Hello and welcome to this Animation Master tutorial.
In this tutorial, I want to show you how to
create an image which is more or less looking like
that one.
So we have a very bright background or ground color
here and we have a quite realistic looking object in
the front here with a quite hard shadow.
It’s not really a fully hard shadow, but it should
look like that.
We have some kind of reflective surface here and I
think this is looking more or less realistic there.
Of course this is not a realistic rendering, but it’s
a very fast rendering and it’s more or less like
a product shot or something like that.
And should give you a nice idea what I try
to achieve in my tutorial here.
This tutorial is not about, for example, modeling that stuff
or something like that.
I will not go deeper into that.
It’s more or less just a laced object in this
part and a few laced objects here in there.
And it’s really nothing very complex or something like that.
Just a few spheres, two laced objects here and some
cover rings I put on that.
There’s nothing special special about that.
And at the moment this will render more or less
like this.
So yeah, the default geography we are using in Animation
Master typically.
And what I want to do is I want to
create more or less such an image like this one
with more or less these materials and stuff like that.
And what I’m using in this image is really, for
example, heavily there’s a global ambience type, global color here.
So if you put that on, you will see that
we have a very overlit scene here in this case.
And it will just look like that.
What I want to do here is I will decrease
it to for example 50 or let’s say, I don’t
know, maybe 66 or something like that.
Percent.
So I still see something, but it’s very, very bright
at the moment.
And this is because we have already a few lights
in here.
What I will do is I will just get rid
of these light, for example, just delete them.
You see, we have a little bit less of that,
but it’s looking quite flat at the moment.
So let’s see what we can do about that.
First I would like to take my spotlight, for example,
this one.
And what I want to do is I want to
set it to a sunlight, for example.
There’s no real reason why I’m using the sunlight.
You could use different other lights too.
This is just one of the lights I like because
it’s very controllable and it’s easy to use in that
manner.
Let’s see what we can do here.
Let’s have a look at the options.
For example, we want spectacularly light on, because we will
use spectacularity in this rendering later.
We want a shadow casting.
What I want to use is it should not be
a totally hard shadow.
So I will increase the ray cast here.
In other rendering pages, rendering packages, for example, this would
be called an area light because we are increasing the
raycast.
You can increase this even more.
It will increase your rendering times.
And because of that you should just have a look
and see how much you really need.
And if you need a certain amount of ways here,
use them.
But don’t overcompensate or don’t overpronounce that settings because you
will very fast see that it’s not a good way
to use this.
Okay.
And what I will use in this rendering, of course,
is additional to the spotlight.
And the stuff I’m doing here is ambient occlusion.
And you can use, for example, this ambient occlusion part
here.
And the problem with this ambient occlusion here is that
it will take much longer than for example, the GPR
approach, which can be accessed by using the screen space
ambient occlusion available at this position here.
So what I would put here is I would use
ambient occlusion for nothing at the moment.
So just keep that off.
At least if you are using this, you can of
course put for example, some kind of information in here.
Let’s say what could we do maybe 50% or something
like that, just to see how it would look.
What you can see here is we don’t have ambient
occlusion on at the moment.
So we have to go to the rendering option tab
here and activate amient occlusion.
For the test proposals here, I will go with a
very low number just to be able to see it
quite fast.
Because the lower the number, the faster the rendering.
As you can see, we have ambient occlusion on and
that is really adding something to the image now.
But this is not everything we want to do here.
Let’s see, we have the spot, we have it at.
It’s casting a shadow somehow.
Intensity is very, very low.
I will increase it to 100 and you will now
say, hey, stop.
Now you have eminent intensity at 66% and you have
the spotlight at 100%.
If you combine that, you will receive more than the
typical thing you want to achieve here.
So more than 100%.
Yes, I will do that in this case because I
just want to have a Very bright ground here.
It should be more or less white.
And as you can see, we will not see much
of the ambient occlusion at the moment.
But there are a few other options we can tune
to get a nicer image.
For example, we can of course go with an intensity
level which is smaller in this way.
But we don’t have to do that.
There are other possibilities.
For example, at the moment we have just a very
white color at our object.
Let’s create some material there.
So go to new material.
Let’s say this will be.
Yeah, let’s say it’s a chrome bolt of the ball
Jira here.
So let’s have a look.
Chrome more or less is a very reflective surface.
There’s nothing much more about it.
Let’s go with a dark color as a base color
and give it, for example, some kind of spectacular value.
You just have to play around with that a little
bit because there are just different options.
And in some situations you want to put it high,
in some situations you want to put it low.
Say we want to start with 100% here.
We should use a white specular color at this point.
And of course for chromos, this is the most important
part.
We will have a very high reflectivity value.
Theoretically we could use even 100%.
I don’t tend to use that because I just think
that 90%, for example, is just a better compromise.
And yeah, that’s more or less it.
But you can have additional information there, or you should
have additional information.
Let’s see what we could do.
Maybe we give it a fall off, for example, 750cm
here.
We will come to that, what that means a little
bit later on.
Or better to say I can just tell you what
that means or what that does is more or less
that you get some kind of fall off concerning the
reflectivity.
That means that an object which is more than 750cm
away will not be reflected.
But yeah, if I think about it, let’s set that
to not set at the moment because we are going
to do that with the chrome balls.
The chrome balls are not very visible because we have
the other part here before that.
But we can do something about that.
I will do that in a minute.
Let’s say what we can do here.
Put that on the chrome spheres.
That’s also the reason why I’m using a material here
because I just can easily access and add that to
different spheres there.
There, of course, you could create one big group here
with the spheres in it.
I just tend to Keep it separated because it’s just
easier to overview and to use.
In the end, it’s a little bit more work because
I have to attach for several times the part here.
But that’s not really important.
We cannot see that at the moment because there’s just
nothing that would reflect that.
Or better to say there’s just nothing which is shown
because we have the outer and the inner part around
that.
Let’s say we want to get rid of this cover
ring, for example.
What I will do here is I will just add
another.
My first, better to say bone here.
And this one is only to control one of the
coverings.
Let’s say that one.
Okay.
Attach this stuff to it.
The cps.
Okay, let’s see if we have the right side of
my object here.
So that.
Yeah, it’s looking quite okay.
Okay, that’s a modeling part.
What I want is cell one.
Okay.
And if we take that out there, maybe we will
rotate that, for example, for 90 degrees and we will
put that on the ground more or less like that.
So now we can see the balls in there.
Let’s see if we can already see something nice there.
It’s not looking too nice at the moment.
There’s just this reflective surface as you can see.
And that should be start for that.
Let’s see what we can do.
Additional to that, let’s create a new material for our
outer and inner parts here.
So create a new one.
Go to that.
I will call it metal, for example, whatever you want
to call it.
And if you have a look at my image here,
you.
You can see that we have this kind of structure
at the outer here.
And what that.
That’s a checker material.
So let’s see that we can create that.
Right click on attribute.
Go to combiner checker.
And now as I said before, we need to introduce
quite dark colors here to my object because I am
really over lightening this scene a little bit.
Let’s say like that.
We may have to go back and do more about
that.
As you can see, I’m only using the color channel
of the checker because the other channels should be the
same.
And because of that I can create a new attribute.
For example, like that put.
Yeah, let’s say, I don’t know, 50%, for example intensity,
let’s say 100 or something like that.
Reflectivity value.
At this point I want to give it one.
And I think for this object or this group or
this material, let us say I want to use for
example the blend value.
Blend means that this will blend the reflection or the
mirrored object, the reflected object, and the base color of
your object with each other.
That’s important.
And as I said before, this is a fall off
use some kind of fall off.
Because I think it’s faster to render.
I’m not really sure about that, but I think it’s
faster to render because the algorithm doesn’t have to take
in account what is farther away than 75%.
Okay.
And now we have to attach that to our image
here.
So inner part and the outer part, for example, needs
these parts.
And yeah, the checker material is at the moment just
really a checker material.
You can only see that if you render that.
And as you can see, this is a shagged kind
of material.
What we want to do here is we want some
kind of a stripy part here.
So let’s do that, go back.
And what we want to do here is to increase
the size now we have to have a look at
our object without the rest, just to see which axis
we have to use.
What I can see here is that it’s a set
axis which should be very, very long.
To get that kind of stripy feeling or optic, we
need the X value.
This one can be very long too.
Okay.
And I think this one, let’s do it with 2cm
or something.
We just have to test that.
Let’s see what we have here.
Not exactly what I was looking for, but it’s close
enough.
You see here are the wings we are seeing here.
I don’t think you can see that.
Let’s say this way.
And I want to translate it for a moment because
even if you put in very large numbers like I
did here, that doesn’t really matter.
You will have border at this point, which is a
null or the zero point of your object because of
that.
You will see that like that.
Yeah.
And this is more or less what I wanted to
create here.
You can see that in the middle there was this
border more or less where it’s a little bit blurry,
defined by this.
And what I want to do is I want to
move it a little bit around and I really have
to see which axis.
It’s the z axis, not the x axis at this
point.
Go to the Z axis and let’s move that around
a little bit.
And this should get rid of that part there.
It does.
And this is looking more or less like what I
wanted to create here.
Okay.
I think this is maybe even a little bit too
dark.
I will have to see about that.
Let’s See what we have here? Yeah, it’s quite dark.
But more important, it’s too much difference between the two
colors, if you ask me.
Let’s see.
Yeah, for example, like that.
I think that’s a little bit different.
And what you can see, we have a nice little
optic here.
Already looking quite nicely.
Okay, so let’s have a look at our material.
For example, for this part in my image, I used
a quite orange or yellowish color there just to give
it some kind of a highlight in terms of color.
And let’s do that here again.
Create a new material.
I call it orange or something like that.
It’s really not important which name you choose there.
And take in account that we are using, as I
said before, a very, very overlit object or ambient there.
Because of that, let’s use a little bit darker color.
Put in some reflectivity, for example.
You can use that.
Reflectivity is a little bit rendering.
Consume.
Consumes some kind of rendering time.
But in the end it’s not that heavy on rendering.
What you can, for example, do is give it specularity.
Rendering Glossy, for example, can be used if you are
trying to achieve more like a glassy look.
I tend to go down with this value because I
just like it better that way.
But you can of course use it 95% too.
And there should be some kind of specular size.
I like that one to be a little bit higher
and maybe just a little bit lower on the intensity
here.
Let’s see what we get with that.
We attach that to the covering and of course to
the other covering too.
Okay, save it and let’s have a look.
Yeah, it’s coming along quite nicely.
As you can see, we have a very, very high
quality here.
Let’s have a look again.
What I think we should do is we should go
to the checker material and a little bit lighter.
Make it a little bit lighter.
Yeah, that’s nice.
Okay, let’s have a look at our rendering settings here.
I think.
Yeah, that’s on that one.
This is needed.
Plugin shader should be on.
If you’re using, for example, like I’m doing here, the
glossy part, I’m using always, all the time.
Some kind of multipass rendering.
Because it’s just creating the nicer images, if you ask
me.
And we have an ambience occlusion put on that.
Actually, we don’t have that because I.
Okay, we have some kind of ambient occlusion here.
And yeah, that’s more or less looking nicely.
Let’s have a look at Top here I will increase
the darkness of my shadow.
So maybe we can see something of that.
Because at the moment I’m not really seeing some kind
of shadow.
It’s just too bright.
At this point what I want to do is I
want to go a little bit down on the intensity
of my stuff here, of my light.
Let’s see what this will look like.
If you have a look at this point we can
see something.
There is ambient occlusion showing through again and yeah, looking
more or less nice.
So the next thing what I tend to do is
I just want a little bit of bump on that.
That just a little bit more interesting.
We can see that there is bump at this point.
This kind of stripy part here just indicates that.
Let’s put that on there too.
What I do for that is I just save my
metal here, for example, in my material folder of my
project.
I realized that you didn’t see that.
So let’s save that, reattach that in.
So embed it again.
And now we can just import material there and we
copied it.
That’s a way to copy stuff which is in Animation
Master, which is a little bit to.
Which is just a little bit harder to do for
some of the objects.
But this is a way you can do that.
Okay, and let’s see what we have here.
Yeah, we can just input for example, a bump percentage
at this point.
And now let’s.
Yeah, let’s put that on our object.
So it should be on the inner part and it
should be on the outer part here.
Okay, save again.
Let’s see.
Do we see something? Yeah, we see something.
It’s a little bit hard to see.
Let’s render that again.
This part.
Yeah, it’s really hard to see because I think that
chromie image here, the metal bump in the checker material
needs a different size for one of the axes.
I’m not quite sure which one it is at the
moment.
Let’s see.
I need to go to my ball bearing here again
to the modeling part.
Okay, let’s have a look.
We have the Z axis and we have the X
axis.
And Y axis needs to be small.
So let’s have a look.
Z and X, Y axis needs to be small.
If we want on the set axis, some kind of
nicer image there, we could do that too.
And what we want to do additional to that is
I want to rotate it, for example, for 45 degrees
on the set axis.
45, something like that.
It doesn’t really matter what you are using here and
that one could be 45, two.
Okay, so something like that should do for the moment.
Let’s see if we can see something of that.
Yeah, we have some kind of nice structure here, I
think.
Let’s keep it that way.
Go back and let’s have a look through the camera
at this point.
It’s a little bit too dark still, if you ask
me.
So I will go to my material at this point
and go with a little bit of a lighter color,
something like that.
Maybe you will see if that is okay.
Yeah, it’s getting a little bit better.
Okay, let’s have a look what we are into here.
Yeah, we just need to create a better shadow for
that one.
So to get that, let’s see what we can do
here.
Our spotlight at this point, intensity.
Let’s see what we can do in the end.
That’s more or less like it should look.
I will decrease with a little bit just to have
a better view on where the shadow should be then.
And let’s go to that part.
Put it down here.
Maybe it’s something like that.
Yeah, looking a little bit nicer at the moment.
Let’s put that a little bit to the right, maybe,
so we can see a little bit more of that.
We’re doing that.
Yeah, this is looking quite nicely.
Okay, so as you can see, we have a very
bright object here or ground here.
We have a nice object looking quite nice.
And we are using ambient occlusion, a little bit of
it, at least at this point.
And we are, of course, using shadow, which is shown
at this point, more or less.
And yes, this is looking quite nicely, if you ask
me.
Maybe a little bit too small on the checker material
there.
We can, for example, go to that and scale that
up a little bit.
You can do that on different positions.
For example, in here, you could go and put it
to 200%.
If you do it here or if you do it
here, it doesn’t really matter.
It’s just easier for me to do that at the
moment.
Yeah, looking quite nicely.
Okay, so what we have here is an ambient occlusion
rendering, which is looking, I think, quite nice, more or
less.
We have some kind of reflection part here.
When we are rendering later, we will have more than
that.
Of course, there are other possibilities to increase the niceness
of this scene here.
Let’s see what we can do.
We can, for example, create a new model which will
be just a grid.
You can’t see it.
I will use a grid wizard here.
And this grid will just be used to Something like
that will just be used to as a reflector image.
That means or reflector object.
This object will only be visible in my reflections and
I need a very bright, a bright material for that.
So go to this, put in a bright material, for
example.
It doesn’t matter.
The most important thing is that I will set the
amend intensity for example to a high level 100.
In for example the diffuse falloff I will set to
null or zero.
And the ambience color I will set to white for
example, as this should do.
And I will put that one on my new object
here and use Z on that.
Okay, go back to my scene here.
Put it in.
The important thing about that is that we don’t want
to see that directly in our scene, but only in
the reflection of for example the object.
Let’s see if we see something of that there.
I don’t know, maybe I have to increase the fall
off again.
I’m using here that one.
Let’s say we go to 1500 for instance.
And if you have a look at this, we have
some kind of reflection now at this point.
So this is a little small highlight we can see
here.
And this will increase the rendering quality and the objects
of this a little bit more.
As you can see, I’m just playing around a little
bit.
You have to do that too.
You have to know a little bit of the tools
you have here which should help you.
For example, that one that you can, I don’t know
can I increase the darkness? Know just that you for
example can overpower your image.
So use a higher level image color here to create
such a nice little ground, for example.
But this is quite nicely looking like what I wanted
to achieve here.
More or less like a very metallic part.
And that’s more or less what I wanted here.
And of course you can see we have nice little
chrome balls in there.
And this part is looking quite nicely too.
And yeah, that is more or less what I wanted
to show you.
Let’s see, we can of course use now a faster
ambient occlusion.
Don’t use this ambient occlusion now go to this one.
Activate that standard is I think 265, 56 samples here.
You can go with 128 or something like that.
It really doesn’t matter.
Use it as you want.
Plugins is okay.
Yeah, let’s see what is going on here.
And if that is what we want to create here.
But this should render more or less fast.
So it should not take too long for us to
render that let’s see what is going on there and
how it will look with this screen space.
Ambient occlusion part.
As you can see, we have a very bright image.
This is normal because we don’t have any ambient occlusion
added to that.
Right now we have to wait for the last path
to create that.
But you can see we have quite fast rendering times
and that is more or less what we are after
here.
30 seconds at the moment.
As you can see, I’m using CPU SSR at the
moment.
This is not because I want to do that, but
because my graphic card doesn’t compute that for some reason.
For example, if I do this on my laptop, it
will use the GPI or GPU to render that.
On my desktop it doesn’t do that.
That’s very, very, very, very much slower.
So quite a lot slower than rendering with the GPU
at this point.
But it’s rendering fine too.
And it’s still faster than using, for example, the real
ambient occlusion in general.
And I doubt that this will look very nicely at
the moment because we just have to play around a
little bit.
It’s not even looking bad at the moment.
Yeah, why not? It’s not looking bad.
Okay, so as you can see, we have a nice
little object here.
It’s looking quite nicely, quite real in a really bright
environment which is overpowered, which is more or less what
is making it nice here.
And yeah, I hope science.
This is more or less a demonstration of what can
be done.
Not exactly if it needs to be done like that.
I hope you have just learned a little bit about
what we wanted to do here.
You can play around with the settings again and do
better stuff like, I don’t know, other stuff.
But as you can see, we have a quite nice,
more or less product typey image here which is looking
more or less nicely, as you can see.
And this is something I have learned which the client
often likes.
Some kind of a cool environment, a cool object, cool
looking object.
As you can see, I would decrease, for example, the
stripes at this point, again, just because they are too
visible for me.
So decrease it in the height, for example, and maybe
even in the object itself.
You could for example, go to displacement renderings here.
Looking quite nicely too.
I have had mixed results with displacement on material.
So if you want to use displacement, I would recommend
to use the call.
Let’s see if we can use that here and how
it will look.
Maybe we don’t even notice that.
I don’t know.
Yeah, it’s very, very hard to see at the moment.
Let’s increase that just a little bit so we can
see more of that.
Yeah, as you can see we have a nicer structure
now.
This could be used.
Maybe it is looking a little bit more real.
I don’t know.
Just play around a little bit and you will create
nice looking objects like that.
Yeah, it’s not bad.
I will keep it that way.
As you can see, we have this kind of optical
interference here now which I had in my original rendering
here too.
So I’m using displacement map, displacement material at this point
too.
And yeah, it’s looking quite nice.
Let’s render that again just for the sake of it.
And what it is all about.
It’s all about playing around, trying to get the perfect
setting for your rendering scene.
And for your propose you want to create here.
Just get whatever looks quite nice to you and do
it again and again.
And after a while you will just get a feeling
on how to create this kind of object or this
kind of look you want to achieve.
And it will look better and better with each iteration
you do.
Yeah, let’s wait for that to finish again.
And if we are finished with that, I think we
should just leave it like that.
And I hope you learned something about the rendering with
Animation Master with screen capture or screen space ambient occlusion,
for example.
This is a very specific case I’m showing you here.
So if you for example, want to do an animation
or something like that, you can do it that way
and it may look quite nice, but you just have
to play around and see what you want to achieve.
And it’s time consuming.
That’s just what you have to accept.
It’s just time consuming to get the lighting right.
And it will be time consuming.
Any software program.
There are one or two better to say.
There are a few which use for example, physical correct
materials and stuff like that.
They are nice because they often include nice settings of
rendering materials.
But that doesn’t mean that you can’t create very nice
looking images like that one, for example, in Animation Master
2.
Even so, it’s not really.
Yeah, you know, a physical correct rendering service Animation Master
can provide here, but it’s still looking nicely.
Yeah.
So I hope you learned something and if you have
any questions, let me know about it and see you
soon.