Add transcription for: frames_zips/CGMA_IntroAssetCreationGames_DownloadPirate.com_Wk09 04 ThreePointLighting_frames.zip

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+  "text": " Okay, so now I've got the basic scene set up. I've got my plain scene and my flower scene set up. I wanna start polishing and refining my screenshots, improving the lighting and just getting some more final renders together here. So the next step is to just briefly explain about how the types of lighting I would definitely suggest going for. So for prop rendering and smaller props when you're focusing on a single source. A three point lighting setup is a really good standardization for rendering subjects. And you can see a bunch of descriptions of how three point lighting tends to work here. So usually you have your subject and you have a camera and then you have three light sources, hence why it's called a three point lighting. And you have a key light, a backlight and a fill light. The key light is your main light source that defines the directions of the shadows gives you the main intensity of light in the scene and then you have backlighting or sometimes called rim lighting as well and then you have a fill light so rim lighting can be or backlighting can be used to basically get the subject to jump off of the background so you can use it as a tool to separate the subject from the background so this is also a really good example of that so you can see here this is what the key lighting does the backlighting is actually separating the subjects, you've got this almost like a rim of light that kind of comes around the subject here. And then our fill light basically fills out any darker shadows. So as you kind of see it here, this is sort of as they come together, you have your key light plus your rim lighting, and then when you add your fill lighting, you fill out all of these really dark areas of the scene and have much more of a neutral lighting setup there. So that's what a three-point lighting setup is. And it's something that I tend to use when I'm rendering my models in a lot of cases and even for the scene with the flower I'm using the same set up as a three-point lighting setup. So to do that. We'll start with with this guy We're gonna rename our light sources as well and get that set up here So for this guy the first thing I want to do is this is going to be my key light So we'll just call this key light and then this one here. I've already got one that's representing a backlight or a rim light. So we'll just call this rim light. And then I'm gonna duplicate the key light here. So we'll just shift D and create a new one. And this one is going to be our fill light. Okay, so the first thing we wanna do, we'll move the fill light round. So we're gonna bring this in here. The fill light in general, we don't need to be as large. So with these, I tend to use area lights and I'll usually use square area lights for this type of result. And what you'll notice if we turn off everything except the key light source, because this will be nice and obvious, is depending on the size of the light, depends on how it renders things like the shadows. So if we have a much smaller light source, you'll see that we get much sharper lights, and they fall off at distance like a real light source would do, but it's very sharp. The shadows are sharp. If you have reflections, there'll be sharper as well because we have a smaller light source. And then as we increase the size of this, that impacts the size of the reflections and also the sharpness of the shadow. So you can see we get a much sharper shadow. So for this one, you could potentially use a much larger light source. And then depending on the distance, you have the light from the object, you're gonna get different results, right? So as you can see here, if we move that really close, we'll get a very diffused light source. So depending on the distance, you can get a different look. Generally with lights, I'll try to avoid having completely white lights because that doesn't look that great. Usually want some color in it. So if we were doing like a light bulb or a sun, we could potentially look at having a slight yellow tint to the light. And for the rim light, I tend to have these guys aren't gonna necessarily be so important to cast shadows because often they're behind the object, so it's less important about it casting shadows. And in this case, they tend to be brighter, so you can get a nice lighting on the rim. And I will often colorize those maybe to be blue, just because I think generally blue kind of colors for rim lights tends to look a bit nicer. And also in this case, it will compliment what we have going on in the background there as well. And then for the fill light, I often like to create this Maybe like a bit more of a warmer light. So maybe red or orange And that way it's just going to complement the other colors we have in there So it's just going to create some nice result and I'll basically position this to face where the shadows are and have a much Lower intensity for these so we'll go maybe say for 10 and you'll see that with that if we turn this one on and off it's going to Fill out those darker shadow areas so you can sort of see that there Maybe 10 is actually a little bit bright so we can go for 5 and I think maybe this is a bit saturated So I'm just going to pull back on the saturation a bit and then for the rim light Don't be afraid to use more than one rim light because you can use this to effectively Come around the object and create nice separation with the background so you can kind of see how this is now looking So we have a few different rim lights there. That's that's fine. And then what we want to do I'm just gonna save this I'm gonna have a look at this in the rendered view because I mean it's looking pretty good in EV But it's always nice to take a look in there and you can see that things are looking a bit weird So I want to come for and check what I've got going on here. It's probably to do with the light linking So let's have a look at that. So we have our key light That seems to be doing things that are looking pretty good and I can check in here as well about the light linking to make sure what's using light linking and then the fill light isn't using any light linking and it's creating some light on the floor so I think what I'd like to do here is basically just remove the flooring from this so we'll do that with the light linking and now you can see that there and I think this is maybe a little bit strong actually so I'm going to tweak to a much lower intensity and just keep this like a little bit more basic and then for the Rim lights, let's kind of get into those as well So these are already set up to not impact The backdrop I think with the turning the car shadows off on these has caused the issue So I'm going to turn car shadows back on on these rim lights. That should hopefully give us a pretty nice result. So yeah we can see how that's looking. I'm not super happy with the shadows on how everything is very very soft at the moment with that big light source. So I'm going to play around with maybe tweaking the size of our key light source to see what we can get as far as that's concerned. I think that's looking a bit better so we can now see how things are looking overall. And Then now we're kind of looking at this as well. I like to see if I can tweak maybe the colors of things slightly So it's always worth playing around with the color of the Background and the floor. I was thinking maybe like introducing a little bit more green Into the floor could be kind of nice So I just want to play around with that Concept I quite like just to maybe tint It's sometimes it's good to tint the different areas, different colors as well. And then for this one, for the reflections, experimenting with metallic can be kind of nice because sometimes it gives like interesting results to the reflections. So if you have a metallic reflection, you see the reflections a lot clearer. So you can kind of see that there. I probably don't want the reflections to be completely mirror clear. So if I change the roughness of the floor slightly, you can see that we can basically blur the reflections a little bit there. So sort of tweaking the colors and the values slightly, this is the effect that we can get. And I think that's in a pretty nice place. I like where that's going. Cool, so that's, I'm gonna leave that one there for now. So I'll just jump back over to Eevee again. This obviously is gonna look a little bit different, but that's okay. So what I'd like to also do is fix the wing position on the rig here. So we'll just come over into this guy and then over in the, where are we? So now we need to come over into the asset browser. So we'll just split this view and I'm going to set this to asset browser. And I'm just going to pick my wing cut collapsed pose. Okay. So now we can just collapse this down, just join these areas back together. So yeah, this is now starting to look pretty good. Let's have a look. Gonna turn off the render views as well. Great, and then I can jump. Now I've got this kind of set up. I can also jump to the other cameras and just look at how this is looking in the other camera views. So one thing you'll notice is when we jump over to this one, The lights obviously the rim lights are blowing everything out So what I did for my own renders and this case I'm probably just going to kill off this back camera Because we don't need it for the purpose of this tutorial But for what I did when I was rendering this out for the final Result in terms of my screenshots was I created another Layer where I could basically have different lighting setups depending on the camera view So that's essentially how I combated those problems, but you can see this is already looking pretty interesting. So that's That's good Okay, so now I want to work on the lighting for the flower Scene and that will just be the same process as what we've done here. So we jump over into our flower lighting and everything This one should hopefully be a little bit more straightforward because there isn't too much more there isn't too much to do on this one because we just need to do the lighting here so we come in let's see so we've got our lights I'm going to create a folder for our lighting move that in there and the area light so for the area light I want to jump out of pose mode otherwise I won't be able to edit the light so for this one I just want to set a slightly more yellow kind of light source and in the scene itself I actually used gobos so for gobos these are part of the photographer add-on you can basically select I don't think you'll see them in EV if I'm not mistaken but basically you can select these masks and things we'll see if we can see it when we jump over into so I realized what you needed to tweak it's actually the beam shape so if the beam shape is set to 180 the gobo won't show up so you set that you can see that now we have this gobo which is basically like a projected texture you can use to create these kind of really interesting results so depending on the textures that you plug into here it will create interesting kind of results here so this one is like with a window gobo. So for this I wanted to use like a vegetation style gobo because that obviously gives like the feeling that it's a bit more in a natural style environment. So that's essentially what I did. I used this one there's a sharp and a sort of blurrier one as well so you can get the kind of result and then scaling up the lights. If we scale up the size of the light we can start to influence how we're actually seeing it almost looks like it's being projected through some trees and things there and now we've got the intensity of the light we can kind of dial this back down and experiment with like the scale and everything for softer shadows and everything so yeah so that's that's a way to kind of go if you want to use that's what I did for the renders I created here was I used the gobo and then I had a couple of other light sources where I brighten things up without gobo so like another light source that just didn't have a gobo but I could still get the shadows and everything that I was after for the render and everything there so that's another approach that you can take for now we'll turn off the gobo I just wanted to show that process because I thought it was cool when I was working on it let's go back over to having I think it was 50 we had before I just want to play with the intensity of that And then for the scale of the light gonna just make sure we have a little bit more Let's go back over to I won't go back over to EV mode and try and tweak that here So yeah, it's interesting when you're in EV mode the falloff of these lights Is a lot different so when we look at here, and then we jump over to this version this one is a lot sharper I Think because the spread angle is is Is changed there so if we switch to spread angle we get much more reliable result So that's already looking pretty nice. We're getting some rim lighting already from the HDR So that's not too bad already. I do want to Come in here and basically add a fill and a couple of rim lights in here So we'll just position another light source here for this one I'm gonna rotate him and I want this one to be It's gonna move him a little bit closer And it's definitely not gonna be as intense and we'll go maybe a little bit more red in the lighting again And for this one, it's gonna tweak maybe a bit more of a blue Rim lighting there to match the rim lighting. We've already got though. We might want to slightly desaturate that And we can come up in intensity. Let's go slightly Okay, great. So yeah, that's already looking pretty good. I want to look at the rendered view. I'm going to look at the world strength. So that's impacting the... Yeah, I'm thinking about maybe getting a light in the background to brighten up. I like the way the pink is kind of bouncing up onto this guy. That's looking pretty good. Yeah, so what I want to do now is just work on the background a bit. So I'm going to just move this so that we don't have a gap at the top of the frame there. We can just maybe refine the position of that a little bit So try and rotate that one out a bit, okay, so yeah, I'm pretty happy with that I want to So for the background because all the flowers are actually at the moment. They're all in one folder I'm going to create a new folder and I'm going to call this flower background basically so actually we can keep that within the flower folder actually that's fine so we'll say flower background and then all these background ones select those and just move those into that collection so now we can just turn the background off but what's cool about that is we can have another area light which will unpair in from the object damped track here it's gonna reset this. And so for this guy I want to basically use that to kind of light up what we see in the background but I don't want it to affect any of the lighting that we already have kind of going on in the scene. So to do that we can just kind of point the light roughly where we want it to kind of be. It's gonna hit like some of these lights and everything here and then what I'm gonna to do is for this one under the collections will basically grab the flower background as the only collection that this is impacting. So now we can probably move this as well because he's pretty high up in the scene. Let's just sort of move him there. Try and get him like roughly in the same. Just copy the location of this one. So at least it feels like it is in the right place. Sort of move it out a bit. Okay, so now let's look at the rendered view and see what that's looking like. I think it's probably gonna be very blown out in the background. Oh, actually not as much as I thought it was. So let's try and increase that. Okay, so now what you can see is I basically have this control to brighten up the flowers in the background just with this one light, but it's not impacting, it's not being impacted by any of the other lighting. So we can basically just make that a bit brighter because one of the problems without that is that we get some of the, it's just a little bit too dark and also we're getting some of the lighting from the world coming in there whereas once we start to light it from the other side, we don't have that subsurface coming through as much and you can kind of see how that's looking there. So yeah, I'm pretty happy with that. We can obviously change like the position of some of these lights, like rotate them around. we wanted to get like a different kind of feel and maybe more shadows and things. We can move some of those areas that's trying. Maybe I'm gonna play with the intensity of this light a little bit as well, just to try and... So I wanna see if I can pop out the beetle just a little bit more, but not. I don't wanna blow out the lighting too much. So yeah, something like that feels pretty good. And then I think on the rig as well, I quite like to maybe angle him up a bit. So it's gonna jump over into pose mode and we'll just scrub the body bone. Let's do this just in this view actually. So I'll just try and, yeah, so he's now following the direction of the flowers like a little bit more, which is cool. I'll jump over to rendered view again. Yeah, maybe that's like a little bit too much. Um, pose mode. Try and do this in rendered view. Might be a little bit hard because it's catching up. Yeah, let's just do it here. It's easier. Okay, let's try that. So yeah, now at this stage, we're kind of like getting to a good place. So it's always just about like tweaking and refining Where you're at with that sort of stuff and just polishing everything else that you have so Yeah, but that's kind of getting across the idea I wanted to get across in terms of the rendering and the presentation you can kind of see how that's coming together Great so Next up I want to just show how we're going to take those into more final images and screenshots with how we're going to export them and present them.",
+  "segments": [
+    {
+      "text": " Okay, so now I've got the basic scene set up. I've got my plain scene and my flower scene set up. I wanna start polishing and refining my screenshots, improving the lighting and just getting some more final renders together here. So the next step is to just briefly explain about how the types of lighting I would definitely suggest going for. So for prop rendering and smaller props when you're focusing on a single source. A three point lighting setup is a really good standardization for rendering subjects. And you can see a bunch of descriptions of how three point lighting tends to work here. So usually you have your subject and you have a camera and then you have three light sources, hence why it's called a three point lighting. And you have a key light, a backlight and a fill light. The key light is your main light source that defines the directions of the shadows gives you the main intensity of light in the scene and then you have backlighting or sometimes called rim lighting as well and then you have a fill light so rim lighting can be or backlighting can be used to basically get the subject to jump off of the background so you can use it as a tool to separate the subject from the background so this is also a really good example of that so you can see here this is what the key lighting does the backlighting is actually separating the subjects, you've got this almost like a rim of light that kind of comes around the subject here. And then our fill light basically fills out any darker shadows. So as you kind of see it here, this is sort of as they come together, you have your key light plus your rim lighting, and then when you add your fill lighting, you fill out all of these really dark areas of the scene and have much more of a neutral lighting setup there. So that's what a three-point lighting setup is. And it's something that I tend to use when I'm rendering my models in a lot of cases and even for the scene with the flower I'm using the same set up as a three-point lighting setup. So to do that. We'll start with with this guy We're gonna rename our light sources as well and get that set up here So for this guy the first thing I want to do is this is going to be my key light So we'll just call this key light and then this one here. I've already got one that's representing a backlight or a rim light. So we'll just call this rim light. And then I'm gonna duplicate the key light here. So we'll just shift D and create a new one. And this one is going to be our fill light. Okay, so the first thing we wanna do, we'll move the fill light round. So we're gonna bring this in here. The fill light in general, we don't need to be as large. So with these, I tend to use area lights and I'll usually use square area lights for this type of result. And what you'll notice if we turn off everything except the key light source, because this will be nice and obvious, is depending on the size of the light, depends on how it renders things like the shadows. So if we have a much smaller light source, you'll see that we get much sharper lights, and they fall off at distance like a real light source would do, but it's very sharp. The shadows are sharp. If you have reflections, there'll be sharper as well because we have a smaller light source. And then as we increase the size of this, that impacts the size of the reflections and also the sharpness of the shadow. So you can see we get a much sharper shadow. So for this one, you could potentially use a much larger light source. And then depending on the distance, you have the light from the object, you're gonna get different results, right? So as you can see here, if we move that really close, we'll get a very diffused light source. So depending on the distance, you can get a different look. Generally with lights, I'll try to avoid having completely white lights because that doesn't look that great. Usually want some color in it. So if we were doing like a light bulb or a sun, we could potentially look at having a slight yellow tint to the light. And for the rim light, I tend to have these guys aren't gonna necessarily be so important to cast shadows because often they're behind the object, so it's less important about it casting shadows. And in this case, they tend to be brighter, so you can get a nice lighting on the rim. And I will often colorize those maybe to be blue, just because I think generally blue kind of colors for rim lights tends to look a bit nicer. And also in this case, it will compliment what we have going on in the background there as well. And then for the fill light, I often like to create this Maybe like a bit more of a warmer light. So maybe red or orange And that way it's just going to complement the other colors we have in there So it's just going to create some nice result and I'll basically position this to face where the shadows are and have a much Lower intensity for these so we'll go maybe say for 10 and you'll see that with that if we turn this one on and off it's going to Fill out those darker shadow areas so you can sort of see that there Maybe 10 is actually a little bit bright so we can go for 5 and I think maybe this is a bit saturated So I'm just going to pull back on the saturation a bit and then for the rim light Don't be afraid to use more than one rim light because you can use this to effectively Come around the object and create nice separation with the background so you can kind of see how this is now looking So we have a few different rim lights there. That's that's fine. And then what we want to do I'm just gonna save this I'm gonna have a look at this in the rendered view because I mean it's looking pretty good in EV But it's always nice to take a look in there and you can see that things are looking a bit weird So I want to come for and check what I've got going on here. It's probably to do with the light linking So let's have a look at that. So we have our key light That seems to be doing things that are looking pretty good and I can check in here as well about the light linking to make sure what's using light linking and then the fill light isn't using any light linking and it's creating some light on the floor so I think what I'd like to do here is basically just remove the flooring from this so we'll do that with the light linking and now you can see that there and I think this is maybe a little bit strong actually so I'm going to tweak to a much lower intensity and just keep this like a little bit more basic and then for the Rim lights, let's kind of get into those as well So these are already set up to not impact The backdrop I think with the turning the car shadows off on these has caused the issue So I'm going to turn car shadows back on on these rim lights. That should hopefully give us a pretty nice result. So yeah we can see how that's looking. I'm not super happy with the shadows on how everything is very very soft at the moment with that big light source. So I'm going to play around with maybe tweaking the size of our key light source to see what we can get as far as that's concerned. I think that's looking a bit better so we can now see how things are looking overall. And Then now we're kind of looking at this as well. I like to see if I can tweak maybe the colors of things slightly So it's always worth playing around with the color of the Background and the floor. I was thinking maybe like introducing a little bit more green Into the floor could be kind of nice So I just want to play around with that Concept I quite like just to maybe tint It's sometimes it's good to tint the different areas, different colors as well. And then for this one, for the reflections, experimenting with metallic can be kind of nice because sometimes it gives like interesting results to the reflections. So if you have a metallic reflection, you see the reflections a lot clearer. So you can kind of see that there. I probably don't want the reflections to be completely mirror clear. So if I change the roughness of the floor slightly, you can see that we can basically blur the reflections a little bit there. So sort of tweaking the colors and the values slightly, this is the effect that we can get. And I think that's in a pretty nice place. I like where that's going. Cool, so that's, I'm gonna leave that one there for now. So I'll just jump back over to Eevee again. This obviously is gonna look a little bit different, but that's okay. So what I'd like to also do is fix the wing position on the rig here. So we'll just come over into this guy and then over in the, where are we? So now we need to come over into the asset browser. So we'll just split this view and I'm going to set this to asset browser. And I'm just going to pick my wing cut collapsed pose. Okay. So now we can just collapse this down, just join these areas back together. So yeah, this is now starting to look pretty good. Let's have a look. Gonna turn off the render views as well. Great, and then I can jump. Now I've got this kind of set up. I can also jump to the other cameras and just look at how this is looking in the other camera views. So one thing you'll notice is when we jump over to this one, The lights obviously the rim lights are blowing everything out So what I did for my own renders and this case I'm probably just going to kill off this back camera Because we don't need it for the purpose of this tutorial But for what I did when I was rendering this out for the final Result in terms of my screenshots was I created another Layer where I could basically have different lighting setups depending on the camera view So that's essentially how I combated those problems, but you can see this is already looking pretty interesting. So that's That's good Okay, so now I want to work on the lighting for the flower Scene and that will just be the same process as what we've done here. So we jump over into our flower lighting and everything This one should hopefully be a little bit more straightforward because there isn't too much more there isn't too much to do on this one because we just need to do the lighting here so we come in let's see so we've got our lights I'm going to create a folder for our lighting move that in there and the area light so for the area light I want to jump out of pose mode otherwise I won't be able to edit the light so for this one I just want to set a slightly more yellow kind of light source and in the scene itself I actually used gobos so for gobos these are part of the photographer add-on you can basically select I don't think you'll see them in EV if I'm not mistaken but basically you can select these masks and things we'll see if we can see it when we jump over into so I realized what you needed to tweak it's actually the beam shape so if the beam shape is set to 180 the gobo won't show up so you set that you can see that now we have this gobo which is basically like a projected texture you can use to create these kind of really interesting results so depending on the textures that you plug into here it will create interesting kind of results here so this one is like with a window gobo. So for this I wanted to use like a vegetation style gobo because that obviously gives like the feeling that it's a bit more in a natural style environment. So that's essentially what I did. I used this one there's a sharp and a sort of blurrier one as well so you can get the kind of result and then scaling up the lights. If we scale up the size of the light we can start to influence how we're actually seeing it almost looks like it's being projected through some trees and things there and now we've got the intensity of the light we can kind of dial this back down and experiment with like the scale and everything for softer shadows and everything so yeah so that's that's a way to kind of go if you want to use that's what I did for the renders I created here was I used the gobo and then I had a couple of other light sources where I brighten things up without gobo so like another light source that just didn't have a gobo but I could still get the shadows and everything that I was after for the render and everything there so that's another approach that you can take for now we'll turn off the gobo I just wanted to show that process because I thought it was cool when I was working on it let's go back over to having I think it was 50 we had before I just want to play with the intensity of that And then for the scale of the light gonna just make sure we have a little bit more Let's go back over to I won't go back over to EV mode and try and tweak that here So yeah, it's interesting when you're in EV mode the falloff of these lights Is a lot different so when we look at here, and then we jump over to this version this one is a lot sharper I Think because the spread angle is is Is changed there so if we switch to spread angle we get much more reliable result So that's already looking pretty nice. We're getting some rim lighting already from the HDR So that's not too bad already. I do want to Come in here and basically add a fill and a couple of rim lights in here So we'll just position another light source here for this one I'm gonna rotate him and I want this one to be It's gonna move him a little bit closer And it's definitely not gonna be as intense and we'll go maybe a little bit more red in the lighting again And for this one, it's gonna tweak maybe a bit more of a blue Rim lighting there to match the rim lighting. We've already got though. We might want to slightly desaturate that And we can come up in intensity. Let's go slightly Okay, great. So yeah, that's already looking pretty good. I want to look at the rendered view. I'm going to look at the world strength. So that's impacting the... Yeah, I'm thinking about maybe getting a light in the background to brighten up. I like the way the pink is kind of bouncing up onto this guy. That's looking pretty good. Yeah, so what I want to do now is just work on the background a bit. So I'm going to just move this so that we don't have a gap at the top of the frame there. We can just maybe refine the position of that a little bit So try and rotate that one out a bit, okay, so yeah, I'm pretty happy with that I want to So for the background because all the flowers are actually at the moment. They're all in one folder I'm going to create a new folder and I'm going to call this flower background basically so actually we can keep that within the flower folder actually that's fine so we'll say flower background and then all these background ones select those and just move those into that collection so now we can just turn the background off but what's cool about that is we can have another area light which will unpair in from the object damped track here it's gonna reset this. And so for this guy I want to basically use that to kind of light up what we see in the background but I don't want it to affect any of the lighting that we already have kind of going on in the scene. So to do that we can just kind of point the light roughly where we want it to kind of be. It's gonna hit like some of these lights and everything here and then what I'm gonna to do is for this one under the collections will basically grab the flower background as the only collection that this is impacting. So now we can probably move this as well because he's pretty high up in the scene. Let's just sort of move him there. Try and get him like roughly in the same. Just copy the location of this one. So at least it feels like it is in the right place. Sort of move it out a bit. Okay, so now let's look at the rendered view and see what that's looking like. I think it's probably gonna be very blown out in the background. Oh, actually not as much as I thought it was. So let's try and increase that. Okay, so now what you can see is I basically have this control to brighten up the flowers in the background just with this one light, but it's not impacting, it's not being impacted by any of the other lighting. So we can basically just make that a bit brighter because one of the problems without that is that we get some of the, it's just a little bit too dark and also we're getting some of the lighting from the world coming in there whereas once we start to light it from the other side, we don't have that subsurface coming through as much and you can kind of see how that's looking there. So yeah, I'm pretty happy with that. We can obviously change like the position of some of these lights, like rotate them around. we wanted to get like a different kind of feel and maybe more shadows and things. We can move some of those areas that's trying. Maybe I'm gonna play with the intensity of this light a little bit as well, just to try and... So I wanna see if I can pop out the beetle just a little bit more, but not. I don't wanna blow out the lighting too much. So yeah, something like that feels pretty good. And then I think on the rig as well, I quite like to maybe angle him up a bit. So it's gonna jump over into pose mode and we'll just scrub the body bone. Let's do this just in this view actually. So I'll just try and, yeah, so he's now following the direction of the flowers like a little bit more, which is cool. I'll jump over to rendered view again. Yeah, maybe that's like a little bit too much. Um, pose mode. Try and do this in rendered view. Might be a little bit hard because it's catching up. Yeah, let's just do it here. It's easier. Okay, let's try that. So yeah, now at this stage, we're kind of like getting to a good place. So it's always just about like tweaking and refining Where you're at with that sort of stuff and just polishing everything else that you have so Yeah, but that's kind of getting across the idea I wanted to get across in terms of the rendering and the presentation you can kind of see how that's coming together Great so Next up I want to just show how we're going to take those into more final images and screenshots with how we're going to export them and present them."
+    }
+  ]
+}