:48 | these I only want to bevel just may
be 5 mm, and maybe not even that much.
| | 07:53 | Just a little bit, and the reason I am doing
that is because you never want a very sharp object.
| | 07:59 | These days with so much control and
so much horsepower in computers, you could
| | 08:05 | do much better than that
kind of chunky looking object.
| | 08:08 | So with beveling that edge, when I
hit the Tab key, look what happens.
| | 08:13 | It keeps that shape of cap, but I
have a nice smooth edge up and close.
| | 08:19 | If I hit the Tab key, you can see we have
polygon edges and not a lot of detail,
| | 08:26 | Tab key again, and I use my
subdivisions to curve and smooth all this out.
| | 08:31 | And if I press the A key to fit, all
we have to do is worry about the bottom.
| | 08:34 | So we will do it one more time, Tab key,
turn that off, double-click this, and Bevel,
| | 08:41 | and this one is going to be a little different,
probably around 40 mm, and that will be our base,
| | 08:46 | turn off the Edge Bevel and then
click a blank area to deselect, Tab key.
| | 08:51 | And now that we have geometry
there, that doesn't collapse.
| | 08:55 | And we have got a nice little tube to work with.
| | 08:58 | Now this might be a little too open here,
and that's okay, because we can edit that
| | 09:03 | very easily, and you can take any
of these edges and just move them up.
| | 09:08 | Or what's great about modo is I can remove
edges, so I can double-click, hold the
| | 09:12 | Shift key, double-click and hit my
Backspace key and those edges go away.
| | 09:17 | And then I can just Shift+Double-click all
of these edges, all the way around, make sure
| | 09:23 | I don't miss any, and then press W, Command-click to
activate it, and I can just pull these up like this.
| | 09:36 | Keep that nice and tight, and now we have
got a very tight beveled edge for cap with
| | 09:41 | a nice seal, even though
it's still one solid object.
| | 09:44 | And we are going to worry about putting our
surface on in our next chapter, but this will
| | 09:50 | just be one of our products, very, very simple,
but you are going to see how lighting and
| | 09:53 | rendering and surfacing is
going to make this look pretty nice.
| | 09:56 | So let's save this lipstick, we can
use that, and let's rename this too.
| | 10:00 | Right-click on the Mesh and hit
Rename, and we will call this Lipstick.
| | 10:03 | We are going to put all
these together in a final scene.
| | 10:08 | So working with curves or working with
simple geometric shapes and then editing the edges
| | 10:13 | with bevel, and playing with the shape and size and position,
very simply can get you a very detailed object.
| | Collapse this transcript |
| Building a box-shaped package| 00:02 | This product is going to take us into the
cubisphere. We're going to use cubes rather
| | 00:06 | than cylinders to build our product.
| | 00:08 | We're also going to use the Bend tool to
curve that top, and then I am going to show you
| | 00:12 | how to fold it, and then we're going to use
a UV map to actually place our textures on.
| | 00:16 | So let's go ahead and close this out,
we'll say File > Close Scene and then to begin,
| | 00:22 | I am going to hold the Shift key and
select the Cube from the Basic tab.
| | 00:26 | This adds a perfect 1-meter cube to our scene,
and the way to get this to open up is go to
| | 00:31 | Polygon Selection mode, select that top polygon, and
just press Delete on your keyboard to get rid of it.
| | 00:37 | Now what we're going to do is build from the
edges, so we go to Edges Selection mode, and
| | 00:42 | we're going to select this first edge here.
| | 00:45 | So what I want to do with this edge is build
just like a little flap that's going to fold in.
| | 00:48 | So I'll press the Z key
which is my Edge Extend tool.
| | 00:52 | Click to activate the tool, and let's just
drag this up just about 150 millimeters or so,
| | 00:57 | I can see my size right here.
| | 00:59 | And remember that this measurement, this 150 millimeters,
relates to the actual size of my grid.
| | 01:06 | So each of those grid squares that
you see are 100 millimeters in size.
| | 01:12 | Before I turn off the Move tool, I am going
to press the R key for scale, and I am going
| | 01:15 | to grab the X handle which is the red one
and just scale that in just a little bit.
| | 01:20 | Spacebar turns off the tool, and then I'll
click just a blank area to deselect that.
| | 01:25 | So that's our first fold.
| | 01:28 | The next will be our side, so I am going to
select this top edge, hold the Shift key
| | 01:32 | and select the opposite edge.
| | 01:34 | Then press the Z key for
Edge Extend, click to activate.
| | 01:38 | Now this time I want to go up about halfway,
and this is also where I started with the
| | 01:42 | cube, I know that cube is a perfect 1 meter,
so now all I need to do is go up about 600 millimeters.
| | 01:48 | The reason I need to extend 600 millimeters
is because I want these to fold down into
| | 01:53 | the box, but where 500 millimeters is exactly half, I
want them to overlap a little bit, so we'll go to 600.
| | 02:02 | Again, press the R key for scale, and then
we'll grab the blue handle on the Z axis
| | 02:06 | and then just kind of angle those in a little bit.
| | 02:09 | So those are the folds on the side.
Lastly we can build a fold from the top.
| | 02:15 | So we'll select that front edge, press the
Z key, click to activate and in this one we
| | 02:20 | want to bring up exactly just about 1 meter,
the entire size of our box, and you can
| | 02:26 | see the Offset right there.
| | 02:28 | But before I turn off this tool,
we want to add some segments.
| | 02:32 | And to do that, we'll just click and drag,
hold on that handle, that little arrow right
| | 02:37 | there just click and drag on that,
we're going to add 20 segments.
| | 02:41 | Spacebar turns off the tool, and we'll click
a blank area to deselect, pretty easy to do.
| | 02:47 | Now, we still have to figure out how to get
our interior, but I also want this to be a
| | 02:52 | little bit more styled, I don't
want the lid to be perfectly flat.
| | 02:56 | So what I am going to do is bend this lid.
| | 02:59 | So we're going to go to Polygon Selection
mode, and I am just going to click and drag
| | 03:02 | it and run my mouse down the side like
that, selecting just those top polygons.
| | 03:07 | Ctrl+Space get me to a front view or a
right view or even a left view can work and then
| | 03:15 | from the Deform tab, I want my Bend tool,
and then I am going to click to activate it,
| | 03:22 | but I need to bend from a specific area.
| | 03:25 | well this is where the
action center will come in handy.
| | 03:27 | So we're going to go up to action
center, and we're going to choose Element.
| | 03:31 | And what that allows us to do is click on
an element, such as a point and Ctrl+Space
| | 03:37 | to perspective view so I could show you this.
| | 03:39 | I can click right on that point right there
or that edge which is an element--an element
| | 03:43 | is a point, an edge, or a polygon.
| | 03:46 | And I can use that as a point in which
I can rotate or use any kind of action.
| | 03:54 | Now in this case it's
rotating not the angle I want.
| | 03:59 | so what I need to do is when we come up
here, we'll bring this up a little bit.
| | 04:03 | And if I grab this blue handle, you'll see
that it's bending but--from the right area,
| | 04:09 | but it's actually bending to the side, okay.
| | 04:13 | Well, that's good to know but I actually
need it to bend inward towards the box.
| | 04:19 | So we're going to hit Bend again, and we're
going to make sure that our axis is correct
| | 04:24 | down here with our work plane.
| | 04:25 | And we'll click on that element, and now
you can see that it's rotated to the element,
| | 04:31 | the axis element that we need.
| | 04:33 | Then this little handle
automatically sees the existing polygon.
| | 04:37 | Now there are times where it will off shoot
a little bit or be a little too small
| | 04:42 | or a little too tall, that's okay, we can get
to a perfectly good right view like this
| | 04:46 | and really line that up.
| | 04:48 | But this is what's going to determine
which part of this polygon set bends.
| | 04:52 | And then I can grab the
handle and just bend that over.
| | 04:56 | If you keep this tool aligned, and you move this,
you can actually see how I can adjust that bend.
| | 05:01 | So I'm actually bending the whole thing,
but if I bring it down here, I can create just
| | 05:06 | a short little bend just like
that and creating a very nice shape.
| | 05:10 | So anytime you have to do things like that
that Bend tool is actually really powerful.
| | 05:14 | However, for our box, we need to
just keep it bent all the way.
| | 05:21 | Okay, so the Bend tool works very well using
an action center of element and working with
| | 05:29 | the Bend tool on the proper work plane.
So click a blank area to deselect that.
| | 05:35 | The last thing I want to do is press M for
my Polygon Set material, and we're going to
| | 05:39 | call this BoxPackage, and we'll click OK.
| | 05:43 | Once that material is created in the material
reference tab that pops up, you can see down
| | 05:49 | all the way at the bottom, and you can even close up
this shader, there is a button called Double Sided.
| | 05:55 | Click that, and you'll see the
inside polygons of this surface.
| | 06:00 | Now, normally I wouldn't use Double Sided,
because those polygons technically are fake,
| | 06:06 | polygons are only one sided.
| | 06:07 | If I select this, you'll know
that it's only facing one-way.
| | 06:13 | And the reason I am using Double Sided is
because we just want to be able to see something
| | 06:17 | inside, we don't actually
need to be inside the box.
| | 06:22 | We're going to fold everything
close, so it's really not important.
| | 06:25 | but having Double Sided on, you won't
actually see through it, which is really important.
| | 06:29 | If I needed to keep the box open perhaps
and put something in there, then I would go to
| | 06:33 | Polygon mode, and I would use the Thicken
command, let me show you how that works.
| | 06:37 | Turn off Double Sided, and if I use Thicken,
and I click this tool, and I drag, that truly
| | 06:43 | adds geometry, it doesn't just fake shade it.
| | 06:47 | The only reason I'm not doing this in this
case is because we don't need extra geometry,
| | 06:52 | so I'll undo this a couple of times, and I
want to make things really clear on our UV map,
| | 06:56 | so we want to keep these polygons
just as simple as possible.
| | 07:00 | So I'm going to save this out as our box open.
| | 07:03 | You can load this up and take a look, but
I'm sure you can use the one you have just built
| | 07:07 | and later on, we will
surface this with UV maps.
| | Collapse this transcript |
| Building a traditional set| 00:01 | In order to import all of our
products together, we need a set.
| | 00:05 | 3D, such as this in modo, is like a virtual
TV studio, and what we want to do is put all
| | 00:11 | of our actors if you will, all of our products
together on a set that we can light and render
| | 00:17 | and create some nice
textures and some nice final images.
| | 00:20 | If we jump over to the Render tab, you'll see that,
well, right now we just have a box that's floating.
| | 00:25 | We need to add in our other objects, our bottle,
our lipstick case and whatever other variations
| | 00:31 | we might make, but even if we do that, it's
just going to be floating on this gray background,
| | 00:36 | so we need to create a set.
| | 00:37 | So I am going to jump back to the Model tab,
and I am going to hit File and say New, and
| | 00:43 | that creates an entirely new scene for us,
our product shot over here, our product box
| | 00:48 | is still there, but in our new
scene, we are going to create a set.
| | 00:52 | And what I am going to do is that we were
building on a 1-meter box roughly, so what
| | 00:57 | we are going to do here in this is we are going
to make our set maybe about 3 or 4 meters.
| | 01:01 | So down in the very bottom right corner,
you can see that our grid space is set to
| | 01:05 | 500 millimeters, that means every
little box is 500 millimeters in size.
| | 01:09 | So we want to pull this out to about 2 meters,
kind of like that, just using my wheel mouse.
| | 01:14 | You can use the Period or the Comma key to
zoom in or out depending on your view or just
| | 01:18 | use the Zoom command right
here on the top right corner.
| | 01:23 | Now, to build the set, we have two options.
| | 01:25 | We can do it as a cyclorama, or we can do it
as a big flat plane, and it really depends
| | 01:30 | on what type of shot we want.
| | 01:31 | So let me show you how we
are going to do it first.
| | 01:33 | I am going to hold the Shift key, and that
gives me my Flat Plane option right here,
| | 01:38 | and I can just click on that,
and we get a flat plane.
| | 01:41 | It adds kind of small to the scene. Well,
we increased the size of our scene, so this
| | 01:46 | default size of 1 meter is kind of small,
but that's okay, because I can just press
| | 01:51 | the R command for scale, click and
drag in the center and scale this up.
| | 01:55 | All right, so now I'll turn off the Scale
command, I'll come down here, and let's just
| | 02:03 | create just a simple disc like this, I'll
just show you in another layer why this can
| | 02:09 | be important, so let's say
we have just a disc like this.
| | 02:13 | In our Camera View, and we are going to get
to rendering in a little bit, you will notice
| | 02:18 | that as I zoom out, and I have these two
objects loaded, now we can cast a shadow.
| | 02:24 | We can move the camera round, we can pull it back like
this, we can zoom it in and move it, and that's fine.
| | 02:30 | So a flat plane like this can obviously catch
the shadow the way we want, and I can just move
| | 02:35 | it back if I need and size it and even some
more, but notice that we'll see a little bit
| | 02:40 | of backdrop here and depending on how we
set up our scene, you know you may or not need
| | 02:45 | that, you may want it, you may just change
the angle, but we want to create a very low
| | 02:51 | looking product shot, like a
very glamour kind of hero shot.
| | 02:55 | So if we were dong a render like this, well,
a backdrop, a set like this will work because
| | 03:01 | it's just simply catching the shadow, it
could be added in reflection, anything else.
| | 03:07 | But because we are going to be looking towards
the back like this, we want to have a little
| | 03:11 | bit different type of set.
| | 03:13 | So the way we are going to do that is with
a cyclorama, or often known as a Cyc.
| | 03:18 | And the way I am going to do that is pretty simple,
there is coupe of ways, you can make a box
| | 03:21 | and then cut away walls or we can make a flat
plane like we are going to do here and just bend it.
| | 03:27 | So looking down the Z axis I am just going
to build a big flat plane like this, and we
| | 03:32 | are going to add some segments
on the Y axis, kind of like that.
| | 03:36 | So all we really need to do.
| | 03:39 | We'll turn this off and just to make things
easier in ourselves, in that Basic tab, there
| | 03:43 | is a Center Selected, let's click that and
choose All, but notice I can't that's because
| | 03:48 | I am in Item mode, we need to be in Polygon
mode to use that, so we will jump here, and
| | 03:52 | we'll say All, like that, and
then we'll use the Bend command.
| | 03:57 | So we want to come over here to Deform then
to Bend and just rotate around to the side
| | 04:03 | view, and let's click right in the middle
and then let's bring our Control Axis down,
| | 04:12 | and then I am going to click and drag to Bend,
and that bends that out, and we really only
| | 04:18 | wanted about 90 degrees but you can see how
there can be multiple possibilities for use
| | 04:23 | in this Bend command for all kinds of modeling
tools, but this site really is just a backdrop
| | 04:28 | to catch the shadows and reflections, all right.
| | 04:31 | So to get it more exact, come in here to the
bend properties and hit -90, and then we know
| | 04:37 | we are bending exactly 90 degrees.
| | 04:39 | Now it doesn't quite look like, and if you
move this handle you can actually get a little
| | 04:45 | more control like that.
| | 04:48 | Okay, so I am moving this up and down on the Y,
and if you look at the Spline controls
| | 04:54 | here if I move this to zero, look what happens,
it flattens out, so I do things interactively,
| | 05:00 | I don't necessarily do them with the
numerics when it comes to things like this but this
| | 05:07 | will actually work out just fine, pretty much
like that. We'll turn off the Bend tool, and
| | 05:12 | we'll go up here to Edges, and I am going
to select this bottom edge, hit the Z key,
| | 05:17 | click to activate it, and I
am going to pull that out.
| | 05:19 | Now I have got a little bit of a bump in there
just from that extra little lip, so I am going
| | 05:24 | to select these two polygons and hit my
backspace key, and now we have that nice cyclorama.
| | 05:30 | So what's going to happen now is our product
is going to go right on this ground, and the
| | 05:36 | reason I only need to see this is because
that's all that's going to be in the shot.
| | 05:39 | We don't need to see edges, we are not
going to camera around, it's going to be a nice
| | 05:43 | long shot just as if we had a table-top
set up in a photography studio just like that,
| | 05:51 | so I am going to save this, and this will be Set,
and that's how we are going build a cyclorama.
| | 05:58 | I have got a few more products to put together, and
there are variations on our cylinders and our boxes.
| | 06:05 | So in the next video, I am going to show
you how to do that and then when we move on to
| | 06:09 | chapter 4, we are going to
create materials for all of those.
| | 06:13 | So building a full product shot scene is not
too difficult once you break it down, we are
| | 06:16 | building simple primitive objects, we are
using curves to build objects, we are using
| | 06:22 | boxes to build objects and cylinders, and
we are using simple primitive objects like
| | 06:26 | this to build our sets and our cyclorama.
| | 06:29 | Once we light and texture everything, you
are going to really see it all come to life.
| | Collapse this transcript |
| Creating a glass container with a pump| 00:01 | Although most of the models we created so
far were relatively simple, we have used a lot
| | 00:04 | of the key tools that you can use to build
anything you want, from a Curve to Polygons,
| | 00:09 | using Points and Edges,
to Radial Sweeps and more.
| | 00:11 | So, I want to build one more product that we
can use and mix it all together to create our scene.
| | 00:16 | What I am going to do is start
with a simple Disk Primitive.
| | 00:19 | So, that's right here in the Basic tab.
| | 00:21 | I'm going to hold the Shift key, and I'll
get that little Plus sign, and I'll click on
| | 00:25 | that Cylinder, and it'll add its own layer,
its own Mesh layer into the Items list.
| | 00:30 | Now, I can start with this or start
with a Flat Disk like I did earlier.
| | 00:35 | But what I want to do from here is make
this kind of just a nice glass container,
| | 00:39 | but I want to put a little pump on top.
| | 00:41 | So the way I'm going to do that is
just build from this existing Polygon.
| | 00:45 | So, in Polygon's mode, I'll select that
top polygon, press the B key for Bevel, click
| | 00:50 | to activate the Bevel and then drag the right
handle in just a little bit, about 90 mm or so,
| | 00:56 | and I can see my size
right here in the left-hand side.
| | 01:00 | Then I want to bevel again, so I'm going to hold
the Shift key and click to activate a new Bevel.
| | 01:05 | So, bevel is that selected polygon again.
You'll see that Shift and Inset are zeroed out.
| | 01:10 | And then I can drag up just my Shift a little bit,
and so those create this nice little ledge for us.
| | 01:16 | Shift-click again to bevel.
| | 01:17 | I'm going to come back in, and what we're
going to do now is make like a little cap.
| | 01:21 | We're going to put glass on the bottom,
but we're going to put a cap on top.
| | 01:24 | So I need this to sit in just a little bit.
| | 01:27 | So, what I'm going to do is come in a little bit
farther than normal, Shift-click to reset the Bevel.
| | 01:33 | I'm going to move it up
just a little bit like that.
| | 01:36 | Shift-click again, and
I'm going to extend it out.
| | 01:41 | Then Shift-click again, for a
new bevel, and I'll pull it up.
| | 01:44 | So, what I did, it doesn't look like I did
much, but if you come down here, notice that
| | 01:48 | we have got a nice little lip inside there,
and this top polygon will look like a separate
| | 01:53 | cap, versus just attached right to it,
kind of like it does here in the bottle.
| | 01:58 | Little details like that are really easy to do in modo,
especially with the Bevel tool, working with edges.
| | 02:04 | It's also important when you're shading and
rendering as it's going to catch a nice little
| | 02:07 | shadow, and it's going to have
just a good bit more realism.
| | 02:12 | So from here what I want to do is build
up just a cap, and then we're going to put
| | 02:15 | a little spout on it, a little pump.
| | 02:17 | So, we'll pull this out just about like that,
and I'm just eyeballing this, we are not measuring
| | 02:23 | against any particular model.
| | 02:26 | You can, if you have that back on image like I
showed you, or you have measurements, you can punch here.
| | 02:30 | But we'll Shift-click again to reset the Bevel.
| | 02:32 | We're going to Inset this
just a little bit again.
| | 02:35 | And we're going to Shift-click again
and then pull this up just shift that.
| | 02:40 | So from here what I want to do
is create one more little ledge.
| | 02:43 | So, Shift-click, reset that Bevel and pull
that up above like that, and Shift-click again
| | 02:49 | just to give this a little bit of a top.
| | 02:52 | So, we'll turn off the Polygon Bevel, click
in area to deselect, and now I have got this
| | 02:58 | kind of tiered cake look, but what I want
to do is right on the X axis, select these
| | 03:03 | top two polygons right here, and you can
see that I'm looking straight on the left
| | 03:08 | and right axis there for that.
| | 03:09 | What we're going to do with this is make
kind of little spout that will be our pump.
| | 03:15 | And again, what we're going to do,
we're going to bevel. Press the B key.
| | 03:17 | Make sure Group Polygons is on.
| | 03:19 | Click to activate the Bevel, and we're just
going to pull these out like this, Shift-click,
| | 03:26 | and we'll then Inset, Shift-click, and
we'll shift those back and then Shift-click just
| | 03:32 | to Inset a little bit more.
| | 03:34 | Turn off the Polygon Bevel,
click in the blank area to deselect.
| | 03:38 | Now when I hit the Tab key to make everything
nice and clean and smooth, look what happens,
| | 03:41 | kind of looks like an old muffler or something.
| | 03:44 | Not quite what we want, so we need to go in and
tighten up these edges with some nice clean Edge Bevels.
| | 03:49 | It's going to do two things for us.
| | 03:51 | It's going to give us a much smoother model
when we hit the subdivision by hitting the Tab key.
| | 03:56 | But it's also going to give us some
nice highlights when we put our lights on.
| | 03:59 | So, in Edge mode, let's double-click this
top edge, and then we have got to manually do
| | 04:04 | some work here, and we don't want to select
any edge that intersects with other polygons,
| | 04:12 | meaning it's not a corner.
| | 04:13 | So, really what we're
looking for is just some corners.
| | 04:17 | We don't want any edges that
encompass the middle of the model.
| | 04:21 | So, we are going to select these edges, I'm holding
the Shift key and then just clicking on each of these.
| | 04:26 | And you got to be a little bit careful with
this because it's very easy to select--
| | 04:31 | oops, see there I just did it--very easy to
select Polygons or Edges you don't want.
| | 04:37 | So just take your time.
| | 04:40 | It's nice and visible, easy move around
holding the Alt/Option key, and there is a nice
| | 04:45 | See Through mode that's automatically on, so I can actually
see through these polygons just to see my selections.
| | 04:54 | And I'll select these
here like this and like this.
| | 05:00 | And I think we have it all, and let's go under
here and do those, and then I'm going to also
| | 05:07 | do down here, Shift+Double-click, and we can
do the whole bottle with the same time, and again,
| | 05:14 | I'm just holding the
Shift Key and double-clicking.
| | 05:16 | But remember, we have got a
tight little guy inside here.
| | 05:21 | So, let's get under there and do that one too.
| | 05:25 | It'll make a big difference, and
in the bottom, Shift+Double-click.
| | 05:29 | The bottom we might go back and do little
something more with the polygons, but right
| | 05:34 | now this will work for us.
| | 05:35 | All right, I have got an extra one up here
that I don't need, and the reason those became
| | 05:40 | selected is when I Shift+Double-clicked
another area, sometimes the connections, the way
| | 05:47 | the vertices are all connected, they see each
other, and it might have just kind of swam
| | 05:52 | up there and connected itself.
| | 05:54 | So now, we're going to press the B key for
Bevel, and we're going to click and drag just
| | 06:02 | a little bit with a
Round Level of about 1, okay.
| | 06:06 | Now, one thing it's going to do,
because of the way these polygons are shaped,
| | 06:09 | it's going to create an
extra edge or two right in here.
| | 06:11 | And we can get rid of those, but for right now that we
have beveled just that a little bit, look what happens?
| | 06:17 | Looks like I missed one right inside there.
| | 06:18 | It could be a nice shape if you want, but
also notice that everything else is nice
| | 06:22 | and tight, with a nice little angle.
| | 06:24 | You can see it already
kind of catching the light.
| | 06:27 | So, I'm going to undo.
| | 06:28 | One of the nice things
about modo is we can undo.
| | 06:31 | And let's go ahead and take a look
at our selections of what I missed.
| | 06:39 | Ctrl-click that little corner right there.
| | 06:45 | It looks like there is a little
corner selected that we did not need.
| | 06:49 | Now, let's bevel again, press the B key,
and we'll click and drag, and there we go.
| | 06:56 | Spacebar turns off the bevel, click the
blank area to deselect, so one little tiny corner
| | 07:00 | like that changed that whole bevel.
| | 07:03 | Lastly, down here, we have got these
extra bevels that our edge has created.
| | 07:09 | And you can very easily move these just by
selecting them and pressing your Backspace key.
| | 07:14 | And that will allow us to
keep this a little bit smoother.
| | 07:17 | We don't need these extra edges.
Okay, so there is our model with our pump.
| | 07:25 | One last thing, Ctrl+Space to our Front View,
press the A key to Fit it to View, and for
| | 07:31 | this you can go to a Wireframe view, and
we'll go to Vertices mode to work with points.
| | 07:36 | Click a blank area to deselect any points
that are selected and then with your right
| | 07:39 | mouse lasso around this top part here.
Shift+A brings this to View.
| | 07:45 | Press the E button for Rotate, and I'm going to
change our Action Center > Element, mine is already on.
| | 07:51 | And we're going to click on this
Side element here to get our rotation.
| | 07:56 | Right from there, we're going to rotate this up.
| | 07:58 | And then press the W Command for our
Transform and then let's change just it to Local,
| | 08:08 | and let's just move these a little bit like
that just kind of even that out just make sure
| | 08:14 | that top line is straight right there.
| | 08:18 | Spacebar turns off that, and
we'll hit the blank space to deselect.
| | 08:21 | Let's jump over to render real quick and move
our mouse up with the G Key, and you can see
| | 08:26 | that now we have got that pump
come around at the top there.
| | 08:30 | Okay, so just a neat way to manipulate
some polygons, creating just a different look.
| | 08:35 | Very simple, but you're going to see how cool these
will look once we put some surfacing and shading on.
| | 08:39 | So, we're going to save this, and we'll move
on and build a scene with all of these items.
| | Collapse this transcript |
|
|
3. Creating Product MaterialsCreating materials| 00:01 | No 3D object is complete without some materials.
| | 00:04 | So, in this chapter we are
going to cover creating materials.
| | 00:08 | First, let's take a look at the SmallPump
we built in our last video in Chapter 3.
| | 00:14 | I have loaded up the SmallPump_NoSurface
object, you can find this in your project files.
| | 00:19 | I am going to Resave this as SmallPump_wsurfaces,
that way we don't have an overwrite of our original one.
| | 00:31 | All right, so how can we surface this?
What's the process?
| | 00:35 | Well, the process of creating surfaces first starts with
Creating Material, identifying, tagging some polygons.
| | 00:43 | Now you don't necessarily need to be in
Polygon mode to do this, you just need to have access
| | 00:48 | to your item, and in this case there's
only one item in the scene, the SmallPump, but
| | 00:53 | I do need specific Polygons surfaced separately.
| | 00:56 | So, in Polygon Selection mode, what I want to do
is select the right polygons for the right surface.
| | 01:03 | Now there is only going to be
two on this particular object.
| | 01:07 | We have got a dark plastic we are going to put on for
the top part, and we can put glass on for the bottom.
| | 01:12 | Now you might think to double-click the
whole thing to select it but the general rule applies,
| | 01:17 | if nothing is selected,
whatever you do applies to everything.
| | 01:20 | So, we don't want to create one surface
for everything, we want to create two.
| | 01:23 | So, we need to select just the surface or
the polygons we need to create the material.
| | 01:28 | So, I am going to start with the top right
here and holding the Shift key on my keyboard
| | 01:33 | and pressing the up arrow, I can actually
expand my selection down just like that.
| | 01:39 | Now if you remember, we built this
with a little bit of lip down here.
| | 01:43 | So, holding the Alt/Option key I can rotate
around just to see the bottom here and then
| | 01:47 | Shift in up arrow like that, just to get to that cap just
like that, and that would be just the polygons I need.
| | 02:00 | Press the A, you'll fit that back to View,
and I'll press M on the keyboard.
| | 02:06 | This calls up our Polygon Set Material.
| | 02:08 | And we will call the BlackPlastic and just
to keep organized, because if we blend this
| | 02:15 | with other items in our scene, and we have
something else called BlackPlastic, there
| | 02:19 | might be a little bit of an issue.
| | 02:21 | So we are going to call
this SmallPump_BlackPlastic.
| | 02:24 | It's always a good idea to really keep
these names specifically, and I am just going
| | 02:30 | to create a base color
here so here we can see it.
| | 02:32 | This Color we create can always be changed,
and generally it always is in the Shader Trees,
| | 02:36 | when we do main surfacing, but it's just
a default you can put on, and we don't need
| | 02:43 | this to be a permanent, just something to
identify that we have changed those polygons.
| | 02:48 | The Diffuse values how much light this
surface will accept from the scene, and Specularity
| | 02:52 | is the amount of shine.
Are we going to have to Smooth object? Yes.
| | 02:56 | Do we want this Default?
| | 02:57 | And want that means is any polygons that I
create from this point will actually be named
| | 03:02 | with this particular material.
So we don't want that on, and we will click OK.
| | 03:07 | I'll click a blank area to deselect, and you can
see that okay, that dark gray black is now applied.
| | 03:13 | So, that's a really good reason to apply a
specific color, just because you can see that
| | 03:18 | that material has been applied.
| | 03:20 | When we have a more complex scene, by
putting just generic colors to start with, you will
| | 03:25 | know that you have got specific
materials for specific polygons.
| | 03:29 | Now I am going to do a Command+Z just to undo
my selection, Ctrl+Z on the PC, and I am going
| | 03:34 | to press the Left Bracket key that is
next to the P key on my keyboard.
| | 03:40 | That particular key reverses my selection,
so it makes it very easy to select all the
| | 03:44 | polygons that are not selected, allowing me just
to press M again, and call this SmallPump_Glass,
| | 03:54 | and I'll just give this a
little bit different color, click OK.
| | 03:59 | Click blank here to deselect, and
now I have created two materials.
| | 04:03 | I am going to Command+S or Ctrl+S to Save,
then when I jump to the Shader Tree,
| | 04:10 | and I fly open the Render
panel here, look what I have.
| | 04:14 | I have two material groups,
SmallPump_Glass and SmallPump_Plastic.
| | 04:20 | That is what we just did by pressing
the M key, you created a Material Group.
| | 04:24 | If you open one of those material groups, you
will see in there, we start with a base material.
| | 04:30 | Now you can see here I
have a Base Material.
| | 04:32 | Well, that's in there by default in the Shader Tree.
| | 04:34 | So, I am going to right-click
on this and then choose Delete.
| | 04:38 | We don't need that anymore.
| | 04:41 | So from here what we are going to do is build
more materials for other items we have built
| | 04:46 | in the course, and we are going to put together
a full scene, putting it all together on our set,
| | 04:50 | on our background and then light it
and get some beautiful renders.
| | Collapse this transcript |
| Understanding basic surfaces| 00:00 | So for the first material we are going to
create, we are going to use our SmallPump.
| | 00:04 | Now this object was created a couple of videos
ago, and it is the SmallPump_wsurfaces object.
| | 00:11 | You can load this up and work from here, and I am going to
save this again as a new version with SmallPump_wsurfaces2.
| | 00:21 | So if you load the first one, you will see
that it doesn't have the glass material we
| | 00:25 | are going to put on, and surfaces2 does.
So one more surfacing, how do we want to do it?
| | 00:31 | Do we want to put lights in first, we want to put
a set in first, or do we want to get to surfacing?
| | 00:36 | Well, that really depends on what you are
doing, and years ago it would always be model,
| | 00:41 | and then you surface, and then you light,
and then you render, but today honestly,
| | 00:46 | the systems are so powerful, they incorporate so
much about their environment for reflections
| | 00:50 | and everything else, it's somewhat a
good idea to kind of build as you go.
| | 00:53 | So you are going to build a little bit of
your object, then you are going to set a little
| | 00:56 | bit of a material, then you are going to
set up a little bit of a light and so on.
| | 01:00 | We are doing things a little bit more in
order just to make them a little more clear.
| | 01:05 | So what I am going to do is jump to the
Shader Tree, and the Shader Tree
| | 01:08 | is where all of our material
properties are going to happen.
| | 01:11 | I am going to fly open the render just by
clicking this forward arrow here, this right
| | 01:16 | arrow, and you can see that we have got
a number of different things happening.
| | 01:20 | First of all, you got FX, okay, and this is new
for 601, and what this is is your scene property.
| | 01:26 | So if we are going to animate, it defaults to
24 frames a second, like film, like US film.
| | 01:31 | Now if you are doing video, you might want
29.97 or 30 frames per second if you are doing
| | 01:38 | US NTSC, things like that.
| | 01:40 | So that's where you can change that, and if
you look, there are a number of different
| | 01:42 | presets here for PAL or
NTSC or a custom one as well.
| | 01:46 | You can change the amount of frames from
Display system and frames to Seconds or SMPTE timecode
| | 01:52 | or Film Code and so on
and then your Frame Range.
| | 01:55 | We are not going to worry about any of these,
for right now, we are going to render just stills.
| | 01:58 | We are going to work our way up here.
| | 02:00 | Next think is our Camera, we are going
to talk about that in Chapter 5 and 6.
| | 02:06 | Our Directional Light also in Chapter 5,
we're going to talk about lighting there.
| | 02:09 | Our Environment, we're going talk about that when
we get to Rendering, which also in Chapter 6.
| | 02:15 | But what we want to talk about
here is our two material groups.
| | 02:18 | And the Material Group is created by
pressing M, selecting some polygons, pressing M,
| | 02:23 | and create a Material Group, which
we did in the previous video.
| | 02:26 | We have got two here, Glass and Black Plastic.
| | 02:30 | Now these groups contain all of the
materials, obviously for those selected polygons.
| | 02:36 | So we always start out with a base material,
and let's take a look at the glass right here.
| | 02:40 | It's normally just green that we just put
it on, but if I play with this, we can see
| | 02:45 | that it changes, play with some other values
here, which I am going to show you in a minute.
| | 02:50 | Okay, all of this is
happening right in our viewport.
| | 02:52 | Now if we move up to the Group, there are
some settings for it which is a little bit
| | 02:57 | more advanced, but one of the simple
things to look at is the Blend mode.
| | 03:01 | Now if you are familiar with Photoshop,
you can see some of these similar things like
| | 03:06 | Screen, Overlay, Soft Light, Hard Light.
| | 03:08 | You can blend this group with other
elements in your scene, so this simple Shader Tree
| | 03:14 | actually can get pretty complex.
| | 03:15 | Finally, we are going to
get up to the Base Shader.
| | 03:19 | Now everything in here, all these material
groups feed up to the shader, which feeds
| | 03:24 | the Render, which is your output.
| | 03:26 | So the Base Shader is where we are going to
have all of our properties in terms of
| | 03:31 | Blend Modes, Opacity, Shading Rates, and so on.
| | 03:33 | And we will talk about
this as we get into rendering.
| | 03:37 | But we are going to work our way up,
so everything kind of layers on top.
| | 03:40 | So let's start with the glass, I am going to
close this bottom one up, so it will make sense.
| | 03:44 | I am going to jump over to the Render tab
and the reason I am going to do that is because
| | 03:48 | we have a real time render view over here,
in the very left, and I will scroll out
| | 03:53 | a little bit and then just move my view and
rotate around, kind of like this just so we can see.
| | 03:58 | Now we have a default light in the
scene, so we haven't changed that.
| | 04:01 | All we are going to do now is
just work on our surfaces a bit.
| | 04:05 | Now you notice that when I moved over here,
my viewport changed back to an Items view.
| | 04:10 | But my Properties down here has
still the same Material Reference.
| | 04:13 | Okay, modo will do that once in a while,
depending on which panel or which tab you jump into,
| | 04:19 | these panels will get mixed, and
you will see multiple tabs here.
| | 04:23 | If you feel more comfortable, you can get
back to the Shader Tree, making sure that
| | 04:26 | material is selected, but I knew it was,
because I could see everything right here.
| | 04:32 | Now for glass, it's a little bit different
process than it is for something like plastic.
| | 04:38 | Glass in modo doesn't really
need to catch light from the scene.
| | 04:43 | So we can take this Diffuse value down to 0.
| | 04:47 | Seems kind of odd, but
it'll make sense in a minute.
| | 04:51 | The Specular level, how shiny it is you can
actually see this right here, this hot spot
| | 04:56 | happening right here on that area.
| | 04:57 | We are going to keep this about 10% and
the Roughness, how glossy that is you can see
| | 05:03 | if we will increase it, we are going to
make something little more like plastic.
| | 05:06 | Well, we are going to do that
on the top portion for the cap.
| | 05:10 | The glass itself, we actually want to bring
the roughness down, also maybe to about 10%.
| | 05:16 | Finally, in this panel is the reflection amount.
| | 05:20 | For glass, Reflection is key, so
we are going to go about 25% or so.
| | 05:26 | All right, the other important
thing with glass is Transparency.
| | 05:32 | So that's this tab right here,
the Material Trans, or Transmissive.
| | 05:36 | We will jump in there.
| | 05:38 | Any Transmissive property, things it permeate through,
such as Subsurface Scattering, Refraction, or Transparency.
| | 05:46 | So Glass is 100% Transparent.
| | 05:49 | Okay, now typically a lot of times in 3D,
glass looks like this on some simple animations,
| | 05:55 | but we can make it look a lot better in modo.
| | 05:57 | We are going to play with the Transparent
Color, and I am going to make this just slightly
| | 06:03 | green just like that, very little.
Move the mouse away, and that will go away.
| | 06:09 | Refractive for glass is 0.14 roughly, and
you'll see that right away it starts to change,
| | 06:14 | making it look like a liquid.
| | 06:16 | But this transparency is very thin right now,
and I want to give it a little bit of a thickness
| | 06:19 | so that's what the Absorption Distance does.
| | 06:22 | And I am just going to click and hold on this
and drag, and you are going to see this distance,
| | 06:27 | this thickness, sort of
permeate to the edges of the glass.
| | 06:31 | Let me zoom in here.
| | 06:33 | See that, now we get this nice
thick kind of appearance here?
| | 06:36 | That works pretty well.
| | 06:39 | We can play with this refraction level if we
want, bring it up more, have even a thicker
| | 06:43 | looking glass, so let's bring it
up to about two to three is good.
| | 06:49 | You can follow some simple Refraction Value
just by going and learning and searching for
| | 06:54 | refraction, but at the same time
you can also just do it to taste.
| | 07:00 | Now we are not going to change much more
of this, because much of glass relies on
| | 07:05 | the environment and everything
around it and the lighting.
| | 07:08 | So I know I have got the base
properties here for pretty much what I need.
| | 07:11 | Let's jump down now to the plastic.
| | 07:14 | We will select the material for that
and go back to the Material Reference Tab.
| | 07:19 | The plastic itself is going to be a little
bit darker than gray, it's going to be a little
| | 07:22 | bit more in the black range just like that.
| | 07:27 | We are not going to Diffuse the Roughness,
and what that will do if I have a heavy rough
| | 07:31 | value, but I hit Diffuse, what it will do,
it will just kind of soften that and blend
| | 07:35 | it in just to fuse it a
little bit with the light.
| | 07:38 | So not something we are going to do on plastic,
but we want that roughness still a little
| | 07:44 | bit higher, and Specularity, right
about there, about 10%, not too bright.
| | 07:50 | Just so it looks more like plastic.
| | 07:52 | Now one thing I want to point out here that
we didn't do on the bottom, notice that this
| | 07:57 | looks a little soft in here, and I
had made some nice edges, why is that?
| | 08:02 | Well, that's due to the smoothing level and
what I am going to do is close this shader,
| | 08:08 | and if you look down here under the Surface
Normal for the material, notice that there
| | 08:12 | are Smoothing and Smoothing Angle options.
| | 08:14 | If I change the Smoothing Angle to 0,
we see all the facets of the polygons.
| | 08:21 | But we also see these nice edges,
these bevels that we put in.
| | 08:26 | So obviously 40 degrees for
the Smoothing Angle is too much.
| | 08:30 | So we will just slowly drag this back up until
those facets go away, but still leave us with
| | 08:37 | those nice clean edges, and there it is.
Okay, so about 20 degrees.
| | 08:41 | So whenever you see that on some objects that
means that you have got too high of a smoothing value.
| | 08:47 | Now I have got those nice highlights there
and with that we might want back to the Shader
| | 08:51 | and maybe increase the Specularity a bit,
and you can play with the Roughness,
| | 08:58 | just to see if those specular
highlight shine a little but better.
| | 09:03 | Now let's do one more thing, for this black
plastic, even though we want it nice and smooth,
| | 09:09 | and it's a little bit gray, but I'm
keeping that way, so we can see it.
| | 09:13 | Let's add a texture to it.
| | 09:15 | In the Add layer dropdown up here, there are a
number of different values in modo that you can use.
| | 09:22 | Now mine are jumping off the screen, I am
sure you are able to see these, here we go.
| | 09:27 | The Enhance modo Texture, so you can see
that there is Noise, Organic, Panels, Process,
| | 09:31 | there is an Image Map we can add, we can add
different Gradients for processing, some other
| | 09:37 | Special things like Fur, which we are
going to do in a little bit, but in this case,
| | 09:41 | I just want to add a Texture,
so I am going to choose Noise.
| | 09:44 | Okay, now this comes with modo,
it's just a generic fractal noise.
| | 09:48 | If you have ever used the clouds
feature in Photoshop, it's very similar.
| | 09:52 | It's a computer-generated procedural.
| | 09:55 | Its value is set to Diffuse Color.
When I add this, notice in this column
| | 09:58 | we have a Name, and we have an effect.
| | 10:01 | The effect of this noise on top
of the material is Diffuse Color.
| | 10:05 | So what I want to do is come back here to
my Texture Locator that's suddenly appeared.
| | 10:10 | Now this panel wasn't here before.
| | 10:12 | This tab came up because I
added this Noise Channel.
| | 10:17 | So the size of this--
those clouds--are much too big.
| | 10:21 | Well, here is the size right here.
| | 10:23 | Now, instead of me trying
to adjust all of these,
| | 10:27 | what I can do is play with these guys right
here, these Gang edit and notice that there
| | 10:31 | are a number of different versions,
Independent, Copy, Relative, and Proportional.
| | 10:34 | Well, if I click it twice, and then I
click and hold on these values here, I will get
| | 10:41 | a nice even size of all three
values, allowing me to change equally.
| | 10:49 | If perhaps you had a value that was longer on one axis
and longer on the other, you can change Proportionally.
| | 10:55 | So all I am doing now is just slowly scaling
down the size of this texture just like that,
| | 11:02 | and I will zoom in, so you can see it.
| | 11:04 | So we just have this nice procedural
texture on here, and we can probably make it
| | 11:09 | just a little bit smaller, about like that.
| | 11:15 | Now I don't really want this white gray
texture on here, I am going to do something with it.
| | 11:20 | So rather than using a Diffuse Color, you can right-
click on this and change its Property. Change its effect.
| | 11:29 | So what I want to do is go down to
Surface Shading and change to Bump.
| | 11:33 | Now, let me see if I can get this to show up.
| | 11:35 | It's hanging off to the right, I will move
this panel over so you can see it, here we go.
| | 11:41 | Okay, Surface Shading > Bump, and it
changes the effect of that procedural texture,
| | 11:49 | so now, rather than being a Noise, a Visual Noise,
it's actually a Bump texture, and it's much
| | 11:57 | too strong, it looks actually kind
of like it's really, really rough.
| | 12:01 | Well, how do you change that?
| | 12:02 | Well, if you come down to the Material setting
and close the Shader, very much like the
| | 12:09 | Smoothing Angle and the Smoothing Value,
there is also a Bump Amplitude.
| | 12:14 | By default, it's 5 mm.
| | 12:16 | Our Grid Space is set to 200 mm, so we
probably want this to be maybe just about 1 mm,
| | 12:24 | or very tiny, and you can see now that we
have sort of a nice little bump effect going.
| | 12:29 | I might even go 0.5 mm just so that there
is a little bit of roughness in there,
| | 12:39 | and that looks pretty good.
| | 12:40 | I also know that when I render, it will get
smoothed out quite a bit, but what I am able
| | 12:45 | to do with this is put just a nice little
plastic feel onto this, so it's just not so perfect.
| | 12:51 | Even though it's going to look nice and smooth
from out here, if we do high quality render,
| | 12:56 | we'll see that texture in that detail in there.
| | 12:58 | So, Command+S or Ctrl+S to Save if you are on a PC, and that
is going to be our initial surfacing on our SmallPump.
| | 13:08 | Setting up materials in modo is really pretty easy
as long as you know the process of working your way up.
| | Collapse this transcript |
| Applying surface presets| 00:01 | With a lot of your surfacing, you
are going to need to use Image Maps.
| | 00:05 | Image Maps are simply just pictures, they
could be JPEGs, Photoshop files, PSDs, TIFFs,
| | 00:10 | Targus, whatever kind of format you
are working with, modo will handle them.
| | 00:14 | But in order to do that, you need to also
identify some polygons and tell the surface
| | 00:18 | where you want those
labels or image maps applied.
| | 00:22 | You can use image maps for things like leaves,
and labels on products and stamps on 3D envelopes,
| | 00:27 | and all kinds of things. That way you can bring
some of that real-world look into your 3D elements.
| | 00:34 | So I have got the soda bottle loaded up.
| | 00:37 | This is the soda bottle blank from the
project files, and I'm going to resave this,
| | 00:42 | do a File > Save As, SodaBottle_Mapped.
| | 00:46 | So that way we still have
our blank we want to work with.
| | 00:50 | And very similar to what we did with the little pump,
the SmallPump, we're going to identify some polygons.
| | 00:56 | I'm going to do this a little bit differently,
because we have a lot more intricate little curves in here.
| | 01:02 | So again, that rule applies that if you
select nothing everything is affected.
| | 01:06 | Well, that's what we're going to do.
We're not going to select anything.
| | 01:09 | I'm just going to press M on the keyboard
for my Polygon Set Material tab, and we're
| | 01:14 | going to call this
SodaBottleGlass and then hit Return.
| | 01:20 | Now I have renamed the entire
polygonal set to Soda Bottle.
| | 01:25 | If we go to our Shader Tree, you can see
there is a that Material mask right there,
| | 01:29 | and if I play with the color, you can see
that, okay, the whole bottle is changing.
| | 01:32 | Well, why would I do that?
| | 01:33 | Well, it's a little bit easier to select
the whole thing or label the whole thing as a
| | 01:40 | specific material than it is to try and go
and select this top portion, and this bottom,
| | 01:46 | then this middle portion.
| | 01:47 | The reason being is that this neck, this whole
top area, this whole bottom area are all going
| | 01:52 | to be the same surface.
The middle and the cap will be different.
| | 01:55 | So effectively, place a surface over the whole
thing and then resurface the specific areas I need.
| | 02:02 | So let's do that.
| | 02:03 | We'll come here to the top, go to Polygons
mode, and I was going to select like this
| | 02:09 | and then Shift on the keyboard and Up Arrow,
and I can expand my selection, and this is
| | 02:16 | going to be cap, and
let's come all the way around.
| | 02:21 | just about there, press M,
and this is SodaBottleCap.
| | 02:27 | And just to make sure we know that a
surface is being applied, I'll pull the color down
| | 02:31 | a little bit, and there we go, and
Command+S on a Mac, Ctrl+S on the PC to Save.
| | 02:38 | So all we are going to do now is get this
label area, and we do that in a similar fashion,
| | 02:42 | like we do with the cap.
| | 02:43 | So I'm going to come right here about in
the middle, select two polygons and press
| | 02:47 | the L key, hold the Shift key and then
use my up arrow to expand my selection.
| | 02:51 | Now it's not 100% accurate, I might have a
little more on top than I do on the bottom,
| | 02:56 | and that's okay because still holding the
Shift Key I can select a couple of polygons
| | 03:00 | down here, Ctrl-click if you
accidentally select an extra.
| | 03:03 | L key for Loop, and looks like we have got
a little too much, I'm going to undo,
| | 03:09 | and we'll come back to this one.
I'll show you how to do that.
| | 03:12 | So let's just pull this back out, press M,
SodaBottleLabel, and we'll give this just
| | 03:23 | a little bit variation in color, and
we know that those polygons are set.
| | 03:29 | So down here, let's just go ahead and loop
these, select those, press the L Key for Loop
| | 03:39 | and then press M again, and apply the same
material just so we get those really tight areas.
| | 03:45 | So now we have a soda
bottle ready to go for materials.
| | 03:49 | Let's save that, Command+S or Ctrl+S,
and if you look here in my Shader Tree,
| | 03:53 | we have got our three surfaces.
Well, we already did some glass, didn't we?
| | 03:57 | We did it with the pump.
Why couldn't we use that on this bottle?
| | 04:02 | Let's go to File menu, select Open, and then
from the Project folder from the assets, let's
| | 04:08 | look at these SmallPump_wsurfaces, and we can even
do with SmallPump_wsurfaces2, there are two versions.
| | 04:16 | And what I want to do is open up the render,
SmallPump_Glass, this is the surface we want to save.
| | 04:22 | So if you right-click on the
Material group, you can choose Save Preset.
| | 04:27 | Now where you put your presets has
a lot to do with your system setup.
| | 04:32 | I'm just going to save mine on the
Desktop right now, and it's an LXP file.
| | 04:37 | It'll put that there automatically for you.
| | 04:40 | So now that I have loaded the scene,
how do you get back to your other scene?
| | 04:43 | Well, let's jump to the Items tab and take a
look at these SodaBottle_Mapped, it's right there.
| | 04:48 | So we can have two scenes loaded,
and I'll click back to his one.
| | 04:52 | Then I will jump back to the Shader Tree,
let's go back to the SodaBottle_Glass, select
| | 04:57 | that material group, right-click, I'll go to
Preset Browser Palette, and a little browser
| | 05:03 | window comes up where we
can choose a specific path.
| | 05:07 | In this case I'll just go right to my
Desktop and click Open, and sure enough,
| | 05:11 | there is my glass surface, as well
as some labels I'm going to use.
| | 05:16 | So we'll double-click this,
and look what happens.
| | 05:18 | We just loaded that preset glass to our
existing material, saved us a lot of work.
| | 05:26 | So you can save that in your assets folder,
especially if you are sharing these files.
| | 05:31 | Now we set this up based on a small object,
so we might not necessarily fit our scene,
| | 05:36 | that's okay, because a lot of the work has already
done for us just because we had set it up already.
| | 05:42 | So if I select the Material, go down to
Properties and then to the Material Trans, we can see
| | 05:48 | that our Absorption Distance and our
Refraction we're pretty high for the small bottle.
| | 05:53 | Let's bring this back to about 1.4 for glass,
and let's start this out at 0 again and then
| | 05:59 | slowly just bring the Absorption Distance
up and get that glass down to the edge where
| | 06:05 | we really want it, I'll show you here.
| | 06:08 | And what this Absorption Distance does is
it changes the thickness of the transparency,
| | 06:13 | so you get kind of this nice thick
edge here, and it looks pretty good.
| | 06:18 | Again, it's going to change a lot once we
put it into our scene, but overall it's looking
| | 06:23 | pretty good, and we'll consider this
an empty soda bottle for right now.
| | 06:25 | We don't need to put any liquid in it.
| | 06:28 | So Command+S to Save, I'm going to put that
glass material in the assets folder,
| | 06:34 | so we can load those anytime.
| | 06:37 | So setting up materials is not that difficult,
especially when you have already done one,
| | 06:41 | you can save a preset and then use
it again and again on other items.
| | Collapse this transcript |
| Applying image mapping| 00:00 | In order to get the soda bottle mapped with
an image, we need to first load that image,
| | 00:05 | so let's jump over to the Shader Tree,
and we'll fly open our Render Window.
| | 00:09 | You can see we have our three material groups
we have created, we already have our glass identified,
| | 00:14 | we have our cap identified,
as well as our Label area.
| | 00:17 | So let's open up the Label
area and select the Material.
| | 00:19 | Now if you remember the Material is where
we have all of our Color, our Transparency,
| | 00:24 | our Shine, all of those things.
| | 00:26 | To make an Image Map--though--on there, we'll
go to Add layer, click on that, and under Image
| | 00:31 | Map you can say Load Image.
| | 00:33 | You can also Load a Sequence, Create a New
Image that you might want to paint on,
| | 00:37 | a New Sequence or even use a Clip Browser.
For this, we're just going to say Load Image.
| | 00:42 | And then in our assets library that comes
with the course, you're going to see there
| | 00:46 | is a ColaLabel, a little JPEG in there, so
open that up and all this is if you jump over
| | 00:52 | to the Images tab right here and double-click,
you can actually get a close-up view of this
| | 00:57 | image that will pop up here in a minute.
| | 00:59 | You'll see that this is just a simple label,
a generic label that I just made in Photoshop,
| | 01:05 | and this is what we're going to
map all the way around the bottle.
| | 01:09 | So we'll come back here to the Shader Tree,
and this label is set to a Diffuse Color by
| | 01:14 | default, but look at how it's applied on there.
| | 01:17 | If I rotate around, you can see that it's
just--well, it's on there but not quite right.
| | 01:22 | Well, let's go to the Texture Locator tab, and you'll
find this once you actually have that label selected.
| | 01:28 | We're not going to worry about manually
punching in any of these values here, we're just going
| | 01:32 | to hit Auto Size, and
you'll see that nothing happens.
| | 01:36 | The reason is by default its
projection type is set to UV map.
| | 01:40 | Now UV map is opposite of the X, Y, Z.
| | 01:44 | It gives you the opportunity to map along
Curves, versus X, Y, Z, which are very linear,
| | 01:50 | and this is really useful for doing things
like video games, more complex mapping, burning
| | 01:55 | things in that you want to calculate,
don't have to calculate, later like shadows and
| | 02:00 | textures, but for simple objects like this,
traditional mapping will work just fine.
| | 02:04 | So we're going to change this Projection Type
to Cylindrical, and you can see in here that
| | 02:08 | they're Solid, Planar, Cubic, a few others, but
Cylindrical, because we want to wrap around this bottle.
| | 02:15 | On which axis?
Well, it's tall, right?
| | 02:18 | And you can see here in our Legend in the
very bottom left corner, Y is up and down,
| | 02:23 | so we want the Projection Axis to be Y,
and let's rotate, so we can see this.
| | 02:29 | So it's kind of working.
| | 02:31 | Well, let's hit Auto Size
again, see what happens.
| | 02:34 | And look at that, modo does a really good
job of just mapping that on there, and you
| | 02:39 | can see it goes all the way around.
| | 02:43 | Now you can very easily adjust these by
closing up the Transform and instead of Horizontal
| | 02:49 | Repeat, you can set this to Reset, Vertical
Repeat, Reset, you can also change the amount
| | 02:56 | of the wrap, so it can wrap more than one,
so let's say you have tiling textures, you
| | 03:01 | are going to actually have
multiple textures on there.
| | 03:03 | Let's say you're going to do a piece of grass,
you're going to have square little piece of
| | 03:07 | grass that then replicates over an entire
landscape, where you can have marble or things
| | 03:12 | like that, different types of tiles.
| | 03:14 | Well, in this case we're just going
to keep it one time wrapped around.
| | 03:18 | This white grid, this little box that's all
the way around here, this is the locator.
| | 03:23 | If we jump over the Items tab and open up,
now that we have applied an image map, you
| | 03:27 | can see that there's a texture group, and in
that texture group there's something called
| | 03:32 | ColaLabel, and you'll see ghosted,
and it says image texture, very light.
| | 03:37 | What that means is that is
our locator for that texture.
| | 03:41 | If you don't see these, keep your mouse in
the view and press O on your keyboard, go
| | 03:45 | to Visibility and here is Texture Locators,
and that's what that white little outline is.
| | 03:51 | What does that mean?
| | 03:52 | Well, if I jump to Item mode, I can select
that, and I can use things like my Y command,
| | 03:58 | which is my Transform tool, and I can
manually Rotate this or Scale it or Size it.
| | 04:05 | So if you're having a little bit of trouble
mapping with the tools that are given to you,
| | 04:09 | you can very easily go in and select
that texture and move it, works really well.
| | 04:15 | So I'll jump back to the Shader Tree, let's
click to deselect that, and let's jump over
| | 04:19 | to our Render tab and take a look at this. So that's
looking pretty good. Let's do one more thing.
| | 04:27 | After we save this, Command+S or Ctrl+S to
Save, we're going to close up the label,
| | 04:32 | and now let's go to the glass, and notice
that there's two materials in here.
| | 04:37 | Well, because I had copied my glass material,
I loaded a preset, the original material
| | 04:43 | is still here, so we can right-click and
delete that, we don't need that any longer.
| | 04:47 | As well as the base material. Just to keep
thing organized, let's right-click and delete that.
| | 04:51 | That base material is there as a default,
but now that we actually have our material
| | 04:55 | groups already set up, we don't need that,
and it just a nice way to keep organized,
| | 04:58 | to get rid of the things you don't need.
| | Collapse this transcript |
| Working with UV mapping| 00:01 | I have got our ProductBox_Open file loaded up, and this
is the box we made in the previous chapter, this package.
| | 00:10 | In the previous video I showed you how you
can just map onto a bottle with just an image map.
| | 00:16 | You can select polygons
and create a surface material.
| | 00:19 | And you can very easily do that with this,
you can go to Polygon selection mode, select
| | 00:23 | this Side, and that could be the Right side
this could be the Back side, this could be
| | 00:27 | the Lid, this could be the Inside, and so on.
| | 00:30 | But you could see that could really add up and be
a little bit cumbersome really, to just surface.
| | 00:35 | So there's a better way, and that is
with UV maps. Let's jump over to the UV tab.
| | 00:42 | Now in this panel we have two quadrants, and
this is all preset for us, we have got all of
| | 00:48 | our mapping tools right here, we have got our UV map
window and then of course just a normal 3D viewport.
| | 00:53 | You'll notice that if you zoom this view out,
there are actually four panels, but this is
| | 00:58 | what we're going to concentrate on, this is
our positive UV space, and this is what we want.
| | 01:03 | So very simply you could select this model
just like right here, it's a box package,
| | 01:08 | and if you can move it here to the UV Tools,
you have got UV Projection tool, Project from
| | 01:12 | View and the Unwrap tool. Well, let's just
choose the first one, the Projection tool.
| | 01:18 | By default you might think to use one of
these values down here as a Projection Type, such
| | 01:24 | as Cubic, and if you just click, you'll see
that you get a representation of that entire model.
| | 01:32 | So now what is this is doing?
| | 01:33 | Well, what this is doing is separating
these selected polygons, and then we can map
| | 01:39 | on here, and the way to explain this,
these little islands as they're called.
| | 01:42 | The way to explain this is think of if you have
ever got a model when you were a kid or you have
| | 01:47 | put together some kind of project,
and it comes with a sheet of stickers.
| | 01:52 | Well, that sheet of stickers is essentially
what this is. It's all the maps that we will
| | 01:58 | apply to this model and by using this as a
guide as a template and mapping on here, modo
| | 02:04 | knows where to put all of those
textures and colors and everything else.
| | 02:08 | So, in one image map you can actually have
all the maps going to all the different spaces.
| | 02:14 | Now this is just a Cube, so it is very easy
to map because it's X, Y, and Z, very planar,
| | 02:19 | but the other advantage of a UV map is
that you can map around curves and things that
| | 02:23 | are a lot more difficult.
| | 02:25 | If you have a ring, and you have to put in
image or a texture all the way around it,
| | 02:29 | UV maps can really help.
So let's Undo this, that's Command+Z or Ctrl+Z.
| | 02:36 | The other Projection Type you might want to use is Atlas,
and I'll choose Atlas, the first one and just click.
| | 02:43 | Now if you notice, there's no red and what
that means is there's no overlapping,
| | 02:47 | and overlapping could be a problem,
meaning your textures can overlap.
| | 02:51 | So the Atlas actually works really well, it
keeps everything in the positive space, all
| | 02:55 | these islands are working, but the problem
here is that we're going to have some seams.
| | 02:59 | And it could still work just fine, there's no problem
with this, especially if you're going to another program.
| | 03:04 | A lot of times you'll model in modo perhaps,
set up a UV map and jump it over to Unity,
| | 03:09 | if you're working on any kind of video games,
and you're going to need these UV maps.
| | 03:13 | But this is going to work just fine, you can
see here is the backside with the lid, here's
| | 03:18 | this other side with a little flap,
here's our two left and right sides.
| | 03:21 | I'm going to turn this off and
watch what happens when I select?
| | 03:25 | See that, this is what each one represents.
| | 03:28 | So I could very easily paint over this, bring in
my image maps and then map them all quite well.
| | 03:35 | But there's a little bit better way we can
do this just to keep this even more exact
| | 03:41 | when it comes to our mapping, so I'm going
to undo just a couple of times, and what I
| | 03:46 | want to do is go to Edges selection mode,
and what I'm going to do is determine
| | 03:52 | where I want this to fold.
| | 03:54 | So, imagine if you were
putting this box together.
| | 03:57 | Did you ever get a big unfolded box from one
of boxing companies, worked in a warehouse
| | 04:02 | perhaps or at your company,
and you fold up a box.
| | 04:06 | Well, that's what we want to do, we want to
unfold it so that we have one succinct map.
| | 04:11 | All right, so what would that be?
| | 04:14 | Well, I'm just going to double-click on this outer
edge and notice that it goes all the way around.
| | 04:19 | Well, it's not quite what we want,
so we want to hold the Ctrl key, and I'm going
| | 04:25 | to deselect just these real quick.
| | 04:28 | Hold the Ctrl key on all of these and click
on them and then hold the Shift key to add
| | 04:33 | to my selection, and I'm going to come here
and here, this way, and this way, and again,
| | 04:45 | imagine if all of this was unfolded, and I'm
just going to stop right here, I'm just going
| | 04:52 | to show you what this would look like.
| | 04:53 | If we go to the Unwrap tool, and you
click and drag, that's what I just did.
| | 04:59 | What I did with the Unwrap tool is by
selecting the proper edges I effectively sliced this
| | 05:05 | model open, but notice that rather than separate
islands for each part, it's more in one piece.
| | 05:12 | So what I need to do is select this in such
a way that all of this is one piece, so it's
| | 05:17 | like a truly unfolded box.
| | 05:20 | So I'm going to turn off the Unwrap tool, let's
undo again, and let's get those selections just right.
| | 05:27 | So we know that these signs were actually separate,
that's not what we want, we want to keep them connected.
| | 05:32 | So, let's just press Ctrl on our keyboard
and click on these front Edges like this.
| | 05:38 | So now imagine if you had X-Acto knife,
and you came down and you sliced this open.
| | 05:42 | What would that mean?
| | 05:44 | Well, that means if this side was separated,
you could fly that open, and if that side,
| | 05:49 | if you cut that back and bottom
side, you could fly that open, right?
| | 05:54 | So if you go to Unwrap tool,
click and drag, look what happens?
| | 05:58 | That's what we want, an unfolded box, and
that's going to allow us to map perfectly well
| | 06:03 | and accurately across the
whole model without any seams.
| | 06:08 | So now that we have that, let's turn off the
Unwrap tool, let's go to our Rotate Command,
| | 06:12 | click to active it, and we can just rotate
this, but before you do that undo, let's click
| | 06:18 | to deselect, because we are
rotating this just those selected edges.
| | 06:23 | Now we'll rotate, and we'll rotate this like
this, and then we can choose our Move tool,
| | 06:28 | and we'll fit it down in there.
| | 06:36 | Now that can work just fine for us, but
there's one more way I can fit this very easily,
| | 06:41 | and down here is Pack UVs, so when I click that,
I get a dialog that comes up, and I can say
| | 06:47 | Based on Bounding Box, Lock Stacked, Pack
Stretch Offset, Direction Auto, we can do it
| | 06:52 | Vertical, Horizontal depending on how your image map
comes in. Perhaps you're making it or it's from a client.
| | 06:57 | For right now let's leave this to
default and click OK, and look what happens.
| | 07:01 | It just packs it in there just very nicely.
| | 07:03 | Not a big deal on this one, but if you have
other maps, perhaps you are working with Atlas mode,
| | 07:08 | and there are different islands and they're hanging
off, this will actually fit them in pretty well.
| | 07:12 | The UV maps can get a lot more advanced than
this, but on a simple level, selecting Edges
| | 07:18 | and using Unwrap tool can help you
place textures on your models quite easily.
| | Collapse this transcript |
| Using PSD images| 00:01 | Once a UV Map has been created you're
probably thinking, well, now what do I do with it?
| | 00:04 | Well, it's actually pretty easy to
place some images on here using that map.
| | 00:08 | And remember that UV Map is determining
where any images are going to be applied.
| | 00:14 | So if we select the BoxPackage in the Items
tab, and this is the ProductBox_UV_blank file.
| | 00:20 | If I come over to the Lists tab beneath, and
I open up UV Maps, you'll see that there are--
| | 00:25 | on my model--two textures.
| | 00:28 | Even selecting those, I can't
see anything in this model view.
| | 00:31 | So I need to jump to the UV View.
| | 00:34 | And once I select those Textures,
you'll see them apply in the UV Map window.
| | 00:38 | Well, you can see here I have two different
methods, the one we had sliced up a little
| | 00:43 | differently on the bottom and then a
variation with the lid coming out the other way.
| | 00:49 | Either of these work for us, and we
can surface them anywhere we want.
| | 00:54 | So what I want to do is show you how we
can take this UV Map and use it in Photoshop.
| | 00:57 | So I'm going to use this map right here.
| | 01:00 | Up at the top of the menu for
modo, there's a Texture dropdown.
| | 01:05 | Let's click that, and in there you can see
there's actually a feature called Export UVs
| | 01:09 | to EPS, to Encapsulated PostScript file.
| | 01:13 | I'll select this, and instead of my Documents,
I'll just put it right on my desktop,
| | 01:17 | and we'll call this BoxPackageUV and click OK.
| | 01:25 | So now once we jump into Photoshop, what
we can do is actually load that up and apply
| | 01:29 | a variation or a label or anything else we want.
| | 01:32 | You can see I have got our label from our
bottle project earlier already loaded.
| | 01:36 | So let's just go to the File menu and
Open from the desktop that UV Map, okay.
| | 01:42 | So BoxPackageUV, click Open.
| | 01:46 | Now when the Rasterized file comes up,
we have to choose how big we want this.
| | 01:50 | What I usually do is make it RGB, make
it like about 600 dpi for the resolution.
| | 01:57 | And the Width and Height 5x5, we'll keep
that square, remember that UV Map window that
| | 02:03 | positive window was square, so we want that.
| | 02:06 | Now it doesn't look like much is
there but remember this is pretty large.
| | 02:09 | We're only looking at 16% here, and if I zoom in
to about 100%, it might be kind of hard to see.
| | 02:16 | You can actually see those UV lines in there.
| | 02:20 | So what I like to is actually select these
pixels just by right-clicking on that thumbnail,
| | 02:27 | and then I'm going to press
Command+Backspace, and that fills them in.
| | 02:32 | Okay, so let me do that again.
It's kind of hard to see.
| | 02:35 | Let me go here to create a new layer at the
very bottom of the screen, and I'm going to
| | 02:41 | drop that second layer down, and I'm going
to fill this with white just use the Alt and
| | 02:47 | then the Backspace key,
and that fills up with White.
| | 02:50 | And now we can see these
lines a little bit better.
| | 02:52 | Okay, so the white fill is on the bottom.
| | 02:55 | We'll select the top layer which is our lines,
we can even rename this if we want, UVlines.
| | 03:02 | Right-click on this thumbnail and say
Select Pixels and then hold your Command or Ctrl
| | 03:07 | and your Backspace key, and that fills that in.
| | 03:11 | This gives it a little bit more definition. Command+0
or Ctrl+0, and you'll fit that back to view.
| | 03:16 | So you can see here's a
representation of that island.
| | 03:20 | So now what we can do is paint over this.
| | 03:22 | Now I'm not going to get too intricate with
this but what I will do is use a variation
| | 03:26 | of this Coke label, and
we'll put this right on there.
| | 03:30 | So I'm going to drag and drop
our soda label up into the view.
| | 03:35 | And drop it right on top of the UV Map.
| | 03:37 | I'm going to change the opacity just
so we can see our lines underneath.
| | 03:40 | That's why it's important those lines
are little bit stronger than the default.
| | 03:45 | Now how we want to place this really
just determines on what you need to do.
| | 03:48 | I'm just going to Command+T, and that going to
rotate, and then we could just move this down.
| | 03:54 | And I'm just going to place this on there,
we're going to color the rest red.
| | 03:59 | And knowing that our box connects here, remember this,
this part of the UV Map here where it's
| | 04:07 | got more segments,
that's a part that folds over.
| | 04:09 | We know that that other end is the open end
which then of course connects to the flap,
| | 04:13 | which means this actually should go like this.
| | 04:21 | Straighten that out, and size that down so that way
when the box folds this logo will be right side up.
| | 04:28 | Okay, so what I'm going to do is I'm
going to do place this on multiple areas.
| | 04:33 | We're going to go like this real quick.
| | 04:35 | I'm going to double-click, and the fact
that it blends out to the edges doesn't
| | 04:40 | really matter because it won't
even match up with anything.
| | 04:43 | It will just fade right off.
So we'll keep that just as a stripe on there.
| | 04:47 | We can place it on the top, if we want.
| | 04:49 | But I'm going to Command+J to duplicate my
layer, Command+T to get my Rotate and then
| | 04:55 | what we'll do is we'll just take this back
and rotate it, and we'll just size it up,
| | 05:02 | and I'll show you that this can
actually wrap all the way around.
| | 05:06 | Granted, it's not exactly what you want to do,
probably want something a little more accurate.
| | 05:14 | But for now that will work.
| | 05:15 | I'll turn off this white backdrop, we don't
want that, and then I'm going to File > Save As,
| | 05:21 | and I'll save it on my Desktop,
BackdropPackageUV, and we'll call it Map.
| | 05:27 | And I'll keep it as a PSD file,
as a Photoshop file.
| | 05:32 | Jump back in modo, and we'll jump into our
Render tab, and I'm going to resave this,
| | 05:37 | File > Save As, BoxPackageUV,
I'll make sure it's mapped.
| | 05:45 | That way you can call up the blank one.
Go to the Shader Tree and open up the Render.
| | 05:49 | We have got a BoxPackage, we'll
open that up and select the Material.
| | 05:53 | So we want to place an image on here.
| | 05:54 | What we need to do is go to Add layer, drop
that down, Image Map, and then Load Image which
| | 06:00 | is off the screen right now,
but just choose Load Image.
| | 06:03 | And go here to Desktop,
BoxPackageUV and click OK.
| | 06:09 | And let's take a look at how it lines up.
See how it wraps on there?
| | 06:22 | Because by default this mapping if go to
Texture Locator is set to UV, with Texture2
| | 06:28 | which is the map we decided to use.
| | 06:32 | And we see that that
totally just wraps right around.
| | 06:34 | One map, and it goes on both sides.
| | 06:37 | So taking this to the next level how we
could very easily just paint logos on here.
| | 06:42 | Have swirls and swishes like this little Cola
label, how those lines actually can very easily
| | 06:50 | just wrap around the sides simply
by painting on them in Photoshop.
| | 06:54 | So very nice easy way to have package
and label just about anything you want.
| | 06:58 | And this was just a nice simple
example to kind of get you started.
| | Collapse this transcript |
| Creating fibers| 00:00 | I would like to show you one more way you
can create some unique surfaces on your model,
| | 00:04 | and this time we're going
to use something called Fur.
| | 00:05 | Fur and Fibers in modo are
done in two different ways.
| | 00:10 | And if we jump over to the Paint tab, you can
see there's actually a Hair Tools tab right here.
| | 00:16 | Now we're going to use those in just a minute,
but first I want to show you a simple way
| | 00:19 | how you can use the Fur tools without even
worrying about any of these more complex ones.
| | 00:24 | For this scene I have loaded up the Brush model,
and you can load up the Brush start, and our
| | 00:28 | final will be this Brush right here.
| | 00:31 | And what this is it's just our lipstick
tube that we'd made earlier just varied
| | 00:35 | with a little bit of an Inset on the inside.
| | 00:37 | If we jump over to the Shader Tree and open up the Render,
you can see I have got three material groups created.
| | 00:43 | One for the Brush_top, one for the
Brush_base and one for the Brush_bottom.
| | 00:47 | So let's open up the Base itself, and select
the material, and if I change the color here,
| | 00:51 | you can see that it's that
Top Inset area right there.
| | 00:55 | What I want to do is add some Fibers to this.
| | 00:58 | So to do that, I'm going to have that material
selected, and from the Add layer dropdown--
| | 01:03 | let me move this, so you
can make sure you can see it.
| | 01:06 | We're going to go down to
Special and then choose Fur Material.
| | 01:11 | And as soon I do that you can
actually see little Fibers popping up there.
| | 01:15 | Jump to the Render tab over here, and you
can actually see bit of a render in there,
| | 01:20 | and I'll zoom in so you can see this.
Now by default they are pretty tiny.
| | 01:25 | But once this Fur Material is added, you can
see there are new tabs down the bottom right
| | 01:30 | side of the Properties panel,
Fur Material, Fur Shape, and Fur Kink.
| | 01:35 | Starting in the Fur Material tab, you can see
that we have got dimensions like Spacing and Length.
| | 01:40 | The Length is only 64 mm to start,
but our Grid Size is set at 200 mm.
| | 01:46 | So, let's just change this to about 500 mm,
and you can see right away that those little
| | 01:52 | Fur, Fiber start sticking out.
| | 01:55 | Well, that's great for plants
and grass and crazy characters.
| | 01:58 | But we need these things to be a little
bit more specific. We want some very straight
| | 02:03 | nice Fibers like a Brush, so
how do you get there with this?
| | 02:06 | Well, we can play with the Width and
the Taper and all these other things.
| | 02:11 | We don't need to worry about
Segments and Strip Rotation right now.
| | 02:13 | So let's go down to the
actual shape of the Furs.
| | 02:16 | Now we can choose different Guides
like Direction, Clumps, things like that.
| | 02:22 | But simply let's just go down here to Jitter,
there is a Growth Jitter, a Position Jitter
| | 02:26 | and a Direction Jitter,
as well as a Size Jitter.
| | 02:30 | Let's just zero all those out.
| | 02:32 | So select the one 0, hit the Tab key, 0,
hit the Tab key, 0 and 0.
| | 02:38 | All right, so you can see
that it definitely changed those.
| | 02:42 | Now there are Strays, Clumps, Clump Range,
and if we close up the Guide and Clump and
| | 02:48 | look down here at the Flex, Bend, and Root
and Curls, those too need to be zeroed out,
| | 02:52 | so let's zero that out.
| | 02:54 | And now look what happens
when we zero out this as well.
| | 02:58 | We have got a much more Directional set of
Fibers happing that is coming straight up and down.
| | 03:07 | Let's jump back to the Fur Material tab
and increase that Length a bit, perhaps maybe
| | 03:11 | we go up about 700-800, something like that.
| | 03:16 | Okay, so now what we need to do is not so
much the Width and Taper of the Fibers, but
| | 03:20 | we actually need to have them splay out a bit.
| | 03:24 | Because that's looking pretty good, but we
need them to be a little more brush like.
| | 03:28 | And now because we evened everything out,
they're actually pretty flat on the top.
| | 03:32 | So we'll jump back to the Fur shape, and
we could do a Position Jitter or we can do
| | 03:37 | a Growth Jitter, doesn't
really matter in this case.
| | 03:39 | So let's just do a Growth Jitter,
just a little bit like that.
| | 03:44 | And we'll start bringing that back out.
| | 03:46 | Now we still want to keep them
pretty straight, kind of like that.
| | 03:52 | And even though this is looking pretty good, I
need to maybe get a little more control, okay.
| | 03:58 | So what we can a lot with this, and we start
playing with all the jitter and the root bends
| | 04:02 | and Bump Amplitude, even play with the Kink
a little bit, you know, frizz the top,
| | 04:08 | all those little things work really well.
| | 04:10 | Initially, I might want to have some more
control and certainly I can play with the Width
| | 04:16 | and make those a little thicker.
| | 04:18 | Make them Taper less, so they're a little
bit more cluster fibers like that, even a
| | 04:23 | little thicker, something kind of gnarly,
maybe like a broom versus little soft brush.
| | 04:28 | It's all working really well, but
sometimes you will need a little bit more control.
| | 04:33 | So what I'm going to do is just delete this
Fur Material, and what we're going to do with
| | 04:38 | this selection now is
actually go into the Paint tab.
| | 04:43 | And we're going to come down to the Hair Tools.
| | 04:44 | And with the Hair Tools we can actually do a
little bit more physical control over these.
| | 04:50 | Because we're going to have Hair Guides,
and that's this guy right here, click that and
| | 04:54 | then click any interface that actually have
them grow, and I'm just clicking and dragging,
| | 04:59 | and I'm growing these Fiber
Guides from my selection, see that?
| | 05:05 | Now I only have enough fibers
coming up based on those points.
| | 05:11 | What if I wanted more
fibers, how will I do that?
| | 05:14 | Well, we'll come back here to
Polygon itself to just select that one.
| | 05:18 | Bevel again, click that to get the Bevel,
and I'll shrink that down, Shift-click the
| | 05:23 | Bevel again, and Shift
click Bevel one more time.
| | 05:28 | Now at Inset I'm just going to--and with
Shift I am just going to insert that and then
| | 05:32 | Shift+Up Arrow just to create that selection,
and then we're going to put the Hair Guides
| | 05:37 | on again and watch this. See that?
| | 05:40 | Now we're actually building
out from those new points, okay.
| | 05:44 | So what we're going to do with this
then is grow out the brush like we need.
| | 05:48 | So we want it to be roughly about like.
And we'll turn off the Hair Guides.
| | 05:53 | Now with these Hair Guides what's really cool
is that we can actually push them around and
| | 05:58 | do different things to them.
| | 05:59 | I'm going to right mouse to create a size
of the brush. All of these tools in the Paint
| | 06:04 | tab work the same way, the Sculpt, the
Paint the Hair, the Vertex Map Tools, where your
| | 06:11 | right mouse creates the brush size
and then your left mouse activates it.
| | 06:16 | We can Smooth them, we can Comb them.
| | 06:20 | Okay, now, I have realized
I have an issue here.
| | 06:22 | I still have my polygon selected.
| | 06:24 | So let's click to deselect those, and we'll come
back here to push, and now we can push these around.
| | 06:31 | So it wasn't actually affecting those, okay.
| | 06:33 | So we can Push those, we can Curl them, we
can Comb them if we want, push them this way,
| | 06:43 | really do some interesting
things with these Fibers.
| | 06:46 | Let's say you have a unique beard or unique
haircut, all of that can be done very easily
| | 06:51 | just by pushing these around.
We can Stretch different ones.
| | 06:55 | And of course we can Puff
out the root a little bit.
| | 07:00 | So not really the brush we are looking for, but
just showing how you can create some unique things.
| | 07:04 | Now these are just Guides, so we still need
to put our Fur Material on, but we're going
| | 07:09 | to use these Guides as a source.
| | 07:12 | So all I really want to do at
this point is just Taper these out.
| | 07:17 | Now that my length is actually what I want, I'll
turn off the Push, and let's jump over to the Model tab.
| | 07:22 | And so now I have these Guides, I
can move them all around as I need.
| | 07:25 | But I'm going to work in Vertices mode,
because I want to look at these, and I'm going to
| | 07:29 | hold my right mouse button and Lasso around
these top points, hold my Shift Key and press
| | 07:34 | Up Arrow couple of times just to
select the Vertices within these Fibers.
| | 07:39 | And now we can go to Falloff mode, and we're going
to choose a Linear Falloff, and I'm going to drag up.
| | 07:46 | And I want the fatter end at the top.
| | 07:48 | If yours is not, make sure that in your
Falloff Properties you can choose Reverse.
| | 07:54 | Let me pull this up so you can see it, Reverse
right there, and you can reverse that affect.
| | 08:01 | So what the Falloff is going to do is allow me to
use any of my tools and affect them differently.
| | 08:06 | For instance, if I press the R Key for Scale,
there's my Scale Command, and if want to scale
| | 08:11 | up on the Y or on the X or Z, it's going
to apply differently based on this Falloff.
| | 08:17 | For instance, I'm going to grab right in
the center here and click and drag, so now I'm
| | 08:21 | actually scaling these, but the Falloff Command
is changing how that Falloff happens, how that
| | 08:28 | scale happens, and that's what I'm looking for.
| | 08:32 | I want to scale out, and we can
even flare it out a little bit more.
| | 08:37 | I want to flare out the fibers as they get
to the top, so less at the bottom, more at
| | 08:42 | the top, that's what the Falloff does.
So we'll just push them down like that, okay.
| | 08:47 | So very subtle, but just kind of a nice way
to control those, and let's go to the Falloff
| | 08:53 | and turn it off by hitting None, and we'll
jump at to Render, Command+S Ctrl+S to Save.
| | Collapse this transcript |
| Modifying fibers| 00:00 | Even though we have the guides, we can't see
any fur on our little render preview window.
| | 00:05 | Well, let's open up the Brush_Base surface,
select the Material, and then from the Add Layer
| | 00:10 | dropdown, from Special choose Fur Material.
| | 00:13 | Now you can see that initially compared
to before, the Fibers grow much longer.
| | 00:21 | Even though the Length is only 132 mm, whereas
our grid square is 200 mm, and we had to go
| | 00:27 | up to about 800 mm before to show that Length.
We know that the guides are actually working.
| | 00:32 | I also know that if I go to the Fur Shape,
I can look down here at the Guide Source,
| | 00:37 | Use Guides from Base Surface.
| | 00:39 | Well, we just created those
Fur Guides in the Paint Tab.
| | 00:41 | If I turn that off, you're going to actually see
that there are little tiny Fibers all right in there.
| | 00:47 | Even though they're still actually rendering,
you can see that's also putting down them
| | 00:52 | in there, but if we use those guides,
it will control those much greater.
| | 00:56 | And if we go to the Growth, we can offset
those by just making them 0, and now you can
| | 01:02 | see that they are really following that
Fiber Guide, and let's just change the Bend,
| | 01:08 | also zero these out, and we have got exactly the
fibers we created back in the Paint Tab.
| | 01:13 | So Command+S or Ctrl+S to Save that.
| | 01:16 | Now let's get our shape just looking at little bit better,
little more smooth, it looks little chunky to me right now.
| | 01:23 | So the Width and the Taper. I think the Taper is
actually okay, let's move up, so we can see the top here.
| | 01:28 | But we want to give this just a little more
something and what I need is just a tighter dense mesh.
| | 01:34 | So I'm going to go to the Spacing and
instead of 13 mm, we're going to choose 5 mm.
| | 01:40 | You'll see these just become a lot tighter.
For the Length we are okay, now the Width.
| | 01:46 | If I change this to 2, see
how they become very, very thin?
| | 01:51 | Okay, so there is a balance in there where
something like 100 might be little too
| | 01:56 | thick, and 50, the default is not quite enough,
somewhere around 25 might actually work, because
| | 02:03 | we want these nice thin fibers, maybe about 30.
| | 02:07 | Let's also bring the Taper down I think, probably
to about 50, and that will help thicken those up.
| | 02:13 | Now they're clumping a little bit, so
let's jump over to the Fur Shape, and we have
| | 02:17 | a range here, Guide Range,
Guide Length, and a Blend Amount.
| | 02:23 | We know that our guides are actually
driving the Fur itself in the Shape.
| | 02:28 | But we can still control it a little bit in
the guides here. We are set to range, and the
| | 02:32 | range is coming from
those Fiber Guides we created.
| | 02:35 | So what I want to do is just increase the
Guide Range. Well, if our Grid square is 200 mm,
| | 02:39 | so let's double it to about 400 mm.
| | 02:45 | And now you'll see we have got
much thicker clumps in there.
| | 02:48 | But I want that clumping to
be a little bit different.
| | 02:50 | Now if you come down here Clumping Set to 0,
let's do it at 30%, and now you can see we have
| | 02:56 | got a much tighter clump.
| | 02:58 | So you have a lot of control over this, we
don't really need these to be that clumpy,
| | 03:03 | we want them a little bit smoother,
so I'll pull this down, and let's change
| | 03:07 | the Blend Angle to about 5 degrees.
| | 03:11 | So this is looking pretty good, I'm
going to do a Command+S or Ctrl+S to Save.
| | 03:15 | Now what's really neat about all this is
remember that anywhere in modo you see these little
| | 03:19 | dots, you can actually animate these values,
so if I bring this Guide Length down to 0,
| | 03:24 | notice that they go way, but if I keyframe
this just by using my keyframe controls,
| | 03:30 | I can actually grow those over time, which is
a really neat thing, depending on if you have
| | 03:35 | got hair on somebody's head or
on their chin you wanted to grow.
| | 03:38 | Well, let's play with the
Growth Jitter a little bit.
| | 03:40 | Let's do about 10% Growth Jitter, and
then I want to play with Position Jitter.
| | 03:46 | Let's do about 50%, and that's going to
break up kind of that organization, that clumping,
| | 03:51 | I still wanted it to be like
a brush, like they are sewn in,
| | 03:54 | but I just wanted to give it
a little bit of a variation.
| | 03:56 | If you put too much Direction Jitter on,
they are going to move from that source a little
| | 04:00 | bit too much, so you got to be careful.
| | 04:02 | But that Direction Jitter is going to give
us just enough of those little strays with
| | 04:07 | showing that it has still got a good bit of
clump, looking like there, a design brush,
| | 04:12 | not just some random wild fibers.
| | 04:15 | So let's save that, and I think I want to
maybe just play with the Size Jitter just
| | 04:19 | a little bit, maybe about 20% just get
that a little offset, maybe about 10%,
| | 04:26 | maybe a little less on that.
| | 04:28 | There we go and just keep it a little
bit neater and a little more organized.
| | 04:33 | And of course, you can
vary this to your own taste.
| | 04:35 | But even though Jitter you think makes them
crazy, just a little bit actually creates
| | 04:40 | a very effective look.
| | 04:42 | So finally for the Bend, we don't really need
Curls or Flex, but just to give you an idea,
| | 04:47 | if I put like a 30% flex on, you'll
see they kind of splay out a little bit.
| | 04:52 | And we can do Root Bend, maybe perhaps,
and they'll bend from the root, but those are
| | 04:57 | all things you can change
depending on how you like it.
| | 05:00 | But what's really nice is that because we
built it from Guides on that base surface,
| | 05:04 | we now actually have kind of
that makeup brush we're looking for.
| | 05:08 | They are still looking a little bit thin to
me, so if we go back to the Material here,
| | 05:12 | let's possibly see how our Width
looks if we double it, there we go.
| | 05:17 | Just kind of thicken up those fibers, and
on a side note, I'm going to make sure this
| | 05:21 | is saved, you can actually bring this Width
up quite a bit and create things like that.
| | 05:29 | So let's say you're doing a cartoony kind
of character or you're making like a silly
| | 05:34 | string, or just some sort of clay,
you can do it with these fibers.
| | 05:38 | Most people think 0% to 100%, and I like to
get everybody's mind-set kind of out of that,
| | 05:43 | knowing that you could do things like this.
| | 05:46 | So you want maybe some unique blades of
grass or just a different shape, perhaps you are
| | 05:51 | doing maybe a fibre optic animation for a
communications company, things like that.
| | 05:55 | I have actually used this technique to create
very small little tiny brushes for dental,
| | 06:01 | using the same kind of techniques.
| | 06:02 | So just something to keep in mind. Let's see this
at 125, how that would look. Looks pretty good.
| | 06:10 | So I'm going to save this, and now we'll
move on, and we'll put a little more material,
| | 06:14 | and then we're going to get some lighting
and rendering on these, which is really going
| | 06:17 | to help these tools come to life.
| | 06:20 | But the Fiber Tools in modo work very well
on a simple level just with a Fur Material
| | 06:25 | set, possibly for grass or for hair
on a character, or even a tennis ball.
| | 06:30 | But using the Hair Guides, you can create a
lot more specific shapes using Falloff tools
| | 06:35 | and then working with your Fur Kink and
your Fur Shape and then placing color on.
| | Collapse this transcript |
| Making plastic surfaces| 00:00 | Now that I have got this brush created,
I want to put some materials on it.
| | 00:04 | So, we have the Brush.lxo file.
| | 00:07 | Let's resave this as a new file,
so we can have it working in stages.
| | 00:11 | I'll call this BrushSurfaced.
| | 00:14 | So, if you want to load up the
finished brush unsurfaced, just load up brush.
| | 00:18 | So, now that we have this set up,
how can we put some materials on here?
| | 00:22 | Well, one of the simplest
ways is to use our presets.
| | 00:24 | So, now I'm over here in the Render tab,
and you can see over here on the left there is
| | 00:28 | a number of presets, and if I open up my window,
we can get a little bit larger view of these,
| | 00:33 | so you can see them a little bit better.
By default you're going to see the High Gloss.
| | 00:37 | But if you click and hold on this menu up here,
you can see there is quite a few different things.
| | 00:41 | I have got a few extras in here such as the 9b Studios,
but most of the others come with modo.
| | 00:47 | And you can look at the section called Plastic.
| | 00:50 | And in there are a number of different
materials from Gloss to Low Gloss, High Gloss,
| | 00:56 | Clear Plastic, Composite, and so on.
| | 00:58 | I'm going to teach you how to make these
materials by just showing you how to use these.
| | 01:02 | We can go to a Medium Gloss, maybe choose
this Gray Material and literally just drag
| | 01:06 | and drop it right on.
| | 01:07 | And you'll see in a second
here, it updates in our view.
| | 01:11 | If you click the Up Arrow, we can go back,
and we can choose the High Gloss, put a Blue
| | 01:15 | on perhaps, and you'll see
this High Gloss come into play.
| | 01:19 | So, it works pretty nicely.
But that's not what we want to do.
| | 01:22 | So, we're going to, come over here to the
Shader Tree, and you can see that now that
| | 01:26 | I did that, the materials are actually added
to the Material Group that I'd created earlier.
| | 01:31 | I'm just going to take this and open it up,
and we're going to take this Blue Polish that
| | 01:36 | we did and right-click and Delete.
| | 01:38 | And that will delete that
material we dropped down there.
| | 01:42 | For the Brush_Base, this is
where we had created these fibers.
| | 01:47 | What I want to do is
actually put on here a new material.
| | 01:51 | So, we have this Fur Material on here.
What I'm going to do is add to that.
| | 01:54 | So we're going to go to Add layer, and then
we're going to drop down Custom Materials,
| | 01:58 | and it's hanging off the screen a little bit, but
you can see that there is Hair Material right here.
| | 02:02 | Let's choose that.
| | 02:03 | What the Hair Material does is gives us options
in the Properties down here for Primary Highlights,
| | 02:09 | Secondary Highlights, a Rim Light, and
Glints, and really give it that fiber hair
| | 02:14 | kind of look that we would want.
| | 02:16 | So, let's zoom in a little bit closer to see
this, and often the default works pretty well.
| | 02:22 | But let's take a look at the Glints, and I'm going
to just make this just a bright red so you can see it.
| | 02:27 | And you see how they like kind
of pop up right there on the top.
| | 02:30 | And if I increase this, you can
see there is just even more up there.
| | 02:36 | So, it's just very subtle highlights, and
the reason I made it red is just truly so you
| | 02:40 | can see it a little bit better.
| | 02:41 | Okay, so we're going to bring
this back down to 100%, that's fine.
| | 02:45 | Now the Frequency, if you change that let's say
to 20%, it's going to happen a little bit more.
| | 02:50 | Okay, so you can really change the shape,
imagine doing an animal and some crazy fur on there.
| | 02:56 | So, I'm just going to keep this as 1%,
not .1 that it was, but the 1%.
| | 03:00 | The Color itself, and again, let's just make it a
crazy color, so you can actually see the variations.
| | 03:05 | See that in there, see the green in there?
Okay, so what would a fibery brush look like?
| | 03:10 | Well, the ones I have seen are actually going
to look kind of rich brown, so we're going
| | 03:14 | to kind of pull that in from down
there like that just a preset just a brown.
| | 03:20 | The Intensity of it, of course,
it can be about 90% if you want.
| | 03:25 | The Width of it, let's increase it,
gives it a nice little color there.
| | 03:31 | Secondary Highlights, what is this?
| | 03:33 | Well, again, let's just choose like a bright red,
and you'll see here, it's almost like an offshoot.
| | 03:38 | It's any of the highlights that hit Secondary
after the Primary, meaning that the main light
| | 03:44 | is hitting these Primary Highlights and then
mixed in with that are the Secondary Highlights,
| | 03:49 | giving it even more depth.
So, we can do this either way.
| | 03:53 | You can make it actually as a highlight,
make it lighter, and that's going to create some
| | 03:58 | density in there, kind of a thickness, or
we can go all the way dark, depends on what
| | 04:04 | kind of brush you're looking to create.
| | 04:06 | So, we're just going to go just with a
soft off white, which work well for us.
| | 04:12 | And again, you can play with the Width and
the Intensity and all of these values just
| | 04:16 | to give it the look that you want.
| | 04:19 | So here you can see the Secondary
Highlight, the Primary Highlight and so on.
| | 04:23 | It's a good way to see how these surfaces get
applied by just creating a very large change.
| | 04:30 | So, if it was at 1%, make it 100%.
See what that value difference is.
| | 04:36 | Often people will say it's 1%, they--kind
of in a scared way, kind of just bring it
| | 04:42 | up a little bit and little bit.
| | 04:43 | They don't see often much
change, so something to consider.
| | 04:46 | All right, so I'm going to Save this,
Command+S on my Mac or Ctrl+S on the PC.
| | 04:50 | Now, let's get down to the Brush_Bottom,
and let's move this up.
| | 04:55 | And what I want to do is create just a nice kind
of rich black material, kind of a blackish brown.
| | 05:00 | So, I'm going to set this, and I'll get
down to the blue and then to the brown.
| | 05:08 | Let's go over here like this I
think, yeah just a nice brown.
| | 05:12 | And then let's make sure
that this is--here we go.
| | 05:15 | Okay, so we have this brown material on here.
| | 05:18 | But we needed to really have a little bit
more life to it, more of a plastic feel.
| | 05:23 | So this Specularity Amount, how shiny it is.
| | 05:26 | If I make this 90%, we'll even see that not
much is going on at this point until we get
| | 05:31 | into a light-catching mode.
| | 05:33 | So, if I kind of rotate it up like that where
the light catches, you can see it's very shiny.
| | 05:38 | If I make it 0%, obviously,
it's not shining at all.
| | 05:41 | So, I'm thinking about 50% might be good.
But what is that Specular Color?
| | 05:46 | Do I want it white?
Well, if you are doing plastic, no.
| | 05:50 | Because the Plastic is going to actually have
a tint, kind of a portion of that color within it.
| | 05:57 | If you're doing something like Glass, something
really metallic, it might have more of a white
| | 06:02 | highlight, more of a specular highlight.
| | 06:05 | But in this case, the plastic is going to
have a little bit more of a variation,
| | 06:08 | almost a Secondary Highlight,
like we did with the fibers.
| | 06:12 | The Fresnel Effect right here, now we are
not going to do this on these surfaces, but
| | 06:16 | if you set these values, it
really shows up when you're animating.
| | 06:19 | Meaning, that your Glancing Angle will have
more of that effect when that value is on.
| | 06:25 | So if I do 100%, you can see right now it
doesn't change much, but as I animate, and
| | 06:29 | thing is rotating, or I remove the camera,
it's going to look a lot more life like,
| | 06:34 | because that Fresnel Effect comes into play.
| | 06:36 | A good way to explain this with the Fresnel
Effect, let's say you're looking at the front
| | 06:40 | of a car outside, and you're trying
to look in that driver's side window.
| | 06:44 | It's very hard to see, because that
reflection is overpowering the transparency.
| | 06:51 | If you walk around and go straight on to
the window, you can see right through it.
| | 06:55 | Well, that's what the Fresnel Effect is.
| | 06:57 | The Reflection Amount, I want this
about to 30% maybe, and actually maybe 20%.
| | 07:03 | And it's not going to show up much right now, because
we don't have anything into the scene for it to reflect.
| | 07:08 | So, we're going to have to come back to
that in our scene's videos when we are
| | 07:12 | building all of the full environment.
| | 07:15 | The Roughness, however, if we put a low roughness, you
can see that, that Specular Highlight gets really small.
| | 07:23 | Let me bring the Reflection down real quick.
| | 07:26 | If you have a large Roughness
like 80%, it gets very soft.
| | 07:31 | So, think of it this way.
Think of Roughness as metal.
| | 07:35 | A large roughness is a metal surface.
| | 07:37 | So, it's really dull or like
your wall, large roughness.
| | 07:41 | If you have something shiny like
glass, you have a very low roughness.
| | 07:43 | So, you're going to have really a tight hotspot.
So bring that down like 5%.
| | 07:49 | So that would be
something more like a shiny ball.
| | 07:52 | All right, so we want this up to
about 80%, and then we'll pull this back.
| | 07:57 | And we'll worry about the reflections,
probably when we get our scenes put together,
| | 08:01 | so I'm going to save this.
Now, I like this a lot.
| | 08:04 | What about the top here?
| | 08:05 | Well, the top really can
be pretty much the same.
| | 08:07 | So, let's right-click on this Material, copy it,
scroll down to the Brush_Top, select that
| | 08:14 | Material, and right-click and Paste.
| | 08:18 | And now we have got that nice brush we can work with,
with a rich brown fiber, nice kind of plastic case.
| | 08:27 | And then once we put some reflections on it
and put the environment then we'll have
| | 08:30 | more of the look we are after,
so we're going to save this.
| | 08:32 | Plastics, Fur, Fiber, they are all really
easy to do, setting up just pretty easily
| | 08:39 | in the Shader Tree, working your way down
from Diffuse Amount to Specular Amount,
| | 08:44 | allowing you to create pretty much any
surface you can envision right within modo.
| | Collapse this transcript |
|
|
4. Lighting for 3D Product ShotsSetting up 3D scenes| 00:00 | Once you have all your objects built,
the next phase is to build your scene.
| | 00:04 | And a scene is much like a stage with actors.
| | 00:07 | So, to begin, let's go to the File menu, click
Open, and let's load up the set that we created
| | 00:13 | earlier the course, it's in our Asset folder,
click Open, press the A key to fit the view
| | 00:18 | and remember this is just a flat plane
that we just curled up using the Ben tool.
| | 00:23 | So, from here we need to put our other
objects in. Now, you have two ways to do this.
| | 00:27 | The first way is just open up one of other
objects, so we will click Open and then let's
| | 00:33 | list choose just the Lipstick
container, just something simple.
| | 00:36 | Now what happens is that that Lipstick container--
that other object--loads in as its own scene,
| | 00:41 | and we will fit that to view.
| | 00:43 | So, we can see here that little clapboard, that
means that's one of the scenes we are working
| | 00:47 | with, the Set is another scene.
Well, I need both of these combined.
| | 00:51 | The problem is I have a Light and Camera in
the scene as well by default, as well as the Set.
| | 00:56 | So, all I need to do,
first let's just name this.
| | 01:00 | And we are going to drag
this up into the other scene.
| | 01:06 | It will say Import Selected
Items, and we'll say sure.
| | 01:10 | Now we can see that we gave got that Lipstick
container as well as the Set all in one place.
| | 01:15 | When you import these, if we go to the Shader
Tree, fly open the Render, once you have your
| | 01:21 | materials you'll see an
imported materials folder.
| | 01:25 | We have not set materials yet so this good thing,
something to be aware of, if you're looking
| | 01:29 | for Materials you created.
| | 01:31 | So, now the other way to do it is to say File
and do an Import, so you are importing something
| | 01:37 | into the current selected scene.
| | 01:39 | So, we'll choose Import and then let's
choose the BrushSurface, we'll click OK.
| | 01:46 | And the way this loads in is as a group, but you
can see that I'm still within the exact same scene.
| | 01:52 | I will fly that open you can see there is the
brush surface actual Mesh, and we'll call this Brush.
| | 01:59 | And I don't mind this group, but one thing
we need to be aware of is that we still have
| | 02:03 | a Camera and Directional Light.
| | 02:04 | So, I am going to select both of those, right-click, and
we are going to delete, and I'll say yes and yes and yes.
| | 02:13 | And then if we jump over the Shader Tree, notice that
our BrushSurface materials are actually brought in.
| | 02:19 | Now we might need to do a little to work with
our Shaders and move things around, but we'll
| | 02:22 | do that once we all over other objects loaded.
| | 02:25 | So, let's save this, and we are going to save
it as the Set, we want to resave it, because
| | 02:30 | the Set is our simple object that we created.
| | 02:32 | So, we are going to do a Save As, and we will
call it GeneralScene. I already have one in there.
| | 02:36 | We will just save over it, I'll click OK.
So there's our GeneralScene.
| | 02:42 | So, what other objects can we import?
| | 02:46 | We have the Lipstick container, now we have
the SmallPump_wSurfaces, we will choose Version2.
| | 02:51 | Now we will say File > Import again, and we
have our ProductBox_UV_mapped with our surfaces,
| | 03:03 | and it's looking for the UV map itself.
| | 03:05 | So, when we come down here to my Project_Assets
go to images, and we will choose UVMap package.
| | 03:13 | And finally, we'll do it import, move this
over. This is opening towards the middle of
| | 03:18 | my screen, I have a very large monitor, and we are opening
in the center of window versus the center of the program.
| | 03:24 | Finally, we have a BrushSurfaced, our ProductBox_UV_mapped
and Lipstick all loaded, all we need now
| | 03:32 | is our SodaBottle_Mapped right there,
and you can see that all loads in place.
| | 03:39 | Shift+A fits it all the view, and let's take
a look now within these groups, and I don't
| | 03:44 | mind each of the group, that's fine.
| | 03:47 | But I do mind all these extra Cameras, because
again they just loaded in from the other scenes
| | 03:53 | that we have created for these objects.
| | 03:54 | So I am going to select all those, holding
the Ctrl key, right-click, and Delete,
| | 04:00 | I'll say Yes, and let's make sure that we don't
have anything else. We have some extra lights
| | 04:05 | in there, so we will remove those.
| | 04:07 | Okay, but don't delete any of those Textures,
just these three extra Directional Lights,
| | 04:14 | I will right-click and Delete those.
| | 04:17 | That's about the hardest part, setting up
a scene, believe it or not, and the rest of it,
| | 04:21 | it can actually can be kind of fun.
| | 04:22 | So, we'll close these up and keep organized, and
now that we have all of these, we need to put them in place.
| | 04:29 | So, the Set we'll leave by itself where it is,
and it's a little below the 0 axis.
| | 04:36 | Everything else we built around the center,
0 axis, right there on the center.
| | 04:40 | So where this lies doesn't necessary matter, we
just need to have our products sitting a top a bit so.
| | 04:45 | Let's go here with the Lipstick container,
we want to be in Items mode. When we move things
| | 04:49 | around, we should be an Items mode.
| | 04:52 | Press Y in the keyboard, and we are going to
move that around, remember this very smaller object.
| | 04:56 | So, I'll Ctrl+Space, and let's do a right
view, and that way we can see a little bit more.
| | 05:02 | I use the wheel on my mouse to zoom in,
and we'll just drop that down right about there.
| | 05:09 | That looks pretty good,
back to perspective view.
| | 05:12 | And I think the last thing I will do is
maybe move this forward a bit, I want this about
| | 05:15 | here because I want that background
just to fall off and blur a little bit.
| | 05:20 | Now I am going to resave because it's a
GeneralScene that we have created, so we're saving that.
| | 05:24 | I am going to press O on the keyboard, and
we are going to drawing a control and for
| | 05:29 | the Background Items the Inactive Meshes
we are going to choose Same as Active Item.
| | 05:36 | And what happens is all the
OpenGL shows up, not just a wireframe.
| | 05:41 | Now we can go to the BrushSurfaced, press
the Y Command, and we can move that over,
| | 05:47 | Ctrl+Space down to a front view, roll our
mouse in, and if you don't have a wheel on
| | 05:55 | your mouse to zoom we can use this guy
right here up in the top right corner.
| | 05:59 | Now we will position that
over, and let's do one more.
| | 06:04 | And let's go out here to SmallPump, we can
use the W command or the Y Command, either way.
| | 06:12 | Ctrl+Space, we can do a right view if we like.
| | 06:15 | And we will slide it up, and move it over,
Ctrl+Space back to Perspective View, Shift+A
| | 06:22 | there is a nice pump, looks like we've
got to bring it forward a bit.
| | 06:26 | All right, so I am going to do the other
on my own, the CokeBottle, Ctrl+Space, and we
| | 06:32 | get to Perspective or Front View, whatever
you like, move it around, and then once you
| | 06:38 | are done, make sure you save the scene.
| | 06:40 | From here we need to position this a
little bit and put some lights in there and then
| | 06:44 | add a few more materials to have everything
interact and create a final product rendering.
| | 06:51 | Setting up a scene modo is really pretty easy
once you know the two ways to do it, you can
| | 06:55 | import an object, or you can simply just
drag and drop an object from another scene.
| | 06:59 | Just remember that things like Cameras and
Lights will actually be duplicated, and your
| | 07:05 | Shaders, your materials, will often come in as an
imported group shader, so just to be aware of that.
| | 07:11 | You will also notice that we have number of
environments here that also come when we had
| | 07:14 | brought in those of the
materials and those other objects.
| | 07:17 | So, we'll get rid of the ones
we don't need in our next video.
| | Collapse this transcript |
| Understanding basic lighting| 00:00 | Now with our products loaded, there are a few things
I can tweak before we get into our basic lighting.
| | 00:05 | I think the size is pretty good of everything, but
the placement might need to change just a little bit.
| | 00:09 | So, I can take our soda bottle, press the Y Command
and make sure we're in the Items mode,
| | 00:15 | that way you'll see it moves right from the
center of the object, very important,
| | 00:19 | It's too easy to actually move something in
Polygon or Edge mode and a lot of times your materials
| | 00:25 | will start moving, so we
got to be careful of that.
| | 00:28 | The placement of our little smaller
products are fine, except this box is kind a small.
| | 00:33 | So, I am going to click on that, press the
R key, gets our Scale tool, and right in the
| | 00:38 | center I'll click on that little light blue
circle, and I'm going to scale that up, and
| | 00:43 | then I'll press the Y command, and we will
move that up, and I might actually as well
| | 00:50 | move it back here like that, just kind of an
adjunct, and we can rotate it a little bit.
| | 00:54 | So, Command+S to Save or Ctrl+S if you
are on a PC, this is our General Scene.
| | 01:00 | So, let's save this again, let's Save As,
and we will call this GeneralScene,
| | 01:06 | and I will say BasicallyLighting.
| | 01:08 | So, let's talk about Lighting a little bit.
By default we have a DirectionalLight.
| | 01:13 | Now if your interface doesn't look like this,
press O on your keyboard, you might actually
| | 01:19 | have your lights on, now mine are off.
| | 01:21 | So, Show Lights On, you get a view like this,
and sometimes it's hard to see things.
| | 01:26 | What this means is our actual lights in the scene
are active, not that they weren't active before,
| | 01:32 | but they're active in OpenGL, and you can
see that glare right there, that hotspot.
| | 01:36 | The only problem with that is that the
OpenGL doesn't do a full render of our lights
| | 01:41 | so that's often while I press that O Command,
and I'll turn my lights off using just normal
| | 01:45 | OpenGL shading, makes a
little bit easier to see things.
| | 01:49 | Let's jump over to the Render tab, and you
can see here we have a full view of our scene.
| | 01:55 | It's obviously not ideal,
that's not how we want to set it up.
| | 01:58 | So, let's talk a little bit about the Camera
Placement. What I want to do is get this Camera
| | 02:03 | to a point where I can see things.
| | 02:05 | Now we're going to talk
about cameras in another video.
| | 02:08 | But I can also see that my
Perspective view looks pretty good right here.
| | 02:11 | There is a little trick to actually
get this view into our Camera View.
| | 02:16 | The Camera View is important, because
this is what renders our final output.
| | 02:20 | So, what I am going to do is just select
the Camera in our Items list, and there is
| | 02:25 | a little button here called Sync to View,
when I click that, the camera jumps to that
| | 02:30 | view from my Perspective window.
Okay, so we'll leave that alone for right now.
| | 02:35 | Let's go back to our Lighting, and I am going
to just move this one up so you can see things.
| | 02:39 | It's good to have a Perspective view like
this, and you can see that there is our Camera.
| | 02:42 | If you cannot see your camera, press O and
notice that there is a Show Cameras icon right here.
| | 02:47 | I am going to put my Lights back on,
and let's select that Directional Light.
| | 02:52 | Now this Directional Light is default, meaning
that it was in there when we created our scene.
| | 02:57 | Now I can actually see it right back there. We are
working in Items mode, because well, this is an item.
| | 03:03 | I'll press Y on the keyboard,
and let's just move this over.
| | 03:06 | So, there is my Directional
Light, not too impressive is it?
| | 03:11 | Well, it looks okay as the render goes, but it
doesn't really give us much of a product look.
| | 03:18 | If you right-click on this, you can change
the Type of Light to an Area Light, which
| | 03:23 | creates kind of a big soft box, which
we are going to use a little bit later.
| | 03:27 | If we zoom in, there's actually some handles
here, this will increase the width and height
| | 03:31 | of this light, giving it a little bit
larger size, and a little more power as well.
| | 03:36 | If you right-click on it again, Change to
a Cylinder Light, you can see that there is
| | 03:41 | this nice little cylinder, this is great for
like fluorescent tubes and things like that.
| | 03:46 | Right-click again, and you can see there are a few
others, like a Dome Light, a Photometric Light,
| | 03:50 | which is using a Preset file, and a Point Light.
| | 03:53 | We'll select the Point Light, this an Omni-
Directional Light, so the light emits from each side,
| | 03:58 | from everywhere it goes out to
suddenly pointing at anything.
| | 04:00 | But we can also see that it doesn't really
do much until we really get it into place.
| | 04:05 | And even then you can see from our
scene here, it's not really lighting up much.
| | 04:10 | Well, that's where the
Radiant Intensity comes in.
| | 04:12 | So, with that Light selected, down here
you see Radiant Intensity, and I can increase
| | 04:17 | that, and you can see that
light now light up our scene.
| | 04:21 | And that looks okay.
| | 04:23 | You know, but it's just basic, it's not that
high-quality render that we're looking for.
| | 04:28 | However, this gives you good idea of
just the power of one light in modo.
| | 04:32 | You can see that the Falloff is very nice
onto our backdrop, that's why we curved it
| | 04:36 | like that, so it just disappears.
| | 04:37 | You can also see the little green tint that
we have put in the glass is actually casting
| | 04:42 | some nice shading back here on the set as well.
| | 04:46 | So, let's leave that Point Light, let's add one
more light to the scene, and we are going to save this.
| | 04:51 | So, our basic light, you can load this up.
| | 04:53 | Let's go to the Add Item, go down to
Lights, and let's choose a Spot Light.
| | 04:59 | One of the most common types of lights is
Spot Light, it actually gives you control
| | 05:03 | over the angle and position and the soft edge.
| | 05:06 | Now I'm rotating this in the Perspective view,
because I am pretty set on where everything is.
| | 05:13 | Sometimes, though, it's hard to actually
place these lights, so what you can do is change
| | 05:17 | your view from let's say Perspective to a
Spotlight view and then these Rotational Handles
| | 05:23 | appear will allow us to move that around and see what
the actual light sees, making it a lot easier to position it.
| | 05:34 | And then we can jump back to a Perspective view, and
now we can see that that's lined up right on there.
| | 05:39 | Then when we go to the Spotlight Preferences,
we can increase the Radiant Amount, and we
| | 05:46 | can play with the color, and we can play
with the shadows and everything else,
| | 05:51 | so a lot of different variables with these lights.
| | 05:53 | And if you decide you don't want to do that,
you can change that light type, let's say
| | 05:57 | back to Directional Light, and it will
carry that position that we just created.
| | 06:02 | So, the lighting in modo is quite extensive, and this just
a basic overview of the different light types you have.
| | 06:08 | You can have as many lights as you want,
and you are not stuck to just Point Lights
| | 06:12 | or Directional Lights or Area Lights.
| | 06:14 | You can use a combination of
them in any of your scenes.
| | 06:16 | We are going to set up a full product
shot with multiple lights in our next video.
| | 06:22 | But to simply start, work with the basic Directional
Light and in a Point Light, and from there
| | 06:28 | you can start adding in different colors.
If you jump to the Shader Tree, and you scroll
| | 06:33 | down, you'll see that you have got
a number of different options here.
| | 06:37 | And when you open up this Directional Light,
you can actually see that there's a Color
| | 06:41 | you can set as well.
| | 06:43 | So, now you can start adding colors to
your lights, and really have that enhance your
| | 06:48 | scene even further.
| | 06:50 | But what we also need to consider is the Environment,
and earlier I'd mentioned how the glass doesn't
| | 06:56 | look quite right simply because
we don't have an environment yet.
| | 07:00 | We shouldn't have multiple environments,
and the reason we do is because we had loaded
| | 07:04 | in objects from other scenes, and those
carried over a lot of the default settings,
| | 07:10 | such as Environment, Lights, and Cameras.
| | 07:13 | We deleted the extra lights and cameras, so
really all we want to do now is select these
| | 07:17 | extra Environments, right-click on them, and Delete.
Let's do it one more time, here we go.
| | 07:24 | So, we only want one environment for the scene.
| | 07:29 | As we move on in our videos, we are going
to talk about how that Environment can be
| | 07:32 | very beneficial to creating a realistic scene.
| | 07:36 | But a combination of lights--any type of
lights--along with the right environment is
| | 07:41 | really going to help you create
a realistic scene in modo.
| | Collapse this transcript |
| Creating product shot lighting| 00:01 | With this basic lighting scene, we have
just one default Omni-Directional Point Light.
| | 00:05 | And it's just kind of boring and basic,
it's in front of the object, and it's creating
| | 00:10 | just the kind of a dumb shadow.
| | 00:12 | So how can we make this look a lot more magazine-
like, a lot more like a real photo product shot?
| | 00:18 | There are a number of things involved,
including the materials as I have mentioned.
| | 00:22 | But we really need some lights
around it to make this pop off of the set.
| | 00:26 | So let's do that. First thing I am going to
do is resave this scene, this is our basic
| | 00:30 | lighting scene, the general
light scene that we did earlier.
| | 00:33 | I am going to just save it as LightScene,
and that will be in the assets folder.
| | 00:39 | And what we are going to do is go to the Items
menu, and let's take that Point Light, right-click,
| | 00:44 | and we will delete it, goodbye.
| | 00:48 | Now what I want to do is add a couple of new
lights, so from the Items list, from Add Items,
| | 00:55 | I am going to choose
Lights and one DirectionalLight.
| | 00:58 | And the reason I am going to use a
directional light is because it makes things a little
| | 01:01 | bit simpler, because the directional light's
position doesn't matter, only its rotation.
| | 01:07 | And as I say that, I am actually
going to move it into position.
| | 01:09 | I do that for two reasons, one, it just makes me
feel better because I know where the lights are,
| | 01:14 | but two, because I can change it later,
maybe to something like an Area Light,
| | 01:19 | its position will be intact.
| | 01:21 | If I place it in the middle, that will work
now as Directional Lights, but later on if
| | 01:24 | I change it to an Area Light or something like
a Spotlight, well, I would have to move it then.
| | 01:29 | So we are just going to move it over here.
| | 01:31 | Now if I press Shift+A, we will bring that to view,
you can see that it's pointing down the Z axis.
| | 01:36 | So we need it to actually point the other way.
| | 01:39 | I can either rotate it or just move it to
the other side. Well, I will move it to the
| | 01:43 | other side because we are
going to need two of these.
| | 01:45 | And as I move it over here, I am going to
rotate it down just a little bit, and now
| | 01:51 | you can see it lighting up the set.
| | 01:54 | So that works pretty well.
Let's take this and right-click and duplicate.
| | 02:00 | And we will rotate this new one back a little
bit like that, we will move it to the opposite
| | 02:07 | side, and then I am going to rotate it around,
and let's just numerically rotate it 180 degrees,
| | 02:15 | and then we can tilt it down a little
bit as well, so we can catch that shadow.
| | 02:19 | Now I am going to Command+S on the Mac to
save the scene or Ctrl+S if you are on a PC.
| | 02:25 | So right away, just making this simple change,
you can see that our products have a lot more
| | 02:31 | punch to them, clearly they're not there yet,
but by adding two Rim Lights like this, two
| | 02:37 | Kicker Lights, it pulls that set
of objects off of the background.
| | 02:43 | Now we can still change the background, and
we can still add more to this, even including
| | 02:47 | some environments, which we are
going to talk about in the next video.
| | 02:49 | But for now, let's adjust this a little bit.
| | 02:52 | Another reason I like these Directional
Lights is because they allow me to create a softer shadow.
| | 02:58 | Typically in most 3D systems, you have to use
something like a Spotlight or an Area Light,
| | 03:02 | and in modo I can use a Directional Light
to soften the shadow.
| | 03:07 | First, let's right-click, and we will choose
Rename, and this will be our RightLight, we
| | 03:13 | will actually call it RightKicker and then of
course the other one, right-click and rename
| | 03:21 | LeftKicker, and we will
save the scene one more time.
| | 03:28 | Okay, let's close up the Transform and come
down here to the Directional Light Properties,
| | 03:32 | you can see there are a number of member
different things here, such as our Radiants,
| | 03:36 | for how bright it is our Shadow Type is Ray Traced.
| | 03:39 | But then there is Spread Angle, the Spread
Angle is what controls the softness of the shadow.
| | 03:44 | Let's change that to about 30 degrees, and
now you can see that that shadow falls off
| | 03:52 | very nicely and keep sharp towards
the base of the object, but falls off.
| | 03:57 | Sometimes when we use a shadow map, and
it's a fake shadow, it will soften all the way
| | 04:01 | around, and can also
often be a little unrealistic.
| | 04:04 | So we will go to the RightKicker, and
we will also change that to 30 degrees.
| | 04:11 | Now you can change the color of these lights as I
have shown you, you can rotate them a little bit.
| | 04:16 | But essentially, I want to create this
even light from both sides, because as you can
| | 04:19 | see here on the products, they are lit
very nicely. You get a nice Rim Light there on
| | 04:23 | each side of the product so that's very nice.
| | 04:27 | We still have to do a little bit to the
front of the object as well, but let's go
| | 04:31 | to the Set now and change it.
| | 04:33 | We never created a material for it, so let's select it,
press M, and we will call it Set, something original.
| | 04:40 | And in the Shader Tree, first let's take all
these Environments, as we were playing around
| | 04:45 | with different environments before and
delete them, because we don't need all of those,
| | 04:52 | we only have one environment.
| | 04:53 | Then we will open up the Render, and
we will see here is our Set material.
| | 04:57 | Now when we had created the materials for our objects,
we created unique shaders within each material group.
| | 05:04 | So for instance, the bottle here has
its own shader with specific controls.
| | 05:09 | So let's do that for the Set as well.
| | 05:11 | We are going to Add Layer > Special > Shader,
and that way we will have our own unique shader
| | 05:18 | for whatever we want to do.
| | 05:19 | And we will drop that
right up above with the rest.
| | 05:23 | Now let's select the Material, and we
will pull this Property panel up here.
| | 05:29 | And what I want to do first is just add a
little bit of Reflection, I want to just
| | 05:32 | show you some options here.
| | 05:33 | When you put Reflections on a little cyc
like this, a cyclorama, it really looks nice,
| | 05:40 | but the problem is you get
this horizon line in the back.
| | 05:43 | And well, that can be good if you want to
create a little more depth, a little more
| | 05:48 | environment, often I don't like to see it as
strong as that, so there is a way around that.
| | 05:52 | First, let's just kind of rotate our view
so that straightens out, and we want to make
| | 05:57 | sure that that is a
straight horizontal line there.
| | 06:00 | What you can do to make this look better is click
on Blurry Reflections, and that just softens that.
| | 06:08 | So it still keeps that environment, lets you
create a nice little environment that these
| | 06:12 | are living on, makes a shiny set, but
it's not that harsh line in the back.
| | 06:19 | Often what I like to do is create just a large flat
plane, pull the camera away out and then just zoom in.
| | 06:24 | And what you get with that is a disappearing
background, rather than one that folds up and back.
| | 06:30 | But either way it works, so we will Command+S
on the Mac to Save the scene or Ctrl+S on the PC.
| | 06:37 | So now what I want to do is play with the
Set color a bit, and I think what might work
| | 06:41 | really well is to make it black, really
create some drama, because the reflection now is
| | 06:48 | going to pick up these objects, and that looks great,
but look at the background, what's the problem there?
| | 06:55 | Well, it is reflection, right?
What is it reflecting?
| | 06:59 | Clearly it's reflecting the objects, but there is
something else it's reflecting, the environment.
| | 07:03 | So let's open up that
Environment tab and look what we have.
| | 07:06 | We have a four-color gradient.
| | 07:09 | Well, of course, it's reflecting this gradient,
look, if I change it to purple or magenta,
| | 07:15 | it's reflecting that environment.
| | 07:17 | So, really what I want is
something constant and dark.
| | 07:21 | And now that disappears and gives us
the right kind of depth within the bottle.
| | 07:27 | And now that we have done that, you can go back
to the Set, and you can adjust the Specularity
| | 07:32 | and Roughness and Reflection if you want.
| | 07:35 | A good way to work too is just to hit
Match Specular, and you will get a nice balance
| | 07:39 | of reflection based on how bright
or how shiny the Specular Value is.
| | 07:45 | So if we crank it all the way up, you get almost a
mirror-like effect, which I think might be a little too much.
| | 07:52 | But it will balance accordingly.
| | 07:53 | Generally I like this, but no more than about 20%
or 30% just like that, just a little bit of a base.
| | 08:00 | So let's save that.
| | 08:02 | Now I want to still see my products a bit,
and I am looking pretty good down here.
| | 08:08 | We need a little more surfacing on some of
these down here, but the coke bottle is getting
| | 08:12 | a little bit lost, because it's transparent, we
are actually seeing the black backdrop behind it.
| | 08:18 | Well, we can change that with the
Environment or we can add more Lights.
| | 08:24 | If we add more lights, well, we are going
to have to worry about casting light on the
| | 08:28 | backdrop, and if we play with the Environment, well
that's also going to play some havoc with the backdrop.
| | 08:34 | So there is a way around that, and we are going to talk
about that in our next video when we cover Environments.
| | Collapse this transcript |
| Applying indirect lighting| 00:00 | Now one of the best things to do with product shots,
as well as architectural is to use Indirect Lighting.
| | 00:07 | modo makes it very easy with
the Global Illumination setting.
| | 00:10 | So let me show you a couple of ways you can use
that to enhance your scene with an environment,
| | 00:15 | as well as some Light Boards.
| | 00:18 | If we jump over to Render tab, you can see
over here on the right side there's another
| | 00:21 | tab called Global Illumination and within
that is Indirect Illumination, and if you
| | 00:25 | turn that on, we can see that
nothing really happens in our scene.
| | 00:29 | Well, what's happening here is that
because our backdrop is black and our environment
| | 00:34 | is black, well, there's no
illumination in the environment.
| | 00:37 | All right, so indirect means all the things
that are not directly affecting our object
| | 00:43 | like a regular light source,
it is the indirect things.
| | 00:45 | And this is essentially a way that the
light in the scene can bounce around.
| | 00:50 | So let me show you how we can do this.
| | 00:52 | I will do two options here, we will come down
to the Set, open that up, and we'll take that
| | 00:57 | Material, and I am going to go all the way
White and the way I did that, too, by the way,
| | 01:01 | is I held the Shift key, and I
just clicked and drag on these values.
| | 01:05 | So we just have a white set.
| | 01:07 | Now if go down a little bit more and open
up the Environment Material, and let's just
| | 01:11 | make the Environment white as well.
| | 01:14 | And then we go back to the Render and then
to Global Illumination and turn it on, watch
| | 01:19 | the Render up here on top left what happens.
See how everything gets totally blown out?
| | 01:25 | That is because the White Set, the White Environment
are all now acting also as a light source.
| | 01:32 | A lot of times when you use Global
Illumination in this regard like all White, you might even
| | 01:36 | want to turn off your actual lights, and we will
let this redraw here, and we will turn off that.
| | 01:45 | Now you can see that there is actually just
shading from the indirect illumination, so
| | 01:49 | when you want this is very white
clean set, this is one way you can do it.
| | 01:54 | Okay, now I would balance this a little bit,
you can take the Ambient Intensity down,
| | 02:00 | and this was not quite as bright.
| | 02:02 | I would probably take the Set Material itself
and bring the Diffuse value down, so it doesn't
| | 02:06 | quite take as much light from the scene.
| | 02:09 | And then of course, for the glass you would
need to shift those values back a little bit
| | 02:14 | for the Transparency Amounts
as well as the Reflections.
| | 02:18 | Okay, so that's one way. The other way--and I
am just going to undo, to back to where we were.
| | 02:26 | The other way we can do things is
actually put Light Boards into our scene.
| | 02:29 | What's a Light Board?
| | 02:31 | Well, if you work in a photography studio,
like we do, you have big giant soft boxes.
| | 02:36 | So I am going to open up the Model tab up
here and hold the Shift key and a flat plane,
| | 02:41 | and I am going to close this out.
| | 02:45 | Go back to the Items list, and let's scroll down,
there is our Plane, and we'll just call this Light Board.
| | 02:51 | And what is this going to do?
| | 02:54 | Well, this is going to do two things, it's
going to cast some light into the scene, but
| | 02:59 | it's also going to act as a nice reflector.
| | 03:02 | Our lights in the scene are casting light
onto our objects, but notice in the bottle,
| | 03:06 | there's really not any reflection of light,
the way you would in a real-world product shot.
| | 03:12 | Sometimes that's good, but in most cases
it makes it look a little less realistic.
| | 03:16 | So with this Light Board we can actually
use it as a reflector, both to bounce light
| | 03:23 | as well as create sort of a catch
light, if you will in the glass.
| | 03:28 | So I am just moving that over and Shift+A
brings it to view, you can see it's actually
| | 03:32 | pretty small, when we first
come in, it was only 1 meter.
| | 03:36 | And then we will rotate around, and I will
press the R key for Scale, let's just scale
| | 03:40 | that up quite a bit.
| | 03:43 | And let me jump over here to the
Model tab, so we can what we are doing.
| | 03:46 | Get to a Perspective view, there
we go and then the Y key to rotate.
| | 03:53 | Okay, so it's just a flat board, that's all
it is just right in front of the object, and
| | 03:57 | I would probably make it just a little bit bigger
and W for Transform, and let's move that back out.
| | 04:02 | Making sure it's just sitting
right in front of the object.
| | 04:07 | And what I am going to do then is press M on my
keyboard, and we will call it LightBoard, making it white.
| | 04:12 | So you will see that that surface is white.
| | 04:15 | And just so you can see it, what you can do
is with the LightBoard in the Shader Tree,
| | 04:19 | we will come down to that
actual LightBoard Material.
| | 04:24 | If you look down at the very
bottom, you can turn on Double Sided.
| | 04:28 | And it's not going to change anything in the
scene, but it allows us to see the backside.
| | 04:32 | So I will make things a little
bit easier just to move around.
| | 04:36 | The next thing I am going to do now that
I actually have that surface, is go to
| | 04:39 | the Transmissive panel, right here,
the Material Trans.
| | 04:43 | And under Luminosity, let's bump that to about 3,
okay, so we get this very white bright board.
| | 04:51 | Jump back over to Render, now this is the
only problem with putting this Double-Sided
| | 04:55 | in front of our scene here.
| | 04:58 | So if I am going to move is behind the camera,
that's fine, but if it's in front, then we
| | 05:02 | might want to turn that off.
| | 05:04 | But as you are moving things around, just
remember that you can put that Double-Sided on
| | 05:08 | just to make things a little bit easier to see.
| | 05:09 | So let's go ahead and turn
that off for the time being.
| | 05:12 | All right, and we'll take a look at our scene.
| | 05:16 | So right away you can see how that board is
actually reflecting in there, but if we go
| | 05:21 | to the shader, back up to Render, and we turn
on Global Illumination, and give that a second.
| | 05:29 | Now you can see that that adds a nice
punch a nice fill right in the middle there.
| | 05:35 | Because we only have two lights from either
side, so the front actually was a little bit
| | 05:38 | dark, almost like there's
a strip right down there.
| | 05:43 | Put that Global Illumination on, and it
fills in that little dark spot with just enough
| | 05:48 | fill, but not taking away from our sidelights.
| | 05:51 | Now if I move this in closer, you will
see we get those nice reflections in there.
| | 06:00 | So really it's a matter of placing it how
you want, and you can very easily just rotate,
| | 06:06 | move it, manipulate it, I am going to move
it over just to the right, slightly like that.
| | 06:12 | The other reason I like using these boards
is because it creates a nice fill for things
| | 06:16 | like Fibers, all right in here.
| | 06:19 | It still has depth, but we don't cast
any heavy hard shadows inside there.
| | 06:25 | And that's something that's really important,
especially with a client logo, you don't
| | 06:28 | want to lose that brand.
| | 06:30 | All right, the last thing you can do for
this is go to the Glass material--I am going to
| | 06:40 | SodaBottle_Mapped, open up the Glass, and
select the Material--and what you can do for
| | 06:46 | the Reflection Amount just turn on Blurry
Reflections, and we will give this a second to redraw.
| | 06:56 | And that will actually soften that reflection in
the bottle just for a nice little added effect.
| | 07:03 | Now one more thing I want to show you in
Indirect Illumination, you saw that we had the White
| | 07:09 | Set in the Environment lighting
everything, when we put Global Illumination on.
| | 07:16 | When it comes to lighting, you actually
have a way that you can make the light
| | 07:21 | not affect the back of the scene.
| | 07:22 | So I am going to put in Area Light on,
and I am going to turn off the LightBoard just
| | 07:31 | for the time being, we will just uncheck it.
| | 07:34 | Okay, and for our Area Light, we will move
that into place, and the Area Light is very
| | 07:46 | much like that LightBoard,
it is a big white box.
| | 07:50 | But it actually is casting a light, and you
can increase the Width and Height creating
| | 07:57 | nice soft box and then just point
that arrow right at your subject.
| | 08:02 | But what can happen depending on the color
of your set is that light might hit your Set.
| | 08:08 | Well, you don't have to worry about that too
much, because there are Falloff controls within
| | 08:12 | these lights, allowing you to control how
far, how much throw that light actually has.
| | 08:22 | And then I will pull
this back just a little bit.
| | 08:31 | And now let's open up the Properties for
the Area Light, and you can see here is our
| | 08:37 | Radiance and here's is our Inverse Distance
Squared, okay, typical lighting principle,
| | 08:44 | double the distance is quarter of
the power, if I remember correctly.
| | 08:48 | And what we want to do is actually just turn that off
for a minute, and you can actually see the difference.
| | 08:53 | Now, you see what's happening here?
| | 08:55 | This can happen very easily when you are
increasing the height and width of the light.
| | 09:01 | When it's very small like that, sometimes you
will pull these blue handles in the wrong direction.
| | 09:05 | So essentially, I have inverted the light.
| | 09:07 | It could be a very nice effect actually, because it
becomes more of a negative light and pulls light away.
| | 09:12 | So what I want to do is actually pull this
back the other way, and you will see that
| | 09:17 | that light actually now fills in.
| | 09:20 | All right, so that's now our Area Light
in place, and I can see it really lights up
| | 09:28 | the bottle quite well.
| | 09:30 | But too bright, well I can turn down the Radiance,
it's not really affecting the back of the set.
| | 09:36 | And if the back of the set were being
affected, I could turn down the Falloff.
| | 09:42 | So let's do this, we will go to Falloff Type,
Inverse Distance Squared, notice that the
| | 09:45 | light essentially turns off.
| | 09:47 | What we want to do, then, is
increase the width and the height.
| | 09:50 | So let's take the width
and open that up some more.
| | 09:54 | And now you will see that light hitting the
bottle just a little bit nicer, and then we
| | 09:58 | can give it some height.
| | 10:00 | So it gives a lot of control, because we
can control how far that light is thrown with
| | 10:04 | the Inverse Distance Squared turned on.
| | 10:07 | And then you can of course,
balance with the Radiance.
| | 10:11 | This is really good for things
like headlights on cars as well.
| | 10:13 | Let's say a car is very far away, you
still want to be able to see the light and have
| | 10:18 | it affect the road in front of it,
but you don't want to go too far.
| | 10:21 | So let me pull this down, so
you can see this render here.
| | 10:25 | Now it's taking a little bit more time to
calculate, because we have the Blur Reflections on.
| | 10:29 | But you can see now that that Area Light is
now picking up the highlights in the bottle.
| | 10:34 | So then you can take one step more and put
the LightBoard back on acting as a reflector,
| | 10:40 | but if now that we have too much going on,
we will just take that LightBoard Material
| | 10:45 | and just pull that back of it.
| | 10:48 | So I will go back to Materials Trans, and
we will come down to Luminosity, and we will
| | 10:56 | bring that maybe to about 1.
And give it a second to update, there.
| | 11:04 | Now we have got nice little reflection there,
this scene, by the way is called IndirectLighting.
| | 11:10 | You can load this up and study it.
| | 11:14 | So that is going to cover
the lighting for this portion.
| | 11:16 | We have talked about Direct Lighting, Indirect
Lighting using Area Lights, using a LightBoard
| | 11:22 | and using Global Illumination to just enhance
and fill in, as well as add some reflections.
| | 11:28 | On your own, you can take things a step further,
possibly by adding some lights in the background
| | 11:33 | to create bit more of a Rim Light
around the bottle and experiment that way.
| | Collapse this transcript |
|
|
5. Rendering 3D Product ShotsSetting up 3D cameras| 00:02 | Once you get your product shot set up the way
you like, the next thing is to set up your camera.
| | 00:06 | Now we did a little camera work earlier in order
to see our render. That's the way modo works.
| | 00:12 | You can see that we have got a camera set up
right here and the camera is actually what renders.
| | 00:16 | But there is a few more properties you can
understand to help get that set just the way you want.
| | 00:21 | Let's take a look at the Item list, and let's go down
and select the camera and take a look at the Properties.
| | 00:26 | Well, initially we have got our Position, our
Rotation, our Order, and our scale for the camera.
| | 00:31 | All of those are fine. We have got
our Target Distance set at 42 meters.
| | 00:35 | Now what does that mean?
| | 00:36 | Well, let's take a look here in the Perspective view,
and in fact, we will come over here to the Model view.
| | 00:40 | And what I am going to do is split this.
| | 00:42 | So, I will hold the Ctrl key and in the
top left corner just click and drag down, and
| | 00:47 | we'll take a look at our Camera view this way.
| | 00:51 | So this is what our camera sees, and over
here we will press O and say Show Cameras,
| | 00:56 | and this will give us a
view of the entire scene.
| | 00:59 | Now one thing you can do if that camera is
a little too small is change the display.
| | 01:05 | So with the camera selected, let's go over
to Items, there is our camera, hit Display,
| | 01:11 | and there is the size, there is a little trick
here, you can press 0, and that will actually
| | 01:16 | scale that camera based on your
scene, so it will keep it relative.
| | 01:22 | You can also set it just very large and so
that if you move out it will stay with the
| | 01:27 | scene or if you move in and so on it
defaults to 1 so it's always kind of small.
| | 01:33 | So I just like it as 0, that way it
always kind of stays constant throughout.
| | 01:36 | All right, so there is a
camera, that's where it looks at.
| | 01:39 | Typically this is not the best setup for a
product shot. It's a little close and a little
| | 01:47 | wide, and that's okay, but it can make
objects appear longer than they really are,
| | 01:51 | and that can distort a client's logo
and might look a little odd to them.
| | 01:56 | And also you want to match
something you would do in the real world.
| | 01:59 | So by pulling the camera back--so I will press
the Y on the keyboard, and we will just zoom
| | 02:03 | out a little bit, and we will
pull the camera all the way back--
| | 02:07 | and then by zooming in you effectively do
two things, you straighten out all of your
| | 02:12 | objects, you are not close-up as a wide-
angle would be and distort the ends, but at the
| | 02:17 | same time you stretch the background or
kind of make it a little bit less noticeable.
| | 02:22 | Now in this case it doesn't matter too
much because it's a black background.
| | 02:26 | But if you have a lot more going on, and
you have a wider shot that's closer up, you are
| | 02:30 | going to see more of the background. In this
case, we want to concentrate on the products.
| | 02:34 | So in order to zoom it in, that's the focal length,
and you can see that down here in the Properties.
| | 02:41 | And all I got to do is click and drag,
and that will actually zoom the camera in.
| | 02:45 | Notice that it stays in place.
| | 02:49 | Our objects now are a little bit straighter
up, little flatter, but they still have
| | 02:53 | some nice depth in them.
| | 02:54 | All right, so what is
this little guy right here?
| | 02:57 | Well, that is our target.
You see that right there?
| | 03:01 | Okay, that allows to set
Depth of Field and Autofocus.
| | 03:04 | Open up Transform, and you can see that we have
got our Target Distance still at 42 meters
| | 03:12 | our Focal Length is set at 142, and if we
pull this, I will just line that right up,
| | 03:22 | and then we will zoom in with the Period key--or
actually just with this Zoom tool in top right corner--
| | 03:29 | we have got now our focus set
right on the object itself.
| | 03:34 | But an easier way is to jump over to the
Camera Effects tab and then turn on Depth of Field
| | 03:40 | and click Autofocus, and that
will snap that right to that object.
| | 03:47 | Now, notice that to get that a lot of
people already think it's always on.
| | 03:50 | You have to press the Y command for your transform.
Now make sure that turns it on.
| | 03:55 | So let's take a look at the render here,
we will press F9, and in calling this up,
| | 03:59 | will see that the bottle itself and the
products now fit neatly together, it's very subtle,
| | 04:08 | but this long zoom just has a much wider appeal,
and if you would take a look at many product
| | 04:13 | shots, real photographs, you are going to see
this very similar kind of look where everything
| | 04:18 | is very straight and very vertical.
| | 04:19 | Unless you are doing something creative where you
do want it wide and angled, you want this long shot.
| | 04:27 | All right, so we just zoomed ahead a little bit to let
that render finish, and let's take a closer look here.
| | 04:36 | So there is the render with the
longer lens focused right to the bottle.
| | 04:40 | I might go ahead and move these reflections
just a bit, and I also want to put a little
| | 04:45 | bit surfacing just some metal right on
this little tube here, but that fur looks very
| | 04:48 | nice on our box and has a much broader
appeal than it does just something up close.
| | 04:54 | So once you get that camera set up, like that, nice
long lens, you have to set up the properties for rendering.
| | 05:02 | So the Depth of Field initially, we don't
need to use it in this scene, but if you had
| | 05:06 | other objects in front or other ones in back,
what will happen here is we will be able to
| | 05:10 | actually set our focus point here,
that's what we do with the Autofocus.
| | 05:14 | And then outside of that, behind and in front,
it will fall out of focus, and you could change
| | 05:20 | those values with the F Stop.
| | 05:21 | If you know a little bit about photography,
you know that something like 2.8 will be a
| | 05:26 | much shallower Depth of Field, meaning that
your work focus area will be much tighter.
| | 05:31 | If you go up to like f/22 something you would
shoot with if you were outside in bright sunlight
| | 05:37 | that means everything is
going to be sharpened and focused.
| | 05:40 | Okay, but we are going to
leave it at default at f/4.
| | 05:44 | We are not moving the camera or moving objects,
but if we did we could put on Motion Blur.
| | 05:48 | If you are rendering for 3D glasses, you could
turn on a Stereoscopic rendering, which would
| | 05:53 | be an interesting way to do a product shot.
| | 05:55 | But let's jump back here to the Camera view,
and then we'll take a look down here at the--
| | 05:59 | there's the projection type where
we had set and then the film back.
| | 06:03 | Now you have got some presets here, and what
this will do will help you render to any specific
| | 06:09 | need like Imax 4K, 16 millimeter,
theatrical 16 millimeter and so on, TV projection,
| | 06:18 | or if you are doing anamorphic.
| | 06:19 | So we just want default. Take a look there
you can see, okay, default 35 millimeter,
| | 06:25 | you can also come back and choose like a CCD
camera, like a video camera, getting up these
| | 06:30 | a little bit 4x3 right there.
| | 06:33 | So just something to keep in mind that if
you are rendering to match any kind of film
| | 06:37 | you have got some presets here to work with.
| | 06:42 | The next set of tools for the camera are
going to be more when it comes to setting up the
| | 06:47 | render itself, the resolution and the output.
So we will do that in the next video.
| | Collapse this transcript |
| Understanding render basics| 00:00 | Setting up renders in modo is relatively
easy once you know where everything is.
| | 00:04 | Unlike most programs, modo doesn't have one
big fat panel where everything is located.
| | 00:09 | So you have to know where a few of the
settings are, and then you can go from there.
| | 00:14 | We already talked about the
Transform values and the Target Distance.
| | 00:19 | In the previous video I showed you how you
can set the focal length, how you can set
| | 00:23 | up an autofocus and pull
the camera out and zoom it in.
| | 00:26 | But then you can go to the Camera Effects tab.
| | 00:29 | Here we can set the Focus Distance, we can
do an autofocus like we had done, turn on
| | 00:34 | Stereoscopic Render, and a few things like that.
But what about the resolution?
| | 00:40 | What size is it going to render?
How is it going to render?
| | 00:42 | Well, that's where you want to jump over to
the Shader tree, scroll up, and select Render.
| | 00:48 | When you do that all of the
properties for the camera appear.
| | 00:51 | Now that's why it's a little confusing, because
when you select the camera there is the actual
| | 00:55 | camera properties such as its position and
focus and things like that, but when you select
| | 01:00 | the render it's actually telling modo what
camera is going to render, your first frame,
| | 01:05 | your last frame, if it's an animation.
| | 01:08 | Your frame step, if it's going to render every frame
one at a time or every other frame or every third frame,
| | 01:15 | how many passes, the output, how you want
it to read, and you can actually change that,
| | 01:20 | how it's sorted, and then the resolution, and
that's what I want to talk about in this video.
| | 01:28 | So typically I always render in pixels.
| | 01:31 | You might want to render in centimeters
depending on where you are in the world.
| | 01:35 | Now most things we do lately are HD.
| | 01:39 | So I would just punch in 1920x1080, and I
like to do that before I set up my animations,
| | 01:47 | because that gives me a good idea of
where I can place my products in this case.
| | 01:53 | Now the DPI, we are going to talk about that
in the next video for rendering for prints.
| | 01:57 | The Bucket Width, I typically leave these alone.
| | 02:00 | This has been in modo since version 1, and
this is the actual size of the bucket, those
| | 02:04 | little things, those little
squares that pop out when you render.
| | 02:07 | So if press F9, and you can see these little
squares all starting out those, but you see
| | 02:12 | the little yellow squares
that will suddenly pop up.
| | 02:16 | Those are the buckets, the width and the height,
and those are actually what's rendering the image.
| | 02:20 | You can set the scale of
those to be larger or smaller.
| | 02:24 | I have found actually that this default
value for most things works pretty well.
| | 02:28 | So there are the buckets. Each one
of those represents a processor.
| | 02:32 | So if you let's say on a laptop, an older
laptop, you might just see two of those.
| | 02:36 | If you are on, I have a 3-year-old computer
I am on right now, but it's got 8
| | 02:42 | or 12 cores, you can see each one
of those is using a processor.
| | 02:46 | That's what those are, those are the buckets.
| | 02:49 | If you have a much larger image,
you might want to increase those.
| | 02:51 | You might want to try making them smaller
and see if there is a difference in time,
| | 02:56 | but for most part, I generally leave those alone.
| | 02:59 | Once I set all these
values up, I jump to Settings.
| | 03:04 | This is really the key to
getting quality renders.
| | 03:07 | Antialiasing, it's like a blurring if you will.
| | 03:10 | It takes the pixels in the edges and
reassigns them, sorts them, and I do not know the math
| | 03:15 | so you do not need to worry too much about that.
Just know that 8 samples versus 1 is better.
| | 03:24 | 64 samples versus 8 is better.
| | 03:26 | So the higher you go, the more refinement there
is going to be on those edges of your objects.
| | 03:34 | Let's say you have a scene that is mostly fur.
| | 03:37 | You know what? You are going to want
that antialiasing up there pretty high.
| | 03:40 | It's going to clean all those fine edges.
| | 03:43 | But let's say you have had
something that's more round and very simple.
| | 03:46 | Well, that could be something about 4.
| | 03:49 | It's going to be a little more trial and
error for you, but in our case for this scene,
| | 03:52 | we are going to go 16, very good solid quality.
| | 03:55 | The Antialiasing filter is going to be a Gaussian
filter and again Antialiasing is like a blurring.
| | 04:00 | It's smoothing out those edges.
| | 04:01 | It's not blurring, really, in terms of what
you can see like a Gaussian Blur in Photoshop.
| | 04:07 | But on that pixel level it's actually
adjusting those with a slight blur so that it looks
| | 04:12 | very smooth, and you don't get a chunky edge.
| | 04:16 | Environment Shading.
| | 04:17 | Now if I'm using global illumination and
indirect shading, I am going to want to change this
| | 04:22 | value to something a little bit more fine,
and there's three presets here, there is a
| | 04:26 | Medium value, a Coarse value, and a Fine value.
| | 04:30 | Of course, the Fine value is
going to take longer to render.
| | 04:33 | But the quality is going to be better.
The shading rate, same exact thing.
| | 04:37 | A finer shading rate.
| | 04:39 | How it's calculating within
each of those buckets and pixels.
| | 04:43 | The same with the threshold, you can sort by
value or name and change this value to increase
| | 04:50 | or decrease the threshold of
that refinement shading rate.
| | 04:53 | I typically do leave this about 10%.
| | 04:55 | Depth of Field, you can
turn off if you don't need it.
| | 04:59 | Motion Blur, you can turn on.
| | 05:00 | All of these values--let's say you turn on
Depth of Field, you turn on motion blur--
| | 05:03 | each one of those is going to add your render time.
In this case, we are just doing one still image.
| | 05:08 | We are not doing a large products or a
large animation with a number frames.
| | 05:13 | If we were doing a number of frames, and there is a
lot of motion we might want to turn on Field Rendering.
| | 05:18 | Field Rendering will offer a 60 fields
per second versus 30 frames per second.
| | 05:24 | Let's say we were doing NTSC video.
| | 05:27 | What that will mean is when we have
objects moving the textures let's say or the logo
| | 05:32 | on the bottle will actually be
more visible and easier to read.
| | 05:35 | It's kind of like a high-speed shutter.
| | 05:37 | If you ever seen a football game on TV, sometimes
it stays really crisp and sharp versus very blurred.
| | 05:42 | That Field Rendering will give you that effect.
| | 05:46 | For Ray Tracing, this is on by default, and
you can increase the depth of the Reflection
| | 05:51 | and Refraction as well as the Threshold
here as well for the quality for those shadows.
| | 05:56 | I have actually had pretty good luck with
these default values, but you can play with them
| | 06:01 | and increase value for little more quality, but
it will actually increase your render times as well.
| | 06:09 | Micropoly Displacement.
| | 06:10 | Now this is an odd place for it,
but it does have to do with rendering.
| | 06:13 | So it's buried within here.
| | 06:15 | This something that's always on so that when
you are doing more complex displacement maps
| | 06:19 | you will have this value instantly enhance
your terrain, let's say, if you were subdividing
| | 06:25 | and using that. Micropoly will create a lot
more little fine details if that wasn't on.
| | 06:32 | Another value I like related to rendering
when you're doing more specific texturing
| | 06:37 | is Displacement as Bump.
| | 06:39 | Often when you put a displacement on, you need a
lot more geometry, and even though the Micropoly
| | 06:43 | Displacement will be applied sometimes a Bump
Map, because it's not real, it's not actually
| | 06:48 | moving geometry, a Bump Map will
actually have a little better look.
| | 06:52 | Well, there's this feature that came out in
modo--I believe in 501--Displacement as Bump.
| | 06:58 | So if you have a displacement, put
Displacement as Bump on, and it will displace the object,
| | 07:02 | but it will also smooth it out and give it a
much cleaner appearance as it would al Bump Map.
| | 07:09 | Once you have all of those set
you're ready to render. That is up here.
| | 07:13 | You can see Render, and
you have got a couple of options.
| | 07:16 | You can Render, F9, just render the current
frame which you have been doing, render the
| | 07:20 | current view, render anything that's
selected, let's say just the bottle.
| | 07:24 | You can render All, render a Turntable view, or
render an Animation, which is what we want to do.
| | 07:29 | When we say Render Animation it reads that we had set
in our frame, which I can't go back at the moment.
| | 07:36 | Hold on, let me close this.
We'll go back to our frame.
| | 07:39 | We set First Frame Last Frame, 1 to 120.
So when we render animation, it reads that.
| | 07:46 | This Save As, now typically I don't do any
final renderings as a movie unless they're
| | 07:52 | just not too important or very short.
| | 07:55 | What can happen, and it doesn't too often,
but I don't want to take that chance if you
| | 07:59 | have a 6-hour render is your system goes
down, the software crashes, you run out of
| | 08:04 | storage on your hard drive,
you use the wrong compression.
| | 08:07 | When you are saving to movie, you
are pretty much locked into that.
| | 08:13 | So what I like to do instead is save to an image
sequence, and if we had any render pass groups,
| | 08:18 | we can choose those as well.
| | 08:20 | When I click OK, my window comes up, and I
can save as Targa or Photoshop, or I will
| | 08:28 | move this up, and you can see that we can save as a
16-bit TIF, Uncompressed TIF if we want to, OpenEXR.
| | 08:34 | So I like to often save this is a very
nice high-quality TIF image as a sequence.
| | 08:41 | Then I can take that sequence into
something QuickTime Pro or Motion or After Effects.
| | 08:45 | I will bring that it right into Editor in
fact and just use that sequence natively.
| | 08:52 | The other advantage of rendering to a sequence,
a couple of advantages is that you have access
| | 08:57 | to just any still image
from within the animation.
| | 09:00 | Very easy, you can pull that.
Use it as a cover shot.
| | 09:02 | Use it as a placeholder.
You can also keep your animation going.
| | 09:08 | Let's say software crashes.
| | 09:11 | Well, now you can just continue
on from where you were.
| | 09:14 | You can't do that with just a movie file.
| | 09:18 | Now let's say that I
wanted to get this render going.
| | 09:21 | I would just a Render > Render Animation,
but in this case it's just a still image.
| | 09:27 | So I can just click Render.
| | 09:29 | All of the properties I set will be applied,
and we will let this go and finish out, but
| | 09:34 | when it does I still need to save it.
| | 09:36 | It's not going to save
automatically unless it was an animation.
| | 09:41 | When it finishes I can click Save Image
down here in the very bottom left of this panel
| | 09:45 | and save it out as a Photoshop file,
a 16-bit TIF, a JPEG, whatever I need.
| | 09:52 | So rendering is not too complicated to set up.
| | 09:54 | You have just got to work your way through
the tools, through each of the panels and tabs
| | 09:58 | and then render out your final image.
| | Collapse this transcript |
| Generating a render for print| 00:01 | The last bit information I want to give you when
it comes to rendering is rendering for clients.
| | 00:05 | Now I set this up as an HD render, as if
we're going to video, which most of our stuff
| | 00:10 | here at our studio does.
| | 00:11 | But often, when you're rendering product shots
and things like this, they are going for print.
| | 00:15 | And with print, you need to
understand DPI, or Dots Per Inch.
| | 00:19 | So with the render selected in the Shader
Tree, you can see underneath Frame is DPI,
| | 00:25 | it defaults to 300 DPI, which is what you
need for print, and you can get away with
| | 00:29 | 200 sometimes, but for the
most part 300 will be enough.
| | 00:34 | How does that relate to the pixels above it?
| | 00:36 | Well, sometimes it really doesn't. Years ago
we used to render things at 4000x3000 pixels,
| | 00:40 | and we'd have some of our graphic
clients say it's not high enough resolution.
| | 00:48 | But we knew it was, only
because of the pixel size.
| | 00:51 | So Pixels Per Inch, versus Dot Per
Inch are two entirely different things.
| | 00:55 | So what I want to do is just make
this a little more print-worthy.
| | 00:59 | So we're going to keep it 300 dpi, but then
we're going to change the Frame Width, and
| | 01:04 | we're going to do this visually, we're
not going to even worry about any values.
| | 01:08 | So as I click and drag the frame width down,
you can see that in my camera view here, I'm
| | 01:13 | actually narrowing my edges, so
we're going to have one big large print.
| | 01:17 | So we're going to move over like that, and
I'll just tweak it just a bit, and so now
| | 01:23 | I have a very nice tall thin
render, great for perhaps a poster.
| | 01:27 | If you're rendering perhaps maybe with a logo,
you might move the camera up like this and
| | 01:33 | leave yourself a little room or
magazine cover, something like that.
| | 01:37 | Okay, so I'm setting this
visually based on what I need.
| | 01:41 | However, if you needed it to be something
more specific for magazine, let's say you
| | 01:45 | wanted inches, let's say you want the
Frame Width to be 8 & 1/2 and the Height to be 11.
| | 01:52 | So now I'm actually rendering this for an
8 & 1/2x11 print, perhaps a magazine, and
| | 01:58 | we can scale that to 300 dpi, even go bigger
if we want for a higher resolution, and now
| | 02:04 | we're doing 8 & 1/2x11 at 400 dpi, press
F9, and now I'm rendering for print.
| | 02:12 | It's the finished render, and this is a 12.5%
if we look at it 100%, you can actually see
| | 02:20 | how large this is. That it's a pretty big
file. Let's see if we could scale down here.
| | 02:28 | And that is with the 400 dpi at that resolution.
| | 02:31 | It's also important to understand that when
we made these image maps, that they need to
| | 02:36 | be a good size as well, if
you're going to render this large.
| | 02:39 | You can also see how well the anti-aliasing
apply, because now it very nice clean fibers here.
| | 02:45 | So if this is something that's going to be printed large,
it's very important to have this resolution there.
| | 02:50 | Let's bring this back down to the 25.
So this is actually in the assets folder.
| | 02:53 | One thing I want to point out, I actually
went ahead and just put a metallic surface
| | 02:57 | on here, and all this is is a very similar
surface to the cap that we created, with just
| | 03:03 | a little bit of blur reflection, very much
like we did in the glass, so with just a yellow
| | 03:06 | coloring, a little reflection, and
that asset file is also in your folders.
| | 03:13 | So setting up rendering for print is not very
difficult once you understand the difference
| | 03:18 | between DPI and PPI, and
setting those parameters correctly.
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