3D Environment MasterClass VOL.1 | Create an Epic Photoreal CG Environment

let's go to the home page and see what we need. Let's go to 3D assets and look for 3D assets like I don't know. An industrial street. Let's try industrial construction. Sweet demolition. Yes, yes please. I mean, I can bookmark all of these things right now because they're good things we can use to build and shape our scene. Okay, let's get to the rubble, yes please, a pile of concrete, yes, a damn bulk bag, yes, everything. This is very good. I'm going to bookmark all of this because we really want a lot of detail in our rendering in our scene and this will add everything.

It's so good, so good, um pallets of rubble, yeah, we want it, man, literally. everything here we just want all these things um like I just want all this and it's going to help us oh boy it's going to help us um popsicle yeah what's up in the popsicle? Okay, I have some interesting things on the palette, maybe there are some palettes in the foreground. We can favorite those things, um, barrels, mining hardware, electrical nuts and bolts, like friend, all these things we can use, except this, well, maybe we want this, who knows, but I want to build a world that is , here is my idea. scene, if you guys are just joining in, I basically want to have a couple of huge fallen robots in this world and I want there to be a lot of foliage and vegetation to give life to this kind of desaturated and decayed look and I want this character to be carrying or dragging some kind of of a cargo box full of plants and it's as if with every step he takes plants are growing or something I don't know.

Basically, restoring life to a destroyed world is what I want to do, so I have to figure out how. to make those robots I've been watching uh yasuke, have you seen yasuke on netflix? Oh boy, it's that good and that's what gave me the idea for the robot stuff, the helmet might be good, a little construction helmet, that's cute, these pipes. The modular pipe package will be good, maybe some beams like this, some PVC pipe and all this will be great for us, these things, these rusty boxes, they will be awesome, let's look at mining, maybe these guys, these pumps hydraulics and beams will be very nice for us wagon wheels yes railway it would be great to have a little railway in the middle of this scene storage yes barrels there's a damn barrel right up there let's get a barrel going , this rusty barrel, oh my God, friend. this is so good this is going to be all in the render yeah damn cans of beans rusty tank it's like it fell over here we're going to have the most mega scan assets I've ever had on us this is going to be absurd oh that's going to be awesome yeah boats and tanks yeah please maybe let's put two of these on our character's back maybe that's what they carry it's like a bunch of boats or something so, um, okay, let's go out on the street, trash can, we could probably use maybe use a trash can sidewalks maybe we'd like to build a little street scene with no parking signs that would be a lot of fun actually in the parking meter in the background maybe yeah, it's crossing a street hmm yeah, this is all good um yeah, fire hydrant electrical boxes like there's so many things in our scene and we're going to have to place it very strategically um yeah, barriers, we can probably hit some of these concrete barriers.

I would love to have some like barbed wire fences, but I don't think Mega Scans has barbed wire fences right now, let's put up these concrete barriers, these are really cool. Mega Scan City is here sweet okay okay we can pause our rendering and think about how let's see how we want to do this it's the foreground I want to get the foreground first like I said so I think it's time to get started to play with some materials. Okay, the materials are going to get out of hand pretty quickly, so we're going to have to do a good job of organizing. these things I'm going to start with one of my favorite materials one of my favorites I'm going to start with a brilliant material and it's dying what's happening cinema 4d wait what the hell what's happening what the hell rca film productions greetings for the super chat says thank you very much for this and also damn you for executing my idea first and best, man, I'm sorry, I'm sorry, how funny is that, how come one person has an idea, but another person had the same idea and they never had any communication like that , that's kind of true, it's weird, there's just a lot of ideas out there, I guess two and one or two of them are bound to intersect at a certain point, so I don't know why you can do mega scans of shiny stuff, that's what I want shiny stuff, mega scans, thanks, okay, node editor, bam, let's put this here.

I don't know why this fails every time, but here. come on, I like to have my node editor in my main view because I never need it when I'm working in this view, so I just do it in this view here, um, let's see how I was saying guys, my favorite material, one of my materials favorites my favorite materials will have to be rd textures already the textures are one of the best i would say the highest quality texture packs ever seen uh rd means real scroll let's see where you are texture party textures, okay ooh rusty floor, eh?

What does the rusty floor look like? Oh, nice guys, we're going to have so much detail and texture in our scene it's going to be crazy, sandy, dirty, muddy, let's see, okay, now it's not sand, where are we going. Um tire marks on the ground and in the mud, I think this one is yeah, this one is pretty good, I'll probably take this one, so let's build this off of the tire marks. I'm going to take the 4k texture for now and update it with the 8k texture as needed. because this scene is going to get out of control, it's going to go crazy, so we want to keep as much vram as possible because it's going to go crazy, I'll tell you how much depth of 4k brightness we want to be wet. glitter not really, let's do this with dizzy vipers puddle maps um let's see high glitter in let's see what is glitter dry glitter dry glitter white glitter wet glitter eye glitter there's a lot of glitter uh okay there's six different options i Look we want high gloss tire brands, sure, let's go with the high gloss, I guess we can change it. 4k versions, let's go 4k, we want dry, dry, dry, we want wet, 4k, wet roughness, God, that confuses dry and wet and normal roughness, wet, okay, um. let's drag this out, so here's a quick little tip for you, all these textures, all these, uh, these image textures, the ones that are black and white, they come as color textures in c4d by default and we don't want that , so we'll take them all and set them to have floating textures to keep as much VRAM as possible.

Let me give you an example. I will act out the scene and show you my information. Let's look at the information here. Alright? Look, this is a little small, but it uses totally free vram. We have 1,127 gigabytes used right now. If I go into my textures, take all the black and white maps and set them to float, you should see that number go down. but maybe it didn't go down because it wasn't applied so let me apply it to a plane on the ground we'll do it let's jump let's apply everything first so we want our diffuse this is our wet glow so the glow is specular but inverted , this is our normal normal 4k, we have wet roughness, we're going to put it on roughness, we have a bump map and we have a matte or offset depth map, then we'll plug right in here and take this height to 10. okay, 0.5 resolution and 4k, we'll turn this up a little bit to see our ground plane, very nice, obviously, we'll adjust this, but that's the idea here, very, very good, so you can see the free and total vram used. it's 1.35 right now if I were to take those black and white maps and change them back to color so normal I'd see a 1.49 but you change them to float since they're all black and white you change them to white and white floating textures black 1.49 goes to 1.35 and you need to do this for each one of them directly from mega scans, you can bring them in and they will appear as floating by default because mega scans are connected, they are awesome, select all your junk, right click on it automatically. organize, uh, select all your junk, right click on auto organize, yeah, and then you can get a little bit cleaner layout.

I'm quite obsessive about things, so I like to have everything lined up in a very particular way, but that's just me. cute, so I'm going to save a new version here o2 and let's change this to another texture. I'm building my assets here, I'm building and collecting all the textures that I know I'm going to use. use or play, so let's do this by just controlling the drag and let's go ahead and jump over here and change this to another texture, okay, so there's another one, I think tire marks in the mud tire marks in the ground, look. this ground looks like yeah, this one is good right here, this one is really good, I used this one for my first parallel dimensions, render, um, it's good, so let's go in here and start replacing some of these so that the hit is 4k. hit we'll get that um we want wet color 4k wet color we want 4k depth we're just dragging dropping and replacing we want wet bright um on the specular and then the normal 4k normal of course and we want wet roughness there you go and now we have some wet muddy dirt , let's look at this offset up to 30. and if we lift it up, you know, you can see it gets very thick, you know, that's what I want, that thickness, that's good, so right now. we have one and two and of course we can adjust the color of these to mix them up a little bit more and you realize what that backlight does for us without that backlight you don't get that brightness and it really intensifies.

We can reduce that to 15, something a little more subtle, but this will really help us bring out the details in our foreground, you know, let me zoom this in a little bit more, so it'll get really cool. We're a little bit close to the ground, the camera is a little bit close to the ground, we can always go to the camera, uncheck, check the camera and then we can adjust this on the fly here and something else, you see how it stretches with this, you can just go to the plane and we'll take the ultraviolet mapping to cubic and now all the scaling happens, uh, separate from how we stretch the plane so we can select this little scale here, scale it to actually fit, um, let's see, we can take the plane and do it walk on the plane there and it might be a little bit too thick so we can adjust the displacement map instead of 30 let's go to 15 and let's go down but this is just an example we're going to change all these textures and all that good stuff , but first let's build our list.

Okay, so we're going to build our texture, our texture pack and everything, and obviously you can already see that the ground is a little bit different than my reference, like the angle is higher here versus here, so everything will really come together in the rendering obviously the concept is just there to guide our view okay oh yeah Ronin nice regards so yeah Ronan just posted a link. I'll pin it, we have an Instagram creation with Clint Instagram that the mods put together and it's a place for us to post all the weekly challenge winners and be able to share all of your guys' work and stuff.

I've been retweeting all of your guys' work in progress for this challenge on Twitter and, you know, on Instagram too, definitely hit me up to

create

with Clint um or Punisher. I'll share it, I can send it to Create with Clint and I'll share it there, I'll do both, but yeah, I'll share everyone's work here as we work hard on these things together, but let's keep building a list of yeah, let's keep building our list of textures and weird things why doesn't it move with the oh because the camera check thing probably here we go oh that's going to be cool yeah you see the way it reveals the close up like that it's amazing that's why I love the idea of ​​side scrolling because there's a lot of different little story elements that can be revealed as we progress through our world, but let's go ahead, let's keep building our texture pack, let's keep going with this, so I'm just going to delete it and keep building it from this point, um, there are others really cool art texture packs, come on, let's keep looking, let's keep scanning photos now, information here we go, so this is kind of an overview of things and it looks like our scene, um, this dirty sand. muddy could be interesting, but there's a lot of debris on the ground, there's a lot of trash, you know, on the ground, so it could be cool to grab it, I don't know, dirty sand, muddy could be cool, let's load that one up on that one that has potential dirty, muddy sand, okay, so let's control, drag this, we'll jump and make this happen here, boom, the reason why I don't know, I don't know why, but for me, I'm I'm pretty obsessed with lighting semi wet and cloudy because you get a lot of details.

Here is an example. the details you see a lot of detail on the wall because it is backlit so you get apossible for charity. It would, but not this time, it would have to advertise itself as a charity. from the beginning but that's a good question alan thanks for asking so yes the octane mixer you have to mix texture not displacement or octane look you have to mix texture and not displacement i don't get it use the chaos node to avoid the mosaic, friend. I don't even know what chaos note is. The chaos node is that even here that's not even here maybe it's a remake of uh from octane or something like that.

Let's see, let's see, does anyone have any advice on this mixing situation? um, let's see what you can do. mix rgb and use noise texture to mix them and use a shift ok wait so you are saying use a mix node and do it with a mix node so it is like texture 1, texture 2 the amount would be the same than this noise. and that would go see, let's delete that would go into a 0.5 4k offset re-render the scene that doesn't really work, uh, I mean, it's a good idea, but I don't know why it doesn't work, yeah, I'm not.

Sure, well, here's a different way to do it. Here's a different way to do it, let's go back to our original setup, connect this to the offset of the original nodes here and instead of using the offset or the blend material, we can have two ground planes, so one plane of land that will be. let's duplicate this control and drag, let's give this the other one so we have two ground planes working and you can see how we're blending between the two. Let's set this ground plane to cubic as well and now they're both relaxing. here and we go with a third control drag and we give this as rubble, this rubble texture we're also going to set it to cubic and the scrolling or tiling on this one is crazy, but to be very selective, I think What we can do is reduce this, let's jump from here and go ahead and yes, we will reduce this, which won't help our tiling situation, but let's see if we can't adjust the offset a little bit. more instead of 30, let's go to 15 and we'll rotate it something like that and then let's go ahead and give it a little bit of extra offset.

I'm going to hold down Shift and we're going to throw a shifter node at it and set the shading. to a noise map, we'll go up to the noise map and just increase the height, but let's see this is deviating from the actual geometry, so let's set this to 10 by 10 and you can see how we get something. like little rocky lumps of this thing, maybe we can adjust it a little bit more to make it like a 10 by 20 square, but obviously these piles of dirt are too big for us and they're a little, a little thick, so maybe just take this to 30 by 60. now it's very intense, so we're going to have to reduce the intensity of the noise, let's make our global scale, we'll increase our global scale, there we go, so that it's a little bit more than what we have. some hills, you know, let's go to the object, we'll lower the height so it's very subtle, very, very subtle, like this, which is great and let's take our muddy texture, our original muddy texture, let's raise it a centimeter or 10.

Oh, that it doesn't work, I have to go to object mode, let's try it again, so you have to play with it, you know, and this is a way to mix them up. I actually learned this from David Ariev and that's it. Your way of dealing with tiling is to have multiple versions of your foreground or background with different levels of scrolling that fade in and out of each other that way and if your textures are close enough to each other, you'll really be able to get away with uh you know what I'm trying to say if your textures are color corrected in a similar way in this case dark bright um somewhat desaturated then you can get away with that and how they blend into each other so yeah that's a nice little fun trick and if we press play we go back to our camera and we can see that we're getting a really fun close-up variation as we scan and pan around our foreground, so I'm very very excited about that, that's going to be cool, just it we build, you know, we just have to build this, so I'm going to move our geometry, let's get it a little bit closer to the camera and I'll give it a touch of depth of field, so you have to be careful with this.

I'm going to show you how far you can go, so let's go to the thin lens, change it to 1 and we'll set our focal point on our character and this. that's going to be too much that's going to be too much you can see our background is a little bit out of focus the foreground is a little bit out of focus so I'm probably going to take this to two point eight maybe three three five just like something a little bit subtle and then I'm also going to change the aperture depth of field to two aperture edges to three and that gives it an anamorphic feel that will widen our bokeh highlights into ovals and that's what you get when you look at an anamorphic lens, for example, on Star Wars or Star Trek or something so any feature film, really any solid feature film from the '90s, shot on film, like they have these oval bokeh patterns in the lights when they're in the foreground in the background, that's because basically what the light is looking at is a well, technically yes, it gets deep, but yes, it's camera stuff, it works, welcome back raven, you've been gone for a while, but you're back, light, aaron d, hello, welcome back first. airtime for you buddy thanks for watching I hope it's a good time hopefully it's a quiet time for you and we've done a good job we've kept over a thousand viewers for most of the broadcast here we're just Hitting 950 right now people are getting tired, I understand I'm getting a little tired too, that's just the way it is, but man I can't wait to start adding stuff to this, add some flaming barrels and you know, some pipes and wires and broken trash and glass and bottles and all that stuff that's when you have fun, but right now I'm still blocking it out, we can do something interesting here too, we can even make this a hole in the ground, a giant hole on the ground or something like that. might be pretty good, let's set up a z depth step, we'll probably need it later, we'll change our renderer to octane and go to render pass, check the information pass and z depth step, click on that and we'll just adjust. our depth here and we'll probably have to render, I don't know, probably just one and we'll see if I can fog the after effects like we did last time because that will really help the render time.

Very much, I think you can change all these things in After Effects sai shiran yo, thanks again for the generous super chat, I appreciate you brother, say that I recently started working on my lighting skills, how to improve this area of ​​the CG process because sometimes it is very challenging, yes. man, that's really the one that's lighting, it all comes down to lighting, you can have a really good render, a really good

environment

, but if it's not well lit, then man, that's a shame, so yeah, we definitely want to make sure that your things are also illuminated. as much as possible for me, what I do is have a list of feature films, at least a list of images, let's go to vfx materials, these would be images, cinematography, here we go, I have all these films, I haven't updated this in a long time. but let's take the last samurai for example, which I'm looking at and I'm finding frames that I really enjoy and you know, the frames that look pretty and that make me go ooh, that's good, you know and I'll ask you. myself, well, how is it illuminated?

I do try to apply it, because this is what I would go back to when I was working on Rocket Jump. He would take out these images and say: How does it light up? How am I? I'm going to let you know that our scene looks like this and at the time when I was doing live action shots, you know, I actually had a camera with my lights and I have to set them up to look like this and you just break it. down you see okay there's definitely some light coming back here from the window so this is a nice little area and it's getting to the edge here it's getting Tom Cruise in the back here a nice little edge light um and it looks like that's the main light source part, you probably have a fill light coming from here to hit the face here, but most of it is coming from this light back here and it's causing a nice little silhouette and the The way you get these rays of light is with a little bit of atmosphere or a little bit of fog on set, you fog up your room a little bit and they'll give you these rays of light, so I'll find frames that I really enjoy or I want to wonder how they look. illuminate this, how would you do it?

Light up a giant scene like this, well, they have these giant windows over here that are hitting everyone from the side here. You also have some lights hitting the side of this train, so you probably have some lights coming from this side as well, completing all the you know the dark side of people's faces, you can see a little edge there and the neck of that kind, but it mainly comes from these giant windows. Here's another nice Tom Cruise from the light from the giant edge of the window and you probably have some kind of soft box in the Foreground, you can look at the light from his eyes and you can see where the lights are and you can probably tell there's a camera right behind or that there is a light right behind the camera illuminating his sweat.

This is doing something big here and getting its edge. Light up there, so it's just an example of how you guys can find images that you think look good and just think critically about them and break them down. This is simply illuminated from the sky. You know, this would just be an HDRI

environment

to help you out. this look and obviously the windows and the firelight inside all these little cabins the same thing here they're probably spicing it up with a bigger light back here is a giant movie set and this is fake rain, you know, so they probably have a big soft box, it's a wonder here and gives you a little bit of that.

It's one thing to look at where your shadows are pointing, what direction your shadows are pointing. You know that's a good way to determine. You already know how the lights should be set up. Yeah, that's just a little trick for you guys, I think there are websites for this now. I don't think I know the name. Maybe they already wrote it in the comments, but there is a website. I forget the name, but. Basically it's this, I did it manually because that website didn't really exist when I started doing it. This is one of my favorites though it is so good.

I love that render. Look, it's that floor with the backlight. here hitting the reflections in the wood that's when you know what's happening see the shadows direction of the shadows coming towards the camera that means we have a light here somewhere just outside the frame illuminating this here and probably these steps and maybe even this ceiling There's a big old light back there It's a movie set. They can do it with big budgets, but we're in CG and we can do it for free, especially if you're using Blender. Okay, but another note about the lighting. 'Another note on lighting is that my plan is to build my scene with this temporary lighting I have now and when I get to a point where I have most of my stuff in the frame then I'll start changing. light and get different looks to think outside the box.

I don't want to pigeonhole myself into a single look. So I'll change the lighting. I will do things I normally wouldn't do. You know, I'll place the sun somehow I'll make a sunny version of the scene I'll make a different one I'll make a night version I'll make a cloudy version I'll make a golden hour version I'll make a backlit version I'll make a frontlit version. I'll make a version with a red sky. I'll just make a bunch of different versions and save those little render thumbnails and look at them and say, what do I like about all this?

I can give you ideas, start playing with different colors, blue and yellow, you know, cyan and uh, and what's cyan and teal, that kind of movie look and the only way to find different lighting solutions is to experiment. Since we are in CG, we can do it for free. Experience the light to your heart's content. Go crazy with it, you know, so it's definitely good. A good thing you can do is change the lighting settings once you have everything together, it really helps. Get your head outside the box and it will generate some really interesting results.

I bet you, I bet you all, Cole, I appreciate you, man, thanks for hanging out with me, thanks for working hard on all your stuff, uh, it's been amazing, yeah, me. I really don't know where else to go from here uh, I mean, I could start getting into it, but I really need to start thinking critically about how I'm placing all my stuff. I know I would probably work a little bit more on the foreground and get a little bit of variation in the foreground, maybe there's a part of the foreground that has like broken concrete tiles and things like maybe let's bring in some of those bridge assets that We have favorited, so let's go to oursfavorites and look what we can see here oh the barrels man the barrels definitely bring some barrels here that'll be fun screw it yeah let's put a barrel here um what do you guys think these rusty blue green or red, do we have rusty barrels?

We have blue, green or red. I'll leave it to you. What do you think I should add here? You guys want to do a little bit of color contrast with a little bit of blue. They want to keep everything uniform with the rust. They want to go green. They want to go red with that, what do you think? green red red barrels like half life red barrels rusty red barrels red all rusty red rusty red green red okay, let's go with the red, let's go with the red, you guys are right, rusty. I'm referring to the red barrel, which is the explosives.

You have to be careful with those you know, so let's download it, let's make sure we have this set to export configurations. We don't want an unreal engine. We want c4d. I was going to do this in unreal, but. "Everything that would be out of my element a little bit just a little bit too out of my element okay, let's export the 4k version because we want to save as much power as possible on the computer and y'all, this is just the At first I'll probably to throw some rusty barrels too. I'm going to throw them all in.

It'll be a good time, but for now we have a red barrel in our scene. I'll rotate it so you can see that it's kind of bent up a little bit and let's adjust it, let's see. let's right click first we'll add it to a new layer and that new layer is it's called mega scans and I want to change the material type to shiny and octane and for some reason that makes it look like a shiny mirror and Beckman disables now universe let's try universal again I'll try to change them to see what it's like if it's not really Catching, there we go, so when I change it to octane, the BRDF model actually shines, which is what you want Bright, for some reason, it takes it to I think it's because the. metallic is on, so if we take this, I like it, maybe it's universal. and the metallic goes down to zero ah, it's because the albedo is connected to the metallic, that would make sense, um, let's try the brightness again, bright octane and let's try connecting it again, no, that doesn't really work, it's because our index is set in 8, that's why it's 1.3. yeah, now we have control over this barrel, you know, we can change this barrel, however we want, we can control it, drag it, move it, maybe have one like in the foreground or something, this is definitely not final, it's just here as an asset and it's not dirty enough, let's go with the rusty one, let's bring a rusty one, see what the rusty barrel looks like, we'll download the 8k but transfer it to 4k again, we're trying to save as much computer juice. as possible the scene will go crazy 4k we are going to export our 4k that 4k and you have to be very particular about the way you place all these objects because the way your objects are placed shapes your scene, let's add this to our layer of mega scans and let's get out of camera view and try to get the best possible look of this.

I want to make sure I set this to bright octane, no that's not it, I guess bright 1.3, yeah you see from the top, everything is nice and bright, that's exactly what we want, but we don't actually see the top of these things unless of course you know we tilted them a little bit or something, then you see the top sticking out of the ground a little bit, so we missed the super. chat, didn't we make montages? What's happening? Thanks for the super chat. It says how much blood and gore performances can have. Are there any restrictions on this?

Yes, that's also in the FAQ on Discord, so make sure you guys are reading. That blood and gore is fine, I'm fine with that, there's just no nudity, there's no nudity in this stuff, um, yeah, simple answer, simple question, good question, but no, it's in the FAQ, check that FAQ , motion blur, yeah, we want some motion blur too. How can we achieve motion blur? That's a great question, isn't it? So you can go to the little motion blur tab here in your camera's camera. I'll set it to 1 out of 60 because that's the default baseline for motion blur on film cameras. whatever camera you're shooting with is always double your shutter speed, so in this case our shutter speed or sorry, it's always double your frame rate, since the frame rate of our project it's set to 30 frames per second, which is what you want, um, you want to set. your motion blur to 1 over 60, so it's doubly correct, um, and then you would check that it's centered, save your scene, turn it on and then you'll have a little bit of motion blur in your scene, it's very subtle, but it adds, definitely adds, it's about that realism, you want it to look as real as possible, take away maybe the thin lens so you just get the motion blur, you see the motion blur there and then it happens more in the foreground because things in the the foreground moves faster than the background now, if you want to get that saving private ryan look you can set it to 1 over 120 to make it a little more like you have less motion blur in your scene 3.5, the shutter speed The savings seem high.

Private Ryan's motion blur has a higher shutter speed, so it's over 120. And since I have a war scene, you know maybe that's the look I'm going for, it's probably very good, very well so in my reference you know there's a lot of things happening on the ground we have this bed frame we have the barrels um you know we have a bunch of rusty garbage that's all over the ground there's a street here there's cobblestone bricks there's like stairs going up here so I want to add all these things to the scene, um burning barrels, sure, yeah, exactly, so I'm going to place them strategically throughout the week and when I come back next week for the broadcast, I hope my foreground be a little more involved and There are a lot more things I can break down for you and show you how I set them up.

I'd love to finish the foreground next week that way I can move to the background and then spend. a week in the background and then I'll spend a week probably spicing it up with characters and robots and plants and stuff, and then my last week will be in after effects compositing the thing because you know there's going to be a lot of compositing. Continuing with this, I want to try making the fog in After Effects like I did last time, maybe make a little rain too, that could be cool. A little wind. I love my atmosphere if you guys don't know by now.

I'm a big fan of atmosphere, I think it really adds to a render, it's something that is rare in real life, when have you seen a rainy, foggy and windy scene that looks like this? Have you never seen a scene that looks like this? I don't know, maybe once or twice in his life, I know when we filmed the Killzone live action short on my uh, my YouTube channel. Guys, I'm watching you on my YouTube channel. Here it is called live action Killzone extraction. a place like this and it was incredible, so incredible, it was rainy and muddy and my socks were falling out of my boots, I had so much mud stuck to my shoes, oh my God, we filmed for two days straight and a pirate technician came out. and blow things up, so I'm a fan of that stuff, man, I'm a big fan of that weather, so I guess I don't know.

I'm at a point where I feel pretty good. I need a crank, you know, so I'll probably take this time here to answer any questions you have. What is happening with you? You all are having a good day, you are having a good, uh, good streaming session, you are having fun. your renders, I hope you are, I know I'm excited, I'm getting excited, it's coming, it's coming to life, it's coming together, so I'm really excited about it, okay, Tall Goose Jerry, what app am I using for my reference images? I'm using pure ref pure ref is very good um you can see it well it's all my head talking at this point but it's pure f p u r e r e f prf is free and it's awesome um great for organizing your references and all that good stuff where did you do it?

I understand the reference. I made the reference. I made it in Photoshop. Once I finish this stream, guys, you can check out the beginning where I go over my concept art. As I did. I did it in Photoshop. Yes, I put it together. from just a bunch of reference images basically what else or how long have you been making dc dc cinema 4d? I've been on c4d for a while, man, I started on version 10 so that was 12 or 11 years ago, I don't. I know, but I used 3ds max for six of those years and switched back, so if I get hit with the punisher in chat it'll be a lot easier to focus on these questions.

Can you show the render so far? in full screen yes I can yes I can let's do that um leave us the full screen mode and we'll let this do its job here we'll let it render a little bit um sir lindva asks: hey, wait, no longer Allen, don Allen, in the house, What's going on buddy, you're driving the best man ever crazy, you guys talk about my positive vibes, you haven't dated don allen yet, right? Because this guy is the most positive guy I know. We spent like an hour talking about c4d plugins the other day it was really funny um yeah don is a great man if you guys like all things um vr or ar uh don allen is your guy so check out his channel um I will pin your comment here so you can see it let's see uh um replace the pinned message yeah, yeah, look at don allen's stuff, he's a good guy, super cool, he worked at uh dreamworks for a while, but he recently left to do the yours, does that sound familiar? ok sir linva do we have to make the render loopable for extra points?

No, you don't have to make the render loopable because all that loops is the character between all these renders, that's what loops, you know, your render doesn't have to loop, you can do that if you want, but It won't give you extra points. Can you open the unreal sequence scene? Show us the quick sequencer. Maybe not. That will take some time to load, but Josh contacted me on Discord. if you have any questions about that man, if you need it, if you have any serious questions about the unreal sequencer, contact me on discord, going down the list, i showed jerry, can you look at your discord?

I sent you a cool render, I did it. I'll check it after the broadcast. Yeah, I tend to not want to have my Discord open while live streaming for reasons. Yeah, I just want to, I prefer to keep people's privacy safe. I also don't know what's on my Discord. I don't want them to like having direct contact with Sam and Nico if he's there or anything, so I'm a little cautious about opening Discord on the stream. I hope you understand, but I will check it as soon as I can. We're done here, um, shall I? I make my own materials.

I have done it in the past. I really don't do it now. I make my own surface imperfections. If you guys have been dating me for a while, you probably know yes. a surface imperfections pack and a video breaking down how I made that pack, but no, I hadn't done my renders for a while, my own renders because they're on mega scans and I don't know if maybe they're on third textures. maybe I'll make a texture pack, there are so many out there, you know what else I've tried with redshift? Yes, I have some. I'm more of an octane guy, but what should I practice to get better at designing and rendering 3D environments?

Marwan good question, follow the artists around you on instagram, on artstation, on pinterest, whatever, who makes art that inspires you, there is no way to do it, the only way to be good is to have good taste, you have to have good taste in music, if you like. to be a musician you have to have good taste in art if you want to be an artist it is good to have good taste and environment art if you want to be a good artist of the environment how to find those artists and those images and those environments that simply leave you speechless think and use it as reference look at that ask yourself how do they do this how do they do it and start coming up with your own ideas go outside start taking pictures of areas that you think are cool um like I love to travel I love going to abandoned places so that's my inspiration too me I love art books you know all these art books and stuff that's how I get inspired um I play music you know it fits the vibe of uh you know it fits the vibe of the art that I'm trying to do so I just try to surround myself with the best vibes possible and then from there I can start watching tutorials and developing the skill set that will eventually lead me to creating well the art I love to make.

Hopefully that makes sense to all of you, moving down the line here, we have questions, we have questions, can I check out the Whip channel on Discord? I definitely do. I'm excited about what you guys are doing, Joel,forward why is the character leaning forward is he carrying a very heavy backpack? Are you dragging something? maybe you move your arms, is it pushing something who knows? It's very windy, is it leaning against the wind? Who knows? It's up to you to decide why the character is leaning forward. And if you don't know, this is a little confusing, but the general note is that no, you can't change the animation of the character's body. you can't touch it except the shoulders to the fingers you can move the arms but don't touch the head don't touch the torso don't touch the legs don't touch the damn hips don't touch the shoulders Sorry, I said you can do the shoulders, basically the arms, you can adjust the arms, so if you want your character to push something, you can push something, if you want your character to protect something that protects your face or something that's also cool so you can adjust the arms, but that's it, don't touch anything more, but y'all, I think that's it, I think I'll call him, I'll go to lunch, I'll hang out with Cliff or maybe I'll play drums, I'll get something. one is coming, but thank you all for hanging out with me, anything you need to know, let's see, make sure you read the FAQ, please read the FAQ, don't make it more complicated, some pretty simple answers. there for all of you, trying to keep it as simple as possible, follow me on Instagram, I mean, all those things are in the description, you know, Twitter, Instagram, all those things are in the description.

What else? What else? Yeah, next week I have a separate video for you and a live stream, so I'll show you how to replace the character in c4d and how to move the arms and stuff and then hopefully we'll finish the closeup, what else, what else, um, I'll have a submission link for you guys this week, but don't be too eager to submit it, okay, make sure you guys put in the time until June 1st, do it right, add the details, because those details really go to go very far. and improve your render, it'll just make it render better, keep completing it, keep making it nice, keep iterating, change the lighting, find the best version of what you're working on, okay and submit it, don't submit anything else, um.

Yeah, I think that's it, Don Allen, thanks for stopping by. I wonder if you're going to do anything for the challenge? It would be sweet, it would be great if you did. But I understand if busy, then you also have something to do. You know we all run these YouTube channels and it's hard to be our own boss, it's very busy, a lot of work, a lot of work, but thank you all so much, thank you for hanging out with me. There will be no art review today. There will be no art review next week, but you know that maybe what I will do is review some works.

I'm making progress next week, so keep posting in the works in progress channel on Discord, I'll pull some of them out and tell you what I like about them, what I think. Hey, keep going in this direction, maybe I'll give you some examples of some works in progress that are blocking this element of the sphere too much. I'm not going to criticize you, I'm just going to let you know, hey, maybe work the sphere a little more, you know what I mean, maybe maybe. uh, work on the character a little more, so I hope that helps guide your renders to a more unified place. um, sweet, don allen is working on one and it will have raptors.

Hell yeah, dude, I'm so excited, yeah, yeah. Yes, yes honey, so many questions guys, I'll have to answer them next time. Do I have any tips for starting a YouTube channel that revolves around 3D? Yes, he posts constantly, he posts constantly every week. It's a lot of work, but consistency is the only way. I'm sure your thumbnail is good because your thumbnail is the only thing stopping the viewer from clicking on your video, so remember I learned this from Nico Corridor. Okay, have fun, have a good time. See you. on Discord this week I'm going to enter that voice channel.

I know you guys are working and you're working on voice chat. That's awesome, it's really cool to see me and the mods talking about it in our mod chat. We're like, look, the damn voice channels are showing up, so I'll show up every once in a while this week guys, but you all have a good one, thanks for everything, hit the share skills link below please help me . It really helps me make more of these streams and stay alive, so sign up and learn something. It is beneficial for both. We are all amazing. Thanks for your time.

I'm excited to see your stuff and I'll see you soon, so I'll hit you with this final screen, a nice little hint to everyone, I'll see you soon, in peace guys, later, two of you.