In this lesson, we're going to do some pretty fun and learn about fog and lighting, so at this stage
of the game, you should have a pretty well textured and shaded Ghostbuster trap.
Let's just take a look at what we have so far.
I have done some three texturing on the other shaders and basically put in a mix shader for everything
so that we can map in a chrome texture underneath.
So it looks like this stuff is kind of painted.
And then the scratches reveal more of a metal chrome texture on this stuff.
So it's all the same techniques.
You've learned how to add rust to these plates.
And in this way it's using the textures to reveal chrome.
So it looks like painted metal and with some scratches on it.
So it adds a lot more realism and kind of organic quality to it.
So at this stage of the game, this is kind of what we're working with.
Let's make something super cool and have some glowing light and fog coming out of the doors here.
So let's close this down and learn how to do that.
First, let's open up the doors.
We'll just select the geometry at E to rotate this stuff up.
So we need to open the doors up and then let's go into the render settings.
This is something that we haven't touched yet.
It's this little button up here with a clapperboard and the gear wheel.
We like that we get a new window and we want to make sure that we change our render that we're using
to Arnold render.
And again, if you don't have that loaded up, you can just go to Windows settings and preferences,
plug in manager.
And it's down at the MTA, a bundle down here, right here.
So you probably already have that turned on because we've been using Arnold shaders.
But in this case, we need to tell it.
We want to render with this on as well.
And you can see these tabs change and now we get the Arnold Renderer tab.
Let's go down to the environment and now we see atmosphere and we can add a texture into here.
So if we click that, we get some unique options and we're going to want the atmosphere volume.
So let's click that.
And now you can see it's piped in here and we can get to it through clicking this button and you can
see the attributes of it over here.
So before the fog can work, we need some lights to work with it and atmosphere fog.
And Arnold is particular to certain types of lights.
It will not work with infinity based lights, meaning sky domes and directional lights that come from
an infinite distance.
So it really like spotlights.
So we're going to add a spotlight to the scene.
So let's close the render settings.
And you notice under Arnold lights, it does not have a spotlight, but it is actually located over
here with this little flashlight and it'll still work in Arnold.
It's just not an Arnold only light like those other ones are.
So let's click the spotlight and you can see we've created it here and we need to enable show lights
under this tab if we've turned it off like we did earlier in the series.
So now we can manipulate this like anything else, rotate it up and shoot it in the direction of straight
up as what we want.
Let's kind of set this in here.
And as long as we don't have this point at the bottom, go through the geometry.
You know, this is too far right there.
We want to get it just above the kind of floor of this bottom and let's rotate that and even direction.
So.
Ninety degrees and now let's see what we have.
Let's turn on the Arnold render view.
And hit play and nothing really happens.
So why is that if we go into the atmosphere fog, we can get to it back through the winter settings.
And click this little button now and go to the street editor, kind of we can see it kind of almost
like a Qader, like we had been shading things.
And you can see what's going on in this sub.
So you can see the density is automatically set to zero, which is not very helpful.
If you're creating this, you would assume that the default would be at some value greater than zero.
But yeah, sometimes the defaults aren't what you want them to be.
So if we increase this, we should start to see some fog and you'd see it start to illuminate right
here.
So now you can kind of see it illuminate.
Let's turn this all the way up and now we can get some fog.
Check that out.
And it's basically taking the shape of the light.
So we need to adjust the light.
So that is a little bit broader.
So it fills up this entire piece here.
Or you can just leave it like this if you like.
But I'm going to make mine a little bigger and there's a couple of different tools we can use for the
spotlight.
So I'm going to click the spotlight.
And.
I'm going to increase the intensity so you can see the fog almost feels like it's more intense fog by
increasing the intensity of the light itself and we can increase the cone angle.
So let's just spread that out.
And let's also increase the penumbra angle, and that's basically like the feathering of this, as you
can see how hard this edges of the spotlight.
Now watch it as we increase the penumbra angle, it gets a lot softer now.
You can't see that hard edge.
So it's super helpful, maybe went a little too far.
So we can just dial it back a little bit.
Now, let's go take a look at the fog because it's just white and that's fine.
But I think it can be look a lot more interesting.
And I'm just going to move this over.
Just a touch.
Trying to keep both of these things in the scene scenes, you can see it update as well, so I'm just
moving it over so that the light is kind of emitting from the middle of the doors and not from one end
or the other.
So now we have that.
Let's go back into the atmosphere and mess with that.
So the density is that a value of one?
We could mess with that a little more.
The other thing I want to do is make this a purple color because it is a, you know, ghost alien type
of a trap.
We want some more interesting color than just white so you can change the color here.
And then finally, the thing that's really going to make this look amazing is by adding a texture to
the density.
You can see that we have this checkbox over here.
So you guessed it, just like everything else, we can type in a texture here.
So let's click that.
And the only thing special we need to consider about this is the fact that this fog is kind of 3D,
right?
It is taking up space in three dimensions.
It's not just on a flat plane.
So when we look at what type of texture we want to map in here, we need to look at 3D textures.
And 3D textures are just that.
They're basically a texture that goes through a volume, you know, imagine like putting, I don't know,
glitter or ink or something in a glass of water.
It's going to create patterns in three dimensions.
And that's kind of the same idea that we want to do here.
So I'm going to create a cloud texture here.
As soon as I click that, you can see it adds all this great organic texture to the fog and it looks
so much more believable than the solid piece that we had.
And of course, we can adjust the attributes of this cloud as well and increase that or decrease that.
But yeah, so this is pretty much how you create some cool looking fog coming out of your Ghostbuster
trap.
So I'm going to just tweak this stuff a little bit for one second.
You can stop now or you can kind of go along with me and see how I'm going to finish this out.
You know, it's all about that kind of final 10 percent.
And I like to get let's get that highlight on this three core angle so we can kind of see the highlight
of this.
And let's also increase the intensity of the spotlight so that it's a bit of a stronger effect.
And, of course, we can type in a bigger number here to something like twenty and see what happens.
It looks a lot better.
And yeah, that's already looking really, really good.
I love how quickly and simply you can add so much more in Maya and with Arnold's toolset.
So that is how you add fog to the Ghostbuster trap.
And of course you can animate all this stuff that we'll learn how to animate later on in another section.
But yeah, that's that's a really useful look Dev tool to add a lot of dimensionality and atmosphere
to all of your renders as you finish them up and put the final polish on them.
So in the next few lessons, we're going to go back to the Bones character model and kind of finish
that one up as well.
I'm going to show you a few more tips and tricks and then we're going to finish this whole section out
with a covering how we're actually going to render a sequence or final image out of Arnold and Maria.
So thanks for watching and I'll see you in the next lesson.