Welcome to the CGI of VFX a final scene.
Very excited because we're going to bring this all together now.
So this is going to be initially all about getting everything ready.
We're going to import assets that you wish to using your scene adjust your camera's view if it's slightly
out here you'll see what I mean about that in a few moments.
And then finally get the ground ready for shadows.
So let's go get everything ready now and hop on over in a blender.
So we have the cube in our scene and it's mapped out relatively well.
I'm happy with all of that.
One of the first things we should do is just make sure that these sort of empties these little crosses
that are on the scene are actually in the right place in our world and they are all on the ground.
Now I can pretty much guess with some degree of accuracy that this whole thing is flat and if it is
all flat all of these should exist on the same point.
So let's whiz round and check this out in orthographic projection.
And from the side so we should find that all of these line up and they don't.
All of these are slightly tilted as we can see.
One empties up the top here and the others are below.
Now they're going to be scattered about ever so slightly.
However what we can do is rotate the camera and make sure we've got the camera selected rotated on its
x axis and let's bring it up so they're all roughly level.
That's good.
And then just bring it down ever so slightly to the y axis.
And I'm just going to rotate the Omni access is just a little bit more and I'm happy with how all of
those are laid out.
We can also just check for any sideways motion as well from the other way.
But that looks pretty much straight now the camera is definitely and fully set up.
So these empty empties are crossing through the ground plane.
Now the cube itself that can go completely and this ground plane here this is what we are going to use
for our shadows so let's make sure that scaled up appropriately to capture any shadows of our models.
Now I'm going to have to toggle the ground on and off.
I'm going to be wanting to place a plane there on the runway so I'm going to go ahead and spend on him.
Go ahead and find the there where it's Section 10 assets models F 22 flying objects F 3 2.
Wow it's huge.
That is no good.
Well first of all let's make sure it's located in the right place in our scene and then scale it accordingly.
So I'm going to whiz round and the side is going to have to be there.
And if we look at it in 3-d space it'll have to be there and it's going to have to be lifted up ever
so slightly.
Let's see what that looks like in the scene.
That is a wee bit large.
Dorner hide that one hide this.
And now we can rotate it locks to the z axis that's pointing down our runway and then we'll just scale
it down accordingly.
Now as you scale it is going to scale a way from the plane itself Summerset the pivot point to the 3D
cursor vanished scale towards the 3-d cursor.
I didn't start with a mouse far enough away so didn't have very granular control.
And I'm going to make sure it's semi realistic in terms of its size.
And I can go ahead and start animating that as well.
And one of the ways that you can animates to make sure things work out well is whiz round to the top.
And we've got a set here now I don't know where the end of the runway is so before I do anything else
I can go back to the camera view and let's add in a key frame.
So at the beginning it's going to be where it currently is.
So it's go to frame 1 or in this case frame to key in the location and rotation data.
Now as the camera pans round it's going to come into view.
And by the time it's at frame 48 so to be at least at the end of the runway so I'm going to move it
but only on the y axis.
But in the press the y axis again so moving it's along its own y axis I can move that to the end of
the runway and press I and I again.
And now as we play it back quickly we will see it moving along the runway.
Now one of the things to bear in mind is that all of these movements will be naturally s curved so he'll
slow down between each key for it and that can produce something very unnatural to get around that you
would need to switch to the graph Ed as we've done in the past.
Instead of having these nice smooth transitions with the handles in this case just along the y axis
where you can adjust those handles if you want or indeed go to the handle type hit V and make it a vector
type that will work as well.
In fact you can select everything and hit V and go to vector and that kind of makes things nice and
linear to work with.
Not very good for organic movements or perhaps things that naturally need to slow down or you need curves
to control them.
But for setting up scenes like this this can be handy to have things moving linearly So they're not
sort of slowing and speeding up because once the plane starts going it's not going to suddenly slow
to turn a corner.
It can do that very easily.
So there's lots more to do in terms of moving things along and setting up nodes and now it is time for
your final challenge in this section.
It is time to finish your scene.
Set your samples and resolution low.
This will speed up your work flow a lot.
I can't impress as much as possible as you don't wait around for ages to get samples going create any
animations you want to use.
I've got a little bit more to go with mine as you're going through.
Check your animations are good.
At this stage in the course we really want the plane.
If you're doing a plane or whatever your animating really want it to look like it's part of the scene
and not separate.
Set up your nodes as per the still image.
Remember a movie is simply a series of still images played back one after the other.
Now when you go to your nodes and go to your compositing know what you'll see is there's already something
already set up.
Now in this case you could use that to move forward.
However I would recommend deleting what's currently there and setting it up afresh see you get the hang
of putting these things together.
Finally up those samples up that resolution and render your final scene and share balls of video now
and give that a go.
Wow okay guys welcome back.
How did you get on.
Well it's time for me to go in and go through the stages I've done to finish off my scene.
So let's hop back on over into a blender.
Okay so this is my scene so far.
I will just make this a bit larger so I can show it to you guys.
And so all I'm failing in pressing the right keys on the computer that doesn't help.
So I'm just going to turn off the ground plane here so we can see what's going on so we got the planes
coming in from the side.
This plane taking off and then these planes will bank away.
The final move.
Looking good now the first thing we need to make sure is just what happens when we go and render our
scene.
We get the movie and I do mean the movie because on the video sequence Ed we've still got our time line
our video here playing.
We're not going to use that at the moment.
In combination with the compulsive Teddy's her son literally just going to remove fat from our scene
and save my work now I've done that.
When we go back over and go and render our scene.
We kind of almost get a result but it's really horrible.
First of all I'm going to make sure I got CPR rendering turned on which I have done at 10 percent of
4 k..
That's fine.
And Wolf we got down here in terms of samples sampling and Willa up my render to five stars.
Glass got a little more detail let's go for it.
Well as we come through that's fine.
Let's go to a place where we should be able to see more of the planes.
Okay so something's going on it's not quite right.
That's fine I wasn't expecting it to be working straightaway.
Let's go have a look at the node editor.
Well I haven't created that but it's been kindly added in for me.
Bit confusing.
Yes.
So rather than going through and trying to recreate all of this lots or rather move it around so it
all fits.
I'm going to remove the bits that I know are at the moment just rubbish.
So let's get rid of that.
This undistorted I'm not gonna need that.
However I will want the scale just like we have before with single image.
This time it's for the movie.
We want the render size.
Be fine.
Yep.
And we want it to fit so it doesn't matter what size scene we have it fits our scene how what size resolution
we have here it automatically scales accordingly.
So that's the top bit done.
And we've got one render layer sorted here and the other one is not.
Let's go have a look at the render layers.
So you got foreground and background that is not that intuitive but we certainly don't know is where
things are situated at the moment.
So we've got our ground plane which is going to take our shadows this turn that's on.
There we go we've shadows through our ground plane here.
And that is on layer 10.
Fine.
Everything else is also on by a 10.
So we need to move the ground plane to a different layer.
I'm simply going to move it to.
Or layer.
Oh it's on both layers.
Is it.
That's interesting.
Let's move it to just layer one for the moment.
Perfect.
So now we have that on layer 1 we've got our planes on layer 10 all of them I believe.
Yup.
Now we need to give them a pass index.
I've set my plane so pass index of 1 so I can isolate them.
So that's that's all sorted.
And we've got the ground plane here.
So the final thing is on the rendle layers to set up the foreground and background foreground and background
doesn't really make any sense other than to call it whole scene.
And just ground so we can have the difference between the two and work it out from there.
Now we're going to have to have everything on here turned on and here.
We not going to mask anything off so that's Turn that off.
Excellent.
So on the whole scene we have everything rendered and it's just two layers of the scene renderings fine
on the just ground we want to exclude play.
Whatever layers this is.
This is like 10.
OK finally let's have a look at the lamp.
It's not sunlamp and I'm to have hard shallows one slightly softer than hard shadows but there we go
slightly fuzzy shadows but that's it for the moment.
I want the effect to be quite strong.
That looks fine to me.
Let's go in hit round and see how that comes out.
Well it won't come out as anything at the moment.
Why won't it come out as anything.
Well let's have a close look at the node editor and let's switch this back across to the road.
So at the moment nothing is plugged into the output do we have an output.
Yes we have to on the board a select those and move them.
I didn't mean to move everything boots on to have moved them in so we can see what's going on.
Now I'm not going to use a backdrop here because I'm going to find it hard enough to see stuff as it
is.
But if we plug in the render layers into the compositors it auto renders we have that back out.
Excellent.
So now it's just a matter of setting up a sim the settings as we had before.
Now notice down here we're missing index objects queening to go back into our render layers.
And on the passes of the object index an object index we don't need the vector outputs.
And on this one we've got some extra things as well.
We don't need those.
And then we reach render.
After we've done that right this should be ready to go and ready to link together.
Let's go ahead and do that.
Right.
Nodes nodes nodes.
These can always be a challenge to get right.
I'm not only use my view I am gonna use the composite node I'm going and leave this as a 3D image editor
and we need to render we haven't rendered yet.
Let's go ahead and render.
Excellent.
So we got our planes and we got the just the ground itself as well.
Will a swap then round.
Okay so we're going to have to take all index objects.
I d.
From the ground and the planes are not sure if I've done the ground.
So let's just have a look at the grounds settings okay.
It's not got anything so set with the ground with the pass index of two.
Let's bring in the items.
I know we need so I need an I.D. mask.
And that is going to help us isolate the ground when we mixin the image after we've isolated the shadows
or what the difference is between the two.
And that's going to be an index of too because as the ground.
Let's move that to one side.
I'm jumping ahead of myself we need to combine these two together.
So I'm going to add a colour mix and we're going to add them together keum add by dividing.
We're going to combine them with division.
I'm going to put the image is in and the outputs that we get from here.
Plus it's strenth for commodities have a look should be bright white with anything.
That's exactly the same.
Because anything divided by anything exactly the same as one.
And any difference will actually be highlighted.
That's a great start to isolate the shadow.
And we've also isolated the planes themselves kind of bit but we're going to mask off the planes in
a few moments.
Let's now mix in our next bit so we've got this coming in.
We're going to have an I.D. mask here.
We're going to bring in our image itself that's starting to look.
A bit funky.
Have I got that the right arm dividing here.
I want to multiply.
We got that white layer that is looking good the shadow is also looking good.
Now let's plug it in.
Our Alpha layer here.
And that has brought back in our background but has made the rest disappear.
Have I got that the right way around I have gone the right way around.
Let's just rerun don't the make sure that everything's working.
How have there we go the shallows just by itself.
If in doubt re render and then if it doesn't work then you can be in doubt or something along those
lines.
Okay finally then we need to bring back in just the planes themselves who are going to be mixing the
planes with whatever's coming out of here.
So that's duplicate this multiplying node.
And we can use that as a starting point and plug in our planes.
Now we're just mixing together because we want the planes by themselves on top of our scene with a factor
of 100 where they are.
So we need another idees mask.
And using an I.D. mask of one here.
So we've isolated that with saying any think that's the planes is 100 percent okay.
We've got that just the wrong way round.
Perfect.
Excellent stuff.
So let's just try that in any other place in the scene.
They'll If we move is that auto updating Well kind of it's moved the scene but it hasn't actually moved
forward our models.
So this is what they look like if they were just scooting around we do need to re render.
But that's okay because during a render there we go the planes just taking off.
And let's go back a little further.
Excellent so we've got the planes flying very low level over ground.
Hopefully they don't look like they're about to hit the ground.
That's crazy low level might be doing just that.
The final render.
But now is the first pass of my final animation now because it's my first pass.
I'm not too fussed about the quality I'm going to output this to my downloads folder and then I'm going
to set this to a year hand eight to six for encoding as an MPEG for the rest look so k..
Okay so this is slightly different in blender two point seven nine.
If we go ahead and scroll down to the output settings obviously we're going to change this once again
from a PRNG.
But those other options are not there.
But if we go ahead and pick MPEG video and I'm sure some of you have already worked that out under the
encoding Stetsons we can go down here and pick 8 2 6 4 in MP 4 and that would go we're in the same position
as we were before.
Remember it's about a decent output folder so you can bind your files as well.
And I'm going to call it this plane's first run.
Now it is important that I know what it is going to make sure that these settings are as low as possible
I don't care about quality at this point and leave it set at five samples and I'm going to render out
this animation surrender render animation.
And as we can see here it's going to take several minutes to go through and render out all the individual
frames and put them all together into our final composite.
And I will see you guys back once this is rendered out.
And here we go see the planes taking off and the others fly past that looks great.
Apart from a little judder right at the very beginning as that plane taking off you see there it scoots
a little on the runway.
I think we can modify that.
We're ready for a full render.
Okay so here isn't a fool rendle Haven't gone as deep as that.
But what we have got here is a high resolution so we can see more of what's happening on the screen.
There's still a little bit of a judder on the runway something we can all fit well we always come across
things we can refine about your models but I'm really happy with that.
How did you guys get on.
I'd love to see your VFX and CGI.
Please show your work in the discussions.
And I will see you in the next lecture.