Blender tutorial mp4 download

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Here is a quick summary of all the content received by subscribers. If you are a subscriber, check your inbox for updates or log in to your Gumroad profile. You can download:. Use code PRO60X to get the discount. Once the sequence of images has been imported, we try to convert it into a single mp4 file, which can eventually be uploaded to Youtube.

We therefore use the Properties Window options that we can find in the panel at the top right. We select the "Output Properties" tab and in the "Dimensions" subpanel we set the dimensions that the movie must have; these may correspond to the dimensions of the images in the sequence, or to the dimensions of the movie we want to create for example, if we want to export the movie to upload it to Youtube, a good resolution could be x We also set the duration or portion of the animation in frames and the frames per second of the animation 24 or 25 frames per second should be fine for common viewing, but for movies where you want to save you can get up to 15 fps, while for movies with fast animations you can set 60 fps.

We will add a Tracking constraint to the camera to always point toward the Empty. Both objects will be highlighted. A dashed line indicates the link. With the camera selected only, move it around- it always points to the Empty. If the link appears to work backwards, it means you had the Empty selected first.

Use the UNDO command to back up and try again. Try to get the camera low so it looks as though you are viewing the shore line from a boat. Place the Empty on the cliff line. Use the picture below to frame up your view. You do not want to see any edges on your rendering.

Feel free to develop and refine the landscape contour any way you wish. The more time you spend with it, the quicker you will become comfortable with the program and the more realistic it will become. Use the default setting of 32 vertices, radius of 1, and Fill Type- Triangle Fan.

These setting will be fine for what we are making. Depending on what you are making and what it will be used for, you may require more or less vertices. You will now need to switch to the Front View 1 so the circle appears as a line. If you filled the circle, it will extrude on the Z axis automatically. Extrude the lighthouse about 3 Blender grid blocks high and LMB click to place them.

This is your lighthouse- feel free to adjust sizes as desired. Remember to stay in the front view throughout this process! Rotated views can cause a distorted lighthouse.

It is now time to make the small walkway around the top. This will place the new extruded vertices right on top of the old ones. Pull your mouse away from the lighthouse and scale the walkway outward as desired. LMB click when you have a good size. Extrude again to give the walkway some height. Continue extruding and shaping to get the light area and the roof. The point of the roof will actually have 32 vertices which you could scale very small so that it appears to be a single point, but we will use a Tool Shelf command to correct this.

You will see that 31 vertices are being removed, leaving only one at the center. The lighthouse looks good, but angular. It will take more than Smooth Shading to make it look good. Some edges actually need to stay sharp. This is where Auto Smooth becomes important. Select the lighthouse again. Ignore how the lighthouse look on the screen. Some things are smooth that should remain sharp and some other strange edge effects. You will notice a degree angle below the Auto Smooth button.

Leaving it a the default of 30 degrees should work well, but feel free to experiment with other setting. Basically, this setting determines which faces are smoothed and which ones are kept sharp. We are finished with our lighthouse for now.

If you have the time, feel free to modify the lighthouse, change the style, add more features, etc. A good possible addition could be to use Torus and cylinder meshes to create a railing around the walkway. Remember, the Torus mesh features can be adjusted in the bottom half of the Tool Shelf. They will retain any materials you have placed on them, but will be one object.

Also available in the Tool Shelf. Separating Meshes: In order to break up a mesh, you need to be in edit mode Tab Key and select the vertices you wish to separate from the rest of the mesh. You also an option to separate all loose parts.

Select the option of what you wish to delete. Adding Faces: Sometimes, you need to fill in holes in a mesh by creating your own faces. To do this, go into edit mode and select the vertices you wish to face together you are limited to 4 vertices in a group.

A face will be formed. Here is an example of 2 cubes joined together with a space that needs filled between them. In edit mode, select the 4 vertices hold down shift key and right click on them , then type F. A face will be created. Ctrl-F will give a Face Specials menu of options that will allow a larger set of closed vertices to be faced with additional options. Using Alt- F will fill a larger area automatically. RoboDude Says: Adding and deleting faces and vertices are the basics in any model construction.

It is important to become comfortable with these operations while knowing how to accurately work within your viewports. In other words, A mesh can be made combining 2 meshes different from the Join command.

When using Join, the 2 shapes still retain all vertices. When using Boolean, a new shape is calculated union and removes interior geometry. A mesh can also be used to cut a hole in another mesh difference and a shape can also be made from where the 2 shape intersect with one another intersect. In the sample shown below, a cube and a sphere have been placed overlapping each other. With the cube selected, we will be applying a Boolean Modifier. This is the first time we have accessed the Modifier buttons.

If the resolution of your computer if not set so that you are able to see the Modifiers button, hold down your mouse wheel to scroll over the buttons to gain access to it. You will see a variety of modifiers that can be added and many will be discussed later. For now, select the Boolean modifier. In the Boolean panel, you will see a block where you can select the object you wish to use to modify the cube.

Clicking in the box will give you a drop down of all objects in the scene. Selecting the sphere will display the changes to the cube. We are going to use Boolean operations to cut some simple windows in your lighthouse. Using your principle views of 1, 3, and 7, place the cube in a good location for a window.

With the cube still selected, make note of the cube's name, displayed in the lower left corner of the viewport. We will need to know that name later. The name can also be changed in the Transform window. Go to the Modifiers Panel and add a Boolean Modifier. Select the Cube from the list under Object. You can even use different mesh shapes to cut other window and door shapes.

Remember to add the Boolean Modifier to the lighthouse and not the cube! They need the logo to be 3D and useful for their promotional needs. For this exercise, you will be creating a 3D logo for a favorite team, company, product, or school while using many of the techniques discussed in this chapter. Your first step is to do an internet search for an image you wish to model from. I will be using a Blender Logo for my example. Check the box and open the panel.

Load your image and it should show up in the background of the 3D window. The image will only display in a principal ortho view 7,1, or 3- 5 key switches between ortho and perspective. You will notice that you can control which views the image displays in, if you want to display a movie or image as a background, the transparency of the image, the size and X,Y offset.

Delete 1 vertex so all you have are 3 vertices. Your next step is to move the 3 existing vertices to the edge of the shape where you wish to start. The more care you take in shaping, the better the logo will look. Continue around the shape until you get back to the beginning. This will connect the 2 ends and close the shape. You will now have the basic shape. From there, continue to extrude and close the inner edge as you did with the outer edge. Notice that the Blender logo also has a blue inner circle.

We will also copy and extrude a circle for that ring. If you have other details to add, do that at this time. Always stay in the Top View! Before we face the mesh, we will need to separate the vertices into different meshes that will receive different materials.

For my example, I will select the inner ring that will get a blue material. After separating all the vertices, go back to Object Mode. It's now time to face the mesh. If the shape is complex, not closed, or has double vertices somewhere, this option may not work and forces you to find the problem or face it manually. Do this for all meshes, then switch to the Front View and Extrude the meshes to a desired thickness, like you did with the lighthouse. You logo is finished for now. We will not be addressing this as an actual exercise, but after reading the chapter on Materials and Textures, you can come back and add color to your logo.

There are still a lot of commands and techniques to learn to improve your 3D modeling skills and many of these will be addressed in future chapters, however, practice is the key to become a skilled artist. Answer the following questions in as much detail as possible. Your first task in this chapter had you working with basic meshes, trying to create a sculpture, much like you would have used building blocks as a child.

What was your biggest challenge then and how would that challenge be different now that you have completed the chapter and have a little more experience? How did your lighthouse and landscape turn out? Are you pleased with your results? What was the most difficult aspect of that project and how did you overcome that challenge?

The logo challenge activity is designed to have you create a 3D logo much like ones you would see at sporting events, in movies, and on T. Find a 3D animated logo on the internet that interests you. Do you have a better understanding now of how a logo like that is made? How has this chapter shaped your understanding of 3D modeling? Have these activities inspired you to create any projects of your own?

What would you like to create? As you make your 3D models in Blender, your goal will probably be to generate render an image or a movie as a final result.

The software that determines how your scene will look is the render engine. The render engine will need to know how to handle materials on your objects, how the lighting in your scene should react with reflections, refraction, bounced ambient lighting, shadows, etc.

While there are several 3 rd party engines out there that can work with Blender, there are actually two engines built into the program: the classic internal renderer and the newer cycles renderer.

Every render engine will generate different results depending on how it calculates the scene. Some render engines will take a lot longer to generate an image than others.

Cycles handles lighting much better than the internal renderer, providing more realistic results. That will depend on what you want for results. The classic internal engine will give you faster results, but with less realism. The cycles engine will give you more realistic results, but requires more set up time and much longer render times, depending on your computer and graphics card possibly minutes as opposed to hours.

Because this book is written for use in the classroom, all of the activities here use the classic render engine. Time is a valuable commodity in school and we need to render as quickly as possible to meet deadlines. Like most schools, we do not have the best video cards on the market, making cycles a tough choice for us.

Cycles is a work in progress and getting improvements with every new release. Some students do choose to use cycles. In this chapter and the next, we will discuss the basics of the cycles renderer and how to set up basic materials.

With that knowledge, you can decide which render engine you would like to use for the activities. Both render engine will give you great results! The Blender Game engine rendering will be discussed in a later chapter. We will only discuss some basic material settings in this chapter so you can experiment with the render engines.

Materials will be detailed in the next chapter. Remember, we are focusing on the classic internal renderer right now. Basic Material Settings To add a material, first select the object you want to work with, then go to the Materials panel in the Properties window.

You will see more options open up. Right now, we are only interested in changing color and glossiness. Diffuse: Diffuse is actually the color that is given off by the object- the color you see. If you want the object to be red, set it here. You will also see settings for the way the material is calculated default-Lambert and the intensity slider.

The Ramp button will allow diversity of color. By clicking on the color sample in diffuse or in any other block dealing with a color , the color wheel will pop up.

You'll also see an eyedropper for picking a color elsewhere. The Preview panel can be used to see the results of your setting changes. You can also change the default sphere preview shape to something else. Specular: Specular settings control the glossiness of the object is it flat or shiny? You will see a color sample, calculation model and ramp as in Diffuse. The color sample indicates the color reflected back usually kept white.

Intensity controls the amount of glossiness while the hardness slider controls the hardness and softness of the glow. Check the sample as you change these settings to see how it changes appearance.

RoboDude Asks: How can I see all the panels on the screen? While the classic render engine is still the default in Blender, Cycles continues to receive most of the recent development and will likely become the default renderer in the near future. Since cycles can produce more accurate results with reflected light and other effects, it is more memory and is processor intensive. This is where your computer hardware makes a big difference and a place where many high school labs can fall short.

In our lab, we have fast dual-core computers, loaded with RAM, but with integrated video cards. Due to school district budgets, I think many schools are in the same boat. Because of this factor, we can render simple scenes in Cycles, but as scenes become more complex, we experience problems and need to rely on the classic renderer.

Render farms, or Network Rendering, discussed in Chapter 8 can help you get through larger projects as well. Expect detailed project in either render engine to take minutes to hours to render a single image as you add more detail. Because the CPU is doing everything to run your computer, the amount of memory and the processor speed of your computer will determine how fast your projects render.

If your computer supports GPU, you can experiment to see which one works best for you. If not, you are limited to CPU rendering.

You can try to update drivers, update your video card, or live with CPU rendering. Render settings for Cycles in the Render settings for Cycles in Properties window. Nodes can be confusing to work with, but you can set up your basic materials and textures in the Properties window, similar to the way we construct them with the classic renderer to make life easier. You can then adjust your results by adding and adjusting nodes in the Nodes window.

As you work with Cycles, this will become easier. With a little research on the internet, you will find a lot of tutorials for creating specific effects with nodes. In-Viewport Rendering: A nice feature of Cycles is that you can view your render results in the viewport without the need for pressing F While this feature also works to some degree in the classic rendered, you can control the results better in Cycles.

While the complete explanation is complex, what is essentially happening in Cycles is that the image quality will continue to improve over time with each sample and you can control the number of samples found in the Render Properties menu in the viewport and in the final render F Depending on your computer speed and the complexity of the scene, the higher the better, but you need to find a balance of quality and time. Professionals may render samples in the thousands.

Try a lower sample rate. This is because traditional Blender lamps project from a pin-point location where real lamps project from larger areas, like a light bulb would project more from a spherical object. Planes work great to light Cycles scenes.

Basic Material Settings in Cycles: As mentioned before, Cycles is a node-based render engine, but we can use the Materials properties panel to do some basic setup, similar to the classic render engine. After switching to the Cycles renderer, adjusting your processor CPU or GPU , and setting the Samples, you are now ready to apply some basic materials. With the object selected, go to the Materials property panel.

You will notice settings are presented differently than in the classic renderer. An elaborate term that basically means what happens to the light when it hits an object. Is it reflected, absorbed, or transmitted through the material for transparency or refraction. Diffuse is used exactly like it is in the classic render engine- the light reflected, with no glossiness.

Below the surface setting you will see a color swatch, roughness smooth or rough and default normal mapping. Clicking on the Diffuse block, more options are displayed. While we we look at more details in the next chapter, we will examine 4 surface options here: Diffuse, Glossy, Emission, and the Mix Shader.

In real life, we see the light emitting from our lamps. In the classic render engine type lights, we never see the actual lamp. If you create a sphere or pane to represent your light source, you would place an Emission shader on the object and adjust the strength of the emission. Diffuse: The cube to the left is using a Diffuse surface material with some roughness applied. The roughness may not be very apparent depending on how many samples you are rending at.

Try a higher sample rate for better quality discussed on page It also goes onto introduce many new areas of Blender as you need them. This one is like every shader rolled into one. The tutorial proves to be a good reference video to learn to animate a Backflip in Blender. It clearly illustrates the process and helps you to achieve the desired result. You get to learn the technique of animating a Backflip in Blender easily and quickly. The tutorial contains a set of 15 videos free to help you create the model of the human head.

It is a step-by-step guide wherein you learn to create the model of the human head easily. The Blender tutorial shows you the easiest way to make realistic rope in the blender by using just a curve and micro-displacements.

In the tutorial he will take you through the basics in modelling a hammer. BlenderGuru is the patron saint of Blender tutorial videos. His channel is a cornerstone of the Blender community. Enough said. They may be on the last version, but after you have a basic understanding of 2. Check out the 2. You can find out more about it HERE. The end result is a beautiful looking scene. Check his tutorial out HERE.

Keep in mind this is a small portion of videos in the vast ocean of the Blender community. There are an endless amount of videos out there to keep you occupied and constantly learning. However finding the right videos can be extremely difficult. The Blender Tutorial Bible is a great resource and will make finding good tutorials for certain things far simpler. Blender is great free 3d modeling software for beginner and now blender is a industry standard software.

Great tutorial for beginners who plan to learn blender. Save my name, email, and website in this browser for the next time I comment.