Blender Product Design Tutorial: Part 3, Animation and Rendering

Summary

这个视频教程详细介绍了如何在Blender中创建一个令人印象深刻的产品动画。从头开始构建键盘模型,纹理描绘,到最后生成引人入胜的三段动画渲染,全程涵盖了专业动画制作的关键步骤。通过将精心设计的相机运动、灯光效果和景深运用到三段不同角度的渲染中,讲师逐步演示了如何将普通的3D模型转化为栩栩如生的演示视频。此外,还分享了一些制作技巧,比如使用D-Noise和False Color提高渲染效果,以及通过优化关键帧曲线实现流畅的运动效果。总的来说,这个教程内容丰富实用,能让观众全面理解专业3D动画制作的方法和技巧。

Takeaways

• 😃 介绍了一个产品动画的布局,主体由3D视窗、渲染视窗和着色器编辑器组成。
• 😀 创建了一个带动画摄像机和控制空对象的设置,简化了摄像机控制。
• 🔖 介绍了在渲染中设置景深对焦点目标对象,获得更专业的结果。
• 💡 展示了可通过移动和旋转灯光的位置,获得更有变化和立体感的光照效果。
• 📈 建议使用线性插值,而不是默认的贝塞尔曲线,以获得更平滑的动画运动。
• 🎥 演示了将不同的移动和旋转动画叠加,为产品视觉增加丰富性。
• 🔍 通过调整深度场、光源亮度和位置等参数,完善并调试了照明效果。
• 🎨 展示了使用"false color" 视图,发现和修复过高或过低的亮度区域。
• 🔑 分享了优化渲染时间的技巧,如适当降低采样数。
• 🤖 介绍了以PNG序列或视频的形式导出动画的方法。

Q & A

这个视频是关于什么的?

这个视频是一个Blender产品设计教程,主要是教授如何制作动画来展示一个定制键盘的3D模型。

视频中采用了哪些技术来制作动画?

视频中使用了Blender软件的多个特性,如Cycles渲染器、GPU渲染加速、去噪算法、关键帧动画、相机运动、灯光动画等。

视频中一共制作了几个动画镜头?

视频制作了3个不同的动画镜头,分别从不同角度展示键盘的不同部位。

视频中采用了哪些技巧来使动画更专业?

制作者采用了多轴运动、深度场景变焦、非线性动画曲线、灯光变化效果等技巧,使动画更富有变化,让镜头更具专业感。

视频中提到了什么关于渲染设置的建议?

视频中提到,用较低采样数进行测试渲染,找到足够清晰而又省时的采样数目。并介绍了使用color gradient工具来检查场景是否过曝和去噪等实用技巧。

视频中使用了哪些Blender快捷键?

视频中使用了多个快捷键,如S调整大小、R调整旋转、G移动、F2重命名、A选择全部、I插入关键帧、T调整插值模式等。

视频中对照明提出了哪些建议?

视频强调了照明产生的阴影和对比度对动画效果的重要性。建议合理布置光源并引入动态照明,以产生变化的阴影,从而使产品更立体、更生动。

视频中如何处理景深和对焦效果?

视频中创建了一个"景深目标"空对象,并将相机深度场参数指向该对象,从而实现动态景深变换和对焦效果。

视频最后提到了哪些其他内容可能会制作教程?

视频最后提到,制作者可能会制作一个关于声音设计的教程,或者讨论自由职业3D艺术家的生活和定价问题。

视频中还有哪些未涉及但是重要的内容?

视频主要集中在动画制作技术,但没有涉及3D建模、UV映射、材质和贴图设置等制作流程。所以这些内容也很重要,如果有机会应该制作相关教程。

Outlines

00:00

🎥 介绍视频设置

本段介绍了渲染视频的初始设置。作者展示了其3D视图窗口的布局,包括3D视角、渲染视角和着色器编辑器。他重置了先前教程的设置,删除了光源和重置相机,设置黑色背景。然后他创建了一个将用作背景的白色发射平面。接着他添加了相机、空对象来控制相机和设置焦距深度。并添加了面光源以尝试不同的照明效果。

05:01

🔦 设置场景和照明

本段继续对场景和照明进行设置。作者降低了面光源的强度以减少亮度,并缩小光源角度以创建更明暗对比的效果。他调整光源的旋转和缩放,让光线从键盘的侧面照射,形成阴影。然后他添加了第二个面光源来增加照明变化,并微调位置和角度。最后,他对焦距进行了调整,使其适合从此角度渲染键盘。

10:03

⌛ 设置关键帧和动态照明

本段着重讲解了为相机和光源设置关键帧动画。作者为相机和光源在两个轴向上设置了60帧的旋转动画。他还对光源附加了位置动画,以增加照明变化和动态效果。然后他将关键帧设为线性插值,使动画运动平稳。最后他提到了一些有用的技巧,例如使用更少的采样数量来减少渲染时间,并使用失真颜色查看是否存在过度曝光的区域,以完善最终渲染效果。

15:04

🔄 重置场景进行下一个拍摄

本段作者开始准备第二段视频拍摄。首先,他重置了相机和灯光的位置和旋转,删除了所有关键帧。接着修复了部分模型细节,为键盘按钮增加了凹凸纹理。然后,他将面光源设置为180度全照射,作为主要光源。调整了相机的焦点距离,调整3D物体的角度以获得期望的角度。最后为相机和视野添加了关键帧,形成了相机绕键盘旋转的动画。

20:04

📐 细化第二个拍摄的照明和镜头构图

本段作者专注于微调第二个拍摄的光线布置和镜头构图。他将面光从键盘的侧面照射,利用光线渐变来增加视觉冲击力。通过调整光源的位置、角度和缩放比例来优化阴影投射效果。他提高光源强度,然后通过查看失真颜色来检查曝光问题。接着微调了相机视角,利用焦距模糊来聚焦键盘并突出主体。最终调整了相机和光源的关键帧动画,营造出流畅整体感。

25:06

🔓 制作产品展示短片的第三个拍摄

这一段是制作产品展示短片的最后一部分。作者再次重置了相机和灯光的位置和方向,并删除了之前所有的关键帧动画。然后,他调整了相机的焦距,调整了场景的构图,使之更适合产品展示拍摄。接着,他为灯光设置了关键帧,使之从暗到亮,以获得对比度。同时,也为相机动画添加了新的关键帧,使之先沿 Y 轴缓慢移动,然后在最后缓缓停止。通过调整动画曲线和速度,能够使动画显得更加自然流畅。

30:08

⌨️ 照明和动画微调

本段作者进一步微调了照明和动画以获得最佳视觉效果。作者首先根据失真颜色调整了灯光曝光度,并移动了光源位置以使阴影投射更加柔和。然后,他为灯光添加了位置关键帧动画,使阴影随时间缓慢移动。接着进一步优化了相机动画,包括调整曲线以减缓最后的减速效果,以及整体调整动画起始位置。最后,作者提到了渲染成 PNG 序列或 MP4 视频的选项,并鼓励读者尝试更长的场景以练习建立流畅的动画旋律。

35:08

🎥 渲染与保存

本段作者讲解了如何正确渲染和保存视频文件。他提供了两种渲染选项:PNG图像序列和MP4视频。对于PNG序列,作者建议将采样数控制在250-500之间,以获得足够的质量和合理的渲染时间。他还展示了如何针对曝光问题进行调整。对于MP4视频渲染,作者建议将编码设为H.264进行输出。最后,他提到面向不同平台渲染时不同的技巧,以及可以在免费的Canva和Blender中对多段短视频进行剪辑组合。

40:10

🏁 总结和后续方向

这是视频的结尾部分。作者总结了本教程系列的创作历程:从建模、纹理化到完整的动画创作。他希望观众能从中获益并订阅他的频道,以获取后续视频。同时,作者也呼吁观众提出感兴趣的视频主题,例如blender的进一步教程,或是作者本人在自由职业的经历分享等。最后,作者感谢观众的观看,预告了下一期视频的到来。

Keywords

💡渲染

渲染是指计算机将3D场景转换成2D图像的过程。这个过程对于产品动画非常重要,因为它可以将3D建模和动画转换为视觉上吸引人的图像。在视频中,渲染设置的调整可以影响光线、阴影和整体图像质量,因此对最终结果有着重大影响。

💡摄像机控制器

摄像机控制器是一个空对象,用于控制摄像机的移动和旋转,而不会改变模型的原始方向。这允许灵活的相机运动,可以创建更专业的动画。例如,在示例中,摄像机控制器被设置成一个球形空对象,通过旋转它来调整相机视角,而不会改变键盘的朝向。

💡深度模糊

深度模糊又称景深,控制图像中哪些部分是锐利和模糊的。它可以让人的注意力集中在你想要关注的位置。在视频中,作者通过调整相机设置,使键盘的不同部分处于或脱离焦点。这类设置有助于增加产品照片的专业感和深度感。

💡关键帧动画

关键帧动画指的是定义在关键时间点上的对象属性,中间帧则由计算机插值。在本视频中,作者使用关键帧控制相机位置和旋转,让动画看起来更平滑。同时,他还调整光照强度和位置的关键帧,使阴影和亮度变化更动态。正确使用关键帧是创建高质量动画的关键。

💡背景

背景是产品动画中的重要元素。在本视频中,作者使用纯白色的平面作为背景,使产品在其中脱颖而出。同时,背景也为整个场景提供均匀的灯光。通过将背景作为一个单独的平面并移动,作者还可以让背景随着相机视角移动,从而保持一致性。合理的背景设计可以增强产品本身的特性和吸引力。

💡光照

光照是产品动画中十分重要的环节。适当的光照设置不仅可以突出产品的质感和细节,还可以通过投射阴影和高光来增加空间感。在这个视频中,作者使用了面光源和精心的光源位置来创建柔和的阴影和合适的亮度,使得键盘在亮部和暗部之间形成了丰富的层次感。光照的精心设计对任何优质3D渲染都至关重要。

💡曲线插值

曲线插值决定了属性值在关键帧之间的过渡方式。在视频中,作者使用线性插值让动画平滑自然,但也利用贝塞尔曲线调整了部分属性值的变化速率。合理的曲线插值可以使动画更加富有活力,产生加速和减速的效果,避免僵硬或夸张的过度。动画师应当谨慎运用曲线插值,以获得令人信服的动画效果。

💡视图

视图是指3D场景的不同可视角度,如正视图、左视图和透视图。在本视频中,作者灵活地在不同视图之间切换,以便从最佳角度查看和编辑场景。有时他会结合视图和数值输入方式来精确地放置或调整物体。合理运用各种视图有利于高效地管理3D场景,这对创建复杂的产品动画至关重要。

💡合成

合成是将单独的渲染序列合并成一个视频或动画的过程。虽然在本视频中作者没有具体讲解合成的步骤,但他提到了几种不同的方式,如使用PNG序列渲染、视频编辑软件或在Blender中进行合成。合成是制作高质量动画不可或缺的最后一步,能够将3D渲染与其他元素(如标题、声音效果等)无缝地集成在一起。

💡样品

渲染样品数量决定了最终图像质量的精细程度。更多的样品数量会提高光线跟踪的精度,但同时也会增加渲染时间。视频中的作者展示了如何通过调整样品数量来平衡渲染质量和时间。他建议通过测试来找到最佳的样品设置,避免既不过度耗时,又可以保证清晰度。合理设置和调试样品参数是获得高质量渲染输出的关键。

Highlights

使用3D视口、渲染视口和着色器编辑器来设置布局

添加网格平面并将其旋转90度

添加发射纹理并将其插入表面着色器以创建实心白色背景

添加相机、相机空物体用于控制相机动画

为相机添加景深目标对象以控制对焦区域

使用面积灯光并调整其位置、大小和强度来创建高品质的阴影和照明

使用渲染设置和样本数量优化渲染性能

创建第一个动画射击并插入关键帧以平滑旋转相机和灯光

重置场景并调整相机和灯光来设置第二个动画拍摄

使用假彩色视图来检查过度曝光

创建第三个动画射击,使用关键帧制作产品展示动画

调整动画速度和运动曲线以获得更专业的效果

渲染动画并导出为PNG序列或视频文件

总结产品设计和动画的全过程

邀请观众关注即将到来的更多教程和分享

Transcripts

[Music]

okay let's get started with our product

animation this is going to be the layout

I'm going to use to start out with I

just have a 3D viewport over on this

side I've got the bottom right hand

window going to be our rendered viewport

and then right here I've got this seted

up right now to be a Shader editor um

this is how it was when we finished part

two you can also download this file

exactly as it is to start um off of my

patreon for free the link is in the

description so we're going to set this

bottom right hand corner hold Z and set

it to rendered this is the lights that

we have set up from part two but we're

going to do everything from scratch so

I'm just going to grab both of those and

delete there's a little bit of light

still in this scene so make sure you go

into the world and then set the strength

to zero so now you have a fully black

scene so this is going to be kind of a

minimalist render so the first thing I'm

going to do is shift a a mesh plane

going to rotate it by 90° on the x axis

gy to move it back going tab into edit

mode and scale and then in the Shader

editor I'm going to click new and then

take this principle bsdf delete it shift

a and then we're going to search for an

emission

texture plug that emission straight into

the surface so now what we have is we

have a solid white background you can

even increase this a little bit if you

want to get it a little bit brighter

but we're going to change the rotation

of everything but this is kind of what

we're going to use as a backlight um to

be a solid consistent color for all our

different shots we're going to set up

three shots and this is going to be the

first one so right now we don't have a

camera so I'm just going to go into the

front view shift a camera you can see

it's right here I'm going to move it

back along the Y now to get really good

camera animations a trick I learned from

Derek Elliot is to use an empty to

control this so what I'm going to do is

I'm going to go into top view and then

just shift a an empty and I'm going to

use a sphere just so I know we're going

to use several empties I'm going to use

a sphere because I keep that tied to my

camera I'm going to scale that up just a

little bit to give us a little bit of um

easier to see and then I'm going to

click the camera shift click the um

empty object and then control p and do

object keep transform so now what

happens is if I go over here and click

um zero on my number pad that's going to

put us in camera view already this kind

of looks neat but we can now take this

um empty and we can rotate it to get

really nice uh views and different

angles without messing with our original

shape or our original um orientation of

our model and then one thing that we're

also going to do for this one because we

want the solid background to always be

behind our camera I'm also going to

click the plane and then click the empty

contrl P object keep transform and so

now when we rotate this you can Double R

click R twice and that's going to give

you track ball rotation now however we

look at this that white background is

always going to be behind it so that's

going to be pretty cool okay now one

thing that we're going to do is I want

to be able to move this also if we

didn't want to move the camera so what I

want to do is I'm going to grab this

empty and I'm going to do GX and hold

control and I'm just going to move it if

you see in the top left it says neg5 so

that's just going to let me be able to

get access to this so we're going to do

another empty to control this so shift a

empty I'm going to use a cube scale in x

going to go into Right View scale and Z

just something that kind of represents

that this what it is and then I'm just

going to box select everything in the

middle and then what I really want is to

deselect that by holding shift and click

and select it again and then contrl P

object keep transform so now what we

have is if we go back we click this GX

hold control snaps it right back to the

middle now we can leave our camera the

same and we could double r and rotate

and then like you can just to start

getting some really nice angles you can

already see this is a really cool um

setup just because there's tons of ways

that you can set this up and have dark

Silhouettes you can play with your

lights and we're going to be using a lot

of that for these renders so what we're

going to do is we're going to create

that first shot that you saw from the

beginning of the video which is kind of

a zoomed in on this corner so what I'm

going to do is I'm going to move the

camera empty to be focused on this point

around here and then for these types of

shots something that looks really good

is to click the camera and then set the

focal length to something like

125 um and then now what we can do is we

can start looking for good camera angles

and so we're going to use this sideways

um orientation because it's going to be

for YouTube but if you were doing this

for Instagram or for YouTube shorts you

would want to use a vertical orientation

and then adjust the composition of your

shot accordingly so oh yeah one thing

that we also need to do don't ever

render a shot without using some depth

of Fe field I've learned that from some

industry professionals so we're going to

shift a we're going to add one more

empty and we're going to make this a

plain axis I like to use these three

different shapes so I can know what um

things I'm looking at it gets a little

confusing to see this empty and then the

Box empty and then also this empty but

having them have different you know

shapes helps out a lot so what we're

going to do is we're going click F2 and

then rename this to depth of field

Target and then this folder up here is

Lights and Camera Action I just make

sure that all these things are in here

so let's go ahead and rename them we're

going to call this the um synth

controller and then we're going to call

this our camera controller or camera

rig and then we have our depth of field

Target so what we need to do is we need

to take our camera go into the depth of

field select the focus object and then

just type doof so click that depth of

field Target so now just as a test we

can do R and then RX around the x-axis

and then we need to bring our depth of

field Target something to what we're

looking at so this is the point the

origin of the um camera rig so I'm going

to just bring this kind of close so that

we're kind of focused where we're going

to look at and then now what we really

need is some good lighting to kind of

see what we're dealing with but just

real quick we'll move this guy

in and there's not a lot you can see so

let's just go ahead and add a light and

we'll go from there so we're going to

shift

a light and we're we're going to use an

area and then what I'm going to do is

just go into Right View bring it up

we're just going to bring it something

over here and now what we kind of want

is good renders always have variation in

lighting you can tell a lot of beginner

renders don't have um any depth you have

very flat shallow lighting everything's

kind of lit evenly so one thing that we

want to do is we want to try to um shake

that up have some Shadows have contrast

um poly talks about it in one of his

videos I'll probably put a card or a

link to it in the description but that a

good way to think about placing lights

in 3D scenes is to try to create Shadows

um that really helps you move into it

you know creating some visual interest

so what we're going to do for this one

is I'm going to bump the strength up to

25 and then what I really want is for

there to be kind of some sharp falloffs

so what we're going to do is we're going

to decrease this spread and I'm going to

go to something like

20° and then now you can see in the

render there's this setup right here but

what I want to do is I'm going to bring

this in the Y to where it's coming

across you can see this nice shadow and

then you can play around with the scale

of your light so as you bring that up

and down it's kind of changing the way

this looks so I'm going to leave this at

something like two and then I want to

scale it to where it's kind of a long

skinny light so I'm going to scale in

the y direction something like this and

then bring that scale back down to where

it's kind of like a strip long strip and

then we're just going to bring this over

I'm going to give it a little bit of

rotation in this direction so now we

kind of have a little bit of light

lighting going on let's rock this down

to 20 it's a little

Overexposed okay so now we go back into

camera view and then we look at this as

we um click our camera and then go to

the depth of field this s- stop if

you're familiar with photography this is

what would control the um the distance

of what's in and out of focus so if we

drop this to one you can see that it's

getting very blurry toward the back and

then this is how you do a rack Focus um

in blender you can just move this up and

down so now I'm kind of focused on this

third row and these are out of focus and

I can just move these and you can key

frame the location of this um in the

shot to kind of give it a shift in Focus

which is pretty cool so now what we kind

of want to do is we want to recreate

that first shot on the camera angle now

that we have some decent lighting we're

going to kind of set that up so what I'm

going to do is um rotate and then XX to

that I'm on the local x-axis um you know

if you rotate on the X you would be

technically doing the same thing but if

you rotate this on the Z and get

something like this now if I rotate it

on X it's moving along the x axis but

what I want it to do is rotate along the

x- axis of this empty so rxx puts you in

that so now you can kind of shift this

up that was good now I'm going to go

ahead and move this camera um I'm just

going to move it up in the z-axis a

little bit and then I'm also going to

gzz and that's going to basically move

it in along its axis so already you can

see we're kind of getting that shot set

up the way we want it so I'm going to

move this back into something that's in

frame and then we're going to take our

light we basically want a little bit of

Shadow over here so I'm just going to

bring it over something like that now

you can see we have very dark areas down

here so what I'm just going to do is I'm

going to just add in another

light and then I'm going to go into

Right View bring it out rotate it go

into top view bring it up now we can

just basically play with this until we

get some fallof that we like so I may

just rotate this over and then just GX

until we get um a little bit of a

gradient to where it's kind of coming

darker to this point and then you could

also put one you can also just bring it

out if you wanted it to come all the way

to here that'll kind of play with this

area here so then it really comes down

to just finding a camera angle that you

like I'm going to click the um Rotator

and then

XX I'm going to give it something like

that our Z so now I'm rotating along the

z- axis um this looks really good right

here to me and then we're going to grab

our depth of field and we're going to

bring that a little bit closer to what

we're looking at okay so now for your

first shot I'm going to use 60 frame

shots I'm also using um 30 frames per

second so in your output click 24 click

30 and then what I'm going to do is I'm

going to set this animation to 60 frames

I'm going to go to frame one and then

grabbing this um camera rig I'm just

going to rotate it into something that I

think looks cool something like that

also I think it needs to be a little bit

steeper angle down something more like

that that looks good so I'm gonna go to

top view insert location and rotation

key frame and then I'm just going to

come out to here RZ give it a

rotate something like that insert

location and rotation and now we've got

this set up as a Shader editor I'm going

to click this and go in e that's just

the hotkey to get to the graph editor

I'm going to click in to hide this panel

and then the home key on your keyboard

will normalize this to where you can see

everything the location of this camera

rig is not changing so I'm just going to

hide all these and then click home again

um I'm also going to hide the uh the

only thing that's rotating right now is

the X and Y so I'm going to click home

and then just to show you what this does

I'm going to hover over this and click a

to select all the key frames and then T

that's going to bring up this

interpolation mode we want it to be

linear so if I played it right now you

can see that it basically slow it's

starts I'm going to set this to render

or solid so you can see it starts slow

and it speeds up in the middle it's this

curve basically here this bezier curve

so what I want to do is I'm a t and then

click linear and so now it's basically

just rotating in a solid um or in a

constant speed but one thing that I do

want to do is I'm going to come to this

60 and then I want to do rxx and I want

to give this a little bit of rotation

this way also and then I'm going to

reinsert a key frame by clicking I in

location rotation and that's pretty much

it except now you can see that it looks

weird because you can see that it's not

moving linearly so if I scroll back out

and I look at like the X rotation you

can see that this is set up so or it's

not linear so I'm going to click a t and

reset it to linear so now if you kind of

look in your bottom rendered view You'

got this very nice two AIS movement so

the last thing that we want to do is

check our lighting so we're going to go

back into the rendered view um this

looks good I like the way this looks

matter of fact let's just do a test

render

I'm setting right now at 500 samples

I'll go through that at the end but this

looks good and then the other thing that

we want to do is as we go over to here

things that really set some renders

apart is to have some movement on your

lights so what I'm going to do is I'm

just going to move this over in the or

actually let's just rotate

it and I'm G to click escape and do it

again so you can see right now we've got

a little bit of dark fall off on here I

actually want to bring this over I don't

want there to be any dark areas on this

side so I'm going to scale in the

x that gives us a little bit better

light on this and then also the F stop

is a little bit too high from our um

setting the depth of field so I'm going

to grab this actually I'm going to grab

the camera click the camera settings and

then let's bring this up to like

1.8 that way we still get some detail on

these buttons and stuff back here

so then what I'm going to do is click

this light and go back to the beginning

and you can see that we have a little

bit of fall off here and this is a

little bit darker we can also bring this

you know if we go to top view we can

bring this a little bit closer if we

want some better light there that looks

good so now we're going to do is just

when we see this light has a little bit

of fall off here and then we're going to

come to here we can see that it's kind

of dark I'm just going to click this and

go to the front view actually let's go

to the beginning on frame zero insert

location rotation and then on frame 60

we're going to also add some rotation

and bring that out

until it's not as dark on this corner

actually that's a little bit too much

and then we're also going to bring it

down a little bit and try to brighten it

up a little bit that's going to help

give it some variation so now I'm going

to click insert location rotation I'm

going to make sure this is selected and

then click a t linear so now that this

is moving in a straight line so now you

can see we have some dynamic pieces the

camera is moving in two axises the the

light is moving um we're getting lots

better this is how you can get things

that look more professional and don't

look like straight line very simple

animation so now I can just play this

through and you can kind of see it's

going to be grainy but this looks really

good um we're going to go back into

solid view so now you can see we've got

this nice smooth animation on two

different axises so to render this these

are going to be the same render settings

that I use for all three of these shots

so I'm going to talk about them now and

then we'll talk about you know putting

them together at the end but for this

I'm going to be rendering in cycles and

then I have a GPU so I have this set to

GPU I leave the default um noise

Threshold at 01 on the render I have

mine set to D noise um and then I'm

using 500 samples but a trick that is

really good to know is if I render this

image I'm in slot one right now this

image looks really good by the way so

when this finishes I can tell that it

took me 8 seconds to to render this and

um this is what it looks like I'm going

to click this and then click two on my

um the row of keys at the top of my

keyboard and now this is basically a

different slot I'm going to drop the

samples down to like 250 and then I'm

going to render again and what that's

going to do is it's going to give me two

different images and when this vend

rendering we'll see the D noise and now

if you hit the one and two on your

keyboard this is going to swap between

them and I'm swapping between one and

two and there's basically no visual

reference and I dropped my render time

from 8 seconds to 4 seconds so when you

do these renders do a test and see how

many samples you need because if you

don't need that many cuz like for

example this doesn't have tons of glossy

pieces or things that have high

transmission or anything so we can get

away with using some different samples

or lower sets of samples the other thing

that I don't like is this harsh fallof

of the light right here because of the

way it set up so what I'm going to do to

fix that is just go into rendered view

on this thing so I can or this window so

I can see it I'm going to shift D and

I'm going to bring that over here and

then I'm going to bring it way

back something a little bit closer like

that and then I'm going to take the

power down let's try

five and then oh it's kind of let's just

bring it down

gz and then gzz to move it along its

axis we still want it to be dark we just

don't want it to have a a sharp Shadow

right there so that looks good so now as

far as rendering it I highly recommend

that you use um PNG sequence if you have

a computer that's very Chrome to

crashing this is a very small scene so

I'm actually just going to render I

rendered these out as videos whenever we

did it I'll show you both ways so on

your output settings click output and

then select the folder that you want to

use so I have this folder um we'll go to

YouTube this renders let's just say

we're going to save it here also it's

good to save a name so you can know what

it is so go here and do shot

one one

tutorial okay I leave this file

extension that helped me see how long

videos are so that when we see them

it'll say 0000 to 060 that just tells

you that's a 60 frame animation and so

what you can do is you can do it two

ways you can set this to PNG or exr if

you follow PO for he TOS a whole video

where he talks about you know different

file formats but the most common

typically is to use PNG and then um in

your color management leave this the

same whatever your default is for me I'm

using agx um you can use different ones

but this is standard in blender 4.0 but

then the other way that you can do it is

to save it directly as a video and to do

that I use ffmpeg video and then make

sure you set your encoding from metosa

to EG 4 because this will do a mp4 file

which would basically is um easier to

read and a lot better for different

devices so then at that point you would

just click render and render animation

and so this is going to render out as a

video sequence I'm going to let that go

okay now it's finished rendering so

let's see what this looks like we're

going to go to shot one tutorial video

and play that and there's the first shot

of thing so now let's move on to the

second shot now we're going to kind of

reset this scene so to do that I'm going

to click the camera rig alt R to reset

its rotation I'm going to also alt G

reset the location of this gy move it

back I'm going to set this alt G that's

going to bring it back to the center

we're going to kind of just get rid of

these lights for now put that back

gy we're going to set our depth of field

Target to just be in the Middle with alt

G that brings it back to the 3D

cursor gy perfect now for the second

shot you can see from the video that

we're going to do kind of a tied up of

the keyboard itself kind of in the

middle now one thing that I want to

change on this somebody commented on the

last video was we need to fix to these

knobs so one thing I'm going to do is

I'm going to go into front view and then

I'm going to select one of these and

just show you how to fix it so I'm going

to tab into edit mode I'm going to do

contrl R and bring this down and then

what I want to do is do another controlr

here contrl B to Bevel it just going to

bring it out to like this and then I'm

going to hit three and then select one

of these edges here with alt selected so

that we grab it and then do the same

thing alt shift click this and then I'm

going to hit period on my npad key to

move it in right click extrude faces

along normals we're going to bring this

in as a little detail like this and then

we're going to tab into edit mode again

controlr and then basically I'm going to

go into front view so I can see this

better contrl R and we're going to bring

this up until we have little squares

because somebody commented and said hey

it has a nice little grip detail and I

forgot about that when I was modeling

this so just till it looks kind of

square shape add more Loop cuts and then

click Escape then I'm going to hit three

alt Z and then I'm just going to grab

not the bottom row but every um row up

up to that so I'm going to leave one row

of these flat faces I'm going to use C

to to brush select those once I have

them all selected I'm going to hit

period on my numpad key to center it so

I can pivot around it alt Z to get out

of that and I'm going to click I and

then I again that's going to inset the

individual faces and then I'm just going

to bring this down to something like

this so with these faces selected I'm

going to right click and extrude the

faces along normals and just bring them

out just a little bit like that and then

I'm going to also contrl B only do a

tiny amount give it this many segments

or so

something like that so now we have this

grip detail so if we see that in our

next shot and you can feel free to add

that to all three of these um I may not

do it for this tutorial but you know now

how to add that back if you want to make

that detail so what we're going to now

do is we're going to kind of reset

everything so I'm going to grab our

camera rig alt R we also need to delete

all our key frames so that we don't have

things that jump back into position so

I'm just going to click a and then click

down here in the editor ax delete key

frames so now I'm going to click Alt r

on this or no alt G and then this is

already reset and then this right here

what we're going to do is we're going to

change this light I'm going to bring the

spread of the light all the way back up

to 180 and then we're going to use this

kind of like as a regular key light now

so I'm just going to go in um grab the

item and just reset the scale to one and

then we can change the scale up here so

to do this one I'm going actually just

going to rotate this to an angle that I

think looks good so I'm just going to r

r and go into front front view we're

just going to rotate it like this go

into right rotate a little bit more

something like this looks good and then

what I'm going to do is I'm going to use

this light as a key light so front just

bring it up here in the right hand view

I kind of want it to come from behind so

I'm going to gy and bring it back and

then I'm going to actually let's rotate

a little bit more something like this we

can increase the

scale and then let's make this really

bright so like 600 that looks good you

can see we got nice soft Shadows coming

across and then I'm going to also rotate

this a little bit more on the xaxis um

basically get something that looks like

that a little trick that i' learned

recently if you want to see if you have

areas that are Overexposed if you go

down to your view transform on your

output you can set this to false color

and I'm just going to crank up this

brightness real quick to something like

2,000 if you have areas that are red

that's telling you that you have

overexposure so what you can do just

drop it down to 600 it's so I have some

barely Overexposed pieces right there

and you can just kind of tone that back

until you don't have any red but that's

honestly not too bad if I do even 650 so

then I can go back to my output set the

color management back to agx and so I

can just kind of tell me hey this looks

pretty good so then for this I kind of

want to rotate um this on the z-axis and

kind of get a little bit more angle like

this and then also I want to bring this

in get a detail shot

and then very similarly to the other one

we're going to shift d on this um light

rotate it it's super bright so it's

washed out so let's set it to something

like

50 and then we're going to also decrease

the scale and give us a little bit

sharper edges so now I can come up here

that's too

small and I can bring it close um to

this side you can see you definitely

want to have gradients of falloff um

flat light is never going to make your

product look good so similar to the

other one I also want to rotate this in

this view I want to make it angled more

that looks really nice you would

definitely want to go back and add that

grip pattern to this for these and then

we also need to take our depth of field

I'm going to place it something oh

that's not the dep of field something

like this make sure it's kind of in the

center of the keyboard and then for this

one I'm going to increase the dep of

field just a little bit because I want

it to be blurred so I'm going to grab

the

camera depth of field let's just set

this to like 1.25 or something then kind

of help us focus in on that so now I've

got this set up and then we're going to

do basically the exact same setup as

before we're just going to rotate things

till we think they look cool so I'm

going to grab we rotated this way on

this one so let's rotate backwards on

this one just for fun so I'm going to

grab

RZ here something like that insert oh go

back to frame zero

first

RZ something like that insert location

rotation come here

RZ

insert and actually let's go also go rxx

and then

rotate downwards something like that

insert location and rotation and then

this is still going to be not linear so

I'm going to go a linear up here and

then we just set this to solid so now

you can see we've got a nice rotating

angle

shot so now what I'm going to do is we

need to kind of perfect our lighting so

you can see we kind of got some uneven

edges I want to have more Shadows so

what I'm going to do is I'm going to

move this completely out and you can see

that you have a lot more better Shadows

so I'm going to do this I'm going to

increase that spread or decrease that

spread actually and then I'm going to

move this until we have a nice fall off

that completely changes how this scene

feels so I'm going to increase this a

little bit and so what I'm going to do

is I'm going to have it a little bit

darker and kind of draw your eye along

this thing and then as we move we're

going to kind of bring this in so what

I'm going to do is go to frame zero

insert location rotation I'm going to

come out to frame 60 and I'm just going

to bring this across out to here

something like that insert location

rotation so now you can see we have

darker at the beginning and you have

lighter at the at the end and then what

else can we do let's add some rotation

to this so let's just go to frame like

zero insert location rotation come to

frame 60 RX let's rotate it something

like this you can see we got kind of

even edges of white on the corner

Corners you kind of want this to balance

this shot so insert location rotation a

t linear so now it's going to add yet

another angle to this and these are when

you really start setting apart from a

beginner animation the more pieces that

you have moving together it's going to

look better and better so for this one

this is actually pretty close to what I

did in the intro animation I'm also

going to rotate this light just to where

you can see like if I go in the front

view R um that doesn't change too much

actually so like what if I moved it in

the G axis see how the Shadows start to

move so if I bring it over here it's

coming more down so I'm actually going

to insert a key frame right here

location rotation and then come to frame

60 GX bring this out even more and then

I'm also going to move it up in the G or

in the Z axis kind of help it um light

up some of these darker areas so insert

location rotation so now you can see you

have lots of dynamic pieces and it looks

really clean and good I would use the

exact same render settings you can

render it out as a PNG sequence um you

can also go back and tweak your lighting

I could use that false color if you

don't like this darker front edge or if

you think that this light could be

brighter it honestly could be a little

bit brighter what if we do

750 yeah that looks good let's do let's

check our false color

again yeah see there's still no red in

this scene even all the way back to here

there's a little bit at the beginning

but so let's go back to this you don't

want your scenes to be under bright or

too dark so let's set this to a th000

let's kind of scrub through we got some

red at the beginning but not

much let's go back to the rendered and

then set this back to the um Regular if

we had this now we have this set to a

th000 and look what it would have been

at if we did 650 it's just completely

made this more flat and not bright

enough so if we brought this even to

12200 that's going to completely change

the look of this animation so use that

false color to double check whether or

not you're Overexposed or not so now we

have our second shot and we I just

rendered that out the same way as we did

the first one and so that's going to be

the second shot so the last one is even

simpler we're going to reset everything

so um alt R and again you would have

already rendered so make sure you don't

do this before you render this shot out

but once you've rendered that shot out

we're going to do the third shot going

top alt R to reset everything um we're

just going to leave this light here for

now and also going to leave this light

but I'm going to move it back um we're

going to alt R for this guy o well that

resets it pointing it down but you can

just

rx90 that's going to put it back there

and then make sure you do a select

everything click a in this bottom window

X delete key frames and so now

everything is not tempted to move so

what we're going to do for this shot is

we're going to rotate this I'm going to

bring this camera back a little bit

something like that we're going to

rotate this on the x-axis and then kind

of do a product reveal so what we need

to do is let's go ahead and start from

this and what we want is it to be dark

until it comes to this area so what

we're going to do is we're going to RX

this is kind of like our final we're

going to work backwards this time so RX

and then we're going to basically bring

it till it's um 90° I'm going to hold

control so that it snaps at 5 degree

increments and then we're going to move

this light to be facing the product here

and we're going to also offset it like

this and then you can see these Shadows

are here we could even bring down this

size a little bit and that's going to

help darken those Shadows up a little

bit and then I actually want it to be a

little bit

less something like that looks good and

so now this is kind of your product shot

and then what we can do is we want it to

be dark when me go RX CU as we come back

um actually you can do it two ways and

the one that I did I had it be dark when

it came out um so I think what we might

actually do is just kind of key frame

this to be dark so a way that you can do

that is let's just go back to here

RX let's just bring it down something

like this and also for this shot I

brought up the depth of field or the

focal length a little bit so I'm going

to set this to something like

90 and then I'm going to check out the

scene layout I'm going to bring this in

the Y just a little bit and then let's

go to the right view we can adjust that

later rightand View at the beginning

this is the place we want it to be in so

insert location and rotation T frame wow

insert location and rotation key frame

go to the end RX hold control snap it

you can see this kind of look this looks

really good this lighting does and then

it also might be a little bit harsh I'm

going to g g ZZ bring this

back see how this looks um that looks

really good this is kind of like a

classic apple look um for a white

background and then I'm just going to

bring this in you can see we got really

dark um Shadows on this so I'm going to

just kind of bring this up and

in and then I'm going to GX bring it to

the

middle it's too sharp so I'm going to

increase the scale that's going to make

the light softer and then gzz bring it

back that kind of get rid of that and

then one thing that we can do is if we

kind of want to have a little bit of

Shadow we can go here rotate it like

this that gives us these nice angles and

then we can decrease the spread and just

pull it down pull it down pull it down

that's going to make it a lot brighter

so let's set this to

500 let's even set it to 600 and then

let's check our color

again so scroll down few transform false

color you see we have a lot of

overexposure so let's go to our light

and try

450 a little better let's try

400 we got nice warm colors all around

so let's go back to our

output false color agx

and then we need to set the rotation key

frame looks like we lost our key frame

here oh no we didn't then we go to frame

60 right RX bring it

over set it to 90 insert location

rotation for this one you can kind of

animate it how you want but since we've

done linear for everything else let's

kind of make it go quicker at the

beginning and then slow down at the end

so what I'm going to do is get rid of

everything but the X rotation we click

home that's going to Center these up and

so what I want to do is I want to grab

the handle of this key frame right here

and I'm going to bring that up something

like this and then basically what that's

going to do is this is the rate of

change of the X rotation so it's going

to basically change very quickly and

kind of snap into place you don't want

it to go too high here because if you go

too high it's basically going to go past

and come back if I exaggerate this I'll

show you so right now if you go too high

it'll rotate forward I mean that's a

cool animation if you wanted to to do

that but I don't want it to do that so

I'm going to bring this down like this

and then I'm also going to bring this

one and then I'm going to actually let's

just GX and that'll lock it in this axis

so let's do something like this so now

this thing will kind of pop back into

place and that's a little bit strong so

let's just pull it

down that's a nice look we're going to

set this animation to be a little bit

longer let's set it to like 100 frames

and then what we want to do is again add

some more different angles and variation

into what happens so we're going to pull

this here it's going to come all the way

to here and it's going to stop and so

what I want to do is at the beginning I

want it to be darker so here let's take

this and let's set the light at the

beginning let's just turn this off

actually we want it to be full

brightness here at frame 40 so let's set

a key frame here and then at frame zero

let's set this to

zero and set another key frame so now

what happens is this is basically going

to increase in brightness I'm going to

set this to linear so a

linear and then also let's do the same

thing for our other light so that we

kind of have a dark reveal at the

beginning or at least a little bit

darker so we want it to be full light by

let's say 30 insert a key frame let's

come back to zero and then let's just

drop this down to something like

150 or even 50 so now you got a real

dark kind of contrast going on here

let's insert a key frame so now it'll be

dark at the beginning and give you some

contrast and then by the time you get up

to here it looks good so now what we

want to do is we need some movement on

our y- AIS from our camera so let's go

to zero insert location rotation we want

it to stop coming forward a little bit

after the um the keyboard keeps rotating

so we're going to stop at 60 come out to

70 let's go gy to bring it into

something like this kind of keeping a

good composition on the frame insert

location rotation

and then this one we're going to do the

same thing we're going to kind of keep

it moving linearly and then slow it down

so I'm going to go into the dropdowns

this is all within the graph editor just

in case you can't find that so click

this go into your graph Editor to edit

your key frames we're going to get rid

of the all the key frames except the xlo

location and click home and then what I

want to happen is I want it to be pretty

linear oh it's both selected so contrl Z

I want this to be basically a straight

line up until the end but then I want it

to slow down at the very end so I'm just

going to adjust these to where something

like this happens this is actually a

little bit

strong bring this

in so now if we look at our animation

the camera comes in it brings it to

right there it's actually a little bit I

don't like where it is so this is a good

thing to know let's say you're in this

and like this starting position is too

close but I want everything to be the

same animation but I want it to be

further back you can grab all your key

frames and then gy and what that's doing

is you're changing your total value on

your x axis and you're changing them all

at the same rate so I'm going to bring

this back to something like this and

then you can see this animation looks

great right here and that is basically

it I would maybe even set this to be a

little longer you see how it feels flat

so when I extend this here it stops

really quickly so what I'm going to do

is I'm going to grab this GX and click

10 let's even do

20 and then bring this out because we

don't want it to be a jarring end so

let's do

this it's still a little bit quick so

let's scale this

up let's also bring this down to where

it doesn't come in quite so much that's

part of the reason why it looks so

jarring so now we got a pretty linear

line much better so if I go into the

solid view you can really see the um

animation the more um experience you

have with doing product animation the

more you learn that your curves and the

speed at which your animation happen

really makes and breaks the way that the

product looks and feels so I'm actually

going to set this to 120 give us a

little bit extra time and then that is

the exact same process so I would go

into the rendered view I would double

check my lighting you know oh let's do

one more thing let's make this move just

to where we have some variation on this

Shadow so we've already set key frames

for the brightness but I'm just going to

go GX or actually let's just leave this

something like this to start insert

location rotation

come out to frame 60 we're just not

going to move it a bunch we're just

going to move it enough to where we can

see those Shadows move just a little bit

so I'm going to set it here insert

location rotation that's actually too

far I don't want it to be changing at

the end so let's bring it back to

something like this and then if you went

into this light and looked at the

Transformations the X location is the

only thing that would have changed so I

need to turn this power one off because

when I did the home to view it to

normalize it you can also do that by

clicking normalize here that's what the

home key does so I'm going to click a

and then actually OB was saying on this

one it starts slow speeds up and then

goes here and then gives it just a

little bit of movement on this and I

actually like the way that looks so this

is the final shot that's exactly what I

would do to create these three shots and

then you can put them together in the

editor of your choice you can put them

in together on something free like canva

um blender has a video editing feature

to where you can open a file in video

editing and drop your files in and put

it together that way I'm not going to go

through the sound design and different

stuff like that if you're interested in

a video in that let me know also for my

next videos I could do another tutorial

or I can talk about the way that I do

freelancing as a 3D artist and what I

charge and how those projects came about

and how the last year has looked for me

so let me know what you think um which

of those that you would be interested in

seeing as I kind of make some more

videos and I really hope you enjoyed the

blender product design series starting

all the way back from modeling this

whole um keyboard from scratch doing the

texturing and then also um creating this

full animation so thanks for watching um

consider subscribing if you enjoyed it

and I will see you in the next

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