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-  "text": " So here we are for the texturing and the lighting process as well as lighting. It's all back and forth between the texture, the lighting and the lights. But I'm going to start with the light setup. pretty simple given the huge amount of lights that I have but it's a really simple process. What I do is just use a skydome here like that's the light on And I only have one light for this. It will serve as the sky and everything else is going to be some, you know, man-made lights. So I'm just going to bring in the VR frame buffer and I'm going to hit a render. So right now I'll only have the water set up for the shader and some clay render for the buildings. I'm just going to hide this for now. So as for the sky that I used, this is the snow field pure sky. It's like a relatively overcast, not really contrasted lighting because on the reference It's pretty much like overcast cloudy tone. And yeah, I think that's it. As long as you have the sky that matches the tones of your reference, then you're good to go. You can always add just a simple color without any texture, but sometimes there's detail on the HDR HDR and I think it's better for color variation especially on really reflective web surfaces. So before we jump into anything else, you need to maybe set up your configs because we work in ACES CG and you need to have your config ready. If you already have it like install config in the environment variables of your computer then I think it's going to be automatic but I think this one is not set up by default I think it's AC is 20651 you just need to change it and and and then that's it you can we can move on to to the actual texturing. Fee for the water, it's really simple because we have a water preset, I think in the shader. Oh no, there's not, okay, nevermind. Oh, maybe yes. We have a water preset. You can use this one, but we gotta be careful because sometimes one of the, some settings might be wrong. So we have no color, no diffused roughness. Everything is kind of black by default. The bump is set up to 0.03 because I have noises node, but I'm going to show you that later. For the reflection, I set the glossiness to 0.9. You can as well change the How ever how you want to work if you want to use glossiness or roughness? I'm more used to roughness, but that didn't really change anything. I don't really mind and And that's it. I think if you use the water preset you're gonna have a Wrong setting. I think it's gonna be in reflection tab advanced and then effect channels It's gonna be set up to color plus alpha and you don't really want that because if you do that the more you're Towards the horizon like you further away from the camera You're gonna have this Opacity gradient towards black and And it's not gonna be a really sharp alpha and so you want to I think I think I can just try to do it So here's the alpha with the right setting and this is the The alpha without so I don't know why they do this but yeah just put on the color only setting just in case so and that's it so if you were to use roughness I think it's fine to use like 0.05 roughness so because it's really really reflective and it also depends on your reference and what you want to achieve. But for the angle of the shot, I think it's enough. So I'm just going to plug into the bump map and see what we're going to achieve. So you can see that we have bump variations on the reflection of the water. You can see here and as well as here. It's pretty subtle but you can see the difference. I'm just gonna focus in here. For this, I only touched the Bot Map because there's no point in touching the roughness unless you have, I don't know, maybe some oil in your water. But in my case, it doesn't really make sense or I didn't really want to have that oily effect. So I have a mix node with different noise textures. I have the first one called low. So it's like a low frequency of the noise for the water and then we have a denser amplitude and scale just to have breakups. We can see here we have the denser one and then this part where it's pretty much flat. We have everything else. We have this one, this low frequency. And then we have the mask so we can have nice breakup. And everything else is being animated. So throughout time, the water is moving. So I just use the z-axis from the origin parameter to move the water. I always set the, I think, octave to 5 or more because if you put everything else to a lower number, number you won't have any detail to it or more like enough detail. Frequency, this is the frequency so that set up the scale and always use Perl noise as my default noise. Three dimension you can always set to three dimension but that's my go to setting. I don't really touch anything else as long as I have the result that it won't based on the camera I think the settings can change depending on your shot. So I mean based on my experience. So I'll waste you my from scratch and not using the same presets all over. I don't really, I really have the same setup. So I can have these five nodes just for this project and have another setup for another one. So yeah, it depends on the context. But for now, I think we're good. And then we can move on to the main building. I'm just gonna leave that on because I only have the material on. I'm just gonna show you how it looks like I think if I have to refresh the whole thing. No, I think it's fine. So that's the current shader for the building. I'm just gonna show you maybe the... if I have... oh I don't have anything. I thought I have the app, but I'm gonna show you what the texture of the video looks like. So I have this main building metal shader inside a V-Ray material builder and this is the current setup. So I bought a texture on our station that's a sci-fi panel texture which is really really useful for doing sci-fi things even though like real life industrial buildings is really useful. And that's the texture always used for that kind of project. Well, of course, if I use this, we're not gonna see anything. But oh, that's not the color. Never mind. Oh, yeah, that's one. Sorry. So that's the color, of course, because we don't have any UVs. I I said the transfer function to inverse gamma because I think Vray handles the gamma differently, but if we check the texture, I think that's how it's supposed to look. In the texture, we have, I think, three or four different colors, but I choose this one I liked it. Nothing really. And of course because of the orange panels, I used the Traplanet node and then thanks to the UV Randomizer you can just randomize the Triplanet, the tiling of the texture without having this tiling effect. But But we can't really see it because the texture here is big enough to not have any timing at all. So I put out the collection so I can just desaturate the base color. And then what I did is that I use, not this one, I use this node which is the bit occlusion to mix the albedo with it. So I'm just adding more occlusion to the edges of some part of the texture. It's really subtle. you can't really see it, but it makes the difference. Once I've got that, I have a mix between color. I've added some grungy noises to it. The basic color is black or dark gray. I use the dirt pass and you can have nice leaking dirt from the edges of the model if you activate the Strix options with the Inner Collision mode. I think you can work with any other mode but this one works. You can also check the bias in the y-axis because that's what set up the width and the length of each streak. So the higher the number is, the longer the streak is and the more visible they're going to be. So yeah, I think that's pretty useful. And so I use them as a mask to have these. I'm just gonna hide this and use this so we can see that we have the streaks here. And yeah, let's go on to the next mix node Where I added more grunges on the edges Because it's more like since it's a dark And panel in the water I think it's it makes sense to have grungies on the edges and it's not completely clean It's supposed to be dirty and I mean at least that's the effect I want to give and How I did it I just used a color node which is super black I could have just used the color here, but I don't know it's just But it's just a question of workflow And then I used another node that I used. So it's a concrete map that you can have on Megascan. It's like a leak concrete, I think. Then that I color corrected and then remapped. It's serving as a mask as well as a triplanner mixed with a curvature node. Same thing as a dirt but since it's only aiming for the edges I'd rather use the curvature as a convex mode and then re-embarve the whole thing. course is going to be clamped. So don't forget to clamp your texture just so we don't have like overexposed values for when doing the dev. Mixed with the RGB multiply mask so everything is only putting on the edges and then a good remap. And yep, we have these nice grunges on the edges. And then I'll have another one. It's always grunges. So it doesn't really matter. I think at this one, as long as it's being seen. I think the reason I did it is just I wanted to add more granges even if it's on the same layer. I could have increased the the the whiteness of the the mask but I just wanted to add another layer. So that's the albedo. So what I did to to have my roughness working is that it's pretty much all the same the same process for the color. I just duplicated my traplanner. Everything is linked to the traplanner from the base color. Yeah, you can just copy parameter and then you can just pass relative references it's grayed out because it's only it's already pasted but now I choose to have the roughness the roughness is gonna be mixed with the dirt and then of course the the curvatures so everything else is it's Like the color, let's say the color has been desaturated and just put on the roughness but of course if you want to have like a more oily look on the panels, it's gonna it needs to be like gray and if you want to have Like everything being rough on the edges It needs to be white And as for the bump map, it's a simple texture with the height map. And that's it. I added a bump node with it because I think this is the best setup to use rather than just having a bump here, you can just add a bump node. And it's, and it's, and it, that's it works better with this way than just having everything mixed together. It's like you have your material and then you have a bump on top of it. And there you go. You have your, your, your setup ready. So we have the base color, which is the base panel. And then we have the licks that you can use to drive some leakage using the dirt node. And then you can just add more grunges. For now, it, let's say for now it works but maybe there's always room for improvement on the look dev part but since it's only one shot I think it works fine and yeah I think that's pretty easy so there's no secret workflow for it it's just mixing textures together of course keep using references because that's the way to do it. And yeah. And the same thing goes for the arches. The same workflow has been applied to it. I was gonna turn on this one. Except one of the thing that is a little bit different is that the color is gonna different. But it remains is the same. I can just I can still show you this one. Yeah. So this one was easier because I wanted to have a visibility on what on what I did. So basically the same color applies to it and I think for this one I used a different process just for the I think the variants of the the panels because I wanted to have the panels to follow the same orientation of the arches on that part. You can see that this is not really aligned, but it works here, so it's fine. And then I color corrected, comped it correctly, mixed it with like another dirt mask. You can see the mask here. and then added more grunges from this map. It's pretty much the same, I believe. Yeah, that's the same. Desaturated the texture, then remapped and then multiply it. Remapped a little bit so we can clearly see all the textures and then having more grunges. And that's it. The semiprocessor supplies to the roughness as well and the normal map. Yep. And that's how I did it. So for this, I think it's pretty simple. There's no, again, there's no secret wizard thing to do. It's just mixing believable textures together. You can use Megascans, but you can use as well the textures from textures.com because they're all real life photos that a lot of people can use and yeah just go try plumber with a little bit of roughness bump and I think it works well. Of course you need to have at least a good model for it because you can see that we have the panels extruded and that's what makes it believable because you have some different details alongside the texture and it works well. So I think we can just move on to the textures and the models from the center. So what I have is I'm just going to check the middle ground. I don't know if it's going to crash or not. Yep, cool. So I applied pretty much the same process for this. Nothing really is, you know, difficult to redo. It's the same textures as the main buildings, but you can see like the orange things. with a different tone and that's it. The textures from Big Medium Small are already useful and they are like you know high quality to use from this distance so I didn't really change anything from the textures and yeah. I also added another pass of objects because I felt like it was little bit empty so I added like some pipes to add more detail like a good structure on the bridge and yeah I'm just gonna stop the render for now because if I just And hide everything is gonna crash After that, I think we we good to go for these ones And I've added some other props like these are the props from big medium small that I've added. They're not really touching the ground sometimes, but it's not really noticeable from this distance. So I think it's completely fine from this angle. Everything was placed manually because I really want to have control, but I could have easily done procedural process, but yeah, it's I think it's a question of taste and workflow, you know, whatever suits your best And we're not gonna talk about the ships for now and The kit badge already there So the reason I have this subnetwork is because I use the all the tools that you can pick up online It lets you import OBJ and FBX with the texture and materials already. So that's why I only have all the textures done. But I think in DNI I just used the textures that I have from the main buildings. So there's no work for here. Send textures everywhere. to the UV randomizer and the trapliner node. You can have a lot of variations on the texture and the shader. So, yeah. So, it's really simple for this. And I wanted to add a tower. So it's the tower from the you know, apocalypse kit. So I use this one and I just I just program the textures and that's it since it's a kind of four object you can put a black color with the noise, the texture and the roughness, it can do the job but I think it depends on your and the vehicles they were all being animated so it's pretty simple just to transform keys and that's it. Like really. As then, I wanted to add some, you know, cities or, you know, huge background structures that we see throughout the whole movie in the creator. So I have these big satellites that I had from internet. It's all duplicate so you know just as long as you have this feeling of having these satellites it's fine. Nothing really just the same texture as well but in my projects they're all Blurred and covered by the atmosphere effect so we don't really see the shader just as being black And they do the job quite nicely I'm just gonna hide everything And now I'm gonna move on to the trees because as we can see in the In the on the reference we have a bunch of trees here like scattered scattered throughout the foreground to the mid ground a bit of background I don't know what that what that is but yeah and so the trees are one asset being scattered through throughout the whole river we can see the whole the older trees it's quite a lot but yeah so it's a really simple setup there's no trick to it it's like a really easy scatter setup I'm just gonna have this so this geo is from chaos cosmos if you don't know It's a like browser for assets from different platform that you can use for your render. So it's pretty easy to use. So I have this one tree, of course, if you want to have the full geometry, of course, the one I wanted to have a tree that resembles a more like a jungle tree. But yeah, that's the one that I wanted to use. As for the setup, we have so we have, I have two different setup. Because I have one setup for the foreground trees and the other one is for is for the background trees. I can try to remove this but I have my ground it's like a nice grid like a pretty dense grid and then what I did is to I wanted to use an attribute paint so that attribute paint It is for why I want to have my trees with a mask. It's a mask, but it's the name of the attribute that I use to then I use the attribute var to so I can have more control over the the the the scale like I want to have bigger trees in some areas and smaller trees in some others it's pretty subtle but it makes the difference so I have the P connected to different to different noise I have a bind to import the mask attribute and they're all being mixed and multiplied together so I think if I just do this yeah we have the noise here this one which is a bit brighter everything is being mixed together and and if I multiply it by the mask with the paint, you can see that it's like the all the paint parts remain intact and the others are just deleted. And that's it. So after that, I have another remap. So I just wanted to to remap just a bunch of things. Blur to have nice fall off in the edges of my brush strokes. So we don't have like cut from water to trees. And then I use the scatter align node. It's really useful. You can just use the scatter tool and have your own setup. But I use this one because it's pretty simple. I use the scatter inline using the pscale attribute for the coverage and then the mask attribute for the density. So this is where I want my trees to go. And then they have a random rotation in the y-axis. So from 0 to 360. As for the point generation, I don't know. Oh yes, for the point generation, I used the relax iteration because I don't want my trees to have like equal distance between them. So this is why I put to zero. And then, and yeah, that's it. We can just adjust your tree placement from your global seed. And then I use attribute randomize for the p scale because I want to have different size for the trees and Then I use a random selection to Select some of the trees that I want to scale up a bit And then use the copy to point So we can't really see that but some of the trees like the blue ones are a little bit higher than the white ones. We can see here, sorry, sorry, it's really hard to see. Maybe if I can just use a red color. Yeah, well. So these like these retries are a bit higher than this. I'm not really an expert in technical things regarding procedural setup and very technical workflow in new DNA. I just use the default tool sometimes. So as long as it works, then you don't have to fix it. You don't have to edit anything. And it's still procedural. So everything is in the color. I just wanted to have a nice, I would say, variation on the colors. It's just for the preview purpose. And then the material. Material is coming from the Kaskasmas because when you input an object, it comes from a material network and you have all your shaders ready. I barely touch the shaders. but only use the multi ID texture node so we can have texture and color variations. And yeah, you can use the different color correction node to adjust the color, the brightness of your color, and then put it into this node and then into the diffuse. There's no SSS because at distances, There's no need to wash if there's SSS or not. If you wanna have sub-surface scattering, it's better to use it when you have foreground vegetation. For now, I think it looks fine. We don't really need to edit it. You can just edit it later. And that thing is for the same process was for the background trees. can see that I painted a lot of things. I'd rather have more than just enough. Even if these trees could have been done in DMP, but since I'm not really into digital mud painting, I'd rather do everything in CG. And that's the result of everything. So we have all the trees. And the last thing are the characters, but we currently see them because they're really tiny, but it makes a little bit different. I'm just gonna zoom in. Of course, they're heavy. So what I did was to first, First, I select this mesh, and then I only selected the parts that I wanted to have where I wanted to, like the characters to stand on. And then I deleted the parts that are not really useful. These are the parts that I wanted to put the humans on, and then I remeshed the entire, the entire geo. Then you can use the file cache. And so I wanted to, even though it's not really visible or noticeable, but I wanted to have my characters have different orientation. I don't even know why I did that, but it's just for my purpose of learning new things. So I did convert the plane into lines. So if I just put here everything like this, and then I resample everything to have more points in between. more points in between and I use the orientation along curves because the attribute so I use the attribute paint to paint the zone the specific zone where I wanted my characters to be because of course everything can be you can just scatter the whole characters here but you know it's better for me to have control and where I want to decide where my characters are. And then I use this scatter node this time and not the scatter and align node using the mask attribute. And this node is going to drive the orientation of my characters. So if I use the event along curve, we can see that my we can see that the points are the point the point direction is driven through to the edges of the of the of the geo. So if I where you use attribute transfer, they have randomized direction. But there's also this thing where you can just use a attribute randomized and use, I think this is the end attribute and they'll have a randomized orientation. I think it's the purpose for me to learn a new way way of having this because you can use this system to have let's say if you if you have like buildings in a specific layout and you want you want them to have a specific orientation it's better to have this kind of setup and so I use the actually transfer I use the character models from a big medium small, sorry, once again, these are the ones from apocalypse and model shop, Gribble, I think. And they, I think there's only one, they made it, yeah. The other one that's just standing still. And I just used the transform to match the ref and the scale. I have a connectivity node. I created a connectivity type to primitive and called variant. So we can check the variant attributes. We can see that everyone is its own, as I think a number it's on geo I just change the attribute to point so we can have variations and then once we got we got the variant node we got the variant attribute sorry setup we have like the attribute from piece to have like let's say we have different, I think, like each point has in some character. So it's not like the whole all the characters are scattered to one point. It's one point equals one character. And then I use the copy to point with the piece attribute ticked on with the variant. And we can see that that they're all scared to the plane. Use the color just to have a clear view and they have material. I think for the character shader, there's nothing... Yeah, it's just like a simple character color that I used and that's it because we can't because we can't really see them. And yep, I think that's it. So if we unhide everything for now, and then we got the trees, of course my view pod can't really handle everything, but and for the ships, These are the ones from big, medium, small, model shop, Gribble, as again. I just use the default ships, because they're really cool. So I didn't really see any reason to edit them at all, even though if I could, but didn't do it. And they have one has an animation. And when I imported it, we have the ship and the materials as well. So they have all their materials on. There's no, like it's just they're treated like a simple asset with color, roughness, normal map and metallic map. That's it. There's no secret thing behind the process for the for the elliptic. And yeah, I think for now we've covered pretty much everything. I'm just going to resume what we did. So the water is just a simple shader with some noise and you can just mix the noise together and have a nice bumpy area bumpy shader because the water isn't always flat except maybe if you look at the lake but since it's not really a lake it's just like a huge sea or ocean with with a lot of buildings around you're obviously gonna have noises and variations on the water. For the building, so I use a total of just two maps, one being the panel and the other one being the lick, like the lick texture. You You can just mix everything. You can even reuse them to make them use for bump map and use them as a mask to have more variations. I think it really depends on what you wanna do with it, but you have enough, I think, you don't have to use a hundred textures just to have one look. Just use the same, use some remap, and mix everything, multiply everything together, and you can have a really good looking texture. For the trees, there's nothing special. As long as you have the right field for it, because I see on the reference, you have scale variations, you have a lot of color variations between the trees here and there. And since we've made I think enough for the CG part, everything else can be done in DMP. And yeah, so since we're not done with the lighting yet, it's gonna be really quick. But there's one thing that I wanted to have is that I usually don't do that, but it depends on the direction that I want to go to. So I'm just going to hide everything and only have my main building because it only considers my the building. we can see that here this can it's kind of flat everything is super flat at the moment and I wanted to have like a little highlight on the material because since it's flat we can't really see if there's any roughness variations at all So we can see here a little bit, but it's really subtle and not that noticeable. So what I did is I added a sphere light and we can see that for now it's flat. I'm just going to have this on. So I'm going to show you later on my process for the AOVs, but for now I'm just going to leave it like this. And I have this AOV called BuildingSpec, which is black at the moment because everything is disabled. But if I enable it, we can see that I have a nice light coming from the top on the building. and I'm just gonna hide everything as well because I have two different sphere light because it's for the arches as well but that's what I wanted to have like some nice highlights on this on the reflection of the building and as well on the surface of the water and as well on the, let's say the dark zone. I'm gonna leave it like this. And we're gonna see that I've added more light to it. So I have some other lights. So let's say like the inside hanger. I wanted to have a life inside the anger. So for now it's all black because they're not turned on. But if I enable them, we should see the light inside of the zone. So we can see they're all visible now. So we can see the inside of the hangar of the zone. So it's not completely black. We can see that we have life in there. and yeah I also added some red lights and some parks I'm just gonna unhide the arches so because I have lights on the arches as well so we got the hunger done I wanted to have more lights on on the arches. So if you look at the arches here, it's all black. But if I enable them, you can see that we have lights. It's like a huge working factory. So there's always lights. And it's good to have I have Iov's for the lights because you can always edit them in post or compositing. And then I have the ground. So I wanted to have, since it's like a landing zone, I wanted to have lights on the ground just like at airports. So if I just enable everything, we can see that we have some yellow lights here just to bring life. And so we have this think about this docking zone. And then if I enable these as well, we have lights for the parking lot, I think. You could call it that way. the red lights are as well useful for the big wall here I think they're a little bit too big but yeah and also I did some lights on the left ship but I don't think they're really visible yeah because there's a ship here but we can't you see them and yeah I think it's time to check the render settings",
+  "text": " And one last thing I'm going to do really quick, I'm just going to create a very simple soft noise texture. Because we'll be needing this so we can run it through the material for different values of where we want the contrast to be. So this is going to be pretty easy. I'm just going to just kind of splatter around some different values here. I'll turn up the opacity really quick here. I'm just kind of going all Jackson Pollock, just working with different values with a different opacity here. want a nice kind of range between black and white here. And of course you can make this in Substance Designer or anything else like that for getting sort of a basic soft noise effect. Now it's going to do a offset test. You do 256 by 256, you can see there's some very obvious seams there but we'll go ahead and clear those up. It's going to create a mask really quick here. Just going to turn this back to 100 and just start painting out those seams. Let's flatten that and rinse and repeat. And I forgot with soft, soft noise like this, it's a little bit tough to get rid of those seams, so it might actually be better to go into something that's a sub-designer. Or you can even just do something that is as simple as going in here. You can search for noise. And there's another noise. Let me see if noise will work for this. Yeah, you can take an abstract like this, which is actually a material, which is interesting. But I'm looking for something with a lot of different values here. So I might do something like this. And again, this is all just created in Substance Designer from what I saw that was created there. What I could actually do is, another technique I could use here is, I'll go back to that Cloudpuff texture that I made. Just going to duplicate this layer here. Then I'm just going to offset it. I'm just going to do 512 by 512 since this is a 1024 by 1024. You can see it's creating this sort of cross hairs in the middle there. And then I'm just going to do a linear dodge add. Or actually I'm going to do a lighten so we don't get that strange effect there. We can see here is we have more of a sort of tiling texture effect here that we could then use to channel through the material that we make later. So what I'm going to do here is I'm actually going to flatten this and create a little bit more contrast here. So something like that. The mites add a little bit more value here, but not touch the edges here. So let me actually grab the clone brush here. Then let me offset this one more time. There is this seam right here, but let me go in and see if I can correct that really quick. Get rid of these black spots here. So, one more time. So, that's almost there. So that's almost there. Okay, I think found ready to go on this one. And this is not something we're going to see really. It's just going to be working in the material, but I'm going to go ahead and export this really quick. So I'm going to do Cloudpuff1 tile.",
   "segments": [
     {
-      "text": " So here we are for the texturing and the lighting process as well as lighting. It's all back and forth between the texture, the lighting and the lights. But I'm going to start with the light setup. pretty simple given the huge amount of lights that I have but it's a really simple process. What I do is just use a skydome here like that's the light on And I only have one light for this. It will serve as the sky and everything else is going to be some, you know, man-made lights. So I'm just going to bring in the VR frame buffer and I'm going to hit a render. So right now I'll only have the water set up for the shader and some clay render for the buildings. I'm just going to hide this for now. So as for the sky that I used, this is the snow field pure sky. It's like a relatively overcast, not really contrasted lighting because on the reference It's pretty much like overcast cloudy tone. And yeah, I think that's it. As long as you have the sky that matches the tones of your reference, then you're good to go. You can always add just a simple color without any texture, but sometimes there's detail on the HDR HDR and I think it's better for color variation especially on really reflective web surfaces. So before we jump into anything else, you need to maybe set up your configs because we work in ACES CG and you need to have your config ready. If you already have it like install config in the environment variables of your computer then I think it's going to be automatic but I think this one is not set up by default I think it's AC is 20651 you just need to change it and and and then that's it you can we can move on to to the actual texturing. Fee for the water, it's really simple because we have a water preset, I think in the shader. Oh no, there's not, okay, nevermind. Oh, maybe yes. We have a water preset. You can use this one, but we gotta be careful because sometimes one of the, some settings might be wrong. So we have no color, no diffused roughness. Everything is kind of black by default. The bump is set up to 0.03 because I have noises node, but I'm going to show you that later. For the reflection, I set the glossiness to 0.9. You can as well change the How ever how you want to work if you want to use glossiness or roughness? I'm more used to roughness, but that didn't really change anything. I don't really mind and And that's it. I think if you use the water preset you're gonna have a Wrong setting. I think it's gonna be in reflection tab advanced and then effect channels It's gonna be set up to color plus alpha and you don't really want that because if you do that the more you're Towards the horizon like you further away from the camera You're gonna have this Opacity gradient towards black and And it's not gonna be a really sharp alpha and so you want to I think I think I can just try to do it So here's the alpha with the right setting and this is the The alpha without so I don't know why they do this but yeah just put on the color only setting just in case so and that's it so if you were to use roughness I think it's fine to use like 0.05 roughness so because it's really really reflective and it also depends on your reference and what you want to achieve. But for the angle of the shot, I think it's enough. So I'm just going to plug into the bump map and see what we're going to achieve. So you can see that we have bump variations on the reflection of the water. You can see here and as well as here. It's pretty subtle but you can see the difference. I'm just gonna focus in here. For this, I only touched the Bot Map because there's no point in touching the roughness unless you have, I don't know, maybe some oil in your water. But in my case, it doesn't really make sense or I didn't really want to have that oily effect. So I have a mix node with different noise textures. I have the first one called low. So it's like a low frequency of the noise for the water and then we have a denser amplitude and scale just to have breakups. We can see here we have the denser one and then this part where it's pretty much flat. We have everything else. We have this one, this low frequency. And then we have the mask so we can have nice breakup. And everything else is being animated. So throughout time, the water is moving. So I just use the z-axis from the origin parameter to move the water. I always set the, I think, octave to 5 or more because if you put everything else to a lower number, number you won't have any detail to it or more like enough detail. Frequency, this is the frequency so that set up the scale and always use Perl noise as my default noise. Three dimension you can always set to three dimension but that's my go to setting. I don't really touch anything else as long as I have the result that it won't based on the camera I think the settings can change depending on your shot. So I mean based on my experience. So I'll waste you my from scratch and not using the same presets all over. I don't really, I really have the same setup. So I can have these five nodes just for this project and have another setup for another one. So yeah, it depends on the context. But for now, I think we're good. And then we can move on to the main building. I'm just gonna leave that on because I only have the material on. I'm just gonna show you how it looks like I think if I have to refresh the whole thing. No, I think it's fine. So that's the current shader for the building. I'm just gonna show you maybe the... if I have... oh I don't have anything. I thought I have the app, but I'm gonna show you what the texture of the video looks like. So I have this main building metal shader inside a V-Ray material builder and this is the current setup. So I bought a texture on our station that's a sci-fi panel texture which is really really useful for doing sci-fi things even though like real life industrial buildings is really useful. And that's the texture always used for that kind of project. Well, of course, if I use this, we're not gonna see anything. But oh, that's not the color. Never mind. Oh, yeah, that's one. Sorry. So that's the color, of course, because we don't have any UVs. I I said the transfer function to inverse gamma because I think Vray handles the gamma differently, but if we check the texture, I think that's how it's supposed to look. In the texture, we have, I think, three or four different colors, but I choose this one I liked it. Nothing really. And of course because of the orange panels, I used the Traplanet node and then thanks to the UV Randomizer you can just randomize the Triplanet, the tiling of the texture without having this tiling effect. But But we can't really see it because the texture here is big enough to not have any timing at all. So I put out the collection so I can just desaturate the base color. And then what I did is that I use, not this one, I use this node which is the bit occlusion to mix the albedo with it. So I'm just adding more occlusion to the edges of some part of the texture. It's really subtle. you can't really see it, but it makes the difference. Once I've got that, I have a mix between color. I've added some grungy noises to it. The basic color is black or dark gray. I use the dirt pass and you can have nice leaking dirt from the edges of the model if you activate the Strix options with the Inner Collision mode. I think you can work with any other mode but this one works. You can also check the bias in the y-axis because that's what set up the width and the length of each streak. So the higher the number is, the longer the streak is and the more visible they're going to be. So yeah, I think that's pretty useful. And so I use them as a mask to have these. I'm just gonna hide this and use this so we can see that we have the streaks here. And yeah, let's go on to the next mix node Where I added more grunges on the edges Because it's more like since it's a dark And panel in the water I think it's it makes sense to have grungies on the edges and it's not completely clean It's supposed to be dirty and I mean at least that's the effect I want to give and How I did it I just used a color node which is super black I could have just used the color here, but I don't know it's just But it's just a question of workflow And then I used another node that I used. So it's a concrete map that you can have on Megascan. It's like a leak concrete, I think. Then that I color corrected and then remapped. It's serving as a mask as well as a triplanner mixed with a curvature node. Same thing as a dirt but since it's only aiming for the edges I'd rather use the curvature as a convex mode and then re-embarve the whole thing. course is going to be clamped. So don't forget to clamp your texture just so we don't have like overexposed values for when doing the dev. Mixed with the RGB multiply mask so everything is only putting on the edges and then a good remap. And yep, we have these nice grunges on the edges. And then I'll have another one. It's always grunges. So it doesn't really matter. I think at this one, as long as it's being seen. I think the reason I did it is just I wanted to add more granges even if it's on the same layer. I could have increased the the the whiteness of the the mask but I just wanted to add another layer. So that's the albedo. So what I did to to have my roughness working is that it's pretty much all the same the same process for the color. I just duplicated my traplanner. Everything is linked to the traplanner from the base color. Yeah, you can just copy parameter and then you can just pass relative references it's grayed out because it's only it's already pasted but now I choose to have the roughness the roughness is gonna be mixed with the dirt and then of course the the curvatures so everything else is it's Like the color, let's say the color has been desaturated and just put on the roughness but of course if you want to have like a more oily look on the panels, it's gonna it needs to be like gray and if you want to have Like everything being rough on the edges It needs to be white And as for the bump map, it's a simple texture with the height map. And that's it. I added a bump node with it because I think this is the best setup to use rather than just having a bump here, you can just add a bump node. And it's, and it's, and it, that's it works better with this way than just having everything mixed together. It's like you have your material and then you have a bump on top of it. And there you go. You have your, your, your setup ready. So we have the base color, which is the base panel. And then we have the licks that you can use to drive some leakage using the dirt node. And then you can just add more grunges. For now, it, let's say for now it works but maybe there's always room for improvement on the look dev part but since it's only one shot I think it works fine and yeah I think that's pretty easy so there's no secret workflow for it it's just mixing textures together of course keep using references because that's the way to do it. And yeah. And the same thing goes for the arches. The same workflow has been applied to it. I was gonna turn on this one. Except one of the thing that is a little bit different is that the color is gonna different. But it remains is the same. I can just I can still show you this one. Yeah. So this one was easier because I wanted to have a visibility on what on what I did. So basically the same color applies to it and I think for this one I used a different process just for the I think the variants of the the panels because I wanted to have the panels to follow the same orientation of the arches on that part. You can see that this is not really aligned, but it works here, so it's fine. And then I color corrected, comped it correctly, mixed it with like another dirt mask. You can see the mask here. and then added more grunges from this map. It's pretty much the same, I believe. Yeah, that's the same. Desaturated the texture, then remapped and then multiply it. Remapped a little bit so we can clearly see all the textures and then having more grunges. And that's it. The semiprocessor supplies to the roughness as well and the normal map. Yep. And that's how I did it. So for this, I think it's pretty simple. There's no, again, there's no secret wizard thing to do. It's just mixing believable textures together. You can use Megascans, but you can use as well the textures from textures.com because they're all real life photos that a lot of people can use and yeah just go try plumber with a little bit of roughness bump and I think it works well. Of course you need to have at least a good model for it because you can see that we have the panels extruded and that's what makes it believable because you have some different details alongside the texture and it works well. So I think we can just move on to the textures and the models from the center. So what I have is I'm just going to check the middle ground. I don't know if it's going to crash or not. Yep, cool. So I applied pretty much the same process for this. Nothing really is, you know, difficult to redo. It's the same textures as the main buildings, but you can see like the orange things. with a different tone and that's it. The textures from Big Medium Small are already useful and they are like you know high quality to use from this distance so I didn't really change anything from the textures and yeah. I also added another pass of objects because I felt like it was little bit empty so I added like some pipes to add more detail like a good structure on the bridge and yeah I'm just gonna stop the render for now because if I just And hide everything is gonna crash After that, I think we we good to go for these ones And I've added some other props like these are the props from big medium small that I've added. They're not really touching the ground sometimes, but it's not really noticeable from this distance. So I think it's completely fine from this angle. Everything was placed manually because I really want to have control, but I could have easily done procedural process, but yeah, it's I think it's a question of taste and workflow, you know, whatever suits your best And we're not gonna talk about the ships for now and The kit badge already there So the reason I have this subnetwork is because I use the all the tools that you can pick up online It lets you import OBJ and FBX with the texture and materials already. So that's why I only have all the textures done. But I think in DNI I just used the textures that I have from the main buildings. So there's no work for here. Send textures everywhere. to the UV randomizer and the trapliner node. You can have a lot of variations on the texture and the shader. So, yeah. So, it's really simple for this. And I wanted to add a tower. So it's the tower from the you know, apocalypse kit. So I use this one and I just I just program the textures and that's it since it's a kind of four object you can put a black color with the noise, the texture and the roughness, it can do the job but I think it depends on your and the vehicles they were all being animated so it's pretty simple just to transform keys and that's it. Like really. As then, I wanted to add some, you know, cities or, you know, huge background structures that we see throughout the whole movie in the creator. So I have these big satellites that I had from internet. It's all duplicate so you know just as long as you have this feeling of having these satellites it's fine. Nothing really just the same texture as well but in my projects they're all Blurred and covered by the atmosphere effect so we don't really see the shader just as being black And they do the job quite nicely I'm just gonna hide everything And now I'm gonna move on to the trees because as we can see in the In the on the reference we have a bunch of trees here like scattered scattered throughout the foreground to the mid ground a bit of background I don't know what that what that is but yeah and so the trees are one asset being scattered through throughout the whole river we can see the whole the older trees it's quite a lot but yeah so it's a really simple setup there's no trick to it it's like a really easy scatter setup I'm just gonna have this so this geo is from chaos cosmos if you don't know It's a like browser for assets from different platform that you can use for your render. So it's pretty easy to use. So I have this one tree, of course, if you want to have the full geometry, of course, the one I wanted to have a tree that resembles a more like a jungle tree. But yeah, that's the one that I wanted to use. As for the setup, we have so we have, I have two different setup. Because I have one setup for the foreground trees and the other one is for is for the background trees. I can try to remove this but I have my ground it's like a nice grid like a pretty dense grid and then what I did is to I wanted to use an attribute paint so that attribute paint It is for why I want to have my trees with a mask. It's a mask, but it's the name of the attribute that I use to then I use the attribute var to so I can have more control over the the the the scale like I want to have bigger trees in some areas and smaller trees in some others it's pretty subtle but it makes the difference so I have the P connected to different to different noise I have a bind to import the mask attribute and they're all being mixed and multiplied together so I think if I just do this yeah we have the noise here this one which is a bit brighter everything is being mixed together and and if I multiply it by the mask with the paint, you can see that it's like the all the paint parts remain intact and the others are just deleted. And that's it. So after that, I have another remap. So I just wanted to to remap just a bunch of things. Blur to have nice fall off in the edges of my brush strokes. So we don't have like cut from water to trees. And then I use the scatter align node. It's really useful. You can just use the scatter tool and have your own setup. But I use this one because it's pretty simple. I use the scatter inline using the pscale attribute for the coverage and then the mask attribute for the density. So this is where I want my trees to go. And then they have a random rotation in the y-axis. So from 0 to 360. As for the point generation, I don't know. Oh yes, for the point generation, I used the relax iteration because I don't want my trees to have like equal distance between them. So this is why I put to zero. And then, and yeah, that's it. We can just adjust your tree placement from your global seed. And then I use attribute randomize for the p scale because I want to have different size for the trees and Then I use a random selection to Select some of the trees that I want to scale up a bit And then use the copy to point So we can't really see that but some of the trees like the blue ones are a little bit higher than the white ones. We can see here, sorry, sorry, it's really hard to see. Maybe if I can just use a red color. Yeah, well. So these like these retries are a bit higher than this. I'm not really an expert in technical things regarding procedural setup and very technical workflow in new DNA. I just use the default tool sometimes. So as long as it works, then you don't have to fix it. You don't have to edit anything. And it's still procedural. So everything is in the color. I just wanted to have a nice, I would say, variation on the colors. It's just for the preview purpose. And then the material. Material is coming from the Kaskasmas because when you input an object, it comes from a material network and you have all your shaders ready. I barely touch the shaders. but only use the multi ID texture node so we can have texture and color variations. And yeah, you can use the different color correction node to adjust the color, the brightness of your color, and then put it into this node and then into the diffuse. There's no SSS because at distances, There's no need to wash if there's SSS or not. If you wanna have sub-surface scattering, it's better to use it when you have foreground vegetation. For now, I think it looks fine. We don't really need to edit it. You can just edit it later. And that thing is for the same process was for the background trees. can see that I painted a lot of things. I'd rather have more than just enough. Even if these trees could have been done in DMP, but since I'm not really into digital mud painting, I'd rather do everything in CG. And that's the result of everything. So we have all the trees. And the last thing are the characters, but we currently see them because they're really tiny, but it makes a little bit different. I'm just gonna zoom in. Of course, they're heavy. So what I did was to first, First, I select this mesh, and then I only selected the parts that I wanted to have where I wanted to, like the characters to stand on. And then I deleted the parts that are not really useful. These are the parts that I wanted to put the humans on, and then I remeshed the entire, the entire geo. Then you can use the file cache. And so I wanted to, even though it's not really visible or noticeable, but I wanted to have my characters have different orientation. I don't even know why I did that, but it's just for my purpose of learning new things. So I did convert the plane into lines. So if I just put here everything like this, and then I resample everything to have more points in between. more points in between and I use the orientation along curves because the attribute so I use the attribute paint to paint the zone the specific zone where I wanted my characters to be because of course everything can be you can just scatter the whole characters here but you know it's better for me to have control and where I want to decide where my characters are. And then I use this scatter node this time and not the scatter and align node using the mask attribute. And this node is going to drive the orientation of my characters. So if I use the event along curve, we can see that my we can see that the points are the point the point direction is driven through to the edges of the of the of the geo. So if I where you use attribute transfer, they have randomized direction. But there's also this thing where you can just use a attribute randomized and use, I think this is the end attribute and they'll have a randomized orientation. I think it's the purpose for me to learn a new way way of having this because you can use this system to have let's say if you if you have like buildings in a specific layout and you want you want them to have a specific orientation it's better to have this kind of setup and so I use the actually transfer I use the character models from a big medium small, sorry, once again, these are the ones from apocalypse and model shop, Gribble, I think. And they, I think there's only one, they made it, yeah. The other one that's just standing still. And I just used the transform to match the ref and the scale. I have a connectivity node. I created a connectivity type to primitive and called variant. So we can check the variant attributes. We can see that everyone is its own, as I think a number it's on geo I just change the attribute to point so we can have variations and then once we got we got the variant node we got the variant attribute sorry setup we have like the attribute from piece to have like let's say we have different, I think, like each point has in some character. So it's not like the whole all the characters are scattered to one point. It's one point equals one character. And then I use the copy to point with the piece attribute ticked on with the variant. And we can see that that they're all scared to the plane. Use the color just to have a clear view and they have material. I think for the character shader, there's nothing... Yeah, it's just like a simple character color that I used and that's it because we can't because we can't really see them. And yep, I think that's it. So if we unhide everything for now, and then we got the trees, of course my view pod can't really handle everything, but and for the ships, These are the ones from big, medium, small, model shop, Gribble, as again. I just use the default ships, because they're really cool. So I didn't really see any reason to edit them at all, even though if I could, but didn't do it. And they have one has an animation. And when I imported it, we have the ship and the materials as well. So they have all their materials on. There's no, like it's just they're treated like a simple asset with color, roughness, normal map and metallic map. That's it. There's no secret thing behind the process for the for the elliptic. And yeah, I think for now we've covered pretty much everything. I'm just going to resume what we did. So the water is just a simple shader with some noise and you can just mix the noise together and have a nice bumpy area bumpy shader because the water isn't always flat except maybe if you look at the lake but since it's not really a lake it's just like a huge sea or ocean with with a lot of buildings around you're obviously gonna have noises and variations on the water. For the building, so I use a total of just two maps, one being the panel and the other one being the lick, like the lick texture. You You can just mix everything. You can even reuse them to make them use for bump map and use them as a mask to have more variations. I think it really depends on what you wanna do with it, but you have enough, I think, you don't have to use a hundred textures just to have one look. Just use the same, use some remap, and mix everything, multiply everything together, and you can have a really good looking texture. For the trees, there's nothing special. As long as you have the right field for it, because I see on the reference, you have scale variations, you have a lot of color variations between the trees here and there. And since we've made I think enough for the CG part, everything else can be done in DMP. And yeah, so since we're not done with the lighting yet, it's gonna be really quick. But there's one thing that I wanted to have is that I usually don't do that, but it depends on the direction that I want to go to. So I'm just going to hide everything and only have my main building because it only considers my the building. we can see that here this can it's kind of flat everything is super flat at the moment and I wanted to have like a little highlight on the material because since it's flat we can't really see if there's any roughness variations at all So we can see here a little bit, but it's really subtle and not that noticeable. So what I did is I added a sphere light and we can see that for now it's flat. I'm just going to have this on. So I'm going to show you later on my process for the AOVs, but for now I'm just going to leave it like this. And I have this AOV called BuildingSpec, which is black at the moment because everything is disabled. But if I enable it, we can see that I have a nice light coming from the top on the building. and I'm just gonna hide everything as well because I have two different sphere light because it's for the arches as well but that's what I wanted to have like some nice highlights on this on the reflection of the building and as well on the surface of the water and as well on the, let's say the dark zone. I'm gonna leave it like this. And we're gonna see that I've added more light to it. So I have some other lights. So let's say like the inside hanger. I wanted to have a life inside the anger. So for now it's all black because they're not turned on. But if I enable them, we should see the light inside of the zone. So we can see they're all visible now. So we can see the inside of the hangar of the zone. So it's not completely black. We can see that we have life in there. and yeah I also added some red lights and some parks I'm just gonna unhide the arches so because I have lights on the arches as well so we got the hunger done I wanted to have more lights on on the arches. So if you look at the arches here, it's all black. But if I enable them, you can see that we have lights. It's like a huge working factory. So there's always lights. And it's good to have I have Iov's for the lights because you can always edit them in post or compositing. And then I have the ground. So I wanted to have, since it's like a landing zone, I wanted to have lights on the ground just like at airports. So if I just enable everything, we can see that we have some yellow lights here just to bring life. And so we have this think about this docking zone. And then if I enable these as well, we have lights for the parking lot, I think. You could call it that way. the red lights are as well useful for the big wall here I think they're a little bit too big but yeah and also I did some lights on the left ship but I don't think they're really visible yeah because there's a ship here but we can't you see them and yeah I think it's time to check the render settings"
+      "text": " And one last thing I'm going to do really quick, I'm just going to create a very simple soft noise texture. Because we'll be needing this so we can run it through the material for different values of where we want the contrast to be. So this is going to be pretty easy. I'm just going to just kind of splatter around some different values here. I'll turn up the opacity really quick here. I'm just kind of going all Jackson Pollock, just working with different values with a different opacity here. want a nice kind of range between black and white here. And of course you can make this in Substance Designer or anything else like that for getting sort of a basic soft noise effect. Now it's going to do a offset test. You do 256 by 256, you can see there's some very obvious seams there but we'll go ahead and clear those up. It's going to create a mask really quick here. Just going to turn this back to 100 and just start painting out those seams. Let's flatten that and rinse and repeat. And I forgot with soft, soft noise like this, it's a little bit tough to get rid of those seams, so it might actually be better to go into something that's a sub-designer. Or you can even just do something that is as simple as going in here. You can search for noise. And there's another noise. Let me see if noise will work for this. Yeah, you can take an abstract like this, which is actually a material, which is interesting. But I'm looking for something with a lot of different values here. So I might do something like this. And again, this is all just created in Substance Designer from what I saw that was created there. What I could actually do is, another technique I could use here is, I'll go back to that Cloudpuff texture that I made. Just going to duplicate this layer here. Then I'm just going to offset it. I'm just going to do 512 by 512 since this is a 1024 by 1024. You can see it's creating this sort of cross hairs in the middle there. And then I'm just going to do a linear dodge add. Or actually I'm going to do a lighten so we don't get that strange effect there. We can see here is we have more of a sort of tiling texture effect here that we could then use to channel through the material that we make later. So what I'm going to do here is I'm actually going to flatten this and create a little bit more contrast here. So something like that. The mites add a little bit more value here, but not touch the edges here. So let me actually grab the clone brush here. Then let me offset this one more time. There is this seam right here, but let me go in and see if I can correct that really quick. Get rid of these black spots here. So, one more time. So, that's almost there. So that's almost there. Okay, I think found ready to go on this one. And this is not something we're going to see really. It's just going to be working in the material, but I'm going to go ahead and export this really quick. So I'm going to do Cloudpuff1 tile."
     }
   ]
 }