607 Shading Title H264

the shading title was probably one of the more fun ones to create not that the other ones weren't fun but I just really like this effect and it's quite quite easy to set up actually and I kind of just want to walk you through it before I do that though I just want to talk about the text again just so we get that over with and then we can that we can focus on the other stuff so again as before to text objects with a bit of an offset and if we go into the lighting here and just set this up I'm just gonna turn off the overlays here we've got one which is a text backlight again to highlight sort of these edges so that's this one that shows up behind here and there's one at the top and the bottom which just adds in a little bit of color here you can see it a little bit in the background but mainly it was just to add color into the shading and these are very subtle they were a bit more pronounced in the beginning the first time I rendered this out and then I went back and changed some stuff they're still in there but you can see they just add that little bit extra color and it just feel make them feel a little bit more home in the at home rather in the in the environment because they're sort of red and blue going on so yeah with that said let's turn off this text stuff and let's actually look at the rest of this environment because that's what really really kind of makes this one shine and as you can see let me turn this off and did I turn anything else off No okay so I've just got this outer wall and if you remember when we did the v-j tunnel we actually had this outer wall setup at the start to kind of make the mist or something work like this and I do this a lot in these kind of tunnels so they have something extra to maybe bounce or reflect off and in this case you won't really notice a difference that's out of the fact that as you can see here the mist sort of runs through it and just closing this off and I believe this is a very basic shader yeah it's just a black diffuse shader I'm just closing this off gives it a bit more of a tight feel you can see how this one feels a little bit more open but just with this wall object enabled it feels like a more closed cohesive sort of mesh now I'm going to turn this off for the rest of the the video and look at the last two elements that this is comprised of so let's start with a wire first and leave the block still last because they're the most fun so again this was built up using only modifiers and I can turn this one off and go into the modeling here and you'll have the entire original stack in here as well so you can play with it and let's actually go over to the modifiers on the side here so first of all we start off with some subdivisions as we usually do and let me turn on the wireframe here as we can see our result a little bit better then I'm gonna use a solidify mainly just to thicken this up a little bit and sure the polygons here aren't perfect it could have done this with an array and then there would have been sort of a better polygon flow but in this case I didn't really care because it was just the outside and you know you can get away with a lot because I knew this was gonna be one of those sort of reflective tunnels with a whole bunch of cubes in them mainly because I want to put that effect in there so I could talk about it and and I just like like I said I just really like the look as well so then using a vertex weight edit again with a mask texture good old cell noise at this point you're probably kind of laughing at me for using the same thing over and over again but yeah if we turn this on and we use it displace we get sort of a bit more of a technical pattern now in this case it didn't do that much because it's still quite small but mainly using it for a mask as well gives us sort of a nice broken up pattern and if we move through this I'll talk about the camera animation in just a second to get that kind of cool effect going again I just decimated this out and I think my original idea was to do more stuff with it but I ended up just throwing a wireframe in there and it's not even that high poly I just wanted something else to break up sort of these cubes as you can see if we I'm gonna turn off the modeling here and just turn on the final wire so that mesh again was just um all it was just converted to a mesh so we have that wireframe just to kind of break up those cubes a little bit so if we look at that final mesh here real quick and that's actually a particle emitter and I'm gonna turn off the wireframe again and based sort of on the same mesh same set of similar kind of modifiers here the only difference is that if I turn off the particle system real quick here I solidified this twice instead of once so we get four layers of walls we get four layers of cubes running through it and then again a vertex wait edit to create our wait paint here with sort of a technical texture so you can probably already guess which texture I used for it yes once again the cell noise cell noise distorted texture and if we go back in object mode and mask this out and then in the particles I kind of make sure to set them up where as we did before have them start and end at minus one have them have a really long lifetime and then set the physics here to none so just so that they in stay in place and they don't actually do anything and with that said if we now go back in if we just look at the cubes here it's just one cube and because I'm not looping them are not looping this animation rather what I can do this case is use that in phone object info node with the randomness so if we look at these separately now you can see each one of these cubes has a little little variation between black and white and then color ramp this set constant so we get a nice little mask for our emission shader and then really all I'm mixing is I'm just using some metallic cubes it was a little bit of roughness so they reflect all their neighbors and then you can see it's that same color ramp us up here you see it starts sort of at the same value but I've split it into two again just to get some red and some blue and then using an emission shader which is a mixed in with this principle and it looks pretty decent again I've done I've sort of set this up before so I don't want to be blase about it cuz the first time I took me awhile to figure it out but now that I know how well all of this stuff interacts it actually doesn't take all that long to set up you get a really nice effect enough I turn everything back on you can see that wall really helps just kind of close it off and that wire mesh just gives it tons of detail without really much doing much it just adds a little bit of extra lines and stuff into here and just really makes it a little bit more finished so it's really those two objects playing off each other and again one of the main things that's sort of important if you look at the cube here make sure that there's a bevel on there yeah as you can see as I turn this on and off especially like around here or there's some lights and other things you turn this off how flat everything becomes and just by beveling the edge of that cube you get way more highlights and way more stuff lighting up and it's just that details galore I guess you could say so now for the animation part of this this is a dolly zoom and you might have already heard of this before so if you have yeah it's a really cool effect basically what you're doing is if I go into my camera you can see two parameters of being animated and the first one is a focal length so the focal length is being animated from 50 millimeters to 35 and really what that's gonna do and again I'm going to try and show this somewhat decently so let me turn off the wireframe here and we can show this in solid view so if I just delete the keyframes here that's clear yeah single keyframe there we go as you play this you can see it's basically just kind of zooming out really that's all zooming is in normal camera work as well as just changing your focal length but if I do this here because as I'm zooming out what I'm gonna do is I'm gonna animate the camera actually moving in and that give this really interesting effect where the shading title sort of stays in the same place but because we're changing our focal length and compensating with movement it actually feels like the tunnel is sort of completely growing and changing shape but there's absolutely no animation of the tunnel here so it's a really cheap cheap trick but it works really well and stuff like this and it just gives it so much depth and that makes it look really really nice and really interesting so I'm kind of an eye catching effect which has been used in film for many years but works in CG nonetheless which is always nice and then this final light over here which and really talked about yet really all that's doing is just lighting up the mist and that's again just to separate the title from the background a little bit you can see without it this sort of kind of fades away in the background just adding this end knowing that I have missed in the nd in the world shader here with the principled volume this really adds that effect it makes it look extra cool so yeah let's run over the compositing very quick again but if you've seen the other titles so far you'll you'll see some some of the same tricks here so let me just render real quick these frames are just so fast to render only a few seconds here and there and once again we start by adding in a vignette just again to keep your eyes a bit more on the shading then as I did before which probably won't be super visible just some noise in here and overall it's just brightens everything up and I keep saying noise but actually its grain but again that's just set up with the texture which I talked about before and some of the other parts and in this case it looks like I turn the sharpen off and just softened it a little bit yeah once again in the recording might not be super visible but I tend to use softening a fair amount in my work just because it gets that really hard cg edge off everything now with Evie it's slightly less relevant because in the filter size here in the film you're already rendering it like 1.5 pixels filter size which is gonna blur everything ever so slightly anyway yeah just adding it a little bit towards the end in compositing can help as well so yeah that's the shading title done fairly quick and now let's move on to the rendering one and we've only got one more left after that one I think so yeah let's move on to the next one

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