Cinema 4D Tutorial - Create Digital Nature Renders Using Octane [Part 2] Video Lecture | Create stunning 3D Graphics with Cinema 4D - 3D & Animation

hey everybody what's up it's David are
you here again for I design comm for
part 2 of this epic digital nature
tutorial yes we are really going to be
creating godrays this time for reals and
then we'll be jumping in and finishing
up our scenes putting in some custom
Luntz and looking at some other
interesting examples let's do it
[Applause]
[Music]
finally the moment you guys have been
waiting for let's look at the settings
to create godrays so i've got two basic
forests or trees sitting here and i
didn't even bother putting the leaves on
them because I think this stripped-down
scene helps clarify the settings and
allows us to work a lot faster so let's
just drop in a daylight and I'm gonna
rotate it until it's backlighting our
scene here until we can actually see the
Sun there we go so this backlight will
really bring out the Rays because it'll
be casting light into these branches
which will then create shadows in the
volume directly into the camera that
being said the next obvious thing to add
in is the volumetrics
so let's click on our daylight here come
to the daylight tag and then scroll down
to the medium tab and just hit add fog
so let's crank the thickness a bit until
the light decreases this is going to
depend a lot on our scene scale so we'll
play with this value a little bit later
let's jump in here and here we've got
the density the volume step length the
absorption and scattering volume step
length doesn't do anything when we're in
this environment medium but it does when
we're using an actual fog volume and
I'll show you that later so let's start
by adding a float texture in here
instead of the RGB spectrum just because
it's easier to control so let's go to C
40 octane float texture and let's bump
this one up to one so that we're getting
full scattering and let's bring down the
density until we start to see something
all right so the most important control
here for getting those godrays is this
phase and we want to bump this all the
way up to something like 0.9 and you can
see that totally boost the intensity of
the light what's happening is when it's
down towards zero the light is
scattering evenly but the more we bring
this up the more the light is scattered
in the direction of the light source so
it kind of makes the raise a little more
parallel so you can just start to see
something happening here but it's not
very defined yet let's jump up a level
here and go to our medium tab and we
just want to mess with the thickness
until we start to see it get a little
more defined if we go this way we're
going to start to lose the
so let's bring it this away and then
we're seeing a little bit more strongly
let's keep going and now we're really
starting to see these form the last
control that's gonna make a huge
difference is this Sun sighs so just for
comparison say I brought this up to like
five and then I'll store render buffer
and now I'll bring it back down all the
way this time to 0.1 which is the lowest
it'll go and you can see the smaller the
light source the more these shadows
sharpen up and finally let's tweak the
thickness one more time I think around
20 we're getting even stronger results
and then if we move the camera down
you'll see this really become apparent
and one more thing if I jump into the
scattering medium and boost the density
you'll see this gets crazy strong cool
so let's take a look at doing the same
thing with an area light so what I can
do is I can actually just come in here
to the sky color and take this all the
way down to black same thing with the
Sun color so we've lost the sunlight but
now we're keeping all the same fog
settings and then let's just drop in an
area light and bring this up and rotate
it 180 and then let's set it behind the
trees a little bit and let's kind of
pull our camera in here now the reason
we're not seeing anything is because
this is actually a very large light
source in order to catch those rays we
need the light source to be really
really small so first let's just change
this into more of a point light so it's
casting in all directions we can come
over to details and change the area
shape to sphere and now let's just scale
this down and you'll see that we lose
light because that's physically accurate
the smaller your light source the less
light it can emit so we're just gonna
come in here and boost this like crazy
and now we're starting to see those rays
so let's just crank this all the way up
and that's the highest it can go but
again the smaller the light source the
sharper these shadows are going to get
so let's store a render buffer here and
then let's make this light even smaller
and now to boost it even further and
bring up the exposure we can add a float
texture into these texture and
distribution slots so we'll go see for
the octane float texture and now let's
just crank this super high and then
let's keep scaling down the light until
we get to a similar exposure value and
if we compare these you can see before
these were much softer shadows same
thing goes with the ground if we take a
look at this and we'll compare this and
then I'll scale the light back up and
reduce its power by removing this float
texture so I'll keep scaling it up
when we have softer shadows in the
volumetrics we also have softer shadows
on the ground
alright so jumping back to the super
small light source it looks pretty weird
right now because we can't even see the
trees we're just seeing the Rays and
that's because we don't have any kind of
fill light on the trees so we can do
that if we drop in a second light source
and this will actually be good to show a
little quirk about octane here so let's
navigate around and let's boost the
power of this light source as well so
now we're seeing the trees but we're
also getting a ton of fireflies and the
reason is that this light source is so
much bigger than this one and the rule
of thumb is that with smaller light
sources you want to give them more light
samples so if I jump into the small
light here and go into the sample right
here and start to give this higher
values we'll see things start to even up
at some point if we go too far we see
that this area light now becomes the one
with a ton of noise so it's a balancing
act and typically the closer you get to
the source the noisier the pixels will
become so with volumetrics a lot of the
time it helps to just hide the lights
off camera so I'll bring this off-camera
and in this case this one actually
appears noisier so we can probably
distribute this a little bit differently
and maybe boost the samples to like 3000
here when I go up to 11,000 here I think
it cleans up a bit more overall so just
a quick aside because this process is
really important for optimizing scenes
finally let's take a look at what
happens if we use the fog volume rather
than this environment fog the
environment fog is a bit more of a cheat
so if we go under objects fog volume we
get the fog volume box and I'm just
gonna go to my daylight and go to the
medium tab and clear this out so let's
scale up our box here and you want to be
careful while doing this because you
might crash your computer so I'm going
to take the voxels up so it's a lot
lighter and I'll just keep scaling this
to somewhere around here where it
encompasses our vision so the cool thing
about the fog volume is that because
it's in a box you can isolate it to just
certain areas within your scene for
instance if you want fog just to the top
of your trees or just to the top of some
mountains you can do that or maybe a
layer just above the grass for instance
so let's jump in here
and let's take the density way down
until we start seeing our trees and now
let's open up the absorption and
scattering and let's do a similar thing
with the face where we just bring it
right up to 0.9 or so let's take our
scattering up to one cool so we're
getting our volumetric light back but
it's taking a lot longer to render so
it's a trade-off I think that this
scenario is a bit more physically
accurate versus the environment fog
which is more of a cheat but you have to
consider the trade-off of render time
okay another quick aside if you ever
wondered what the surface brightness
tick boxes if you turn this off then
your uncoupling the scale from the
brightness so if I remove this texture
here and bring the power back down to
something a little more reasonable what
it means is I can scale this light as
big or as small as I want and it won't
ever change the intensity of the light
so at some point you're starting to see
the actual source and you can see that
it doesn't alter the brightness now this
is less physically accurate so in
general I like to keep surface
brightness on but it's just another good
way to get to that result where if you
want to scale it down and not have to
mess with the brightness ton you can
easily get those rays okay and another
way to get a cool look if I turn off
this light here and go to options a none
tick check camera this means we can
navigate around without affecting our
hero view so I'm gonna turn off this
volume but just in the viewport so I can
see what I'm doing and I found that when
I move this light right into the trees
it was creating a pretty interesting
look so let's stick with that for the
time being while we experiment with the
volume object I'll jump back into this
camera and then go to check camera again
and I'll turn back on the volume so that
we can see the voxels in the viewport so
I'll jump it to the generate tab and
then I'll put a noise in the texture I'm
gonna drop in just a standard c40 noise
I'll jump into the noise and then I'll
select my favorite electric noise for
creating some cloudy looks and now in
order to see what's going on we
definitely have to decrease the voxel
size so let's set this to like 155 for
now and we'll jump back into the noise
and increase the low clip slider so that
we're
punching the noise down I'll boost the
octaves as well and then let's just
increase the global scale by a lot now
let's bring in some more density so we
can actually see these clouds and let's
turn this other light back on so we can
see the form of these things a bit
better and maybe we'll duplicate it
across as well so that we get even more
okay right now there are some really big
dead zone so I'm thinking I'll take down
the size a bit more
let's try 2500 that's looking a lot more
interesting but now I want to give it
some more detail and to do that I'm
gonna have to go to this voxel size here
and decrease this but if I go too far
it's gonna crash so one way I can avoid
that is if I actually make my volume
smaller since we're just dealing with a
smaller scene here so let's let's just
scale this down and this is gonna clip
the volume so you can see the volume
stays the same but as we scale this down
its clipping off the box so maybe we
only want this much in terms of the fog
now so we don't get hard lines here I'm
gonna increase the edge feather all the
way up and that's just going to prevent
us ever seeing the clipping of the
volume against the sides of the box and
now if I jump back in here I can
probably reduce the low clip so it's a
bit more even on the hole and if we jump
back here into our medium yet again we
can mess with the scattering phase and
this'll actually allow us to preview the
shape of the volume a lot better because
it scatters more evenly so let's store
render buffer on this and then go back
to our box holes and decrease this all
the way down to like 15 be careful doing
this though because this could easily
crash your computer so now we're getting
a lot more detail okay now I'm feeling
like this is actually too small so let's
go back to like 5000 and I think that
gives us a bit more interesting
variation in scale so now if I turn off
those other lights I add it in it'll
look a lot more dramatic maybe we need
to bring back a bit of fill here
so I'll just bring this one down and
jumping back into the volume I can mess
with some funky colors in here in both
the absorption and scattering
and then this light can come down even
further back into the volume we can also
mess with the density but that's going
to bury the trees but also define the
outline of these volume metrics in a
really interesting way so imagine
pushing through this could be really
cool and remember that we can bring the
scattering phase further up if we want
to punch this light through the
volumetrics even more but the trade-off
there is that we're going to darken all
of this stuff so in that case we will
want to bring back some fill light with
these other lights also if you ever want
to see this refine a lot faster you can
just grab your render region here and
just have it preview this section and if
you wanted a different look you could
also mess with the volume step length
this is kind of like feathering so the
lower we bring this the more we're going
to see these defined edges but for this
I'm gonna go back to what we had before
now weirdly the noise type electric
doesn't have a seed so if you want to
see different looks really quick you can
just mess with the animation speed
parameter so if I crank this up I'll get
some different looks and lastly if I
want to get even more detail in this
rather than decreasing the voxel size
even further and risking crashing the
scene I can use this voxel multiplier
here which will actually allow us to add
more detail once the image goes to the
picture viewer and I'll show you what I
mean okay and it actually added the
leaves back in because the render levels
were set to 6 so this is actually a
prettier result than I was anticipating
but testing the voxel multiplier in this
instance didn't do a whole lot because
the volume metrics are not very dense so
if we go back here you can see that I
upped them to a much higher density and
a much lower volume step length and I
don't like this look better but it'll at
least let you see what I'm talking about
so let's boost this a bit in the filter
so we can see what's going on and for
instance in here you can see this really
adds a lot more detail when I boost the
multiplier so this is actually a
difference between 1 and 5 for this
setting but the number that works for
you will totally depend on your scene
and you're gonna have to do some trial
and error
all right so before we jump into the
main scene I wanted to make a correction
from last week and thanks to my buddy
render head for this tip so we've just
got a multiflora sitting here and if you
remember it's not a big deal if we just
click through the library and try out
different plant species but the area we
get into trouble is when we were
removing unused materials so say we grab
all these and go to materials convert
materials and materials remove unused
materials now when we were to jump back
and try to add in a flower we get all of
these missing textures and last week I
recommended jumping into a new scene but
there are some helpful tick boxes here
that I know about so if we just click on
insert new materials we can then click
on reset materials and it'll remove all
of them and from there we can then go
and add our flour or whatever it is and
it'll be fine but make sure both of
these boxes are ticked alright here we
are back in our scene the only
difference is that I've changed the
camera angle and lighting a little bit
from last week and we want to finally
add in the trees so let's drop in a new
scatter object here and I think I only
want like a hundred trees because this
is not the biggest scene ever so I think
100 is gonna be enough and then let's
switch to surface and I'll pick one tree
to start with let's try I was having
some good luck with this Morton tree
earlier so let's drop this in and turn
this on and of course we have to tell it
what to scatter onto so let's grab the
landscape and drop that in there okay
and our vision is now filled with some
tree all up in our grill so let's scooch
back here and see what's going on
so there's all of our trees but they
feel a little bit condensed downwards
like we can't see the landscape anymore
so one thing that I like to do is just
jump into the tree and we can go to the
trunk parameters and then we can come
down to trunk height and boost this up a
ton there we go we've got much taller
trees now so let's jump back to our
previous view and let's boost these
trees even higher there we go and that
should get all the leaves out of the way
well let's scooch this up so we can see
a little bit better ok so the first
thing that should be pretty obvious
about this scene that's really wonky is
these trees are growing diagonally out
of the ground which doesn't happen much
in reality so we can just go in here to
this octane scatter and super easy
change the normal line to zero all right
so that's looking pretty cool maybe we
do want to introduce a little bit of
that variation so we can maybe blend it
back in so that they're not all
perfectly straight up so there we go
maybe that's a little bit more
interesting
ok at this point we also need to add in
a random effector so let's go to mograph
effector random and let's put this down
here and apply it
a nun tick position turn on rotation and
let's do 360 let's rotate our daylight
around so we get a little bit more light
coming into the scene and after a bit of
tweaking I found this position that I
liked and this is where things start to
get really fun and creative because
we've just created this whole world that
you can fly around in and pretend you're
a photographer find compositions that
you like and for the most part it's
procedurally created so it's pretty
bizarre still to me that this is all
possible so say I come down here and I
like this composition I can do my
favorite little trick with my bokeh and
go to my thin lens and start cranking up
the aperture change my aperture aspect
to two and then edge to three so I get
more of an anamorphic bokeh look and
suddenly we have this really pretty
nature picture that looks fairly
convincing I'm gonna jump back to our
camera angle we were using a second ago
and let's play around with adding the
rest of these trees in here and see what
happens and again we landed in the
middle of the tree so let's navigate out
of here
so again this is looking a lot more
dense so maybe we could just copy the
tree height for most of these that we
did with this Morton tree so let's go to
trunk parameters select the trunk height
copy that and then paste it into the
rest of them okay that helped but maybe
let's try getting rid of some of these
bigger trees that are blocking out all
the light so let's get rid of the beech
tree the cork tree and the oak okay
that's definitely more like what I'm
looking for let's jump back to our
original camera angle and there like
maybe some weird distortions from
lengthening these trees out for whatever
reason the Morton tree I think responded
better to that so I'm just gonna go back
to the simplicity of that single tree in
this case but in a little bit after we
do the godrays I'll show you a scene
where I've used a bunch of different
trees for bigger aerial shots cool there
we go let's play around with adding in a
sky so I'm just gonna get rid of the
trees real quick so we can focus on the
sky alright so I'm gonna go to objects
hgri environment and then I'm going to
jump into this image texture and
navigate to an HDR eye that I like okay
I like these visit park sky domes and
they come in extremely bright so I'm
gonna reduce the power at I'm cool and
then I'll hit UV transform so I can
scale it around I'm gonna scale it down
quite a bit so that we get a lot more
detail and then I'll jump up one and
rotate it downwards
and keep in mind this is only going to
work if you have mix Chi texture on on
your Sun without it you're only going to
see the background from the sunlight
let's turn our trees back on and let's
boost the power of this a bit so it's a
little more subtle and so we're not
getting such dark shadows and if we want
to further effect HDR I like maybe shift
the Hughes or desaturate we can just add
a color correction here but there's a
bit of a gotcha to keep in mind that it
shifts the position of the hgri so we're
just gonna have to realign it let's turn
back off the trees and if you look now
these controls don't work anymore
because we've added a second node in
here so let's jump into the color
correction and deal with this first I
think I want to shift the hue a little
bit if we go this way it becomes more
cyan I think I just want to desaturate a
bit and maybe shift the hue slightly to
pull it a little bit away from purple
okay now if we jump into this image
texture we can then bring this back down
let's pop the trees back on and let's
scooch the surround and see if we can
get a nicer background okay I think I
took the saturation down a little too
much so let's split the difference
alright so this is looking really cool
but let's finally use what we learned
about godrays to totally change the mood
of the scene so I'm gonna rotate the Sun
around until we're back lighting the
scene there we go and now let's go into
this North offset and play with this for
a bit okay I think this is getting close
but let's lift up the Sun a bit let's
keep rotating it until we actually see
the Sun
I think this is getting close you can
tell because the shadows are coming
towards us it's good to our coordinate
and just drop this down even further
okay this would be a whole lot easier if
we lost the trees again should've done
that earlier and of course the Sun is
just right there so let's pop the trees
back on and then rotate the Sun just a
bit more until it's kind of coming
through the leaves so we know we're
gonna get some of those shadows so there
the Sun is blasting us so let's just go
a little bit up until it's covered so I
think right about there is gonna be good
alright let's drop in our fog and then
before we mess with the thickness let's
jump into the scattering medium and take
the scattering all the way up to one and
maybe the absorption around 0.5 though
it's easier with a float texture
so there we go the absorption just
controls how much light is soaked up by
the volumetrics
so if you go for a higher number closer
to one you're gonna get a lot more light
in the scene but it's not gonna affect
the distance that you can see into the
scene unlike scattering which will let's
go back to 0.5 and let's pull down the
density
so there we can already see even without
changing the phase we're getting some of
these rays which is pretty cool now keep
in mind our daylight is also at a Sun
size of 0.1 if this were higher these
rays would get a lot more diffuse let's
go back to point 1 jump back into our
scattering medium and let's take the
phase right up to point 9
okay we're getting somewhere but
obviously it's way too much right now
so let's mess with the thickness to see
if we can dial this back let's jump up
okay this is an interesting look it's a
little more graphical and silhouette II
pretty cool but I don't think it's what
we want let's take the thickness lower
but increase the density and this is
cool but maybe we could rotate the
daylight a little bit downwards so that
we don't necessarily see it directly
okay now we've got these pretty intense
light rays beaming through the trees I
like this look better but it's still
really really strong okay I just took
the thickness up to 265 and this gave us
more of a super foggy day and taking the
face back closer to zero will basically
scatter the light a lot more and produce
more of a general fog so I never thought
I'd say it but these God rays are over
the top and I want to take them way back
so the main controls for that would just
be the phase so if we took the phase
back down to zero these will get a lot
more subtle and to me that's already
looking a lot more natural we can also
reduce the density and I think that's
looking a lot more subtle and nice if
you wanted to find these a bit more
again you can just bring the phase up a
little bit so that's definitely more
defined and pretty but not horribly
over-the-top so I loaded up this scene
into the newest version of octane which
is 3.08 RC 2 and this is available to
subscription users and for the rest of
this tutorial I was using 3.07
but I did this because I wanted to show
this new feature with custom Luntz but
first I noticed that the settings don't
look the same at all so if you're
following along with me you might be
having trouble if you're using this
version so I want to just show a couple
things that I do to get the scene back
to where we had it so it looks like Amon
has changed the thickness to medium
radius and that's just a difference in
the name but it does the same thing so
in this case I found that if I crank
this up to around 2000 we'd start to
bring those strong cadres back in so the
software is always changing and these
values will change with it so it's more
important to learn the techniques behind
what I'm doing rather than the values
that I'm using
and it's always gonna take some trial
and error and dialing values against
each other with any scene to get to the
point where you like it now one more
thing I'm gonna lose the god rays and
turn this sunlight back on so it's gonna
override the previous one and this is
one last thing I wanted to show about
HDR eyes in our scene right now we've
got some pretty deep shadows that I'd
like to lighten up now if we went to our
daylight and we turned off mixed sky
texture you'll notice that the shadows
get a lot lighter but then we lose the
backplate which is not what we want but
maybe there's a way we can get the best
of both worlds so let's turn this back
on and now if we come to this
environment tag we can change the type
of the environment from primary to
visible and by default that's only gonna
appear as a backplate and you can see
we've now got much lighter shadows that
are dependent on the daylight instead
now if we want to control this even
further we can duplicate our hgri one
more time and this one we can set from
visible to primary and now we're kind of
back where we were but here we can jump
in and change the gamma a lot and you
can see this is affecting the shadows so
if we bring this way down we could
really add a lot of fill light in and
all the while we still have independent
control of the backplate so we could
come in here and we could desaturate it
and we could expose it up and down but
here you have to be careful because you
can easily break reality and create
something that looks pretty weird where
the background is not well illuminated
but the foreground is so even the way we
have it right now the rocks are clipping
but the background isn't so that's not
very realistic so what if we boosted
this background to two and now we're
clipping but things seem to be more in
the same range and then we could come to
our camera imager and bring down the
overall exposure and this feels a lot
nicer to me in terms of the exposure
from what we had before the shadows
aren't too crazy deep and the highlights
aren't blowing out either okay here's
the new setting I want to talk about
it's called custom LUT what that stands
for is lookup table
it basically means just a color grade
it's a way of transforming colors from
one set of colors into another to get a
different look so think like Magic
Bullet Looks but it's all integrated in
TOC
which can help you make decisions in
render rather than in comp so from my
color grading days this is one of my
favorite let pax it's called Osiris it's
vision - color comm and if we look at
all products you can see they're not too
expensive and this is what I'm gonna be
using so I can navigate to this custom
field here and navigate to my Osiris
pack and rather than installers I'm just
gonna jump into my Lutz and we've got
versions of these Lutz that are both log
and rec.709 so the log Lutz are meant to
be applied to much flatter footage and
the rec.709 let's are meant to be
applied to footage that already look
pretty contrasting in normal so that's
what we've got here so we'll use the REC
709 okay and my favorites that I want to
highlight are K DX and vision X so I'm
going to start with K DX and so this is
pretty interesting already you can see
how much this is shifting colors and
making a dramatic difference and all the
while when we're navigating in octane we
can be viewing through this LUT which is
pretty cool this one I like in
particular because it kind of has an
orange and cyan vibe but it creates
really strong primary colors and just
blues a little bit more towards cyan and
greens a little bit more towards this
yellowy orange color you can see these
strong oranges so if we compare this and
then take down the strength this is a
really cool that we have the strength
slider so we can blend it back so let's
go all the way back to what we had this
is a pretty big difference that it's
making but the reason I like these Luntz
is because they're pretty subtle they're
not like wrecking the colors like you'd
expect from something like magic bullet
they're just constraining the color
palette okay let's bring this back up
and if we feel like this is a bit too
yellowy green we can just shift this a
little bit more this way and maybe boost
this a bit and now maybe it's getting a
bit magenta so let's bring it back a
touch but maybe shifted even higher
that's looking pretty okay to me if we
enable our a/b comparison you can see
what I mean we've gone from pretty green
to a little bit magenta so maybe we
could bring it a little bit the other
way still there we go I think I like
this better and now the other thing to
take a look at is we've got this
drop-down called order
for response gamma and LUT so what this
means is the response curve is happening
first as the first grade then the gamma
is applied next and then the LUT is
applied after that so if we shift the
order of these things it's going to
dramatically change the image so
typically I'd say stick with the default
but if you know what you're doing you
can change this around it's just like
having a layer stack of color grades and
after-effects where the order matters
because you're processing it in one way
and then you're processing additional
color tweaks on top of that
okay let's try out one more let let's go
to this vision X and this one's a little
more stylistic it puts a lot of Blues in
the blacks and shifts the highlights a
little bit yellow but it's kind of neat
looking maybe let's give this a half cut
and maybe let's shift it away from
magenta
that's looking a lot better so maybe now
we can crank it back up so let's compare
this to it without and you can see the
color difference that's making I've been
waiting a long time for custom Lutz in
octane and it's really cool to have them
because I used to do a lot of color
grading work and I've got some favorites
to pick from this one's got a very sepia
tone kind of interesting this one really
hits the orange and cyan thing hard to
the point where it's really ugly so I
would definitely dial this one back and
if things are flattening out too much
you can always play with the gamma and
exposure and try to correct against it
until you end up with something a bit
more interesting cool so now that you
know the majority of the techniques that
I use I just want to show you through a
couple of scenes and give you a bit of a
breakdown so this is a larger scale
scene and it doesn't necessarily have
more instances like if we take a look at
this scatter for the grass there's only
just above a million instances they're
just larger and a bit clumpy err but
from a distance it works and here with
the trees I've got a bunch of different
types in there so we get a lot of
variation and I've got 15,000 instead of
just 100 like we used in the last scene
because this is meant to be a much
larger scale scene and it's covering a
much larger distance then for the
distribution I've got a layer shader
with a couple noises overlaid over top
of each other to create large patches in
the trees so they're not all uniform and
the same thing goes with a scale I've
piped in a noise into the scale so that
we get a bunch of variation in terms of
the scale of the trees and in this case
the god rays are created by this volume
object rather than an environment fog so
if we jump in here nothing too
interesting going on I've got white in
both the absorption scattering and the
scattering phase is set to zero in this
case and as for the volume box itself if
i zoom out here you can see that it
totally covers the whole landscape but
not really the sky so that with an
aerial view we can see a bit more
clarity peaking up over this haze also
in this case the voxels are set to a
thousand because we're not actually
looking for any detail here and we're
not creating any clouds or patches and
it's always kind of a stout
once you've built out a world like this
that you can just fly the camera through
it and try to find interesting
compositions and places to seat the
camera basically in order to take pretty
pictures all inside your computer it's
pretty freaking weird okay and if I turn
off both of the scatter objects and this
volume you'll see the secret to my large
scene it's that the geometry is
extremely simple it's just a plane with
the displacer so the planes got 255
segments and width and height and then
in the displacer I just set it to the
basic noise type and I've got the scale
super-high so we've got these rolling
hills so if we wanted we could make
these hills even more extreme and turn
all the scatter and volumetric stuff
back on and now we've got the tops of
these little Hills poking up through our
volumetrics and there we go we've got a
totally different look going on so these
are some scenes I've been experimenting
with lately
and I'll run you through it here in a
bit and you'll see that in this tutorial
you've learned everything you need to
know to create these scenes so even
these lanterns are utilizing all the
same techniques we just learned for
instance the ground is just a couple
real displacement textures there's a
volume object covering the scene this
time with voxel size 500 white colors in
both the absorption and scattering and
if we pan up here
and keep going we can see that there's a
sunlight pretending to be a moon light
up here so if we look at the sunlight
you can see that I stripped out the
color from the sky color and sun color
and then in the camera imager I've got
the white point set to very orange and
without that the Sun and the rest of the
scene wouldn't have that blue cast so I
like seeing that blue and then the warm
orange from the lanterns and if I take
off the volume all that's back there is
a single black color even though
lanterns are using some techniques that
we use before so if I jump into this
paper lantern and go to the node editor
I've piped this diffuse texture both
interested diffuse slot and the
transmission so if I were to remove
these nodes let's just get rid of the
bump there and then take the
transmission back down to zero where it
was originally you'll see that light is
no longer allowed to pass through then
the second we piped this into the
transmission that allows the lights that
I've got sitting in these lanterns to
shine through them and again these are
just spiracle area lights all right well
that's about it for now but let me know
in the comments what other ideas you've
got for tutorials I've got some myself
like light tunnels underwater scenes
snowy scenes some space-based base slash
Mars stuff the list goes on I'm gonna be
doing these tutorials forever so you
just let me know and we'll do it for you
see you later